Book list The debut title from Christopher Myers' imprint, Make Me a World, tells the story of a girl named Jam who lives in a world without evil or so she's told. In the town of Lucille, monsters were overcome in a long-past revolution, so Jam is more than a little surprised when Pet, a creature her mom paints, comes to life and declares that he has come to hunt a monster and he needs her help. Though a YA novel, this will appeal to readers across age ranges. Younger readers will enjoy the fantastical story line itself, while older readers will be able to look more deeply into its themes and pull out the social commentary on the hidden evils of our world that Emezi creatively weaves into the story. Just like Pet gently encourages Jam to see things unseen, to not be afraid, and to not forget, this book encourages its readers to do the same. Because as Jam notes, Yes, people forget. But forgetting is dangerous. Forgetting is how the monsters come back. --Florence Simmons Copyright 2019 Booklist

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

Library Journal Transgender teen Jam has grown up in utopian Lucille, where everyone is accepted and bad things don't exist, with her artist mom and easygoing dad. Jam is selectively mute and communicates mostly by sign language with her family and friend Redemption. But her gentle world changes when she accidentally bleeds onto one of her mother's canvases, and a creature is born out of the blood. The beast, called Pet, informs Jam that he is there to hunt a human monster that exists in Redemption's house. Jam helps Pet identify and capture the monster, and in the process, change idyllic Lucille forever. This work of speculative fiction is a National Book Award finalist and the first to be published in Christopher Myers's new imprint, Make Me a World, and so it seems fitting that Myers himself narrates the book. Myers handles the narration with ease, creating an atmospheric setting. Pet is performed in a deep voice, sometimes quietly, and at other times aggressively with sinister inflections. The more intense parts of the story—when the hunted monster and his crimes are identified—are properly expressed through his faster pacing and increasingly emotional tone. VERDICT This title will have plenty of crossover appeal; younger listeners may respond to the fantasy/horror aspect of the story, while more mature or thoughtful listeners will be drawn to the allegorical aspects of the story, with its themes of good vs. evil, bravery, trust, vengeance, and unconditional acceptance.—Julie Paladino, formerly with East Chapel Hill High School, Chapel Hill, NC

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School Library Journal Gr 9 Up—Transgender teen Jam has grown up in utopian Lucille, where everyone is accepted and bad things don't exist, with her artist mom and easygoing dad. Jam is selectively mute and communicates mostly by sign language with her family and friend Redemption. But her gentle world changes when she accidentally bleeds onto one of her mother's canvases, and a creature is born out of the blood. The beast, called Pet, informs Jam that he is there to hunt a human monster that exists in Redemption's house. Jam helps Pet identify and capture the monster, and in the process, change idyllic Lucille forever. This work of speculative fiction is a National Book Award finalist and the first to be published in Christopher Myers's new imprint, Make Me a World, and so it seems fitting that Myers himself narrates the book. He handles the narration with ease, creating an atmospheric setting. Pet is performed in a deep voice, sometimes quietly, and at other times aggressively, with sinister inflections. The more intense parts of the story—when the hunted monster and his crimes are identified—are properly expressed through his faster pacing and increasingly emotional tone.VERDICT Younger listeners may respond to the fantasy/horror aspect of the story, while older, more thoughtful listeners will be drawn to the allegorical aspects of the audio, with its themes of good vs. evil, bravery, trust, vengeance, and unconditional acceptance.—Julie Paladino, formerly with East Chapel Hill High School, Chapel Hill, NC

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Horn Book In a haunting work of speculative fiction incorporating African diaspara cultural markers, adolescent Jam (a transgender hearing person who communicates selectively, using both sign language and vocal speech) lives in a utopian town now free of ‘monsters’ (oppressors and manifestations of evil). When a creature in one of her mother's paintings comes to life, Jam learns that it's hunting a monster--a monster that lives in Jam's best friend's house. The plot moves steadily as Jam investigates the creature's claims, and the story intensifies to a startling climax. (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.

School Library Journal Gr 7 Up—The only world Jam has ever known is that of Lucille, a town where the angels have ostensibly banished the monsters and dismantled the structures that allowed monsters and monstrous deeds to pervade. Lucille is a post-prison, post–school shooting, post–police brutality society. A society where someone like Jam, a selectively mute transgender teen, can live with complete acceptance, support, and love. Still, she can feel the hard truths of the world, can sense them in the air, hear them in words unsaid. When Jam steals into her mother Bitter's painting studio and unleashes Pet, a winged, horned, eyeless creature and monster hunter, from one of the paintings and into their world, life as she's known it begins to dissolve. Jam must confront the harsh realities of her world as she tentatively partners with Pet and ventures forward to avenge a wrong not yet discovered. This is a heart-stirring atmospheric page-turner, a terrific and terrible yet quiet adventure. Emezi spins a tale that defies categorization as strikingly as their characters, forcing readers to deeply rethink assumptions about identity, family structure, and justice. VERDICT A riveting and important read that couldn't be more well timed to our society's struggles with its own monsters.—Jill Heritage Maza, Montclair Kimberley Academy, NJ

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Kirkus Teenager Jam unwittingly animates her mother's painting, summoning a being through a cross-dimensional portal.When Pet, giant and grotesque, bursts into her life one night, Jam learns it has emerged to hunt and needs the help of a human who can go places it cannot. Through their telekinetic connection, Jam learns that though all the monsters were thought to have been purged by the angels, one still roams the house of her best friend, Redemption, and Jam must uncover it. There's a curious vagueness as to the nature of the banished monsters' crimes, and it takes a few chapters to settle into Emezi's (Freshwater, 2018) YA debut, set in an unspecified American town where people are united under the creed: "We are each other's harvest. We are each other's business. We are each other's magnitude and bond," taken from Gwendolyn Brooks' ode to Paul Robeson. However, their lush imagery and prose coupled with nuanced inclusion of African diasporic languages and peoples creates space for individuals to broadly love and live. Jam's parents strongly affirm and celebrate her trans identity, and Redemption's three parents are dedicated and caring, giving Jam a second, albeit more chaotic, home. Still, Emezi's timely and critical point, "monsters don't look like anything," encourages our steady vigilance to recognize and identify them even in the most idyllic of settings.This soaring novel shoots for the stars and explodes the sky with its bold brilliance. (Fantasy. 14-18) Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

Publishers Weekly Carnegie Medal–nominee Emezi (Freshwater for adults) makes their young adult debut in this story of a transgender, selectively nonverbal girl named Jam, and the monster that finds its way into their universe. Jam’s hometown, Lucille, is portrayed as a utopia—a world that is post-bigotry and -violence, where “angels” named after those in religious texts have eradicated “monsters.” But after Jam accidently bleeds onto her artist mother’s painting, the image—a figure with ram’s horns, metallic feathers, and metal claws—pulls itself out of the canvas. Pet, as it tells Jam to call it, has come to her realm to hunt a human monster––one that threatens peace in the home of Jam’s best friend, Redemption. Together, Jam, Pet, and Redemption embark on a quest to discover the crime and vanquish the monster. Jam’s language is alternatingly voiced and signed, the latter conveyed in italic text, and Igbo phrases pepper the family’s loving interactions. Emezi’s direct but tacit story of injustice, unconditional acceptance, and the evil perpetuated by humankind forms a compelling, nuanced tale that fans of speculative horror will quickly devour. Ages 12–up. Agent: Jacqueline Ko, Wylie Agency. (Sept.)

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Kirkus It's a quiet day, until."I have a bot!" An excited child's happiness is short-lived, for the remote-controlled toy escapes its wireless tether and begins an ascent up the side of a skyscraper. The building's doorman launches a race to recover the bot, and soon everyone wants to help. Attempts to retrieve the bot, which is rendered as a red rectangle with a propeller, arms, and a rudimentary face, go from the mundanity of a broom to the absurda bright orange beehive hairdo and a person-sized Venus' flytrap are just some of the silly implements the building's occupants use to try to rein in the bot. Each double-page spread reveals another level of the buildingand further visual hijinksas the bot makes its way to the top, where an unexpected hero waits (keep an eye out for falling bananas). The tall, narrow trim size echoes the shape of the skyscraper, providing a sense of height as the bot rises. Text is minimal; short declarations in tidy black dialogue bubbles with white courier-style typeface leave the primary-colored, blocky art to effectively carry the story. Facial expressionsboth human and botare comically spot-on. The bot-owning child has light skin, and there are several people of color among those trying to rescue the bot. One person wears a kufi.The visual details invite interaction, making it a good choice for storytime or solo inspection. (Picture book. 2-6) Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

Horn Book After a child's remote-control robot flies away in front of an apartment building, the building's residents try to help retrieve it (‘My broom may reach that bot!’). The book's tall trim size reflects the building's narrow verticality. Yang's blocky, mid-century modern art aesthetically complements this dynamic, easy-to-read story that's half wonderfully wacky caper and half salute to community. (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 The residents of a tall, narrow apartment building, the shape of which is mirrored in the book's trim size, band together to try and catch a young boy's runaway bot. Technically more of a drone, this red, rectangular bot is topped with a black propeller that is taking it ever higher into the sky, despite cries of Stop! Bot! As the bot passes each floor's windows, the building's tenants lean out and try to snag it with everything from a giant spoon and long-handled broom to a baseball glove to a hungry-looking Venus flytrap. The illustrations resemble cut-paper collages, made with basic shapes and muted colors. Kids will have fun spotting the different apartment residents and guessing how they'll try to help the boy. Word repetition and short sentences, appearing exclusively as speech-bubble dialogue, make this picture book a great choice for beginning readers. An unexpected rooftop surprise will leave youngsters with a happy resolution and smiles on their faces.--Julia Smith Copyright 2019 Booklist

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

Publishers Weekly The action in this urban interlude unfolds in front of a city apartment building whose narrow shape is echoed by the book's tall, thin trim size. Yang (Bus! Stop!) constructs his spreads using a palette of brick red and sandstone, slate and cornflower blue. A family strolls by the building's entrance, the younger brother flying a remote-controlled toy. "I have a bot!" he announces to the doorman. Suddenly the bot starts rising: "Stop! BOT!" the family cries. The doorman leaps into action and heads up the apartment steps. Outside the building, neighbors peer out of their windows, proposing ideas: "My broom may reach the bot!" one apartment dweller cries, poking a push broom out his window. The bot flies higher. "Can my fork and spoon snag your bot?" a cook says, making a grab with impossibly long implements. The camera angle rises from story to story; at the very top, the bowed legs of a large, furry creature come into view, the family's unlikely rooftop savior-so long as there are bananas to trade. Yang works within the constraints of the building's form to generate intriguing possibilities presented with clarity and wit. Ages 2-5. Agent: David Goldman, the David Goldman Agency. (July) © Copyright PWxyz, LLC. All rights reserved.

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School Library Journal PreS-Gr 1—In this book, a boy is enjoying flying his robot outside. He suddenly loses track of the flying bot and desperately wants to get it back. The residents of a building attempt to help him get his robot back as it sails higher and higher alongside the building. Each neighbor uses a unique method to try and stop the bot. These include a trombone, a brush, and silverware among others. These varying methodologies embody the diversity of the hobbies and identities of the people living in the building. The childlike nature of the book's illustrations make them visually inviting for young children. Geometric shapes are used to illustrate the buildings and windows, and bright pastel colors are blended with vibrant primary colors to create a soft and pleasant look. VERDICT Yang depicts a group of people from different backgrounds working together to complete a task in this eye catching text; a solid title on teamwork and unity.—Deanna Smith, Pender County Public Library, NC

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Publishers Weekly In this frank account, Girls cocreator Dunham (Not That Kind of Girl) takes an unsparing look at the physical and emotional costs of her first decade in the spotlight. Pre-Girls chapters hum with the energy of a downtown N.Y.C. memoir, with Dunham furiously writing scripts, casually collaborating with the pre-fame Safdie brothers, and having questionable sex. After Girls enters the picture in 2011, the book’s three central relationships click into focus: the hot-and-cold one between Dunham and her Girls cocreator Jenni Konner; the gradually devastating one between Dunham and her then boyfriend Jack Antonoff; and the mercurial, often-debilitating one between Dunham and her own body. As she recounts surgery after surgery seeking relief from a complex set of chronic conditions including Ehlers Danlos syndrome and endometriosis, Dunham wincingly takes stock of all the ways she ignored physical, emotional, and spiritual signals to slow down, pushing through her pain until she developed an addiction to Klonopin, broke up with Konner and Antonoff, and moved to London to rebuild her life. Though the subject matter is heavy, Dunham’s self-deprecating humor and penchant for gossipy anecdotes provide crucial counterweight. Readers put off by the author’s past brashness need not apply, but fans of Girls and Dunham’s previous book will be more than satisfied. Agent: Bill Clegg, Clegg Agency. (Apr.)

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