List of Books Reviewed

Welcome to my blog! Here is a running list of every book I have reviewed so far, including the audience levels. You can find the actual reviews by clicking on the labels listed above (Pre-K-6th grade and 7th-12th grade). 

1. BIG by Vashti Harrison (Pre-K - 6th Grade)

2. Alone by Megan E. Freeman (Pre-K - 6th Grade)

3. Legends of Lotus Island: The Guardian Test by Christina Soontornvat (Pre-K - 6th Grade)

4. Where is Walt Disney World? by Joan Holub (Pre-K - 6th Grade)

5. New Kid by Jerry Craft (Pre-K - 6th Grade)

6. Thunder and the Noise Storms by Jeffrey Ansloos, Shezza Ansloos, and Joshua Mangeshig Pawis-Steckley (Pre-K - 6th Grade)

7. Dreamers by Yuyi Morales (Pre-K - 6th Grade)

8. Dogtown by Katherine Applegate and Gennifer Choldenko

9. Hello Lighthouse by Sophie Blackall

10. Invisible by Christina Diaz Gonzales

11. The Poet X by Elizabeth Acevedo (7th - 12th Grade)

12. The Girl from the Sea by Molly Knox Ostertag (7th - 12th Grade)

13. Hey, Kiddo by Jarrett J. Krosoczka (7th - 12th Grade)

14. Strange the Dreamer by Laini Taylor (7th - 12th Grade)

15. Long Way Down by Jason Reynolds (7th - 12th Grade) 

Review of Invisible

 

Invisible by Christina Diaz Gonzalez; illustrated by Gabriela Epstein

Genre/Category

Invisible is a realistic graphic novel. The category I am reviewing for is Pre-K-6th Grade Graphic Novel.

Target Age Group

Invisible is suitable for children aged 10-12 years or older in 3rd-7th grade. 

Summary

This graphic novel follows five students brought together in a Breakfast Club way: they all have been given the duty of helping in the cafeteria. As students of either Latinx or Mexican descent, they are stereotyped and classified by their school administration as similar, though they are distinctly different. Despite this, the group comes together for a common purpose of helping a young mother and daughter facing housing and food insecurity, which also lands them in the principal’s office, from where the narrative is told. 

Justification

Recommended by Booklist and School Library Journal, this bilingual graphic novel contains many beneficial themes and lessons for young readers, such as the importance of working together and understanding each other’s differences as strengths, doing the right thing even when it’s difficult, and many more. 

Evaluation

I have chosen to evaluate the illustrations, narrative techniques, and characterization of Invisible.

Illustrations

The illustrations of Invisible are vibrant and compliment the narrative well. Each page contains many illustrated panels, allowing for many sequences of action and dialogue to take place with each page turn. The illustrations are heavily focused on the character design and facial expressions of each character, which allows for them to feel realistic, distinct from each other, and representative of their individual personality traits whether it be shy, a bit conceited, athletic, strong, etc. 

Characterization

With a Breakfast Club narrative, it is important that each character becomes more than their archetype, or that the characters find a way to have meaningful interactions despite their differences. In Invisible, each evolution that the characters go through in terms of finding ways to work together for a common goal is well done. They even help each other overcome their own insecurities, from English acquisition to timidness. While the characters work well together in the narrative, I believe each character’s individual traits could have been explored further for the reader.

Narrative Techniques

The narrative styling that Diaz Gonzalez employs adds to both the characterization and the engagement of the narrative. The narrative begins in the principal’s office as the five students have been called there to discuss the actions that occurred during their cafeteria duty, i.e. how they assisted a mother and child facing housing and food insecurity. This scene establishes the rest of the events in the novel, signaling that the entire narrative will take place as a flashback. Moreover, the flashback narrative changes between characters, with it being frequently interrupted by another character stating that the previous events weren’t how they happened, before they then embark on where the narrative picked up from there. The joint storytelling and jumps from character perspective affect the reader’s understanding of the story in an interesting way, as we must simply trust each perspective being given to us. Plus, one more engaging narrative element is the twist ending for why they are really in the principal’s office at all!

Reference

Gonzalez, C. D. (2022). Invisible. (G. Epstein, Illus.). Graphix.

Review of Long Way Down

 

Long Way Down by Jason Reynolds

Genre/Category

Long Way Down is a novel in verse that also contains fantasy elements. The category I am reviewing for is 6th-12th Grade Printz Winner or Honor Book.

Target Age Group

Long Way Down is suitable for readers aged 13 and up. This novel contains themes of violence, smoking, and drug use. 

Summary

Long Way Down follows the story of Will, a young teenage boy whose just lost his brother to gang violence and now feels that he must follow “the rules” that when someone you love is killed, you must kill the person who did it. On his way to carry out this deed, he encounters the ghosts of past friends and family members who, in some capacity, also lost their lives to gang violence and “the rules” who attempt to help Will break this cycle of violence where no one ever wins.

Justification

Jason Reynolds is an author with many recognitions to his name for titles such as Stamped, All American Boys, Ghost, and many more. Long Way Down was not only awarded a Printz Honor, but also a Newberry Honor, Coretta Scott King Honor, and has been recognized by many other organizations. It’s a great title that asks readers to consider one’s values in the face of injustice. 

Evaluation

I have chosen to evaluate the figurative language, characterization, and pacing of Long Way Down.

Figurative Language

Each poem in this novel in verse is well crafted and spoken by Will which highlights both the perspective of a scared, teenage boy, and the tough persona he feels he must portray. Some unique recurring poems are the anagrams that Will throws in such as “Cool = Loco” or “Cinema = Iceman.” These anagrams help the reader understand how Will sees the world. There are also striking metaphors sprinkled throughout, giving the reader tangible equivalents to the events mentioned, such as when Will equates cough syrup with blood. The title itself is an important piece of figurative language. Not only does Will have a long way down to go on his elevator ride toward the man he intends to kill for revenge, but following “the rules” creates a long way down for anyone to ever come back up from.

Characterization

Throughout the novel, Will encounters many different scenarios and conversations with the ghosts who meet him in the elevator that develop his character. To avenge his brother, he believes he must become a killer. He believes he must follow “the rules.” However, as he encounters ghosts of his past who also felt this way or were victims of others having this mentality, it becomes clear to him that he is scared, he is a kid, and he just misses his brother. An interesting aspect of Will’s character to consider is whether he is a reliable narrator or not. Is he actually being visited by these ghosts? Or, throughout his elevator ride that seems like an eternity, is he having an internal battle with his conscience? Toward the end of the novel, he goes from believing he must follow the rules, to questioning them, and admitting he is scared. Though the ending is ambiguous, it is more likely that, due to this internal struggle, he has found clarity to break the cycles of violence he has experienced.

Pacing

The pacing of this novel is effective in that the first quarter or so is dedicated to establishing Will’s character, his brother’s death, and the mission he feels he must now carry out to avenge his brother, even if it means he may be someone’s next target. As he reaches the elevator on his way to carry out the killing, the story develops with each floor the elevator descends. A new ghost gets on the elevator at each floor, all telling their story to Will, until they have all reached the bottom together and give Will the opportunity to change his fate. With each new floor, he learns a new lesson and becomes closer to accepting that revenge may not be the answer, as it continues to cause pain indefinitely. 

Reference

Reynolds, J. (2017). Long Way Down. Atheneum Books.

Review of Strange the Dreamer

 

Strange the Dreamer by Laini Taylor

Genre/Category

Strange the Dreamer is a fantasy romance novel. The category I am reviewing for is 6th-12th Grade Fantasy.

Target Age Group

Strange the Dreamer is recommended for teenagers and young adults 14 years and older.

Summary

In Strange the Dreamer, Lazlo Strange was orphaned as a baby and raised by monks. One monk in particular told him stories of an unseen city full of fantastic and whimsical elements like streets paved with lapis lazuli. One day, while playing make-believe, Lazlo discovered he could no longer say or remember the name of this city, only “Weep,” as if it were removed by magic. Lazlo decided to dedicate his life to learning about this city and uncovering the truth. One day, those efforts paid off as the warrior Eril-Fane from Weep emerged in his life. Joining Eril-Fane and his crew, Lazlo set off to uncover the mysteries of Weep, which include finding love with Godspawn Sarai, with blue skin and cinnamon hair, and unlocking his true identity, lost to him all this time.

Justification

Strange the Dreamer has won both the Printz Award and the Leslie Bradshaw Award. Also, Goodreads listed the title as Best YA Fantasy. I’ve had this title on my shelf for a while as a gift and was excited to finally give it the time it deserves!

Evaluation

I have chosen to evaluate the world-building, characterization, and conflict of Strange the Dreamer.

World-Building

One of the most unique elements of Strange the Dreamer is the world it is set in. Laini Taylor’s world-building does not rely on fantasy cliches or repetitive techniques, but rather creates a distinct set of monsters, gods, cities, abilities, and more. For example, Thyon Nero is an alchemist who uses his own liquid spirit to dissolve Mesanthium, the metal of a giant, winged, floating city casting an eternal shadow onto Weep, the reason for Lazlo’s mission. Sarai, a child of the Goddess of Despair lives up in the citadel and can scream moths that allow her to observe and manipulate the dreams of humans. These elements and much more give the novel a heavily-immersive quality and makes the title a standout in the fantasy genre.

Characterization

This novel is full of complex, well-rounded characters including Thyon, a golden boy prince who is abused by his father and has to consult Lazlo to achieve his dreams; Eril-Fane and Azereen, husband and wife separated by grief and shame; Ruby and Feral, two teenagers never having been exposed to the outside world and wanting to explore life’s pleasures; Minya, a hurt child with godlike power; Sarai, a girl with the power to cause pain but only wanting to create understanding; and Lazlo, a dreamer who thinks he is nobody but whose true identity is more than he could comprehend. All these characters and many more work to create an intractably woven narrative with different desires, trauma, motivations, and perspectives.

Conflict

The conflict of Strange the Dreamer is significant because it is multi-layered, internal, and external. Moreover, the multiple lines of conflict overlap and resolve at nearly the same time and create new conflict. Lazlo Strange struggles internally with the knowledge that he does not know his parents or identity. Even worse, this lack of concrete identity leads him to be labeled as a nobody, leading to many instances of self-doubt. Externally, the city of Weep requires a hero to save them from the aftermath of years of servitude to wrathful Gods and the eternal darkness they are trapped in. Another conflict at play are the children of such gods leftover from the carnage, seeking survival and purpose in life. These three conflicts, plus many more, come to a head toward the climax of the novel, making for an intense resolution and setup for the second installment in the narrative.

Reference

Taylor, L. (2017). Strange the Dreamer. Little, Brown Books for Young Readers.

Review of Dogtown

 

Dogtown by Katherine Applegate and Gennifer Choldenko; Illustrated by Wallace West.

Genre/Category

Dogtown is a science fiction early chapter book. The category I am reviewing for is Pre-K-6th Grade fantasy or science fiction.

Target Age Group

Dogtown is suitable for children aged 8-12, or 3rd-7th grade.

Summary

Dogtown follows the stories of the flesh-and-blood dogs and robot dogs at Dogtown, the shelter where both kinds of pets are brought as they attempt to get adopted. In exchange for helping a senior dog get adopted, protagonist Chance and her friend Mouse assist a robot dog, Metal Head, in his escape from Dogtown, which leads the trio on a string of (mis)adventures as they uncover the truth about their families.

Justification

Dogtown is a New York Times Bestseller, an indie bestseller, and an Amazon Best Children’s Book. Katherine Apple is a household name in the children’s publishing world, and this 2023 addition to her list of publications is an engaging read for young minds!

Evaluation

I have chosen to evaluate the illustrations, narration, and pacing of Dogtown.

Illustrations

The illustrations in Dogtown occur frequently on every other page or so, and they supplement the narrative well. Usually, each illustration depicts the events of the scene written on the page(s) before, allowing the reader to visualize what has occurred. The illustrations are drawn in black-and-white and without much detail, but they provide appreciated context for how the dogs look, the components of the robot dogs, and the experiences of the protagonist, Chance.

Narration

As Dogtown is narrated by Chance, a flesh-and-blood dog, her perspective affects how the events of the story are relayed to the audience. Being a dog, it is difficult to communicate with humans, as dogs can understand human language, but humans cannot understand dogs. This makes for a funny and emotive narrative technique and a convincing narrator. For example, when the dogs at Dogtown want to protest something done by Management, they engage in large howls in resistance. To communicate with humans, Chance sometimes spells out what she needs in kibble, to no avail. This communication difficulty also impacts their adventures when they escape from Dogtown and must traverse a world it is difficult for stray dogs to exist. The narration adds to both the conflict and the humor at different points in the story.

Pacing

The pacing of Dogtown helps to keep the reader hooked from beginning to end. There is a lot of mystery to both the protagonist, Chance, as well as Metal Head, the robot dog Chance helps find his home. Many narrative elements are hinted at throughout the story, but never fully revealed until it is proper time to do so after the reader has spent time with the characters and the plot. For example, Chance hints at “The List” multiple times throughout the story, leaving the reader to assume it is a list of the dogs at Dogtown whose time is about to come to an end due to not being adopted. Additionally, it is not revealed until much later in the story how Chance lost her leg, and why she is even at Dogtown at all, since she has a loving family. Also, Metal Head’s backstory isn’t fully revealed until they arrive at his house, making for a heartbreaking realization for both the characters and readers. The pacing techniques make for an engaging narrative.

Reference

Choldenko, G., & Applegate, K. (2021). Dogtown (W. West, Illus.). Macmillan.

Review of Hello Lighthouse

 

Hello Lighthouse by Sophie Blackall

Genre/Category

Hello Lighthouse is a fictional children’s picture book. The category I am reviewing for is Pre-K-6th Grade Caldecott Medal Book.

Target Age Group

Hello Lighthouse is suitable for children aged 4-8, or in Pre-K-3rd grade.

Summary

Hello Lighthouse follows the story of a lighthouse on a rock in the ocean and the new lighthouse keeper who moves in. Over time, the reader watches as the lighthouse interacts with nature and ocean creatures, and the lighthouse keeper inside grows his family and spends each day, until one day when new technology changes his role. 

Justification

Hello Lighthouse is a winner of the Caldecott Medal, and though the narrative may seem simple on the surface, it conveys the joys and hardships of life, including solitude, family, work, love, sickness, and loss.

Physical Reading Experience

Like so many other picture books, this title benefits from an in-person, physical reading. Picture books are often quite large and require two hands, making them useful for Storytimes. Hello Lighthouse contains bright, multicolored illustrations that are best seen in person in the large format of the physical book. Additionally, it contains fold-out pages to view the entire events of a scene, making for a tactile and immersive experience as well.  

Evaluation

I have chosen to evaluate the illustrations, point of view, and themes of Hello Lighthouse.

Illustrations

The illustrations of Hello Lighthouse are fittingly nautical and multi-textured. The colors are vibrant, the lighthouse’s beam is bright yellow, and the waves bring a sense of motion to the narrative. The illustrations help immerse the reader into the lives of the characters as well as provide a bit of context for how the protagonist and his family may feel living in the lighthouse. The illustrations never stray too far from having the lighthouse in frame, symbolizing how the characters remain in place as well. When it is foggy, the fog covers everything visible on the page as the characters would see it. Despite these visual cues of the character’s feelings, the reader is also an outsider looking in, viewing the events unfold for the lighthouse keeper and his family as time moves forward for them, as will be discussed further in the following paragraph.

Point of View

The point of view of the illustrations dictates the way the reader interacts with the story. In almost every illustration, the characters and events happening inside, around, and outside of the lighthouse are shown from the outside in. For example, if the characters are outside, the reader views them from afar, viewing the lighthouse. If the characters are inside, they are shown through a circle porthole design, as if we are looking at them inside the lighthouse, either welcome or not. This point of view is important and adds to the themes of the story to be discussed further. We, as readers, are outsiders, watching the events of these characters’ lives, and the life of the lighthouse unfold with time. We witness the wife join the lighthouse keeper, his sickness, the birth of their daughter, etc. It is only until the final page of the book that we, the reader, are let inside the home of the family. However, their backs are turned to us, signaling the end of their journey as we need to see it. 

Themes

As mentioned previously, the point of view that places the reader as an outsider looking in is thematically important. Though this is a relatively short picture book, the events cover years. Being constrained to a lighthouse, the view can be somewhat limited, as the porthole illustrations portray, but the events of life do not stop. There is still sickness, joy, love, birth, slow moments, and fast moments. These themes are echoed by the nature outside the lighthouse as well. Sometimes waves are slow and calm, other times they are loud and wild. However, the lighthouse is symbolic that some things do stay the same after so much time has passed. Hello Lighthouse teaches readers the importance of noticing and being present for the events in one’s life, because they move faster than they may seem. Even when it seems that nothing changes, things do.

Reference

Blackall, S. (2018). Hello Lighthouse. Little, Brown Books for Young Readers.

Review of Dreamers

 

Dreamers by Yuyi Morales

Genre/Category

Dreamers is a non-fiction, biographical children’s picture book. The category I am reviewing for is Pre-K-6th Grade Pura Belpre Award Winner. 

Target Age Group

The age group for this book is 4-8 years old, or children in grades Pre-K through 3rd grade. 

Summary

Dreamers follows the story of how the author, Yuyi Morales, immigrated with her son from Mexico to the United States in 1994. Morales details the hardships they faced, including differences in language and culture, before identifying how the library was a strong force for her and her son in finding a safe space to learn and discover. 

Justification

Dreamers is a New York Times bestseller and a Pura Belpre award recipient, one of seven that the author Yuyi Morales has received. Dreamers provides an important perspective for children to read who may also have experienced confusion and fear being in a new place and learning to call it home, while still holding on to their culture. Yuyi and her son Kelly find solace in the public library as a place of respite, another valuable experience children can relate to.

Evaluation

I have chosen to evaluate the illustrations, conflict, and narration of Dreamers.

Illustrations

What makes this title the most captivating for me is how Morales plays with perspective and different mediums to convey the emotions of the narrative. Morales employs a mix of realistic elements such as childhood drawings, her studio, traditional Mexican fabrics, handmade clothes, wood, embroidery, and much more. These elements all work together, often overlapping with unique zooms and rolling backgrounds to create a sense of magic and wonder. The protagonist’s own skirt is a mix of colors and textures, also adding to the vibrancy of the narrative. The illustrations reinforce the wonder that a library can bring.

Conflict

In both the illustrations and narration, Morales captures a sense of both awe and uncertainty the characters experience when immigrating to the U.S. from Mexico. The characters' facial expressions convey both intrique and doubt at different points in the narrative. Because Morales and her son are unable to return to Mexico after having immigrated to the U.S., the conflict is even heavier as they must adapt and learn how to exist in this new country withing the ability to go home. This means learning English, navigating city maps and transit, adapting to American customs, and more. Morales conveys these hardships well which emphasizes the resolution that the public library creates for the characters. The library is a place for them to learn without limit, find their voices, and feel comfortable.

Narration

Dreamers is autobiographical with narration and dialogue in 2nd person, as Morales tells this story of their immigration from Mexico to the U.S. to her son. Her son is present in almost every scene with her as they walk, read, write, make mistakes, and learn. The narration compliments the visual elements well. When in the library, sometimes only one or two words appear emphasizing the scene such as “unimaginable” and “surprising.” Earlier in the narrative, the words are longer in sentences, but still short and well-paced, as if the narrator were telling a bedtime story to her son. Overall, the minimal narration works well with the large, vibrant illustrations.

Reference

Morales, Y. (2018). Dreamers. Neal Porter Books.

Review of The Girl from the Sea

 

The Girl from the Sea by Molly Knox Ostertag

Genre/Category

Graphic novel, Romance, Fantasy, Coming of Age, LGBTQ+. The category I am reviewing for is 7th-12th grade LGBTQ+ (any genre). 

Target Age Group

The age group for The Girl from the Sea is 12-18, or 6th - 12th grade. The book contains mild language, discussions of sexuality, and mild kissing.

Summary

The Girl from the Sea follows the story of Morgan and her struggles with coming out of the closet as queer to her friends and family. Morgan embarks on a summer romance with Keltie, a seal-person, who is made human by true love’s kiss. As Morgan reckons with revealing her sexuality, Keltie is determined to find a way, with Morgan’s help, to save her seal family from environmental pollution and interference that is driving fish away from the bay.

Justification

From New York Times bestselling author Molly Knox Ostertag, The Girl from the Sea is a heartfelt journey about the importance of being true to yourself and giving others in your life the opportunity to see and accept the real you. It contains themes of friendship, queer acceptance, family, and even environmentalism.

Evaluation

For my evaluation of The Girl from the Sea, I have chosen to narrow my focus on the illustrations, characterization, and pacing. 

Illustrations

I would describe the illustrations of The Girl from the Sea as artistic, emotive, and charming. The art style depicts teenage, sea-side life with bright colors, frequent texting scenes, dialogue bubbles, blushing faces, awkward body language, and more. As Morgan is a character who hides many aspects of herself, the illustrations help the reader understand a bit more about her below the surface by her reactions to different situations. For example, one scene I thought was especially clever is included below. In this scene, Morgan’s friend Lizzie is talking to her about a guy, but Morgan is worried about a situation Keltie has gotten herself into. The friend’s speech bubble is located behind Morgan, whose panicked face is at the forefront, indicating that she is not really listening and her mind is focused on something else. Moments like these are peppered throughout the narrative, and supply for multiple ways of reading and understanding the narrative and characters.

Characterization

Morgan, the protagonist, undergoes intense character development as she learns the importance of being proud of her identity, and she’s not the only one who demonstrates growth. Throughout the novel, Keltie also learns the importance of being honest and selfless, as she admits her motives for becoming human to Morgan that involve saving her seal family. And she also learns the importance of sacrifice to save others. Morgan’s friends and family learn the importance of accepting your loved ones for who they are, and understanding that letting them process their emotions alone can be the best thing you can do for them. Overall, every character in The Girl from the Sea is well-developed with their own motivations and stories, making for a realistic and engaging narrative.

Pacing

One successful aspect of The Girl from the Sea that stuck out to me was the pacing. Throughout the novel, from when Morgan first kisses Keltie and she turns human, there is a presence that something is going to happen to make the narrative take a turn. Morgan becomes less responsive to her friends, as illustrated by texting scenes where her presence is noticabley absent. Morgan’s brother becomes suspicious of how much time she spends with Keltie. Morgan’s friend Serena keeps referencing her birthday party on a huge boat, the same boat Keltie is rallying against due to its negative affects on the bay. All of these events culminate at different points with both negative and positive results (without spoiling what they are!). Ostertag does a masterful job of pacing rising actions, climaxes, and falling actions to the point where the reader eagerly anticipates what the next page may bring. 

Reference

Ostertag, M. K. (2021). The Girl from the Sea. Graphix. 

Review of Hey, Kiddo

 

Hey, Kiddo by Jarrett J. Krosoczka

Genre

Graphic Memoir. The category I am reviewing for is 7th-12th grade Graphic Novel. 

Target Age Group

Hey, Kiddo is a young adult book suitable for readers aged 12 and up, or 7th grade to 12th grade.

Summary

Hey, Kiddo follows Jarrett Krosoczka and his family history from before he was born, through his toddler years, junior high, and high school. Narrated by the author with illustrations and real-life artifacts, this memoir deals with the experiences of having a mother struggling with drug addiction, grandparents who love both tenderly and a bit tough at times, a father who reappears later in life, and the importance of choosing who you allow in your life and achieving your dreams.

Justification

This National Book Award Honoree has been on my TBR list for a while, as I have seen other reviews for it online and amongst my colleagues at my library. It can’t be denied that this memoir is full of emotion and heart. Rarely do I find myself shedding a tear at many books anymore, but by the author’s notes, my eyes were definitely welling up. The heavy themes are a reason to embrace this title rather than shy away from it, though. It makes the narrative and characters that much more impactful. Don’t worry, there are moments of humor, too! 

E-Book Reading Experience

I chose to read Hey, Kiddo as an e-book, and, overall, I am glad I did, as it enhanced my reading experience. While I am a proponent of reading books physically over e-books, I enjoyed being able to zoom in on illustrations and authorial artifacts to analyze them better. The colors of the illustrations were also quite vivid on my device. Lastly, I was grateful for the opportunity to “bookmark” certain pages to review at a later point. Plus, the check-out/check-in process for e-books at a public library is very straightforward and hassle-free. 

Evaluation

I have decided to limit my evaluation to cover Hey, Kiddo's illustrations, mood, and dialogue.

Illustrations

Though this memoir would standout anyway without illustrations, having it take the form of a graphic novel is important for many reasons. For starters, this is a memoir not only about family tragedy and growth, but of an artist’s inception. Having the narrative be visual as well as worded is another form of autobiography. The illustrations are Jarrett’s life as well. The illustrations and color palette are consist throughout. The heavy, cartoon brushstrokes against the gray, black, and orange watercolors provide a steady throughline for the narrative to work on and with. These patterns are only broken by the sudden inclusion of reallife artifacts like letters, photographs, invitations, and more that remind the reader that, though these people are animated, they are and were real figures for the protagonist, who is also a very real figure.

Mood 

As mentioned in the previous paragraph, the color palette of gray, black and orange in combination with the distinct line work and character design greatly impacts the narrative. The way Krosoczka plays with color, lighting, and zoom all affect the mood throughout the memoir in interesting ways. For example, during serious, intense moments, the page is mostly dark, centered in on one figure. During reoccurring nightmare scenes, orange and gray monsters crowd the page and the protagonist, creating a sense of anxiety and dread. When Krosoczka learns about his mom’s addiction from his grandpa, the page is centered on the grandpa’s deadpan face, as if we are the protagonist being told this information. Lastly, when there is shouting, large orange words take up space on the page, making characters feel withdrawn and small. Overall, Krosoczka does a fantastic job of conveying various serious, intense, moods throughout the memoir.

Dialogue

Told in first-person, Krosoczka's narration changes throughout the memoir as he grows up. His age at each section of the narrative underpins how he voices, and understands, the events happening to him at each time. As a toddler, he does not understand where his mom has gone, but he still loves her deeply, and the narrative reflects that. As a teenager, he has developed a deep understanding that his mother is addicted to heroin, and that she has been in and out of jail and halfway houses. This, too, impacts the dialogue and narration from an older, and more angsty perspective. The dialogue given to each character makes them each distinct and lifelike, which would make sense given the genre. The title, Hey, Kiddo, makes an appearance several times, in the mouth of his grandparents and mothers, reminding the audience that this is the author’s story we are being let in on, and these other characters all speak in a manner toward a young child, adolescent, and then young man. 

Reference

Krosoczka, J. J. (2018). Hey, Kiddo. Graphix.

Review of Thunder and the Noise Storms

 

Thunder and the Noise Storms by Jeffrey Ansloos, Sheeza Ansloos, and illustrated by Joshua Mangeshig Pawis-Steckley.

Genre/Category

Thunder and the Noise Storms is a realistic children’s picture book. The category I am reviewing for is Pre-K-6th grade Disability or Differences.

Target Age Group

This book is suitable for children aged 4-7 years old, or in kindergarten - 2nd grade.

Summary

Protagonist Thunder faces difficulties at school due to the loud and diverse noises that he encounters throughout his day, which upset and overwhelm him. It isn’t until he goes on a walk with his Mosom, the Cree word for grandfather, that he learns that there are ways to find comfort in the noises of life, and ways to stay grounded during noise storms.

Justification

Found on booklists recommended by the Cooperative Children’s Book Center, this title is beneficial for young readers for many reasons. Thunder provides relatable experiences for neurodivergent readers as he learns to manage overstimulation and frustrations regarding sound that arise. Thunder and the Noise Storms also provides an Indigenous perspective, as his Mosom provides Indigenous teachings to understand the sounds of nature and the lives of animals. 

Evaluation

I have chosen to evaluate the illustrations, conflict, and pacing of Thunder and the Noise Storms.

Illustrations

In Thunder and the Noise Storms, loud noises of different kinds are daily obstacles for the protagonist Thunder. The illustrations of the noises reinforce Thunder’s feelings and make them palpable for the reader. For example, in the image below, Thunder is in the foreground covering one side of his head, as the rest of the page spread displays words that have an onomatopoeic effect in their size, shapes, and repetition. The bell and the words “ring” shake; the laughter becomes larger and surrounds the students’ bodies. There are many other scenes such as this to reinforce this effect. The sound words and vibrant colors work to both portray overstimulation at some points, as well as represent how Thunder learns to understand the beauty in the world. 

Conflict

Thunder and the Noise Storms is told from the perspective of Thunder, so the reader can understand the hardships he faces as he tells them. The first half of the narrative establishes the conflict of the story well. Thunder feels alone and upset throughout the various times of his school day from recess, to gym, to the hallways, and more. Because the conflict is established early and in-depth, it is balanced by the resolution emphasized by Thunder’s Mosom, as he teaches his grandson the Cree word “mamaskasitawew” which means “to listen with wonder.” By internalizing this word, Thunder is able to embrace the conflict of overstimulation by finding sounds within the noise he can hold on to, like his heartbeat. 

Pacing

As discussed in the previous paragraph, the conflict works well in this title because of its early, thorough establishment and concrete resolution. Additionally, the pacing supports the conflict. The book is set up in three parts: Thunder’s trouble with noise storms at school, his walk with his grandfather where he learns to listen differently, and Thunder’s experiences back at school with his newfound lessons learned. Each aspect of the book is paced well and given ample time to be discussed. The narrative slows down during Thunder’s walk with his Mosom, as the characters slow down as well, taking time to really listen and learn about what the sounds of nature have to teach us. The pacing works well in tandem with the narrative’s conflict and illustrations to create a well-rounded story. 

Reference

Ansloos, J., & Ansloos, S. (2021). Thunder and the Noise Storms (J. M. Pawis-Steckley, Illus.). Annick Press.

Review of The Poet X

 

The Poet X by Elizabeth Acevedo

Genre/Category

The Poet X is a realistic fiction and romance novel in verse. The category I am reviewing this book is for 7-12th Grade National Book Award Winner.

Target Age Group

The target age group for this novel is 13 and up as it contains mature themes such as sexual content, religious/family trauma, and some violence. 

Summary

The Poet X follows Xiomara Batista, a 15-year-old who lives in Harlem with her mother, father, and twin brother, Xavier. Xiomara’s family, specifically her mother, is devoutly Catholic and disapproves of many aspects of Xiomara’s interests and behavior, such as slam poetry. In this novel, Xiomara battles religious trauma, body image issues, self-expression, family heartaches, and first love, all in an effort to understand herself and become closer to her love of poetry. 

Justification

The Poet X is a multi-award-winning title that has garnered extensive attention and reviews since its publication in 2018. It has won the National Book award, Printz award, and Pura Belpre award. I have also heard about it due to Acevedo's fantastic role in narrating the audiobook. I also love poetry, so I was excited to give this novel a shot!

Audiobook Reading Experience

Normally, I am not a huge fan of audiobooks as I am a visual learner and find it difficult to follow along with the story if I am not reading it in my head in my own voice. However, I am glad that I chose to listen to the audiobook of The Poet X as it positively affected my experience with the book. I will discuss this further under the “narration” section, but overall, hearing the story in the author’s own voice brought the story to life and helped with my comprehension of the poems and Spanish text inclusion. As this is a novel in verse, Acevedo not only reads the poems but also performs them with rhythm, a great parallel to the protagonist and her love for slam poetry. 

Evaluation

I have decided to limit my evaluation of The Poet X to audiobook narration, characterization, and figurative language.

Narration   

Acevedo’s audiobook narration really brought the protagonist Xiomara to life. It felt as though Xiomara was telling her story directly. Additionally, Acevedo’s pronunciation of Spanish in a Dominican dialect emphasized the power of the words, an aspect that would missed simply reading the book without the narration. Lastly, Avecedo brought an appreciated rhythm to each poem. Naturally, poems are meant to be read aloud and for an audience to experience them that way. Acevedo brought a necessary rhythm, emotion, and power to each word such as these lines when Xiomara is describing how she feels about love interest Aman: “it’s real nice. / Real, real nice. / Blood on ice, ice / waiting for that warmth / that heat that fire” (Acevedo, 2018, p. 164). Overall, the narration greatly increased the drama and intensity of the novel.

 

Characterization 

The characters in The Poet X are well rounded, especially the protagonist, Xiomara. As this is a novel in verse told from the perspective of the protagonist, the reader is let into her mind and all of her emotions, desires, and insecurities. When discussing how her body has garnered negative attention her whole life, we get poignant lines such as “I’ve forced my skin just as thick as I am” (p. 13) and “My body was a problem. / And I didn’t want any of these boys to be the one to solve it” (p. 130). With each poem we learn more about her trauma with religion and her relationship with her strict mother. We also learn about her relationship with her twin, Xavier and best friend Caridad. Most importantly, Xiomara undergoes a beautiful transformation of being shy and unsure of her poetry to standing out at open mics and performances. There are many journeys that Xiomara and her family go on in this novel that Acevedo explore to their full extent.

 

Figurative Language 

The key difference between a novel and novel in verse is how poetically the narrative is told. Instead of sentences, Acevedo focused on line length, rhyme, rhythm, and figurative language to convey the narrative. The three figurative language moves Acevedo makes the most frequently are metaphor, anaphora, and line repetition. By the end of the novel, Acevedo presents a powerful metaphor that sums up both Xiomara’s relationship with religion via her mother and poetry: “There is power in the word” (p. 288). Poems such as “In Aman’s arms” present each poetic line beginning with the poem’s title followed by how Xiomara feels in relation to her love interest. Many poems make use of repeition of words such as “no” or “how” to reinforce a particular sentiment. Another interesting move that mimics the poems action with the shape of the words is when Mami is dragging Xiomara to the altar of the Virgin, and pushing her down on her knees to pray on grains of rice, while the words explaining this are also slanting and falling down the page. All of these examples provided are to say that Acevedo is methodical in her language in this novel, and it makes for a non-stop engaging piece.

Reference 

Acevedo, E. (2020). The Poet X (E. Acevedo, Narr.) [Audiobook]. Quill Tree Books.

Review of New Kid

New Kid by Jerry Craft

Genre/Category

New Kid is a realistic fictional graphic novel. The category I am reviewing for is Pre-K-6th grade Coretta Scott King Winner.

Target Age Group

New Kid is recommended for middle schoolers aged 8-12. 

 

Summary

In New Kid, Jordan faces hardships of fitting in at an unfamiliar school, trying to make new friends, dealing with mean upperclassmen, and, most of all, facing microaggressions and discriminatory remarks and acts from his peers and teachers. Jordan is not only the new kid at Riverdale Academy Day School, but throughout this narrative, he learns that he has discovered a new version of himself as well.

Justification

This Coretta Scott King Award winner has been on my TBR (To Be Read) list for a while. You've probably seen it displayed in your local library somewhere! I've heard great reviews from friends and was excited to have had a chance to sit down with it. This title is beneficial for young people who have been discriminated against, stereotyped, or made to feel different in a new place. There is a lot to learn from how Jordan encountered these hardships and navigated standing up for himself and others. 

Evaluation

This book has a lot to it. To cover a few key aspects, I have chosen to evaluate the illustrations, themes, and characterization.

Illustrations  

Being a graphic novel, the illustrations in New Kid do more than supplement the narrative. They provide a side-by-side visual aid to represent how Jordan's experience make him feel. When entering the cafeteria for the first time, instead of saying he "felt small," he is made to be the size of a milk carton against the other normal-sized kids. When his parents are fighting, he is drawn as a baby with a pacifer in his mouth. When he doesn't connect with another student, the two are drawn on different planets. All of these emotions could be expressed in words, but by seeing them drawn out, the reader can relate to times when they have experienced similar moments and how different, isoloating, and confusing they can be. Illustrations also offer visual representations of how other characters are feeling as well. One of the only other Black students, Maury is bullied by his classmates and called "Maury-O." Jordan's guide, Liam, doesn't understand the reference because he cannot relate to Maury's experiences. Jordan understands immediately, however, and explains they are calling him "White on the inside. Black on the outside" (Craft, 2019, p. 26). This metaphor could be explained in words alone, but the visual metaphor of Maury's saddened face on his head as a cookie provides a harsher depiction for the reader. 

 

Themes 

New Kid demonstrates that discrimination is complex and comes in many different forms. Jordan and other Black students at RAD experience daily microaggressions, stereotyping, and overt racism. Being in a new environment, Jordan also has to adapt and learn about the new sports and routines of his peers. Throughout the narrative, Jordan finds comraderie with his guide Liam, a wealthy white student who Jordan learns is also fearful of being judged. He also befriends Drew, another new student who experiences discrimination from his teachers and peers. Maury, who has been attending RAD since kindergarten and comes from a wealthy family, is still discriminated against because of his skin color. At the school book fair, a teacher gives Maury a book entitled The Mean Streets of South Uptown which he then gives to Drew. Throughout the narrative, Jordan learns important lessons for young readers to learn, one being the importance of finding true friends and standing up for oneself and others in the face of bullying and mistreatment.

 

Characterization  

New Kid contains well-developed and dynamic characters that grow and transition throughout the narrative. Not only do the readers see Jordan's development, but also Liam's, Drew's, and Alexandra's. Despite being the new kid who feels out of place, by the end of the narrative Jordan goes out of his way to make Alexandra, a girl who has been outcast since she wears a sock puppet on her hand, feel understood and makes sure she knows she has a friend. Drew and Jordan are able to bond over shared experiences of mistreatment at their school and find ways to cope with it. Liam is able to trust Jordan enough to open up about his home life. The character development that can be traced throughout the narrative is a testament to the careful consideration that Craft has put into this novel.

Reference 

Craft, J. (2019). New Kid. HarperCollins.

Review of Where is Walt Disney World?

Where is Walt Disney World? by Joan Holub

Genre/Category

Where is Walt Disney World? is an informational, historical non-fiction book. The category I am reviewing for is Pre-K-6th grade Informational or biography.

Target Age Group

Where is Walt Disney World? is recommended for middle schoolers aged 8-12. 

 

Summary

Where is Walt Disney World? follows the story of both Walt and Roy Disney and their business ventures, creative beginnings, and the inception of Disney World. A deep dive into all things Disney World, this title brings the reader through an overview of each main park attraction, the inner workings of the park, the historical start, and the contemporary changes it continues to make.

Justification

The Where Is? series is a New York Times Best-seller that covers various historical and contemporary people, locations, and animals. A newer title in the series, I was interested to see what contemporary and historical information Holub would include about Disney World, and if the information would be presented in a fresh, exciting way. Disney World is an object of fascination for people both young and old, so this title could be one of interest for all ages.

Evaluation

To discuss both the facts, presentation, and visual components, I have focused my evaluation on the book's compelling/interesting information, style and language, and illustrations. 

Compelling/Interesting Information 

Where is Walt Disney World? compiles the extensive history of Disney World plus a short biography of Walt and Roy from their childhood into adulthood into an easily digestible and enjoyable read. The short book, only about 100 pages, covers how long it took to build Disney World took, the history of Mickey Mouse and Imagineers, the creation of the long-standing park centers, and more. There is a generous mix of basic definitions, common knowledge about Disney, and little known facts to keep the reader interested in learning more with each new page. For example, to ensure the younger audience is able to follow along with the historical narrative, factoids are included such as "They're called theme parks because most of what's in each park is built around a main theme or idea" (Holub, 2018, p. 27). When diseccting such a magical place such as Disney World, it can be easy to lose the magic that makes such a place exciting especially to a young audience. However, this book does well with keeping that magic alive. For example, when discussing how cast members move between different park operations, Holub explains the series of tunnels that exist below the park, a lesser known fact that creates intrigue about how the park operates in clever ways. Plus, the hidden trash chutes below each trash can was interesting to learn about as well!

Style and Language 

With historical non-fiction, it can be easy for audiences of all ages, not only children, to lose pace of interest in the factual information without a fictional world of characters to keep one's interest. In Where is Walt Disney World?, Holub plays with language in a way that keeps the reader interested as if she is there with us telling us this magical history. Holub uses various forms of figurative language such as similes and imagery, exclamation marks, and italicized wording to indicate tone. Holub (2018) also includes questions addressed to the audience to consider before revealing an explanation such as "Have you ever wondered how Disney characters seem to magically appear in their correct lands?" (p. 50). The overall tone is casual and conversational which is important when relaying historical facts so that they appear accessible and timeless. 

Illustrations

Disney World is an expansive place consisting of thousands of cast members, and the history of its creation involves many different agents. The usage of words alone can be challenging when relaying this information, that is why the addition of illustrations in this book is helpful and adds an immersive quality that would be missed if absent. All illustrations are completed in black and white with (I believe) charcoal or graphite. While detailed, the illustrations also add to the casual tone created by the language. They are simple in style and often highlight the happy, smiling faces of children and parents as well as the grand, magical scenery of Disney World. Some images take up entire pages, while others are added in between paragraphs. Whereever they occur, they are seamless with the narration of events and help the reader to experience the feeling one is bound to have in such a happy envrionment built by the dreams of two brothers.

Reference 

Holub, J. (2018). Where is Walt Disney World? Penguin Random House.

Review of Legends of Lotus Island: The Guardian Test

 Legends of Lotus Island: The Guardian Test 

by Christina Soontornvat

Genre/Category

Legends of Lotus Island is a fictional children's novel primarily of fantasy and adventure. The category I am reviewing for is Pre-K-6th grade Bluebonnet Award Nominee. 

Target Age Group

Legends of Lotus Island is recommended for children aged 8-12, or those in 3rd-7th grade. 

 

Summary

In a world where few are in tune with their guardian abilities (the ability to transform into a magical creature in order to protect the natural world), young Plum is admitted into an academy to learn how to unlock such abilities. Plum must train in the arts of Breathing, Heart, and Hand in order to pass her transformation test and become a Novice, and ultimately a guardian. Along the way she makes friends, and frenemies, who challenge and help her grow. The first in a series of 4 books, The Guardian Test sparks the beginning of Plum's journey and hints at a potential conflict between human greed and the Guardians.

Justification

With Christina Soontornvat being a two-time Newberry Honor recipient, and Legends of Lotus Island a Texas Bluebonnet Award nominee, I was excited to embark on this fantasy adventure. Fantasy/adventure series such as this were what sparked a love of reading for myself when I was younger. Immersing oneself in a fantastic world of magic and creatures is a rewarding experience for all ages.

Evaluation

While this title is rich for evaluation in many areas, I have limited my scope to the setting/world-building, conflict, and characterization.

Setting/World-building 

From the unique island, fruit, and animal names alone I was interested to understand the world I was reading about. "Fox-bats," "Chai-melon," "Gillybears," "Big Crab Island" and more are all elements that create a whimsical mood throughout the narrative. The magical elements of this world are not without purpose, either. Plum's guardian power is directly tied with her connection to communicate with nature and animals, making the world feel alive as it aids our protagonist. The guardian forms are purposeful in the narrative's world-building as well. Similar to familiars, a person's guardian form is related to their specific power such as large bird form being able to flap its wings and bring a sense of calm over another person. Overall, Soontornvat's worldbuilding develops with the character's connected to it, allowing for the reader to make interesting connections and observations throughout the narrative.

 

Conflict 

The conflict in The Guardian Test is layered both internally and externally. Internally, Plum is tasked with living up the potential her mother has set out for her without fully knowing what it is, dealing with her cruel dormmate Rella, and trying to unlock her guardian form whilst knowing she is intuitively different from her peers. Externally, there is a hint of future potential unrest between the guardians who serve the natural world and order, and human civilizations whose greed threatens the balance of nature. Though this is the first book of four and this external conflict will hopefully develop further, I would have appreciated more insight into this conflict as it would have created more urgency for Plum and her friends to develop their guardian forms. Both nature vs. human and human vs. human conflicts are at play in this novel, and the complexity of the layered conflict creates tension that the reader is eager to see unfold. 

 

Characterization 

The Guardian Test begins quickly and does not slow down. Plum learns about her admittance into the Guardian Academy right away, and from then on is determined to excel in her classes, connect with her peers, and transform into her Guardian state to fulfill her mom's dream she has for her daughter. With how much Plum is experiencing, the reader is given more about what Plum does than who she is. We know that she was raised by her grandparents, is kind and eager to make friends, is a motivated and dedicated young girl, and can communicate with plants and animals. As this is the first book in a series, this novel has does an excellent job at establishing the world and laying the foundation for Plum on her journey to understand her powers within. Her interactions with other characters (who are all quite dynamic and fun to read) were realistic and provided insight into her good nature as well. This novel laid the groundwork for a narrative with great potential of further characterization and conflict development and I am excited to finish the series.

Reference 

Soontornvat, C. (2023). Legends of Lotus Island: The Guardian Test (Kevin H., Illus.). Scholastic.

Review of Alone

 Alone by Megan E. Freeman

Genre

Alone is a fictional novel-in-verse. Other genres include Adventure, Survival, and Dystopian. The category I am reviewing for is Pre-K-6th Poetry or Novel in Verse.

Target Age Group

Alone is best suited for middle schoolers around 10-13. Note: themes of mild violence and profanity. 

Summary

Alone follows 13-year-old Madeleine as she coordinates a sleepover gone wrong. With each parent thinking she is at the other's house when she is really alone at her grandparent's house, a sudden national crisis triggers a widescale evacuation, leaving Madeleine left behind and alone with only her neighbor's Rottweiler. The pair must learn to adapt and survive in this new life and wait for both a strange impending national emergency and for rescue to arrive if it ever will. 

Justification

Novels-in-verse are a lesser common genre, especially those geared toward younger audiences. Similar in mood to Hatchet, I was interested to see where Freeman would take the plot of this apocalyptic, survival narrative. With a female protagonist leading the tale, this novel is an important one for young teens to read due to its themes of self-reliance, perseverance, and resilience. 

Evaluation

Though I would like to analyze each poem, I have limited my evaluation to characterization, figurative language, and pacing.

Characterization 

Madeleine is placed in an unimaginable scenario. Her whole family may possibly be dead, no one knows where she is, and she doesn't know if anyone in the world is alive, what the national emergency even is, or how long she will survive after food runs out. Being only 13 years old, Madeleine has to grow up fast to survive. Due to the serious nature of events in this book, Madeleine's character development happens rapidly. There are few moments when we see her vulnerable side as she is steadfast in her resolution to stay alive. When the readers are allowed these moments, it only makes them more powerful and makes us realize that, despite her looting, literacy, and intuition, she is still just a kid. For example, halfway through the novel we receive this honest admittance: "I am so tired of holding it all together" (Freeman, 2021, p. 201). There are also times such as when she must drive her mom's minivan where we are let inside her thoughts: "WhatifIgetintrouble / fordrivingunderage?" (Freeman, 2021, p. 143). Despite surviving alone in an apocalypse, there are still parts of Madeleine that reflect her life before the disaster. She is a child that does not want to get in trouble. One other important aspect of Madeleine's characterization is how her family becomes a more intertwined aspect of her personality. Madeleine realizes, "I don't recognize / my face / but / I see / my father / in my / hands" (Freeman, 2021, p. 117). In the heightened state she must constantly exist in, she barely has time to reconcile with her rapidly changing identity, but recognizes the people who are no longer there with her who have had a monumental impact on her development. 

 

Figurative Language 

Using ample figurative language in children's literature is a fun, beneficial way to get young people interested in reading and in language more broadly. Being a novel-in-verse, language is used in deliberate and creative ways. For example, to showcase the short, breathless thoughts Madeleine often experiences, Freeman (2021) spaces out each word with each breath such as in the lines: "muscles / explode / pedals / blur" (p. 104-105). Freeman also employs dramatic similes and metaphors to not only allow the reader to experience what Madeleine is, but to explain scenarios in ways that make sense to a teenager, because they are being explained by one: "Sometimes / the way my mom talks to me / feels like a scratchy shirt tag / on the back of my neck" (Freeman, 2021, p. 5). A personal favorite metaphor of mine that Freeman (2021) uses is "The sky is guacamole" (p. 212). Madeline states this when a tornado is occurring. Metaphors such as these prompt the reader to ask "how can a sky be guacamole?" But when considering that tornadoes create a mix of objects and weather in the sky, to our young protagonist this is a clever comparison on point with her character. Freeman's (2021) use of figurative language further allows us into Madeleine's mind with personification such as: "loneliness and insanity / are twin houseguests / and / it's hard to entertain one / without inviting the other in / as well" (p. 251). In addition to being a poignant, relatable observation, this line allows the reader to understand the internal struggle that Madeleine is at war with throughout the duration of the narrative. She is alone, but she must hold on to her mind.  

 

Pacing  

One benefit of writing in verse is that pacing can be structured in different ways. Each new poem gives the reader a sense of where we are the story. For example, often times seasons are used as titles, allowing us to keep track of where we are in the current year. Seasons and weather are especially important in the pacing of the novel since, as Madeleine must survive in different ways depending on the changing weather, the reader gets a sense of how much time has past by each changing season and event. There are times when gaps between entire months are included, but this decision makes sense according to the plot. When surviving alone, there ought to be days when not many events happen. Other days such as when looters arrive or extreme weather occurs, there is more to include. When these tense events do happen, Freeman's use of one word lines actively tracing what Madeleine is feeling or doing quickens the pace significantly and allows the reader to feel her anxiety as well. When less tense events are happening, lines become longer in length and the language is less action-worded and more reflective. Overall, the pacing is even.

Reference 

Freeman, M. E. (2021). Alone. Simon and Schuster.