Horn Book Audre lives in Trinidad; Mabel in Minneapolis. The two young women meet when Audre, caught by her mother in an embrace with her girlfriend, is sent away to Minneapolis to stay with her father (who is close friends with Mabel's parents). The girls' alternating voices are distinct, even if a plethora of flashbacks and side stories crowd out the main narrative. The prose is sensuous and distinctive; themes of Black power (especially Black lesbian power) are strong; you won't see the ending coming. (c) Copyright 2021. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Kirkus In Petrus' bewitching debut, Aquarius meets Scorpio and contemplates what comes next.Audre has found religion in the form of Neri, the pastor's granddaughter, much to the chagrin of her religious mother. Sent from Trinidad to Minneapolis to live with her father, Audre is afraid of leaving her beloved grandmother, being cut off from her home culture, and starting over in a new country. Meanwhile, fascinated with Whitney Houston and the singer's supposed romance with a female friend, Mabel is attempting to fit the pieces of her sexuality together. Although she's been feeling sick, she agrees to entertain her father's friend's newly arrived daughter, and Audre and Mabel grow close over the summer. As the school year ramps up, Mabel can no longer ignore her chronic fatigue and pain and must grapple with life-altering news. She finds comfort in reading an old book of her parents', learning about astrology, and seeking Audre's healing presence. Audre's voice is lyrical, and readers will practically hear her Trinidadian accent as she overcomes her fears and self-doubt. Through a nonlinear storyline and two secondary characters, Afua and Queenie, the author beautifully interjects elements of magical realism while delving into the complexities of spirituality. Readers seeking a deep, uplifting love story will not be disappointed as the novel covers both flourishing feelings and bigger questions around belief and what happens when we face our own mortality. Main characters are black.A cosmically compelling read. (Fiction. 14-adult) Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

School Library Journal Gr 8 Up—Sixteen-year-olds Audre and Mabel are from different parts of the world, but over the course of a single bittersweet year they meet and fall in love. Audre has been sent from her home in Trinidad to Minneapolis after her very religious mother finds out she has been having a romantic relationship with another young woman. Meanwhile, Mabel, who has had a boyfriend but has never really been in love, finds herself diagnosed with terminal cancer. At a time when both young women are in desperate need of connection, they find it in each other. Both characters have unique and recognizable voices. Audre's "Trini" accent and culture, in particular, come across loud and clear on the page. Intercalary poetry also enhances the story and will appeal to fans of verse novels. The love story is juxtaposed against the tragic story of a fictional wrongfully incarcerated man, whose death row memoir resonates with Mabel's experience of knowing her death is likely near. This becomes a part of Mabel's last wish through an organization like "Make a Wish Foundation." The wrongful incarceration theme makes this title particularly relevant given the current conversations centered around the wrongful convictions of the "Central Park 5." VERDICT Told in alternating viewpoints and deeply romantic, this title will appeal to fans of Nicola Yoon's The Sun Is Also a Star or Becky Albertalli and Adam Silvera's What If It's Us.—Kristin Lee Anderson, Jackson County Library Services, OR

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Publishers Weekly After 16-year-old Audre’s homophobic mother catches her in the arms of her girlfriend, she is shipped from her home in Trinidad to her father in Minneapolis. There, Audre is reunited with her childhood playmate, Mabel, who is slowly coming to terms with her own sexuality, based on her feelings for her ex-boyfriend, her best friend, and the late, great Whitney Houston. Mabel is quickly smitten with Audre, and the girls begin to grow closer until an unexpected medical diagnosis threatens to halt their budding love story. Faced with her own mortality, Mabel seeks out her life’s meaning in the stars and in the words of an infamous death row inmate, while Audre explores her loving conjurer grandmother’s spiritual teachings for an impossible cure for Mabel’s disease. Enfolding lyrical poetry entries told in the girls’ alternating voices that correspond to each “season” of the zodiac, Petrus’s earnest debut successfully, touchingly combines elements of fantasy, bittersweet realism, and potent, affecting spirituality to tell the coming-of-age story of two complex, beautifully drawn young black women whose friendship and love draw them together even as Mabel’s failing health pushes them apart. Ages 14–up. (Sept.)

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Book list Trinidadian native Audre uses the labels placed upon her as a shield, fearing those around her will discover the real reason her mother sent her to live with her distant father in Minneapolis: she was caught wrapped in the arms of another girl. Struggling with her own questions surrounding her sexuality and depleting health, Mabel holds no faith that she's going to have anything in common with Audre, the daughter of a family friend who's just arrived from Trinidad and has a bit of a church-girl reputation. But they find themselves drawn to each other in inexorable ways. Told through unflinching prose and poetry laced with astrological themes, Petrus' work breaks the mold of traditional writing and uses unconventional dialogue and voice to bring life to the story of two authentic, unapologetic Black girls as they face the hardest truths head on and discover everlasting love that reaches even the most distant corners of the cosmos. Through the intersplicing of poetry, Petrus provides compelling depth to both Audre and Mabel while conveying the powerful message that those we love on earth remain with us through a connection that can only be described as celestial. Striking an agile balance between humor and heartbreak, Petrus delivers an immersive queer romance set in in a world much like our own but touched with the slightest tint of magic realism.--Tiana Coven Copyright 2010 Booklist

From Booklist, Copyright © American Library Association. Used with permission.

School Library Journal PreS-Gr 2-In this picture book charmer, two insects spot a beautiful peach. They want to eat it, but a praying mantis announces that it is the last peach of the season. Another bug says it looks good, but it could be rotten inside. If they ate it, would they feel sick? The two main insects argue and debate, each one getting a different text font color to make the conversation parts clear. Is the peach magic? Should they share it with others? Perhaps write it an admiring poem? When they get into a physical fight over which one of them should claim it, they declare themselves unworthy, and then leave the peach alone. After they depart, the final image reveals a twist. The glowing orb they have been admiring is actually the sun, positioned so it appears to hang on a tree branch. The collage illustrations are made up of many different colors and types of paper that include words in French, while the end pages depict several varieties of peaches in a luscious photorealistic style. VERDICT Use with Du Iz Tak? and James and the Giant Peach to discuss conflict resolution or for a plant-themed storytime.-Lucinda Snyder Whitehurst, St. Christopher's School, -Richmond, VA © Copyright 2019. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Kirkus Two motley insects contemplate eating the last peach of the season.Gordon presents children with a timeless, rather adult dilemma: how to act in the face of irresistible temptation. Here, two thumb-shaped flylike creaturesone dressed in a Homburg hat and blue-and-white-striped body suit, the other in a red print shirtencounter a sumptuous peach, rosy and golden as the setting sun, still on the branch, and begin to discuss its merits. "It's the most beautiful peach I've seen ALL summer," says the bug dressed in blue. "Wouldn't you agree?" "I do agree," responds the red-shirted friend: "In fact, it's the most beautiful peach I've seen in ALL the summers." The two quickly decide they "must eat that peach at once," but with one page turn, a venerable praying mantis, clad in top hat and cane, stops them, warning: "You can't eat that peach! It's the last peach of the season." In delightfully clever double-page spreads, the two friends then go back and forth, hilariously debating whether to devour the peach together or alone, to share it with others or to leave it entirely. Gordon's witty, collagelike mixed-media illustrations and spare, dialogue-only text not only get at the gnarly pit of indecisionserving up provocative behavioral binaries such as impulsivity versus reflection, indulgence versus sacrifice, hoarding versus sharingbut offer a surprise ending as well.Luscious, light, and thought-provoking: decidedly not to be missed! (Picture book. 3-8) Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

Publishers Weekly This existential meditation by Gordon (Herman and Rosie) deals with some big questions. Two wide-eyed insects contemplate a red-orange globe that hangs suspended amid green leaves. "Oh my," one exclaims. "Now THAT is a fine peach!" They begin the discussion agreeably enough ("Let's eat it. At once!"), but as others weigh in ("You can't eat that peach!"), attitudes shift to anxiety ("We would probably... get big tummy aches"), then to fantasy ("What if we ate it and could suddenly do magical things?") before spiraling into frank conflict: "''That is MY peach!' 'No, it's MY peach!''" Gordon composes leafy collage-style spreads in paper accented with snippets of vintage French type. The insects bear more than a passing resemblance to the clowns in Beckett's Waiting for Godot; one has a hat and a curling proboscis, while the other sports antennae and a red schnozz. In the wistful ending, the two friends decide that the object of their desire is too beautiful to eat, denying themselves the pleasure they've been anticipating all along. And after they leave, another surprise awaits readers. Some desires, this sly fable suggests, may be founded on illusion. Ages 4-8. (May) © Copyright PWxyz, LLC. All rights reserved.

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Book list Do you dare to eat a peach? Certainly the endpapers of this book, which illustrate a variety of mouthwatering peaches, inspire one to do so. Two small, long-nosed insects contemplate the beauty of a particular peach (the very last one of the whole summer), which hangs on a tree above them. They decide they must eat it at once! But when a third green insect with top hat and cane arrives, he cries, Stop! You can't eat that peach! It's the last peach of the season. Hmm. Another tubby, winged character arrives, suggesting that the peach may be stinky and rotten on the inside. Ugh. Well, they could share the peach with all their friends . . . or one could keep it from the other and devour it. Suspense builds, and the magnificent peach remains hanging uneaten, to be admired for its beauty. Contrasting font colors make this a perfect read-aloud for more than one speaker. Collages of fragments of printed words in French, combined with artwork done in watercolor, crayon, and pencil, are surrounded by generous white space, which offsets the round, juicy, delectable peach and the somewhat wacky sartorial dress of the bug-eyed insects with humor and delight. The final surprise ending gives a subtle nod to the ephemeral nature of desire.--Lolly Gepson Copyright 2019 Booklist

From Booklist, Copyright © American Library Association. Used with permission.

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Publishers Weekly “The truth is, everybody lies,” observes New Yorker staff writer and National Book Critics Circle award winner Keefe (Say Nothing) in this gripping investigation into a young man’s mysterious death in 2019 London. Surveillance footage shows Zac Brettler, 19, jumping from a fourth-story apartment balcony into the Thames, apparently fleeing for his life. The man living in the apartment, a middle-aged gangland enforcer named Verinder Sharma, died a year later, stymieing Scotland Yard’s criminal investigation. The only other witness, a businessman named Akbar Shamji, was caught lying to the police and offered no help beyond an initial bombshell revelation, disclosed to Zac’s grieving parents shortly after his death, that Zac had for some reason fooled him and Verinder into thinking he was the son of a Russian oligarch. In between piecing together the facts, Keefe zooms out, vividly portraying the morass of the modern London underworld, a “twenty-four-hour laundromat for dirty money... full of crooks with pretensions to legitimacy and businessmen who seem a little crooked.” Keefe’s approach is profoundly humane, particularly in his intimate interviews with Zac’s parents, Matthew and Rachelle, who convey a deep desire to understand their late son. Despite the murky material, Keefe arrives at an artful and clarifying explanation. It’s a remarkable new turn for the celebrated author. Agent: Tina Bennett, Bennett Literary. (Apr.)

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Kirkus A tragic death in a transformed city. Keefe, the author of some of this century’s finest nonfiction, has crafted another masterwork. This is a penetrating portrait of a young man destroyed by malignant influences given free rein in a global hub of capitalist excess. In November 2019, 19-year-old Zac Brettler leapt from the fifth-floor balcony of a luxury apartment in London, falling to his death in the Thames. But this was no straightforward suicide. Brettler, well-off but not rich, had become fixated on opulence, spending nights on social media admiring the “glitzy, mercenary, aspirational culture” embodied by foreign billionaires who’d bought mansions and soccer clubs in his city. Hoping to join their number, he contrived a false identity that led to his undoing. Posing as “Zac Ismailov,” a Russian oligarch’s son, Brettler befriended shady entrepreneurs. At 18, he showed his real father—who works in finance but isn’t “flashy,” Keefe writes—an authentic-looking bank statement for a personal account holding about $1 million. Keefe uncovers details that suggest Brettler jumped to escape from one of his new purported friends, a “violent” extortionist. Keefe might be our sharpest chronicler of the intersection of criminal opportunism and institutional fecklessness. The author finds witnesses and writes of the “bizarre passivity of Scotland Yard,” decimated by budget cuts. He tallies the harm done by decades of deregulation in London, where the financial sector is stacked with “professional facilitators eager to help protect or conceal a dubious fortune.” And he closely observes his real-life characters, sensitively showing the very different ways in which Brettler’s parents processed their pain. This is powerful reporting, a potential classic about the dangerous allure of a city remade as “a twenty-four-hour laundromat for dirty money.” An exemplary account of naïveté, wealth, and menace, impeccably told by a top-notch journalist. Copyright © Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

Publishers Weekly Like still waters, de la Peña (A Nation's Hope) and Robinson's (Gaston) story runs deep. It finds beauty in unexpected places, explores the difference between what's fleeting and what lasts, acknowledges inequality, and testifies to the love shared by an African-American boy and his grandmother. On Sunday, CJ and Nana don't go home after church like everybody else. Instead, they wait for the Market Street bus. "How come we don't got a car?" CJ complains. Like many children his age, CJ is caught up in noticing what other people have and don't have; de la Peña handles these conversations with grace. "Boy, what do we need a car for?" she responds. "We got a bus that breathes fire, and old Mr. Dennis, who always has a trick for you." (The driver obliges by pulling a coin out of CJ's ear.) When CJ wishes for a fancy mobile music device like the one that two boys at the back of the bus share, Nana points out a passenger with a guitar. "You got the real live thing sitting across from you." The man begins to play, and CJ closes his eyes. "He was lost in the sound and the sound gave him the feeling of magic." When the song's over, the whole bus applauds, "even the boys in the back." Nana, readers begin to sense, brings people together wherever she goes. Robinson's paintings contribute to the story's embrace of simplicity. His folk-style figures come in a rainbow of shapes and sizes, his urban landscape accented with flying pigeons and the tracery of security gates and fire escapes. At last, CJ and Nana reach their destination-the neighborhood soup kitchen. Nana's ability to find "beautiful where he never even thought to look" begins to work on CJ as the two spot people they've come to know. "I'm glad we came," he tells her. Earlier, Nana says that life in the deteriorated neighborhood makes people "a better witness for what's beautiful." This story has the same effect. Ages 3-5. Agent: Steven Malk, Writers House. (Jan.) © Copyright PWxyz, LLC. All rights reserved.

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Book list CJ and his nana depart church and make it to the bus stop just in time to avoid an oncoming rain shower. They board the bus, and while CJ is full of questions and complaints (why don't they have a car? why must they make this trip every week? and so forth), Nana's resolute responses articulate the glories of their rich, vibrant life in the city, as presented by the bus' passengers and passages. A tattooed man checks his cell phone. An older woman keeps butterflies in a jar. A musician tunes and plays his guitar. At last the pair arrive at the titular destination and proceed to the soup kitchen where, upon recognizing friendly faces, CJ is glad they came to help. Robinson's bright, simple, multicultural figures, with their rounded heads, boxy bodies, and friendly expressions, contrast nicely with de la Peña's lyrical language, establishing a unique tone that reflects both CJ's wonder and his nana's wisdom. The celebratory warmth is irresistible, offering a picture of community that resonates with harmony and diversity.--Barthelmess, Thom Copyright 2015 Booklist

From Booklist, Copyright © American Library Association. Used with permission.

School Library Journal K-Gr 2-After church on Sundays, CJ and his nana wait for the bus. It's a familiar routine, but this week CJ is feeling dissatisfied. As they travel to their destination, the boy asks a series of questions: "How come we gotta wait for the bus in all this wet?" "Nana, how come we don't got a car?" "How come we always gotta go here after church?" CJ is envious of kids with cars, iPods, and more freedom than he has. With each question, Nana points out something for CJ to appreciate about his life: "Boy, what do we need a car for? We got a bus that breathes fire." These gentle admonishments are phrased as questions or observations rather than direct answers so that CJ is able to take ownership of his feelings. After they exit the bus, CJ wonders why this part of town is so run-down, prompting Nana to reply, "Sometimes when you're surrounded by dirt, CJ, you're a better witness for what's beautiful." The urban setting is truly reflective, showing people with different skin colors, body types, abilities, ages, and classes in a natural and authentic manner. Robinson's flat, blocky illustrations are simple and well composed, seemingly spare but peppered with tiny, interesting details. Ultimately, their destination is a soup kitchen, and CJ is glad to be there. This is an excellent book that highlights less popular topics such as urban life, volunteerism, and thankfulness, with people of color as the main characters. A lovely title.-Anna Haase Krueger, Ramsey County Library, MN (c) Copyright 2014. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.