School Library Journal Gr 9 Up-Emily Beam is a new student at Amherst School for Girls. There are rumors, of course, about why she has entered the school in January of her junior year, but none of them come close to reality. The truth remains only for Emily to replay over and over, each time revealing a bit more about the circumstances leading up to the day when her boyfriend entered the school library where she was working with her class, lured her into the stacks to talk, and then shot himself in the head. (By the way, If you're wondering why no one simply Googled Emily's mysterious past, her story is set in 1995, perhaps for that very reason.) As the teen acclimates to boarding-school life, she keeps her story close to her chest, but reveals herself little by little through the poems she writes and ultimately shares. Emily feels an affinity for her namesake, Emily Dickinson, who lived and wrote just down the street from ASG, and draws on her spirit to pour her emotions onto paper. And We Stay is a little gem of a book. Readers learn as much about Dickinson's beliefs and poetry as they do about friendship, first love, teen suicide, and even abortion-not an easy balancing act. Yet despite the heavy topics, the book feels sweet and poetic and never gratuitous. Budding poets may particularly appreciate Emily's story, but there is certainly something for anyone looking for a good read with a strong, believable female lead who is working her hardest to overcome tragedy.-Jill Heritage Maza, Montclair Kimberley Academy, Montclair, NJ (c) Copyright 2014. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

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Publishers Weekly Seventeen-year-old Emily Beam transfers to the Amherst School for Girls in the middle of her junior year carrying two secrets: her boyfriend Paul committed suicide after she broke up with him, and their breakup was motivated by her pregnancy and her parents' pressure on her to have an abortion. Grieving and guilty, Emily discovers writing poetry to express her feelings, and Hubbard forms the novel with the same blend of prose and verse she used in her critically acclaimed debut, Paper Covers Rock. Less successfully, Hubbard forces a connection between Emily and Amherst's most famous poet, Emily Dickinson, that never quite lives up to the younger Emily's claim that "[her] brain has been hijacked," despite her composing some charming Dickinson-style poetry. Hubbard's writing is elegant and emotional in both styles, and the revelation of Emily's history carries the first half of the book, though the plot falters when there is little of the past left to discover. Mature readers who enjoy a bit of melancholy and might spark to Dickinson will be in good company on Emily's journey. Ages 14-up. Agent: Jonathan Lyons, Lyons Literary. (Jan.) (c) Copyright PWxyz, LLC. All rights reserved.

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Book list *Starred Review* Like Paper Covers Rock (2011), Hubbard's sophomore novel has a boarding-school setting and a main character who writes poetry and draws inspiration from a famous writer. And also like Paper Covers Rock, this novel is accomplished, polished, and mixes prose and poetry to stunning effect. After Emily Beam discovers that she is pregnant and breaks up with her boyfriend, he walks into the school library, threatens Emily, and then shoots himself. After an abortion, Emily is sent away to the Amherst School for Girls, in Amherst, Massachusetts, which is located in the hometown of Emily's idol, Emily Dickinson. The spirit of Dickinson is everywhere even her voice echoes in Emily's head and as Emily immerses herself in Dickinson's 1,775 poems, she writes her anguish into poems of her own, which flood her brain constantly. Emily's path to healing involves moving back and forth in time, to memories of Paul, and sharing her poems with empathetic roommate, K. T. The third-person, present-tense voice is compelling. Sounding almost like stage directions ( Emily Beam is sighing all the time ), Hubbard's narrative tone will only make readers want to lean in closer. The poems themselves are insightful and poignant, illuminating the dark corners of Emily's psyche. And though Emily may be damaged and the winter of 1994 is long, happier times and spring seem on the horizon.--Kelley, Ann Copyright 2010 Booklist

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

Horn Book Colors by Elaine Bay. Little Lobo and his dog Bernabi deliver goods to their friends in the mercado. Detailed comics-style illustrations feature anthropomorphic creatures, objects, and places; colors are largely muted so they don't compete with the many items on the riotously bustling and crowded pages. Most objects are labeled in Spanish, like a visual dictionary, and cultural references (a cinema called Buquel; Cantinflas and Frida Kahlo puppets) are interspersed throughout. Glos. (c) Copyright 2019. 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 Little Lobo and his dog, Bernab, journey through a Mexican mercado delivering diverse goods to a variety of booths.With the aid of red words splattered throughout the spreads as labels, Ral the Third gives an introduction to Spanish vocabulary as Little Lobo, an anthropomorphic wolf, leaves his house, fills his cart with objects from his warehouse, and delivers them to the market's vendors. The journey also serves as a crash course in Mexican culture, as the images are packed with intertextual details such as food, traditional games, and characters, including Cantinflas, Frida Khalo, and Juan Gabriel. Readers acquainted with Ral the Third's characters from his Lowriders series with author Cathy Camper will appreciate cameos from familiar characters. As he makes his rounds, Little Lobo also collects different artifacts that people offer in exchange for his deliveries of shoe polish, clothespins, wood, tissue paper, paintbrushes, and a pair of golden laces. Although Ral the Third departs from the ball-pen illustrations that he is known for, his depiction of creatures and critters peppering the borderland where his stories are set remains in his trademark style. The softer hues in the illustrations (chosen by colorist Bay) keep the busy compositions friendly, and the halftone patterns filling the illustrations create foregrounds and backgrounds reminiscent of Roy Lichtenstein's pointillism.A culturally intricate slice of a lupine courier's life. (glossary) (Picture book. 4-7) Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

Publishers Weekly This picture book graphic novel by RaAºl the Third (Low Riders to the Center of the Earth) celebrates the richness of border-town culture. The artist shows Little Lobo and his dog BernabAc as they make deliveries to Mercado de ChauhtAcmoc la Curiosidad, "a maze of pathways, shops, and booths." Spanish and English words intermingle on the page as Little Lobo goes first to a warehouse to pick up items merchants have asked for ("clothes pins-pinzas para la ropa"), then heads for the market. Witty, stylish panel artwork crackles with funky comic energy, and the market churns with activity as merchants sell sweets (Little Lobo buys a churro), make piA±atas, and paint on velvet. Little Lobo brings the clothespins to SeA±or Duende, who gives him a comic book about his favorite luchador, El Toro. "It would be great if we could meet El Toro one day," Little Lobo sighs. Miraculously, as if the pleasures of churros and comics were not enough, he gets to give his hero a ride home. Most pleasing is the market's atmosphere of warmth and affection: "Siempre tiene prisa!" the jarmaker clucks fondly after Little Lobo: "Always in a hurry!" Spanish words define background objects throughout (fuego describes a fire breather's warm emanation) and a Spanish-to-English glossary concludes this inventive picture book. Ages 4-7. (Apr.) © Copyright PWxyz, LLC. All rights reserved.

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School Library Journal K-Gr 2-It is an exciting day for Little Lobo. Today, he is going to the market with his dog, Bernabé. The desert town is vibrant with commerce, street vendors, and an array of animal inhabitants. For Little Lobo there is no stopping; he absolutely enjoys greeting acquaintances, delighting in street performances, and fulfilling his job of delivering supplies at the market. Gonzalez has created a simple narrative that includes Spanish vocabulary, which is playfully positioned surrounding the many streets, food stores, and buildings, encouraging readers to say the Spanish words as they turn the pages. The cartoon images set a festive tone, inspired by El Mercado Cuauhtémoc in Juárez, Mexico, with a soft- toned autumnal palette. The book contains a glossary with the vocabulary words and their respective pronouns. VERDICT This picture book entertains and informs readers through fresh and engaging art, advancing Spanish vocabulary and cultural references. A winner.-Kathia Ibacache, Simi Valley Public Library, CA © Copyright 2019. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

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Book list Excellent for English and Spanish language learners alike, this bilingual book for young readers combines language acquisition and cultural themes, telling a simple story while giving readers a real feast for the eyes in its richly detailed, full-color cartoon scenes depicting the animal denizens of El Mercado. Little Lobo's day at the market involves running around everywhere delivering packages. While he's at it, readers can wander around the pages full of background action in the Richard Scarry-like scenes, filled with busy merchants and labyrinthine layouts, a maze of pathways, shops, and booths. Everything is inconspicuously labeled with Spanish terms, the dialogue is often translated for non-Spanish speakers, and the scenery references many aspects of Mexican culture, such as sugar skulls, Cantinflas and other icons, cultural dress, cuisine, folk music and dancing, Lucha libre, and much more. A helpful glossary at the end fills any gaps. This lively, inviting picture book offers readers a playful glimpse into a desert world surrounded by mountains and cactuses.--Kristina Pino Copyright 2019 Booklist

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

Kirkus A little girl shares a joy-filled rainy day with Mama. Mother-daughter pairings of swimsuits, flower bouquets, and bicycles are presented in small, bright vignettes on the endpapers of Cabrera’s cozy tale, serving as appetizers for the visual feast within. Impressively detailed scenes, from the first spread, which shows the child coming downstairs, to her mama’s artfully designed workspace to a later scene of the little girl drifting off to sleep haloed by stars and dreaming of day with her mother, are rendered with visible daubs of acrylic paint. They are complemented by alternating scenes of single objects, such as Mama’s teacup beside her daughter’s sippy cup, set against pastel backgrounds showing the strengthening of their bond through the daily actions mother and daughter share. Though much of the text is uneven in rhythm with no consistent movement to usher readers from page to page, it contains gems, such as a description of the vegetation on the sidewalk, “in the in-between. / It’s moss, Mama says. / It’s velvet, I say.” Still, the greatest delight is in the images that vibrantly showcase their simple, loving connection. In the book, the mother, daughter and, later, brother Luca all have gorgeous, varied hues of brown skin, with textured hair that is plaited, coily, and afro-puffed. (This book was reviewed digitally with 11-by-18-inch double-page spreads viewed at 48.3% of actual size.) A beautifully illustrated, slice-of-life ode of adoration for doting daughters and marvelous mamas. (Picture book. 4-8) Copyright © Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

Horn Book In the early morning, a young unnamed Black girl tiptoes through the house and past various sleeping family members, to be greeted by the smell of cinnamon and her mother's good-morning song. Even though the day is rainy, it's a wonderful time to "be everywhere Mama is." Throughout her day, the child makes clever observations about the similarities and differences between herself and her mother. While she has less toothpaste on her toothbrush, both she and Mama know to brush "round my teeth with little circles." As they prepare to go outside to take a nature walk, it's noted that "Mama's rain boots are / bigger than mine. / And they're red" -- however, both pairs make an excellent splash in puddles. The girl is also keen to acknowledge how she and her mother care for each other -- after her hair is combed, she returns the favor, accentuating her mom's thick curls with "the purply pink barrette...She calls it fuchsia." At the end of her day ("Our day is done earlier than / Mama and Papa's / It's just that way when you're growing"), mother and daughter read stories to each other. Drifting off to sleep, the young girl is content to dream, knowing "there'll be me and Mama." Celebrating the beautiful dark brown skin of the duo, and surrounded by various hues of blue, Cabrera's color-saturated illustrations, a mix of single pages and double-page spreads, add to the gentle charm of the conversational text. Large and small pairs of everyday objects appear on the endpapers, bolstering the celebration of the mother/daughter relationship. (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.

Book list Lush acrylic hues of color wash every double-page spread while spare text describes the tender feelings a small Black child with curly, high-bunched pigtails has for her beautiful mother. Simple words express the little one’s emotions as she eagerly wakes up in the morning to enjoy their daily activities together. Throughout the pages there are comparisons between Mama’s and daughter’s familiar objects: Mama’s cup (big) and mine (little); Mama’s toothbrush and mine (“I get less toothpaste”); Mama’s boots (tall and red) and mine (short and yellow). Raining? “The perfect day for boots and puddles,” says Mama, with joyous depictions of the two singing and splashing in the wet outdoors as silvery drops fall. After a good day, there are pajamas, giggles, hugs, and kisses before bedtime. A gorgeous blue blackness envelops the girl's thoughts as she spins some pictures of her day with Mama and dreams of another tomorrow. Endpapers identify the 15 items, both large and small, that are shown in the story. A warm tribute to a special family relationship and comforting home.

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

School Library Journal PreS-Gr 2—A young Black girl enjoys a rainy day alone with her mother, savoring each ordinary moment for the joyful expression of love it represents. From combing their hair to a song-filled walk under cloudy skies, every part of the day is cherished because it is spent together. Mama is as bright as the sun and daughter orbits around her, basking in the glow of her kindness and understanding. Told from the daughter's perspective, the simple yet lyrical prose shines with trust and pride in the bond the two share. The muted color palette and painterly style of the art evoke a cozy sense of security. While realistically portrayed, each image has a soft, dreamlike quality that also highlights the timelessness of the story. VERDICT A strong portrait of familial connection, this title captures the essence of unconditional love between parent and child, and is recommended for all picture book collections.—Sophie Kenney, Aurora P.L., IL

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Publishers Weekly Told from a first-person point of view, this quietly engaging picture book unfolds on a rainy morning, with a Black girl who “want to/ be everywhere Mama is.” Waking up before Papa and younger sibling Luca, the girl narrates aspects of the mother and daughter’s morning routine (“A shower is warm rain that gets you going”), comparing their respective cups and toothbrushes, oatmeal with toppings, and rain boots. Sensory details, fittingly tangential childlike observations, and familial dialogue make the narrative feel immediate and genuine (“I don’t like the bumblebee barrette, I say..../ She knows I mean just today”). Cabrera’s striking acrylic visuals recall painters such as Jordan Casteel and Maira Kalman. While a few of the girl’s lines feel nebulously philosophical (“Some things don’t let go. But for what?/ The stores are boxes filled with people”), the narrative offers an elegant testament to the love-filled bonds between child and parent. Ages 4–8. (Aug.)

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Publishers Weekly As in his classic novel Erasure, Everett portrays in this ingenious retelling of The Adventures of Huckleberry Finn a Black man who’s mastered the art of minstrelsy to get what he needs from gullible white people. Many of the same things happen as they do in Twain’s original: Jim escapes from enslavement on a Missouri farm and joins up with Huck, a white boy who’s faked his own death. Huck is fleeing from his abusive father, while Jim is hoping to find a way to free his wife and daughter. The main difference is in the telling. Jim narrates, not Huck, and in so doing he reveals how he employs “slave” talk (“correct incorrect grammar”) when white people can hear, to make them feel safe and superior. Everett also pares down the prose and adds humor in place of sentimentality. When Huck and Jim come upon a band of slave hunters, Huck claims Jim, who’s covered by a tarp, is a white man infected with smallpox (“We keep thinkin’ he gone die, then he just don’t”). Clever additions to the narrative include a tense episode in which Jim is fraudulently sold by a slaver to “Dixie” composer Daniel Decatur Emmett, who has Jim perform in blackface with his singing troupe. Jim’s wrenching odyssey concludes with remarkable revelations, violent showdowns, and insightful meditations on literature and philosophy. Everett has outdone himself. (Mar.)

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Kirkus Mark Twain's Adventures of Huckleberry Finn as told from the perspective of a more resourceful and contemplative Jim than the one you remember. This isn’t the first novel to reimagine Twain’s 1885 masterpiece, but the audacious and prolific Everett dives into the very heart of Twain’s epochal odyssey, shifting the central viewpoint from that of the unschooled, often credulous, but basically good-hearted Huck to the more enigmatic and heroic Jim, the Black slave with whom the boy escapes via raft on the Mississippi River. As in the original, the threat of Jim’s being sold “down the river” and separated from his wife and daughter compels him to run away while figuring out what to do next. He's soon joined by Huck, who has faked his own death to get away from an abusive father, ramping up Jim’s panic. “Huck was supposedly murdered and I’d just run away,” Jim thinks. “Who did I think they would suspect of the heinous crime?” That Jim can, as he puts it, “[do] the math” on his predicament suggests how different Everett’s version is from Twain’s. First and foremost, there's the matter of the Black dialect Twain used to depict the speech of Jim and other Black characters—which, for many contemporary readers, hinders their enjoyment of his novel. In Everett’s telling, the dialect is a put-on, a manner of concealment, and a tactic for survival. “White folks expect us to sound a certain way and it can only help if we don’t disappoint them,” Jim explains. He also discloses that, in violation of custom and law, he learned to read the books in Judge Thatcher’s library, including Voltaire and John Locke, both of whom, in dreams and delirium, Jim finds himself debating about human rights and his own humanity. With and without Huck, Jim undergoes dangerous tribulations and hairbreadth escapes in an antebellum wilderness that’s much grimmer and bloodier than Twain’s. There’s also a revelation toward the end that, however stunning to devoted readers of the original, makes perfect sense. One of the noblest characters in American literature gets a novel worthy of him. Copyright © Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

Library Journal The rules of engagement for Black people encountering white people are brutally clear in 1830s Missouri, a state with enslavement. Don't ever make a white person think you know something he doesn't, or you'll pay. In this virtuoso reworking of Twain's Adventures of Huckleberry Finn, it's the enslaved Jim who tells the tale. Heard from Jim's perspective, events look different than they did to Huck, because Jim is living inside a mask: deliberately hiding who and what he is and whatever aspirations he may have. For example, with his wife and family, Jim speaks clearly, even as he teaches his children to only mumble around white people, in order to give them what they like, a moment of correction. As in Twain's original, the action is fast and furious. The characters grab readers' attention and, with Jim and Huck, their hearts too. A twist near the end of the tale changes the nature of Huck and Jim's relationship dramatically. VERDICT Everett (English, Univ. of Southern California), author of The Trees and Erasure, has written an even richer and penetrating Adventures than Twain's already rich masterpiece. It will fly off library shelves.—David Keymer

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Book list Huckleberry Finn, acclaimed by many as a great American novel, has also been sharply criticized for its racist portrayal of Jim, the childlike “Negro slave” Huck befriends on their riverboat journey. In an astounding riposte, the much-lauded Everett (Dr. No, 2022) rewrites the story as a liberation narrative, told from Jim (or rather James’) point of view. Erudite, a student of philosophy, and a calm strategic thinker, James is adept at code shifting from his normal dignified speech and behavior patterns to the shuffling, aw-shucks demeanor white folks expect, and even gives “speech translation" lessons to the plantation's enslaved children (disturbingly similar to “The Talk” modern Black parents give their children about police encounters). When he is accused of robbery and murder, James flees with an initially gleeful Huck, who only gradually understands the terrifying reality of being a Black man with a price on his head. As Huck comes to acknowledge the depth of his relationship with James, and the "slave's" profound gifts, the boy is forced to recognize the illogic of white supremacy and privilege. Meanwhile James, determined to return and rescue his wife and daughter, takes the story in a completely different direction than the original, exemplifying the relentless courage and moral clarity of an honorable man with nothing to lose. An absolutely essential read.

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

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School Library Journal : Gr 5–8—Somewhere in contemporary Britain, "the man Jack" uses his razor-sharp knife to murder a family, but the youngest, a toddler, slips away. The boy ends up in a graveyard, where the ghostly inhabitants adopt him to keep him safe. Nobody Owens, so named because he "looks like nobody but himself," grows up among a multigenerational cast of characters from different historical periods that includes matronly Mistress Owens; ancient Roman Caius Pompeius; an opinionated young witch; a melodramatic hack poet; and Bod's beloved mentor and guardian, Silas, who is neither living nor dead and has secrets of his own. As he grows up, Bod has a series of adventures, both in and out of the graveyard, and the threat of the man Jack who continues to hunt for him is ever present. Bod's love for his graveyard family and vice versa provide the emotional center, amid suspense, spot-on humor, and delightful scene-setting. The child Bod's behavior is occasionally too precocious to be believed, and a series of puns on the name Jack render the villain a bit less frightening than he should be, though only momentarily. Aside from these small flaws, however, Gaiman has created a rich, surprising, and sometimes disturbing tale of dreams, ghouls, murderers, trickery, and family.—Megan Honig, New York Public Library

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