(2) 4-6 Color by Ronda Pattinson. This graphic novel celebrates the contributions of women throughout automotive history, along with providing a critique of the industry's persistent sexist practices. A prologue set in 1962 begins at an amateur car race with the skillful real-life driver Janet Guthrie. While respected by some of her peers, many others express a combination of anger, humiliation, and jealousy over her success. The story then shifts to 2019 New Hampshire, where (fictional) twelve-year-old Alexandra is similarly passionate about cars. Alex discovers a treasure trove of cars at her recently deceased grandfather's country home; however, her single father is unsupportive of her interest. Alex experiences highs and lows while working to restore a vintage Jaguar: the support of a local librarian; comments on her appearance and questioning of her knowledge. Throughout, Janet's life and career as a groundbreaking female racecar driver (somewhat coincidentally) intertwine with Alex's experiences, culminating in a multigenerational meet-up, complete with surprise appearance by Alex's favorite female YouTube mechanic. Copeland's streamlined art features a doodle-y thin black line and flat colors with minimal shading. Constantly shifting page layouts, from traditional panels to epistolary interludes to exciting (and coherent) race sequences, result in strong visual storytelling. An author's note separates fact from fiction and reminds readers that "girls can stand on the shoulders of those who came before them only if they know their stories."

Reviewer: Patrick Gall | Horn Book Magazine Issue: March, 2025

(3) YA In 1973, Patty Appleton, a young female congressional page, witnesses the political upheavals of Watergate, Roe v. Wade, and the Equal Rights Amendment. She grapples with her conservative upbringing and the feminist movement in this nuanced, thought-provoking exploration of political and personal growth. Historical photos and clippings add immersive context, while relatable characters and sharp social commentary may engage both teens and adults. The insightful back matter includes an epilogue, author's note, selected sources, resources, and photo credits.

Reviewer: Summer Edward

(1) YA In 1650s Rome, Carmela's mother, Giulia Tofana, runs an apothecary. At sixteen, Carmela is finally allowed to begin training to become an apothecary herself. She learns what goes into healing remedies -- familiar herbs such as lavender, rosemary, and pennyroyal, but also urine, dog feces, dried menstrual blood, and more. What surprises her most is Giulia's willingness to help all who come to her. "There are so many who have no one else to turn to," Giulia says. "That is the daily work we are here for. Giving women a choice over what happens in their bodies," whether it be rheumatism, rashes, birth, dangerous pregnancies, or life-threatening marriages. When an abused wife fails to administer the toxic "Acqua Tofana" to her murderous husband properly, Giulia must flee for her life, leaving Carmela to carry on the work. This is an unforgettable novel of courage, chemistry, and female solidarity in a casually violent, misogynistic world -- in short, in many ways, a topical story. McCullough enfolds a catalog of women's hardships and mutual support warmly and dramatically into the immersive tale of Carmela's growth from dependency and childhood grievances to confident generosity, skill, and compassion. Occasional verse interludes emphasize the pervasiveness of Giulia's clients' difficulties.

Reviewer: Deirdre F. Baker | Horn Book Magazine Issue: March, 2025

(2) K-3 Illustrated by Andrea D'Aquino. This picture-book biography follows Bella Abzug (1920–1998), "the first woman elected to Congress on a women's rights platform," from her childhood defying gender roles at home, in the streets, and in her synagogue; through her career in law, activism, and politics. Aronson describes her personality, her accomplishments, and her brazenness. The layout of D'Aquino's child-friendly illustrations and occasional handwritten phrases brings the words to life and makes Abzug's impact tangible. The text is woven effectively into the illustrations, and the signature wide-brimmed red hats worn by "Battling Bella" make her figure jump out on every page. Issues such as sexism, war, prejudice, gay rights, and disability rights are discussed directly. Abzug's political losses are highlighted without showing those losses to be failures. The book ends with an inspirational call to action for readers in the twenty-first century to help fulfill Abzug's vision. An extensive author's note and a timeline provide further historical context; also appended with a selected bibliography.

Reviewer: Miriam Steinberg-Egeth | Horn Book Magazine Issue: November, 2024

(1) YA A funny and fast-paced feminist adventure masterfully told through the comics medium. This alternate-Victorian-era fantasy opens after Jane's parents' death. Since women can't own property, the family estate and fortune will pass to Jane's odious male cousin -- who gives her a week to pack her bags and leave. Unless she can secure a dowry via marriage, she will be penniless as well as homeless. Jane, along with everyone in her seaside village, buys into the dominant and oppressive standards of beauty; she's realistic about the fact that her appearance leaves her with few marriage prospects. While she may be considered plain, Jane is exceedingly clever: she proposes marriage to Peter, a gorgeous fisherman forced into the trade by his toxic father. "We both have problems, and this would solve them." But those plans are thwarted after Peter is kidnapped by a man-eating mermaid, and Jane embarks on an epic undersea journey to rescue him. Along the way, she meets folkloric creatures (selkies, crones, a water demon, etc.) and gains knowledge and the confidence to challenge societal norms. Brosgol's (Be Prepared, rev. 5/18; Anya's Ghost, rev. 7/11) magical story is full of quirky and indelible characters; smart surprises and plot twists; and laugh-out-loud dialogue. Stellar world-building and cinematic cartooning effectively pace the narrative, building suspense and emphasizing moments of horror. Textured colorwork adds further depth to plot and setting, and an author's note invites readers to interrogate the worlds (both real and fictional) with which they come into contact.

Reviewer: Elisa Gall | Horn Book Magazine Issue: May, 2024

(2) YA Boys at seventh grader Mani's school have been assaulting girls in the "grope-'n'-go" social media challenge, and school administrators dismiss the boys' behavior. Overwhelmed with emotion in reaction to the situation at school, Mani can barely speak; when she learns that her deceased aunt and her own mother were feminist activists in Guatemala, Mani wants to find the strong "quetzal voice" her abuelita encourages her to have. As events escalate, Mani and her friend group, Las Nerdas, unite for a presentation to shake up the school. While the complexity, pervasiveness, and intensity of these topics could make the story feel overwrought, Lapera's writing shines in the rendering of connection and levity with friends and family. There are laugh-out-loud moments, from the everyday to the bizarre (e.g., stealing a used tampon in a misguided but well-meaning attempt to support a friend). There is inspiration and hope in the steadfastness with which Las Nerdas organize a protest against the harassment and within the stirringly written passages both in old letters from Mani's tia and in the support found with other students at school. Amid the frankness about challenging topics, readers will also encounter warmth and a pervading sense of capability and inner strength in finding their own voices.

Reviewer: | Horn Book Magazine Issue: March, 2024

(2) YA The year is 2005, and high school students Mina, Penney, and Sheryl are looking forward to prom night as an opportunity to dress up, dance, and have fun with their friends. Of course, there are also their dates: Penney's long-term boyfriend, Mina's boyfriend of convenience, and Sheryl's cute classmate. While their experiences that night are vastly different, they wind up at the same Planned Parenthood office having received the same news: they are all pregnant. Their decisions to continue the pregnancies form an unexpected alliance among the three, with Mina, Penney, and Sheryl vowing to look after one another and their families. Eighteen years later, their children are preparing for their prom night, with complex issues of their own. Blossom is trying to figure out how far she should go with her boyfriend. While Amber has consented to attend with her girlfriend, she still takes issue with the gender-biased nature of the prom rules -- and decides to address it on a school-wide level. Cole discovers a family secret while attempting to navigate his own problematic ideas about consent. The book, which alternates among all these characters and between the two time periods, considers issues of women's rights, misogyny, classism, and more from multiple viewpoints. There are no easy resolutions to any of these topics, but Magoon's empathetic, sometimes humorous style will leave readers with a sense of empowerment to form their own views. Appended "reflections and resources" address the state of contemporary reproductive rights in the U.S.

Reviewer: Eboni Njoku | Horn Book Magazine Issue: July, 2024

(2) YA In this historical verse novel, teenage Lucille comes of age against the uneasy backdrop of 1930s Haiti. The American colonizers have removed their troops, and political discussions among Haiti's new leaders about the country's future are turning incendiary. Lucille discovers she has the gift of hearing her deceased mother's spirit in their mapou tree, and the only one who understands her gift is Fifina, Lucille's best friend and first love. Fifina vanishes under terrible circumstances, which leads Lucille to a confrontation at the section chief's house; she must then leave home. Now a servant in Madame Ovide's house, Lucille is intrigued by conversations she hears about progress, but to quell Lucille's growing relationship with her son, Oreste, Madame Ovide sends Lucille to another one of her homes, to help an eccentric American who has come to the island to do fieldwork in folklore: Zora Neale Hurston. Hurston's presence angers some powerful Haitian politicians, and Lucille finds herself in a race to save Zora, Oreste, Fifina, and herself. The novel addresses issues of classism, colorism, misogyny, and activism with nuance. While the resolution is somewhat abrupt, the detailed, lyrical free verse makes for an impressive debut.

Reviewer: Eboni Njoku | Horn Book Magazine Issue: March, 2025

(1) YA In tracing the battle for equal pay and equal treatment waged by the United States Women's National Team against the U.S. Soccer Federation, Rusch (The 21: The True Story of the Youth Who Sued the U.S. Government Over Climate Change, rev. 11/23) pulls off quite a feat: she keeps readers riveted by edge-of-their-seats descriptions of individual World Cup and Olympic games while educating them about gender bias, Title IX, the effects of concussion, contract negotiations, grass versus turf fields, class action lawsuits, and more. The book proceeds chronologically, from the Women's National Team's 1985 creation (with players like Julie Foudy and Mia Hamm, who were told that it was enough just to play for their country); through 1999 when the team won the World Cup (notorious for Brandi Chastain's post-win sports-bra celebration) but the women made about $15,000 apiece; to the early 2000s with the entry of players like Abby Wambaugh, Megan Rapinoe, and Alex Morgan, fierce fighters both on and off the pitch; and ultimately to 2022 when, after protracted and brave efforts, pay parity between the men's and women's national teams was finally achieved. For such a thorough and comprehensive account, the telling is remarkably lively, peppered throughout with (uncensored) quotes and memorable descriptions (Rapinoe is the "firecracker forward with pink-dyed hair") and filled with drama, sheroes, and villains; even granular descriptions of legal proceedings are compelling. Impressive front and back matter include a list of major characters, a diagram of a soccer field outlining basic positions, an extensive bibliography, and twenty-six pages of source notes. Index unseen.

Reviewer: Martha V. Parravano | Horn Book Magazine Issue: November, 2024

(2) YA In this near-future version of Texas, abortion is a crime punishable by a lifetime jail sentence. Abortion pills and IVF are also illegal. Enter two Muslim teens: Laylah, an ultra-organized, straight Indian American who has her sights set on becoming a gynecologist; and Noor, a queer Palestinian American who dreams of becoming an investigative journalist. The two are writing a step-by-step guide for teens on obtaining safe abortions; it's only after Laylah discovers she is pregnant that she realizes how unrealistic the guide is, particularly the difficulty of obtaining abortion pills. Feeling deep sharam (a neologism Laylah coins combining the words shame and haram, something forbidden in Islam), Laylah keeps her pregnancy secret, while Noor has a secret of her own: she's investigating the wife of the local imam, whom she suspects of stealing mosque donations. Along the way, Noor and Laylah discover the unlikeliest of allies and learn that "everyone is so much more than they appear to be." The book is peppered with Bollywood and American pop cultural references and includes a disturbing yet fascinating subplot in which Laylah learns about state-sponsored sterilization in 1970s India. This nuanced representation of Muslim views on reproductive rights is a timely, fast-paced novel that spins a terrifying, cautionary tale about a possible future.

Reviewer: Julie Hakim Azzam | Horn Book Magazine Issue: November, 2024

(1) K-3 Illustrated by Gretchen Ellen Powers. Stone's dedication -- "For anyone who did something awesome and didn't feel the love" -- sets the reparative tone for this picture-book biography of scientist Franklin (1920–1958), whose Photo 51 cracked the DNA code while competing researchers James Watson and Francis Crick took the credit (and the 1962 Nobel Prize). As she weaves science and history, Stone unravels dual mysteries centering on the double helix: how the "secret of life...makes you -- YOU" and how a "twist of fate" triggered Franklin's posthumous recognition. Powers's watercolors perfectly blend representative and expressive styles. Realistically rendered characters and period details set the story in its mid-twentieth-century milieu, while experimental techniques offer evocative visual commentary; for example, when Franklin argues with Watson and Crick, blue watercolor blotches disrupt the tidy floral border and explode the ground beneath them. Although Stone opens by warning, "This true story doesn't really have a happy ending," Powers's accompanying fairy tale–esque castle, adorned with scientific instruments, foreshadows a time in which readers are empowered to interrogate the historical record and reclaim the stories of little-heralded figures. An author's note explains the Matilda Effect, a historical pattern in which men take credit for women's work.

Reviewer: | Horn Book Magazine Issue: January, 2024

(2) YA In 1963, fifteen-year-old Decklee left her town of Mayberry, Arkansas, with a dream of becoming a country music legend and never looked back. In 2024, just after the news of her death, seventeen-year-old Mayberry resident and aspiring journalist Darren finds inspiration in her story: "If Decklee could leave, if she could turn herself into a star, what was stopping me?" After the funeral, Darren sees her opportunity: Decklee has arranged a posthumous treasure hunt for a time capsule consisting of music, mementos -- and three million dollars. Armed with an encyclopedic knowledge of the singer, Darren and her friend (or maybe more) Kendall follow the clues to Memphis; Nashville; and Tupelo, Mississippi, in search of the prize. Meanwhile, in alternating flashbacks, Decklee narrates her rise to fame: how she fought for a career full of praise, awards, and adoration -- and (heartbreakingly) how she gave up the love of her life to get it. The juxtaposition of the two stories invites readers to consider what's changed for women, especially queer women (Decklee is a lesbian; Darren is bisexual), in the past sixty years. It ends on a hopeful note, as Darren recognizes Decklee's mistakes and learns to love the place they've both left behind. With its smoothly written prose, sympathetic characters, and chemistry-laden double romance, this is a story that lingers after it's finished, like a favorite song.

Reviewer: Rachel L. Kerns | Horn Book Magazine Issue: July, 2024

(1) YA Illustrated by Ekua Holmes. This poetry collection masterfully encapsulates Watson's experience of Black girlhood and womanhood. Through an array of poetic styles, she weaves together her personal reflections, celebrating the multifaceted nature of her own upbringing. The poems serve as a testament to the diversity of cultural influences she encountered during her childhood. She describes her identity as coming from "east coast hip-hop and island tradition...Baptist hymns and secular jigs," embodying the intersectionality of her experiences. While she celebrates her uniqueness (e.g., Renée is the only one in her family whose name origin is not connected to another family member), she honors and respects that she is part of a broader sisterhood of Black women. From biological sisters to "aunties by blood & by choice" and other "knowing women," the author pays homage to Black women's collective strength and wisdom. The title poem, appearing after definitions for atlas, especially adds depth, with Watson drawing parallels between Black girls and the Greek mythological figure condemned to hold up the heavens. The collaboration with Holmes, whose magnificent collages accompany Watson's words, adds a visual dimension that also spans cultures and experiences. The result is a celebration of the complexities of, and the bonds formed through, Black girlhood and womanhood.

Reviewer: Eboni Njoku | Horn Book Magazine Issue: March, 2024

(1) K-3 Theatrical scenes in pomegranate reds and peacock greens introduce readers to a young, precocious Googoosh, born Faegheh Atashin, performing in the 1950s with her acrobat father and captivating audiences with her singing. Her rise to stardom and voice "swelling in our hearts like the waves of our beloved Caspian Sea" become inextricably tied to the comfort of culture and home for the people of Iran. But the 1979 revolution shutters performance halls and outlaws women's singing voices. Stark spreads stripped of color depict turmoil as fleeing Iranians are "scattering across the world like windblown poppies," their faces shown as disconnected from anything else. These displaced Iranians live quietly, like Googoosh herself, until her return to performing finally gives people a chance to "bear witness" to memory, homeland, yearning, and joy. Complex and painstaking illustrations -- tea-dyed paper, block prints of hand-carved stamps, brush pens, colored pencils, and collages of paper and cardboard -- showcase the art as a clear labor of love. The text is lyrically and sensorially evocative, conveying devotion to country and pain of separation, and even the use of the second person mimics the formal method of reverence in Farsi. An author's note, additional information about Googoosh, photographs, and sources are appended.

Reviewer: | Horn Book Magazine Issue: January, 2025

(2) K-3 Illustrated by Felishia Henditirto. "The first problem Rochel-Leah had was that she was a girl." This picture book relates a "true(ish) story" set in a shtetl in Russia in the 1830s and inspired by a cousin of Yolen's. Rochel-Leah wants to learn to read, but the cheder, or Jewish school, is only for boys. (Her mother and aunts can't help her; her father and brothers won't help her.) But perhaps rules can be bent...with determination, an open cheder window, and a rabbi who can be persuaded. A storyteller's cadence ("It was very tiring standing on tiptoe, but she managed. Just") brings life to Rochel-Leah's frustration and her tenacity. Similarly lively illustrations, "made digitally from combining paper texture and digital brushes," propel the story forward with frequent instances of words or letters swirling across the page. An epilogue-like coda and an author's note establish family connections, and a brief glossary defines Yiddish and Hebrew terms.

Reviewer: Shoshana Flax | Horn Book Magazine Issue: November, 2024

(2) YA Ivy, sixteen, is pregnant and scared. In conservative Paris, Texas, she knows she can't disclose her condition--or her desire to have an abortion, which is illegal in Texas after six weeks. The accidental reveal of her pregnancy, and the judgment and hatred that follow, only make her more resolved. Ivy and her boyfriend, Lorenzo (who isn't the father), drive to Ivy's grandmother's house in Oregon, where Ivy can get the procedure done safely. During their "abortion road trip love story," they "travel the world," with stops in Lima (Oklahoma) and Genoa (Colorado) and visits to the Wonder Tower and the Pillars of Rome. As in The Epic Story of Every Living Thing (rev. 9/22), Caletti approaches a provocative subject with humanity, nuance, and compassion; here, Ivy's story is deeply personal but also contextualized within women's stories throughout history. "We should have all the choices, every possible choice, when so much hasn't been our choice," her mom's friend, who herself had an abortion, tells her. "Agency over your own body is, like, the smallest, most basic right." While this message is the story's focus, Ivy's journey is also full of beauty: great music, a new closeness with Lorenzo, and an appreciation for the wonder of the natural world. There is much more to Ivy than the "bundle of cells" inside her--which, of course, is the point.

Reviewer: Rachel L. Kerns | Horn Book Magazine Issue: November, 2023

(2) K-3 Illustrated by Keisha Morris. This joyful depiction takes readers throughout the creative design and construction processes, from imagining and planning all the way up to large-scale buildings. Simple, rhythmic text features girls developing skills with small projects before moving on to the big and complex, adding knowledge and hands-on experience with new tools and materials as they go. Setbacks happen, frustrations and failures are acknowledged--and then seen as opportunities, "because failure isn't final. / It's where new ideas are made." Morris's cheerful, inclusive art was created with digitally collaged tissue paper. The contrast between the textured paper and the projects' sharp lines is eye-catching and adds another layer of connection to the text. The girls of this story imagine, learn, try, and persevere until they've built something new, beautiful, and useful. This ode to girl power should inspire tinkerers and future builders alike.

Reviewer: Laura Koenig | Horn Book Magazine Issue: March, 2023

(2) YA For troubled sixteen-year-old Alicia, the past year has been one of betrayal (she was cut out of her best friend's life "like a tumor"), parental divorce and dysfunction, and social isolation and slut-shaming. Sexual assault by a revered teacher has thrown her into a personal and academic tailspin, leaving her enraged and disillusioned with the adult world. Only through connections with new friends and with a girls' discussion group is Alicia able to see beyond her psychic pain and forge a stronger, healthier sense of self. Racial and cultural awareness (Alicia is white; new friend Deja is Black; another new friend, Geneva, is Pakistani and white) and the highlighting of multiple forms of sexuality and the power of women supporting women help broaden the story's scope beyond its indictment of pervasive predatory male behavior. Alicia's visceral first-person free-verse narrative, full of acerbic and angry barbs, makes for difficult reading at times. Readers are privy to all that she is processing, including her destructive choices and her inability to ask for the support she needs. Interspersed letters to the mythological Medusa express Alicia's modern-day emotions: "A woman doesn't get... / so mad that her hair turns to snakes / so mad that her rage turns blood to boulder / so mad that she withdraws into a cave and dares the world to follow / all on her own." Being able to sit down with compassionate peers and talk about things makes a world of difference.

Reviewer: Luann Toth | Horn Book Magazine Issue: May, 2023

(2) K-3 Illustrated by Hoda Hadadi. In 1930, Maryam "Milloo" Faruqi (the author's grandmother) lived in India and was in fifth grade when her parents told her she didn't need to go to school anymore. At that time, "this is what was expected" of girls. Milloo changed her parents' minds, completing high school and college. Reading was the gateway to physical and emotional harmony. "When she read, her thoughts danced, her mind breathed, and her heart hummed." After marriage, she was unhappy being a housewife, so she opened a school in her home, which led to several more schools in the region. Her legacy was providing education to thousands of girls and nurturing a love of reading and learning. Vivid verbs keep the text snappy, as, for example, Milloo "spun," "cha-chaed," "tiptoed," "snaked," and "danced" her way to school on a circuitous pathway. Paper collage illustrations in bright colors steal the show with lots of detail in textiles, which are embellished with stitching and gold-leaf accents. A glossary and author's note contextualize terms, provide additional historical background, and describe Milloo's other accomplishments, such as founding the Happy Home Schools in Pakistan. This visually impressive, heartwarming tale pays homage to a trailblazing advocate for literacy and education for girls in a predominantly Muslim context.

Reviewer: Julie Hakim Azzam | Horn Book Magazine Issue: March, 2023

(2) YA Based on family history, Leavitt's coming-of-age story is set in an 1890s Mormon settler community in Southern Alberta, Canada, at the eastern edges of the Rockies, and focuses on seventeen-year-old Rebecca. In an opening both startling and humorous, Leavitt begins: "Rebecca had heard her father and others call this land God's country often enough that she wasn't as surprised as she might have been to come upon him... He was dressed in his work clothes, but you knew God when you saw him." It's fitting that many of Rebecca's consequent ups-and-downs are driven by the desire to own the very piece of "God's country" that she finds so beautiful--an ­outlandish ambition for a woman. With her mother's support, she determines to earn the exorbitant $480 it will cost to buy the quarter section; in the meantime, her close-knit family and community offer rich, unpredictable ground for her efforts to learn and live with integrity--and without complaining. Ventures into midwifery and nursing with her mother; ­calamities of weather, domestic violence, and a devastating flu; ­competition for romance and talk of women's suffrage: all are fodder for Rebecca's articulate, funny ­self-examination and deepening growth. Always sensitive to the ­beauties of earth and sky, Rebecca longs for a return of the elk and buffalo, part of the author's tacit acknowledgment of local Indigenous peoples and the damage wrought by white ­expansion. Leavitt's writing is suffused with the beauty of the earth and sky.

Reviewer: Deirdre F. Baker | Horn Book Magazine Issue: March, 2023