​Review by Annie Cronin Romano
 
Orphan Elizabeth Somers, an 11-year-old with a passion for anagrams and a love of reading, is angry about being sent to a hotel for her Christmas holiday while her miserly aunt and uncle go on a vacation she knows they cannot afford. But when Elizabeth arrives at Winterhouse, magic and mystery unfold. There’s the creepy couple—always dressed in black—who take an odd interest in Elizabeth’s reading habits, the curious book Elizabeth sneaks from the hotel library’s reference section, the kind hotel proprietor, Norbridge Falls, whose magic tricks and wisdom enchant Elizabeth from the moment she arrives, and the mysterious code hidden in plain sight in a Falls family portrait.  As Elizabeth and her new friend Freddy (who shares her love for anagrams) try to solve the code, Elizabeth realizes that Winterhouse is in jeopardy and she may be the only person who can save it. WINTERHOUSE (Henry Hold & Co., 2018) is a charming middle grade mystery full of intriguing puzzles, new friendships, and self-discovery. Get yourself a cup of cocoa, curl up under a blanket, and enjoy this atmospheric magical realism adventure! It's a backlist treasure!
 
On Writing
In WINTERHOUSE, Ben Guterson depicts the necessity of positive human connections as Elizabeth, a very lonely child, discovers there’s a learning curve in being a good friend and a joy that comes from friendship and from others truly wanting her company. Guterson’s atmospheric, vivid creation of the hotel is a solid example of a setting so well-developed it goes beyond mere backdrop to become another character in the story. And the magic continues: there are now two more books in the WINTERHOUSE series! To learn more about Ben Guterson’s work, visit his website at www.benguterson.com.

~Reviewed by Amanda Smith

“You control the story, you control the narrative, you control the power.” – High John

Tristan Strong carries a lot of stories with him. The stories of his father and grandfather’s boxing success, compared to his first-match failure. Or the story of how his best friend, Eddie died in a bus accident, while he survived.  The folk lore and African mythology his nana had told him. The journal in which Eddie collected those stories.

So, when a sticky little doll baby appears in Tristan room at his grandparents’ house in Alabama, squelches its way across the floor and nabs Eddie’s journal, Tristan fights hard to retrieve it. In the fight with Gum Baby, he punches a hole in the fabric that separates our world from the realm where folk heroes are gods of Midpass and African gods rule Alke. On his epic hero’s journey to stop the destruction caused by his punch, he meets a fascinating cast of gods, heroes, and villains. He travels to amazing cities; fights alongside fierce warriors; meets the pain of his past head-on; and discovers the strength of story and his power as Anansesem (magical storyteller) to wield it. He learns the rip between Midpass and Alke existed long before his careless fist caused the tear in the sky, and healing lies in telling all the stories of the past – even the painful ones.

TRISTAN STRONG PUNCHES A HOLE IN THE SKY (Rick Riordan Presents, Disney.Hyperion 2019) is Kwame Mbalia's powerful debut novel and Coretta Scott King honors recipient. It tells not only Tristan’s story, but also, through symbolism, the history of slavery and the Middle Passage. Bringing often untold African-American history, alongside West African Mythology adds a fascinating, educational and important layer to this novel. While one could read the novel as pure entertainment, I often paused my reading to research a character or name, and discovered deeper meaning. And some of the history on which Mbalai touches directly connects with current conversations around systemic racism.

However, the novel is never dull or didactic. Mbalai delivers mythology and history with huge doses of humor, Marvell-movie-like fast-paced-action, lovable characters, authentic dialogue, goosebump-inducing place-descriptions, and the most beautiful magic scene I have ever read. Mbalia’s use of language is decadent: smuggled in bits of internal rhyme, dashes of alliteration, sensational imagery, clever humor, and masterful never-forced use of dialect. Tristan Strong might be an Anansesem, but the true story weaver here is Kwame Mbalia!
 
On Writing:
Even though the entire novel is a perfect mentor text for use of language in world building, I was truly struck by the tightness of the first chapter, and would highly recommend it as a study in beginnings. At the end of page fourteen, internal and external conflict have been established, we know Tristan’s shame and struggles, names of African gods have been introduced, we have a mysteriously knowing Nana, and a strangely glowing journal that keeps showing up in unexpected places.  As Tristan Strong stated, “I mean really, what could go wrong?”
 
The sequel, TRISTAN STRONG DESTROYS THE WORLD will release October 6, 2020. I can hardly wait to revisit these characters and this world!
To learn more about Kwame Mbalia visit https://kwamembalia.com/
​

~ Reviewed by Amanda Smith
 
A WHALE OF A MISTAKE by Ioana Hobai (Page Street Kids, 2020) is a picture book about how anxiety can inflate a mistake to colossal proportions. The story gently  conveys how to find perspective and regain control. The protagonist makes a mistake which grows into a whale that swallows the protagonist and takes it out to sea. Along this wild ride, the protagonist feels trapped, powerless, and scared, but through observation and self-reflection, learns and grows, and eventually becomes brave enough to move on.

Hobai cleverly uses the whale, something concrete that young children can comprehend, as a metaphor for abstract, hard to pin-point emotions of guilt, anxiety and self-doubt. The watercolor illustrations bring the whale metaphor to life, and enhances the emotions through tumultuous swirls and stormy washes. The color story moves from dark bruise-like colors in the beginning towards light, bright and cheerful colors towards the end, reinforcing the emotional journey.  A WHALE OF A MISTAKE is written in simple language, making it easily accessible to young readers, yet the content is universal which makes this a great conversation starter for readers of any age regarding regret and self-reflection.
 
ON WRITING:
A WHALE OF A MISTAKE deals with universal emotions and themes. By writing the book in the second person, removing the need for gender specific pronouns, and addressing the reader directly, Hobai makes this a book with which all readers can identify.

Review by Annie Cronin Romano
​In SMALL SPACES, Ollie is a 6th grader whose mother died last year. Despite a strong, loving relationship with her father, Ollie is left reeling and angry after her mother’s death and often acts on her frustrations. She pacifies herself by pulling away from her father, friends, and teachers, preferring to escape into the pages of her books. One afternoon, Ollie grabs a book from a frenzied woman who is about to destroy it by tossing it into the creek. As Ollie begins reading the book, she finds herself stumbling into a ghostly world of disorienting mists and cryptic warnings. The next day, when the school bus breaks down along an isolated, foggy road after a field trip, Ollie’s reality and her book’s story inexplicably intertwine, leading Ollie to realize that this book is not simply a fictional legend. As darkness descends, Ollie and her two friends must take on eerie scarecrows and the cunning smiling man as they attempt to save themselves and their classmates from a terrifying fate. Guided by her mother's compass watch, Ollie learns that her mother’s love lives on and guides her even after the tragedy of death. SMALL SPACES (G.P. Putnam Sons, 2018) is a middle grade novel for children ages 10-12. This spooky adventure will keep youngsters turning the page long after they should have turned out the light.  

On Writing
Katherine Arden explores the complexity of losing a loved one from the child’s perspective while also depicting how others react to the fallout of the main character’s struggles. Throughout the story, Arden deftly portrays the array of emotions the main character experiences after a tragedy. Through Ollie’s two friends, Arden highlights the ability of young people to demonstrate patience, kindness and understanding even the wake of another’s difficult behavior. Written in third person, SMALL SPACES is a strong example of an adventurous, darkly atmospheric middle grade tale that does not shy away from revving up the eerie factor. To learn more about Katherine Arden’s work, visit her website at www.katherinearden.com.

Review by Annie Cronin Romano
​
After couples marry, most go on a honeymoon to enjoy time together--just the two of them--before returning to the business of everday life. But what about when a baby is born? The arrival of a new little one is often paired with pressure to share every moment, be it through social media or a constant flow of visits from relatives and friends. Amidst the excitement, the importance of having new family time is often lost. This need to take time to bond as a family is the focus of Hayley Barrett's debut picture book, BABYMOON (Candlewick, 2019). A couple and their newborn are depicted, cherishing each moment and learning from first experiences, joys, doubts, and amazements. In BABYMOON, Barrett's lyrical text is warm and reassuring. The value of taking a "babymoon" to spend quality time together with your little bundle is lovingly highlighted with a sweet, lulling rhythm. Juana Martinez-Neal's illustrations, using smooth, curved lines and a neutral pallet of yellows and browns, are as soft and cozy as a baby's blanket. Visually soothing and with text that hums like a sweet lullaby, BABYMOON is one picture book every new family should hold close to the heart. (Fiction picture book for ages 2-5) 

On Writing
Hayley Barrett’s debut is a strong example of sparse, lyrical text with stunning impact and beauty.

For more information on Hayley Barrett’s work, visit https://hayleybarrett.com/about-hayley/.
​To learn more about Juana Martinez-Neal's work, visit her website at http://juanamartinezneal.com/.

Review by Annie Cronin Romano​ 

In a children’s picture book market filled with a plethora of options from sweet to humorous, sentimental to adventurous, it’s easy to become overwhelmed in the search for a unique selection. OLIVER: THE SECOND-LARGEST LIVING THING ON EARTH (Page Street Kids, 2018) is a recent picture book release that stands out as distinctive in both story and underlying message. First, it’s about a sequoia tree, an original premise right there. The story is about Oliver’s desire to be the largest living this on earth, a wish that risks leading to an overly-didactic end message, but OLIVER is anything but obvious. Author Josh Crute uses simple yet engaging language in conveying the struggle of wanting to be the most important and the realization that there is more to our importance than ourselves alone. It’s a tough message for kids (and many adults!) to grasp, but Crute delivers it subtly and effectively. Oliver’s experiences and emotions are relatable, and his realization that his worth can be defined by something bigger than himself is presented with a light touch. Nonfiction elements and interesting backmatter introduce the reader to the mighty sequoia trees, as well as a couple other “second largest” players in our world. Illustrator John Taesoo Kim uses earthy greens and browns and a fun, bold style to add a gentle visual humor to Oliver’s journey. OLIVER: THE SECOND-LARGEST LIVING THING ON EARTH  is a fiction picture book for children ages 4-8 years old. It would be a valuable addition to any child’s bookshelf or classroom library.

On Writing
Josh Crute’s writing in this story is a solid example of how to include a moral in a subtle and engaging manner.
For more information on Josh Crute’s work, visit http://painted-words.com/portfolio/josh-crute/.

For info on John Taesoo Kim’s work, visit his website at http://www.johntaesookim.com/.

Review by Francine Puckly
 
At the suggestion of my daughter, I picked up a copy of Marie Rutkoski’s The Winner’s Curse Trilogy: The Winner’s Curse (Farrar, Straus and Giroux, 2014), The Winner’s Crime (Farrar, Straus and Giroux, 2015) and The Winner’s Kiss (Farrar, Straus and Giroux, 2016). As I was neck deep in revision for a dual-point-of-view novel, my daughter thought The Winner’s Curse might act as a mentor text for how the author masterfully handles two points of view. And while Rutkoski does a phenomenal job with POV, she offers so much more for readers and writers alike.
 
At the story’s opening, our first protagonist Kestrel and her best friend Jess end up at the slave market quite by mistake. But as a handsome and defiant slave Arin (our second protagonist) is being auctioned, Kestrel bids and purchases him for an unseemly amount of money. Kestrel brings Arin back to her father’s estate where he is put to work as a blacksmith. After a short time, Kestrel chooses him as her escort into town and their relationship shifts from one of ownership and servitude into one of respect and the hint of friendship. It eventually blossoms into romance. But the star-crossed lovers are pitted against each other as Arin leads the slave rebellion and uprising against the army Kestrel’s father commands. Over the second and third books, a complicated relationship between Arin and Kestrel twists and turns with an even more complicated war between Arin’s enslaved people and Kestrel’s people who have dominated them for over a decade. Readers are exposed to brutal battles, political intrigue, relationships and their corresponding power shifts, and the issue of freedom and its costs.
 
On Writing:

• Language:  The writing in this series is thoughtful and deliberate and is an unusual mix of both clean, spare writing that also incorporates intricate details of world-building, battle strategy and day-to-day living in this fictitious country. 
• Backstory:  I was blown away by Rutkoski’s art of weaving in backstory without info dumping. While I was aware of her skill throughout the story, I was absolutely gobsmacked at the end of book two when she sprinkled in a piece of Arin’s history that an inexperienced writer would have felt compelled to state early on. But Rutkoski was in no hurry. As writers, we can learn a lot from watching good writers sprinkle and weave in backstory. 
• Plot:  Rutkoski presents her characters and readers with twists and challenges that put the romance of Arin and Kestrel to the extreme test amidst war, an uprising, and a growing understanding by both characters of the other side’s needs.
• Point of View:  Rutkoski skillfully moves between the protagonist’s POVs. She was able to show Kestrel’s lack of understanding from her POV, and also teased out Arin’s character slowly. In an interview with Miss Print in 2014, Rutkoski talks about the difficulty of carrying these two POVs and how she decided what information to reveal. “It was very hard—and very different, when written from the POV of one character or another. Although Kestrel’s observant, she fails to understand some things about herself, and so sometimes she doesn’t reveal things to the reader because she doesn’t know it, so the trick when writing from her POV was to let the reader understand what was going on while making it clear that she doesn’t.” And with Arin’s POV: “We don’t get as much of Arin’s POV, especially at the beginning, and this is a deliberate reflection of his character: his anger, his armor, his hardened heart. He does not want to let you in. Even you, the reader.”

 
The Winner’s Curse Trilogy is definitely worth a closer look by anyone hoping to study superb plotting, backstory, and slow-burn romance development, as well as distinct points of view.

 Review by Amanda Smith

Hannah Jordan lives in a Gilded Age mansion. Well, actually, she lives in the converted servant’s quarters of a mansion. Her father is the caretaker of The Elms, one of the most esteemed historical properties in Newport, RI. Hannah is a history buff and loves all things antique, but mostly she adores the reproduction portrait of Maggie and longs to spend a day in the rich heiress’ shoes.

Maggie is the twelve-year-old niece of the coal tycoon who built The Elms. Even though she loves her aunt and uncle, she finds her life mundane. Portrait sittings, tea with her stuck-up cousin, lawn tennis, and her aunt’s stifling opinions on what girls can and cannot do leave Maggie wanting.

In FREAKY FRIDAY-like fashion, Hannah and Maggie swap places though a mirror in the mansion. Hannah, who revels in everything 1905, is set on solving the mystery surrounding the heist of the original Maggie portrait, with the help of kitchen boy, Jonah. Both girls believe solving the heist will switch them back. While Hannah plays investigator and has to swallow archaic beliefs about women, Maggie navigates modern technology, encounters vastly different family relationships, and experiences the liberties and opportunities brought about by the women’s rights movement.

In this fun mystery adventure, the reader goes on a time traveling journey with Hannah, and experiences the wonders and restraints of the Gilded Age through the eyes of a modern twelve-year-old. The narrative leads the reader to reflect on today’s privileges and liberties that are often taken for granted. An endearing cast of characters strings readers along multiple twists and turns. They are forced to make difficult decisions and have us rooting for them all the way.

Even though THE ART OF THE SWAP (Simon & Schuster/Aladdin; 2018) has two girl main characters, the adventure and mystery aspect, humorous situations, and a strong male character in Jonah make this a story boys and girls will enjoy. The story sheds light on women’s rights and gender inequality. It had both my sons thinking, noticing, and commenting. THE ART OF THE SWAP is an enjoyable book to read aloud with your kids and a perfect classroom book for 5th - 7th grade that will springboard interesting and important discussions.

On writing:
Hop on over to our blog here to read how Kris and Jen co-wrote THE ART OF THE SWAP.