(2) 4-6 Illustrated by Martina Heiduczek. At school in East Prussia in the early 1940s, Liesl is taught to revere Adolf Hitler. When Germany wins the war, which she believes is inevitable, fountains will run with lemonade and ice cream, and every family will be given a puppy. Then, in 1944, Russian soldiers come; Germany has lost the war; Liesl, her brother, and their baby sister must flee in the dead of winter. Separated from their mother, they live "like wolves" in the forest, subsisting on frogs, squirrels, and wild plants; sometimes they're lucky enough to find unharvested potatoes or to work for Russian soldiers. The children eventually find refuge with a loving Lithuanian couple. To be safe, however, they must erase all vestiges of their German background. What will remain of her, Liesl wonders, once she has relinquished even her native language? As Liesl begins her slow unlearning of Nazi propaganda and comes to understand the atrocities against which she had been sheltered, she gains true insight into who she is--and who she can become. The incidents and challenges involved in the children's survival (based on true events of the Wolfskinder, or "wolf children," who, per an introductory note, were themselves "victims of war") are both sobering and enlightening.

Reviewer: Deirdre F. Baker

(1) 4-6 Illustrated by Jason Griffin. Reynolds's introspective narrative poem, with a young man at home during quarantine as its speaker, shares the stage with Griffin's emotive collagelike illustrations done in Moleskine notebooks and reproduced on the pages to make it look like a real teen's journal. The first-person text is presented in three parts, or "breaths." In "Breath One," the narrator says he's "sitting here wondering why / my mother won't change the channel // And why won't the news change the story / And why the story won't change into something new." Along with concerns about the world outside, he thinks about his father coughing behind closed doors, his sister talking about protests, and his brother lost in video games. When the wonderings get to be too much, the narrator reminds himself to breathe "in through the nose // out through the mouth." By the end of "Breath Three," the narrator realizes that his "oxygen mask" for living through this uncertain time is the people he loves and the moments they share. The poem and images create an authentic-sounding adolescent narrator trying to grapple with the confusion and fear of the double pandemic (COVID-19 and systemic racism) he is facing. The book ends with a conversation between the two Jasons about their collaborative process for creating this work during the pandemic.

Reviewer: Nicholl Denice Montgomery | Horn Book Magazine Issue: March, 2022

(2) K-3 Illustrated by Briana Mukodiri Uchendu. In this effective and affecting introduction to race relations and police brutality in America, Jay is a young boy who loves racing up and down the block with his friends. He also loves his family: his grandpa, who tells him about all the amazing runners of the past, like Wilma Rudolph and Jesse Owens; his nana, who pinches his cheeks (even though he pretends not to enjoy it); his father, who lets him "drive" in their parking space; and his mother, who continually checks his height against his bedroom wall. Mom and Nana seem concerned when he grows a few inches, though, and Grandpa and Dad begin to add instructions to his innocent activities. Jay is advised to keep his hands out of his pockets; not to gather with peers in groups of more than four; to be cautious while he's in a car. These instructions finally lead to Jay's family sitting him down for "the talk." They tell Jay that while his actions may be scrutinized unfairly by others because of his skin color, he will always have a community of family and friends that love him and that it's not his fault. Jay's innocence is a constant throughout the story, with the digital illustrations providing much of the context. As Jay's mother frets over his height, we see her glance at a television news story involving a person of color and the police. A trip to the store with friends is monitored with suspicion by a frowning white couple. Jay's commitment to remaining a happy child is a welcome element in this exploration of an all-too-relatable experience with no easy answers.

Reviewer: Eboni Njoku | Horn Book Magazine Issue: January, 2023

(2) K-3 Illustrated by Sam Boughton. Not a formally trained artist, Nek Chand built the famed Rock Garden in Chandigarh, India, "rock by rock," using discarded and found materials. Bradbury's text illuminates the artist's intuitive creative process as a means of easing his feelings of dislocation and homesickness after the Partition of India causes him and other Hindus to depart their ancestral villages, now considered part of the new Muslim nation of Pakistan. "That missing moved from his heart into his hands, and his hands knew what to do," writes Bradbury in the scene where Chand first finds the secluded piece of land on which he builds the garden, with its myriad sculptures, structures, and a "maze of tunnels and paths and arches and stairs." The garden serves as both a monument to the home Chand lost and a secret means of bringing joy and beauty to his new home. When others discover the garden (now grown to cover over forty acres), they are astounded, and the community rallies to save it from officials who threaten to tear it down in the name of development. Throughout, Boughton's illustrations burst with color. The art emulates Chand's use of found materials in its incorporation of newsprint and fabrics into digital collage. The illustrations make several overt references to some of Chand's actual figures, structures, and mosaics, with back-matter pages treating readers to photographs of the Rock Garden and of Chand himself. Pair with Rosenstock and Nivola's The Secret Kingdom (rev. 3/18).

Reviewer: Megan Dowd Lambert | Horn Book Magazine Issue: July, 2021

(1) K-3 What is going on in our brains, on our phones, and in the world when we send or receive a text message? Emberley's skillfully crafted picture book answers this not-so-simple question in a delightful mix of illustrations, diagrams, and captions with a clear through-line narration that makes the complicated science behind our electronic interactions comprehensible. Readers follow along when a late-night text message awakens a child from their sleep, as a series of physiological events ("cells inside the eyes detect the photons, then translate the photon's message into an electronic signal, which travels through soft threads of hollow nerves...straight into the brain") results in a reply that must travel halfway around the world. Emberley illustrates every step in the process as the message travels through the air ("as a unique, invisible, electromagnetic radio wave"), through wires (both copper and glass), underground, and below the ocean before finding its way to the recipient's--as we learn, the child's mom's--screen. Detailed illustrations feature numerous labels, and offset captions further illuminate the scientific and technological explanations, allowing the narrative to focus on the larger actions as the message's digital signal races on. Readers will never again think the same way about the basic act of sending a text message. Back matter provides additional technical details, including an explanation of when and under what conditions satellites become involved in the process. A list of resources for further reading is included.

Reviewer: Eric Carpenter | Horn Book Magazine Issue: November, 2021

(2) PS Illustrated by Eric Rohmann. It's Christmas Eve, and Bulldozer is worried: "He didn't have any presents for his friends. Not one." He sees an old tire sticking out of the snow: "I wonder what other treasures are under there?" With his playful cat friends from Bulldozer Helps Out (rev. 7/17) as company, he digs and digs, amassing an impressive pile of salvage. He's discouraged at first, then inspired: "Through the swirling, whirling, / twinkling snowflakes, he thought he saw-- / Was it? / Could it be?" Poking, pushing, nudging his creation into shape, Bulldozer brings his vision to life. A string of lights and a large gearwheel at the top complete the surprise. Fleming's warmhearted story and Rohmann's bold relief block print illustrations are both full of treasures.

Reviewer: Kitty Flynn | Horn Book Magazine Issue: November, 2021

(2) K-3 Caldecott winner Floca (Locomotive, rev. 9/13) presents a love letter to New York City and its essential workers during COVID-19. "We are here at home now, watching the world through our windows. Outside, we see the city we know, but not as we've seen it before." As children peer out from their apartment windows, the streets are quiet, but not empty. There are food deliverers on bikes, sanitation workers, mail carriers, first responders, and more; an ambulance pulls into a hospital driveway, and we enter the building to see the medical professionals and support team, "everyone working through long days and worry to help patients heal." As evening falls, we're back to the neighborhood, where at seven o'clock people open their windows, clap their hands, bang pots and pans, shout, and cheer their thanks. (The appended author's note provides further context.) Floca's watercolor, ink, acrylic, and gouache art, in his beautifully realistic style, features delicate lines, light-catching hues, and pore-over-able details, much like an actual city scene. Motion-filled vignettes alternate with expansive spreads to help pace the narrative and hold readers' attention; so, too, do many of the figures' gazes, looking directly out at viewers. The text is true to events but un-alarmist, with restrained lyricism that underscores unity: "We hear the city say to us--and we say back to the city--that we are still here, and we are here together."

Reviewer: Elissa Gershowitz | Horn Book Magazine Issue: March, 2021

(2) YA An introduction by Jason Reynolds, coauthor with Kiely of All American Boys (rev. 11/15), begins this honest and informative reflection on what it means to be white--and a call for white readers to take anti-racist action. After stating that conversations about race and racism often occur between caregivers and children of the Global Majority (the term Kiely uses throughout), the author opens the door to a conversation on whiteness for an assumed white readership. Using the first-person perspective, and with a casual tone but a deliberate use of language, the author relates personal stories, while acknowledging the contradictions of his authorship and of de-centering whiteness. Voices of youth and of those not always recognized by mainstream society are celebrated. Section breaks pace readers and invite them to pause and reflect; questions offer further opportunities for reader engagement. Kiely carefully scaffolds content, embraces discomfort, rejects either/or binaries, and owns his mistake-making: "I know I'm not going to get everything right. But I think I have to try." Charts and timelines showcase facts about history and racist systems and institutions; extensive back matter is included. Throughout this heartfelt model of white racial identity development, the emphasis remains on self-interrogation, group responsibility, and anti-racist accountability.

Reviewer: Elisa Gall | Horn Book Magazine Issue: January, 2022

(1) 4-6 Illustrated by Raúl the Third. Color by Elaine Bay. This ingeniously crafted illustrated novel offers a multifaceted and heartfelt take on the classic superhero story. Portico Reeves is a kid with a "secret secret"--he likes to think of himself as Stuntboy, a homegrown and self-styled superhero whose power is "making sure all the other heroes stay super. And safe. Supersafe." The selfless Stuntboy protects the quirky and racially diverse cast of characters in his apartment building, particularly his own family members and his best friend Zola. Instead of super strength or flight, Stuntboy performs a variety of odd "stunts" to help others, which also lets him burn off some energy. When he is Stuntboy, the young hero isn't affected by his anxiety, or "the frets," which are made worse for Portico by his parents' constant bickering and his relentless bullying by "Herbert Singletary the Worst." In ten episodic chapters, Reynolds employs fast-paced, realistic dialogue loaded with wordplay and humor. A parallel narrative, in the form of the television show Super Space Warriors, artfully reflects Portico's parents' impending separation. Raúl the Third's cartoon illustrations are integral, active components of the story. From the smallest possible detail in a skyline to commanding double-page action spreads, the art makes Portico's world feel real and vibrant. Bay's color work is invaluable, oscillating between pulsating palettes and subdued screentones. Keeping to the superhero tradition, the creators end on a cliffhanger, leaving readers with a promise of more adventures to come.

Reviewer: Patrick Gall | Horn Book Magazine Issue: January, 2022

(2) K-3 Illustrated by Jacqueline Alcántara. "In a town called Eatonville...lived a girl who was attracted to tales like mosquitos to skin." So begins the evocatively descriptive account of the life of acclaimed storyteller Zora Neale Hurston. Young Zora spent the favorite parts of her day at Joe Clarke's general store, where she would listen to her elders tell fantastical tales of "how that trickster Brer Rabbit always got the best of Brer Fox," the origin of "squinch owls," and more. She didn't mind passing them on, either; perched atop the gatepost that led to her house, Zora would relate those tales--and a few of her own--to any passerby who would listen. While some family members chastised her for "lying," Zora's mother encouraged her consistently to "jump at de sun. You might not land on de sun, but at least you'd get off de ground." These "jumps" carried Zora to Howard University, then on to Harlem (and its burgeoning Renaissance), and right back down to Eatonville, where she continued to do what she did best--trade, tell, and write down stories. Rich with down-home vernacular, the text immerses readers in the Southern tradition of oral storytelling. The illustrations prove just as dynamic, with vibrant spreads bursting with brilliant-toned hues and enjoyable details to notice (e.g., the fashionable hats famously worn by Hurston--modeled by anthropomorphic animals). Snippets of folktales are paneled loosely alongside the biographical story; Brer Rabbit and Brer Fox are no respecters of borders, with both making multiple appearances. Back matter includes an author's note, sources, and additional reading, for both "Youngins" and "Older Folk."

Reviewer: Eboni Njoku | Horn Book Magazine Issue: March, 2021

(2) PS Illustrated by Katherine Tillotson. It's "the FULL story" of the classic tale of the three billy goats and the menacing troll, or what late author Jackson calls "the story, like all stories, of Who Wants What...and Do They Get It?" Jackson changes nothing about the plot; we still meet three goats who, in order to graze on grass on the other side of a bridge, outwit a troll, but he gives it new life in this spirited text. The tone is chummy ("SO...here are the Brothers Gruff," it begins) in a text that directly addresses readers: "Just look at him," Jackson writes when we first meet Troll. The story is filled with entertaining asides ("Here's the famous part," we read before Big Billy head-butts Troll); rhythmic language that uses repetition to great effect (the usual "trip-trap," but Jackson throws in some "mutt-muttering" from Troll and some "please and kindly" phrasing to remind readers that politeness goes a long way); and lots of alliteration ("Our biggest brother, Big Billy...is a meal-worthy mouthful compared to middling me"). Changes in font size animate the pages, and the book's vocabulary will delight readers with words such as gnarly, modicum, and ferocious. Tillotson's remarkably textured illustrations match the energy of the tale, and she brings playful perspectives (from both under and atop the rickety bridge). An immensely entertaining retelling, trip-trap!

Reviewer: Julie Danielson | Horn Book Magazine Issue: March, 2021

(2) 4-6 Illustrated by Marianna Raskin. Eleven-and-a-half-year-old Becca, one of a set of quadruplets, discovers an ailing baby pig by the side of the road and brings it home. From this point on, life in her family goes from baseline busy to complete mayhem as Saucy destroys the kitchen cupboards, breaks the fridge, shreds the living-room curtains, uproots the garden, eats everything in sight, and, thriving under Becca's loving care, gets bigger and bigger over the course of a summer. (As the prospect of a six-hundred-pound pet looms, there is really only one solution...the pig sanctuary.) But Becca's experience has given her fresh confidence, which she uses to right a wrong she had done to her best friend and to organize the youth of her town to protest the practices of factory farming. The tale includes classic middle-grade tropes such as kindly, hapless parents with financial challenges; mean girls; a grumpy grandmother with a heart of gold; and a supporting cast of characters each identified by broadly defined qualities (of Becca's three brothers, Jammer is a jock; Bailey, who has cerebral palsy, is sensitive and artistic; and K.C. has a scientific/philosophical mind). This funny, lively story, with scene-setting digital illustrations, also serves as a cautionary tale regarding oh-so-cute pigs as pets.

Reviewer: Sarah Ellis | Horn Book Magazine Issue: January, 2021

(2) YA Micah and his parents have disappeared. Right before winter break they stepped into a white van, and Micah's girlfriend Sesame hasn't seen them since. Her only clues to Micah's whereabouts are a cryptic message on his kitchen whiteboard and what he shared before he was taken: his parents had joined a cult led by a man called The Prophet. In dual first-person voices in alternating chapters, Sesame and Micah harrowingly describe their experiences. While Sesame, living in an abandoned garage since her beloved grandmother's death, frantically searches the snowy streets of Minneapolis, distributing missing-person posters and trying to compel local authorities to take action, Micah suffers solitary confinement and starvation under The Prophet's rule in an underground bunker. The vital necessity of personal connection and questions of power and abuse underpin this compelling plot, with reverberations from the recent Nxivm cult revelations and convictions.

Reviewer: Jennifer Hubert Swan | Horn Book Magazine Issue: January, 2021

(1) YA Illustrated by Danica Novgorodoff. Reynolds has skillfully edited and rearranged his original verse novel (Long Way Down, rev. 7/17) to create room for Novgorodoff's impressionistic ink and watercolor illustrations to flourish, resulting in an adaptation that feels authentic to its new comics format. Fifteen-year-old Will's older brother, Shawn, is murdered. According to "The Rules," Will must not cry or snitch, but must seek revenge. Soon after the murder, Will leaves his apartment with his brother's gun and a resolve to kill. As Will descends in the building's elevator, he is inexplicably confronted by a deceased victim of gun violence at each floor, from old friends to the father he can barely remember. Each encounter further shakes Will's confidence in "The Rules" and in his deadly plans, leading to an open-ended conclusion. Novgorodoff's cartooning is never static; at times she opts for clearly defined panels and figures, and at others she forgoes panels entirely and leaves characters abstracted or incomplete. These artful decisions offer readers insight into Will's emotional state at any given moment. The layered, fragmented layouts found across many spreads have potent impact, along with stylistic touches such as Polaroid photos, video screens, and storyboards seamlessly substituted for panels. Scenes of violence are starkly portrayed, including a double-page image of Shawn's dead body; however, the complex and unjust reality of Will's position remains front and center, in sharp focus.

Reviewer: Patrick Gall | Horn Book Magazine Issue: July, 2017; January, 2021

(2) YA Appelt personifies Texas' Buffalo Bayou as it witnesses complex backstories from the past and present. Readers meet contemporary sixteen-year-old Cade; his father, who promised he'd leave newborn Cade for adoption but couldn't let him go; and freed slave Achsah, attempting to lead her daughters to freedom through the Underground Railroad in 1845. Readers are entrusted with putting the pieces together to make their own connections before the final denouement.

Reviewer: Betty Carter | Horn Book Magazine Issue: May, 2019

(2) YA Bryan was a nineteen-year-old art student when he was drafted into a segregated army unit of stevedores, where he used every opportunity to sketch and record his experiences, from training to D-Day and its aftermath. Bryan's present-day text serves as a kind of voice-over to the scores of images included: original paintings and drawings, letters, journal passages, photos, maps, and army posters. The dynamic book design and lavish production choices make this a fully immersive experience. Ind.

Reviewer: Lolly Robinson | Horn Book Magazine Issue: November, 2019

(1) 4-6 Illustrated by Julia Kuo. Hanako's family, interned during WWII and pressured by the government, renounces the family's American citizenship and returns to Japan after the war. Hanako is horrified at the devastation; however, the unconditional love of her grandparents allows her to adjust to a completely different way of living. Kadohata brings readers tightly into Hanako's psyche as she struggles to comprehend near-impossible situations--and ultimately to recognize the strength of people in the most challenging of circumstances.

Reviewer: Monica Edinger | Horn Book Magazine Issue: September, 2019

(1) K-3 Using deceptively simple, repetitive verse, an enslaved girl narrates her family's daily plantation activities over a week, every morning beginning with the bell ringing--until Thursday when her brother runs away. The author communicates the complex emotions of individuals fleeing enslavement and the aftermath for those left behind. Through lush watercolors that expertly frame and highlight the characters, the reader is drawn into scenes of tenderness, joy, terror, and despair.

Reviewer: Monique Harris | Horn Book Magazine Issue: January, 2019

(1) 4-6 Ten blocks. Ten stories about middle schoolers, each filled with humor and heart. The characters cope with difficult problems, but they are first and foremost ordinary, good kids. Names, jokes, and details are cleverly woven between tales to show the interconnectedness of the characters' world, while the individually distinct stories remind us that you never know what someone else is going through.

Reviewer: Autumn Allen | Horn Book Magazine Issue: November, 2019

(2) 4-6 Illustrated by Gabriel Evans. Adolescent tree squirrel Phoenix is happily living in a New Jersey forest when a hawk grabs him, then drops him in Manhattan. After rats--the lowest of rodents--rescue him from drowning, Phoenix is surprised that they generously care for him. Gradually, Phoenix becomes a valued member of the community. Seidler playfully provides a squirrel's-eye view of the world but, with questions of creature cooperation and interspecies relationships, fosters deeper contemplation.

Reviewer: Betty Carter | Horn Book Magazine Issue: September, 2019