Novelist and singer-songwriter Darnielle (Wolf in White Van) unpacks his 30-year career as founding member of the Mountain Goats in this illuminating compilation of song lyrics and background notes. Darnielle explains that many of his early songs “had their roots in a sequence of poems... before I got the bright idea to set some of them to music.” Entries vary from detailing events and individuals depicted in the songs to broader overviews situating the author at inflection points in his life and work (after 1997, he writes, his love songs became less frequent as he got more interested in “knottier themes—death, struggle, alienation”). Intriguingly, a number of entries are based on songs never released or only performed live. Others provide intimate details on how songs took shape in the studio. “One thing music has over poetry is this freedom to improvise,” Darnielle writes, noting how the phrase “moonless” in the song “Transcendental Youth” changed in the studio to “nameless dark,” to better paint the picture of the song’s gloomy subjects, “people in a dark room who have not had enough to eat.” Darnielle’s attention to structure, scene, and evocative phrasing is apparent in both his lyrics and his rich, self-aware explanations, which shed light on his creative process and evolving relationship to his work. This is catnip for the author’s fans. (Dec.)

Reviewed on 12/12/2025 | Details & Permalink

Has self-publishing enabled a greater number of writers from marginalized groups to find an audience for their work, or is it perpetuating the publishing industry’s historical inequities? Parnell, a lecturer in digital publishing at Melbourne University, makes the case for the latter in this incisive debut study. Through data analysis and interviews with writers of color who self-publish on Wattpad and Amazon, she shows how systematic inequalities have emerged on these platforms. Among her troubling examples are Amazon’s system for flagging adult material in self-published books, which seems to have an implicit bias against cover art featuring Black people, as well as Wattpad’s relationship with its “Stars Program” authors, who are contracted to write serial novels on the site, but get little support from Wattpad when they become targets of harassment in the comments section. Parnell also spotlights age-old systemic biases being perpetuated in new ways, like Amazon’s complex “browse categories” classification system, which replicates the BISAC system’s long-standing, much criticized practice of designating books by and about marginalized people separately from “General” categories. (Parnell argues that Amazon’s system is even worse in this regard, since new categories proliferate unchecked.) Throughout, Parnell offers intriguing insights that may even surprise publishing insiders, such as when she explores Wattpad’s large footprint in the Philippines, Brazil, and Turkey. Book industry professionals will be engrossed. (Oct.)

Reviewed on 12/12/2025 | Details & Permalink

Novelist and biographer Mann (Bogie & Bacall) delivers a meticulous and humane reconsideration of one of America’s most sensationalized unsolved murders. Rather than dwell on the lurid mythology surrounding the 1947 killing of 22-year-old Elizabeth Short, whose mutilated body was discovered in a vacant Los Angeles lot, Mann sets out to restore complexity and dignity to a woman long reduced to tabloid caricature. Drawing on extensive archival research and overlooked police files, he traces Short’s troubled upbringing in Massachusetts and her zigzag path to Los Angeles after dropping out of high school. Mann challenges the image of Short as a “man-crazy” fame seeker, presenting her instead as a restless young woman navigating economic precarity and unstable housing. Through careful reconstruction of her final months, he charts her movements through Tinseltown’s underbelly of drifters and aspiring actors, exploring how the city’s culture of exploitation left her exposed. Though Mann revisits familiar suspects, he sketches a fresh and more plausible theory of her death without claiming absolute certainty. For true crime devotees and Black Dahlia obsessives, this is a must. Agent: Malaga Baldi, Malaga Baldi Literary. (Jan.)

Reviewed on 12/12/2025 | Details & Permalink

Mount Shasta, Calif., high school senior Izumi Tanaka is a normal 18-year-old American girl: she enjoys baking, watching Real Housewives, and dressing like “Lululemon’s sloppy sister.” But Japanese American Izzy, conceived during a one-night stand in her mother Hanako’s final year at Harvard, has never known the identity of her father. So when she and her best friend find a letter in Hanako’s bedroom, the duo jump at the chance to ferret out Izzy’s dad’s true identity—only to find out he’s the Crown Prince of Japan. Desperate to know her father, Izzy agrees to spend the summer in his home country. But press surveillance, pressure to quickly learn the language and etiquette, and an unexpected romance make her time in Tokyo more fraught than she imagined. Add in a medley of cousins and an upcoming wedding, and Izzy is in for an unforgettable summer. Abrupt switches from Izzy’s perspective to lyrical descriptions of Japan may disrupt readers’ enjoyment, but a snarky voice plus interspersed text conversations and tabloid coverage keep the pages turning in Jean’s (Empress of All Seasons) fun, frothy, and often heartfelt duology starter. Ages 12–up. Agent: Erin Harris, Folio Literary Management. (May)

Reviewed on 05/07/2021 | Details & Permalink

Kelkar’s (Bindu’s Bindis) novel features Oceanview Academy middle schooler Sonali, whose stoicism contrasts with her love of Bollywood movies’ melodrama. Stuck in a Los Angeles home with constantly arguing parents and her sensitive nine-year-old brother Ronak, Gujarati American Sonali, 11, tries to make sense of her world through the Hindi movies she’s seen all her life. Ever since an earnest public attempt five years ago to stop her parents’ fighting led to widespread embarrassment in front of family, Sonali has resolved to hide her emotions and do her best to ignore her parents’ arguments. But her efforts prove futile when her parents decide to try the “nesting” method of separation, where they take turns living in the house with Sonali and Ronak. The contemporary narrative takes an entertaining fabulist turn as Sonali’s life begins to transform into a Bollywood movie, with everything she feels and thinks made apparent through her “Bollywooditis.” Sonali’s first-person perspective is sympathetic as she navigates friendship and family drama, and Kelkar successfully infuses a resonant narrative with “filmi magic,” offering a tale with universal appeal through an engaging cultural lens. Ages 8–12. Agent: Kathleen Rushall, Andrea Brown Literary. (May)

Reviewed on 05/07/2021 | Details & Permalink

When she was six, Justice Kasric watched her blue-eyed merchant father play chess with the Faerie King. Now 15, Justice believes the event was merely a dream. She spends her days yearning for adventure, watching from the sidelines while her 16-year-old sister Faith, as slender and golden-haired as Justice but not as curious, becomes the toast of Victorian London society. One night, however, their father shatters their comfortable lifestyles when he forces the family—Justice, Faith, their younger brother Henry, and their constantly medicated, distant mother—into a locked carriage that takes them to a shadowy mansion. Justice’s discovery that the Faerie have invaded the human world and are targeting her family gains further urgency when she learns that her parents are on opposite sides of the conflict. Together, the Kasric siblings—including older brothers Benedict and Joshua—must find a way to save their family. While characters lack depth at times, and insufficient historical details don’t fully evoke the Victorian setting, Klaver’s (the Supernatural Case Files of Sherlock Holmes series) rich, lyrical descriptions augment the fantastical source material in this engaging series starter. Ages 13–up. Agent: Lucienne Diver, the Knight Agency. (May)

Reviewed on 05/07/2021 | Details & Permalink

Nine years before this novel begins, eight-year-old best friends Esme Randal and Kayla Price snuck out of their cabin at Camp Pine Lake in Texas. They swore never to discuss the terrible events that followed, but when the girls, now 17, return to the camp as counselors-in-training from their hometown of Lewisburg, Pa., that proves easier said than done. Someone begins sabotaging camp activities, and ominous—and increasingly public—threats appear, referencing that fateful summer. The only other person who knows Esme and Kayla’s secret is a local girl named Lillian Campbell, whom they left to fend for herself that night in the woods. They’re loath to voice their suspicions of revenge lest they get in trouble or look bad in front of hunky fellow counselors Jake and Olly, but as events escalate, they realize they may not have a choice. Narrating from Esme’s increasingly apprehensive first-person perspective, Preston (The Twin) pays homage to classic summer camp slasher films. The underdeveloped, predominantly white cast relies heavily on stereotype, and the clichéd tormenter’s motive feels unearned, but horror fans will likely appreciate this paranoia-fueled tale’s gruesome, shocking close. Ages 12–up. Agent: Jon Elek, United Agents. (Mar.)

Reviewed on 05/07/2021 | Details & Permalink

Inspired by her own family’s refugee journey from Vietnam to Hong Kong, Văn’s (If You Were Night) spare picture book, powerful in its deliberate simplicity, follows a black-haired, pale-skinned child as they, their guardian, and two younger siblings join other asylum seekers for a perilous maritime voyage. In a third-person voice, Văn anthropomorphizes objects, relaying their wishes: “The dream wished it was longer,” one spread reads, as a balding, mustached guardian holds the protagonist close, and a guardian with a bun rouses the second child to dress them. “The clock wished it was slower,” the subsequent pages read, as the two children tearfully hug their mustached guardian goodbye. The narrative continues as the now family of four make their way onto the boat and beyond. A final-act switch to first-person perspective drives home the journey’s personal nature. Intricate, lissome fine-lined art by Ngai (Dazzle Ships) recalls classical Asian compositions, Japanese woodblock prints, and an evocative sensibility in a gradated, surrealistic color palette. A seamless interweaving of elegant prose and atmospheric art marks this affecting immigrant narrative. Back matter includes heartfelt author’s and illustrator’s notes. Ages 4–8. (May)

Correction: A previous version of this review misquoted the book's text.

Reviewed on 05/07/2021 | Details & Permalink

In a straightforward picture book debut by Meloy (the Apothecary series), a red-orange octopus is “happy in his cave,” until a human, portrayed as a pale hand, tricks the cephalopod into occupying a glove and subsequently takes him to “a glass house that wasn’t a cave.” Though the octopus is offered interactive tests and activities—including building blocks, a jar to unscrew, tight passages to navigate, and a camera to photograph visitors to his aquarium home—his days lack differentiation, and the pining octopus soon devises an intrepid plan to return home. The sympathetic prose is rhythmic, allowing readers to see the octopus’s perspective at every step of the process: of the glass house, “There were no waves. No little shivery ones. No big tumbling ones.” Sala (Green on Green) contributes vibrant art rendered in gouache, watercolor, and pastel on paper; particularly effective are spreads of the sinuous subject’s ocean life, with its richly varied flora and fauna. The Finding Nemo–esque adventure follows a predictable arc, but the tender narrative is gratifying and may serve as an effective jumping-off point for discussions about animal captivity. Ages 3–7. (May)

Reviewed on 05/07/2021 | Details & Permalink

Josie, a light brown–skinned child with a cotton candy–esque cloud of pink hair, has difficulty falling asleep because she sees “monsters in the dark” every night. When her father gives her a Scary Snapper—a flashlight he promises will transform monsters “into something not scary at all”—Josie soon discovers the real objects behind many of her fears. Punctuated with “SNAP!”s throughout, Downing’s narrative about braving the unknown is well-paced as Josie shines her beam on frightening sounds and shadows in turn, revealing them to be household mainstays such as a coat rack and a sleeping cat. But when Josie’s Snapper doesn’t work on one particular monster, she discovers newfound courage in a satisfying speculative twist. Machado’s digital illustrations feature a soft-hued palette; cool tones effectively capture the nighttime mood, while the flashlight’s goldenrod beams of light turn nightmarish silhouettes to warmer-toned reality checks. Ideal for bedtime reads, this picture book debut will resonate with readers who might be afraid of the dark, a salient reminder of the power they hold within themselves. Ages 3–5. (Self-published)

Reviewed on 05/07/2021 | Details & Permalink