Publishers Weekly Immigration lawyer Burden traces the exhilarating start and excruciating dissolution of her two-decade marriage in this bruising debut. Dividing the narrative into five acts, Burden recounts how, during the Covid pandemic, her husband of 20 years abruptly walked out on her and their three children without explanation. After he left, Burden desperately searched for answers, blaming herself and relitigating their idyllic courtship, looking for signs of his unhappiness in his occasional coldness and passing moments of rigidity. As her husband’s communication grew less frequent and he refused to see their children, she came to accept that she may have never truly known him. Then he initiated vicious divorce proceedings, transforming from “a benign stranger wandering out of my life” to “an adversary, determined to win.” After the divorce was finalized, Burden published a “Modern Love” essay in the New York Times, breaking an emotional dam within her and allowing her to finally move on from her recursive cycle of self-blame. With unsparing emotional clarity, Burden examines the often-baffling ways relationships can fall apart, and charts a path for people looking to reassemble their own lives. It’s a gut punch. Agent: Bretne Bloom, Book Group. (Jan.)

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Book list Burden’s debut memoir explores the emotional journey she embarked upon after her husband of two decades unexpectedly left her. Born into wealth and privilege, Burden’s charmed life seemed even more perfect after she met her future husband, James. The couple and their three children lived in a luxury Tribeca apartment and summered on Martha’s Vineyard, attending endless parties and joining an exclusive tennis club. But their idyllic life suddenly falls apart when Burden finds out that James is having an affair in the early days of the COVID-19 pandemic; shortly after, he announces he is leaving her. Left to pick up the pieces, she struggles to comprehend what went wrong and if she could be to blame. She no longer recognizes the man she bound her life to; he suddenly seems like a stranger. This detailed narrative of what happens after the end of a marriage recounts the many pathways Burden traveled to understand what happened and to begin building a new life.

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

Kirkus The story of a woman’s surprising divorce and her attempt to build anew. After Burden’s husband of 20 years walked out during the Covid-19 pandemic lockdown, her stepmother tried to explain the checkered response of their wealthy community: “There is no script for divorce, especially one as dramatic as yours.” The author’s debut expands and fine-tunes the piece she submitted to “Modern Love,” theNew York Times column, tracing her ex-husband James’ transformation from reliable partner to detached stranger to legal adversary. This more complete narrative reveals the amplified stakes surrounding the collapse of Burden’s marriage: financial, familial, and societal. The latter half of Burden’s book, which describes grappling with the logistics of disentangling from James and finding new independence, strength, and compassion, lacks some of the raw emotional vulnerability that marked herTimes contribution. But these chapters do expose the reaction of her wider circle, both the cold comments and the surprisingly supportive ones, and the expectations of women of her social status. (The author is a descendant of the Vanderbilts, with media founders, international style icons, and hedge fund executives scattered through her family tree.) It is difficult to completely erase all hints of society-page voyeurism—this is, after all, the world of keyed beach access passed down through generations, where private club membership is an item negotiated in marital separation. However, if Burden’s privilege remains in the frame, so does its attendant social elegance. In reclaiming her voice and story, Burden refuses to keep the silence and make the excuses as implicitly expected by society and explicitly demanded by her ex, and she remains charitable and gracious even when she does not have to be. This balance imbues her story with a certain power as both the missing script for would-be commenters and a radical extension of kindness toward herself. A measured, empathetic, and modern response to an enraging callousness. Copyright © Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

School Library Journal PreS-Gr 2—This well-illustrated and sweet family tale centers on the experiences of a transgender boy. Like Erica Silverman's Jack (not Jackie), this title portrays parental support and love between siblings. In this story, Aidan has not yet met the baby who will be his sibling, and that's what has him worried. Will the baby like sea horse or penguin-themed outfits better? If Aidan helps paint the nursery to look like the sky, maybe his new sibling won't ever feel trapped the way Aidan did in his old room, before his parents knew he was a boy. Aidan does everything he can to prepare (short of accepting his dad's offer to practice changing diapers), but his excitement shifts to anxiety. What if he's making mistakes and the baby also ends up feeling misunderstood? Lukoff (himself a transgender man) nails the nuances of Aidan's conflict, providing believable reassurance through Aidan's mom, who offers support specific to her son's experience and proves universally calming advice: "We made some mistakes but you helped us fix them….This baby is lucky to have you and so are we." Juanita's playful watercolors make great use of clothing patterns and nature motifs, airily fashioning the sunny world of Aidan's mostly brown-skinned family and their friends, while framing curious or intrusive strangers from a child's-eye view. VERDICT A much-needed and appealing addition to the picture book canon; both emotionally and visually satisfying.—Miriam DesHarnais, Towson University, MD

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Book list Though assigned female at birth, biracial Aidan soon realizes he is actually a boy, one who dislikes his girl's clothes and pink bedroom. When he tells his parents that he is a trans boy, they lovingly rectify their errors. Upon renaming himself, Aidan gleefully explores ways of being a boy. Then he learns that his mom is pregnant, and he immediately becomes concerned that he might not be a good big brother. Since he doesn't know if the baby will be a boy or a girl, he searches for names that would fit either, and he is upset when people ask if he is excited by the prospect of a new brother or sister, and steadfastly announces he is simply excited to be a big brother. Though he knows he might make some mistakes, he understands that the most important thing is that he simply love his new sibling and so, when the baby is born (its sex is not given), he does. A trans man himself, Lukoff writes with authority and a loving spirit. Juanita's cheerful digital illustrations are a nicely harmonious match with the text, expanding it in meaningful ways. Together, the text and pictures create a heartfelt celebration of love that will be an ideal selection for trans children and for any who are expecting a new sibling.--Michael Cart Copyright 2019 Booklist

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

Publishers Weekly Everyone thought Aidan was a girl when he was born, but Aidan knows that "he was really another kind of boy." "He felt like his room belonged to someone else. And he always ripped or stained his clothes accidentally-on-purpose." Finally, Aidan cuts his hair short, dons clothes that suit him better, and tells his parents ("It took everyone some time to adjust, and they learned a lot from other families with transgender kids like him"). #OwnVoices author Lukoff (A Storytelling of Ravens) writes with sensitivity and candor as Aidan takes his first steps toward claiming his identity. When his mother is expecting another child, Aidan excitedly prepares for his big brother role and seeks to welcome his sibling in a way that "could fit this new person no matter who they grew up to be." Juanita (Ta-Da!) illustrates with fine ink outlines and loose patterns, filling Aidan's revamped bedroom with cozy fabrics, and populating a family baby shower with balloons that spell out an inclusive, triumphant sign: "it's a baby." The creators' exploration of one transgender child's experience emphasizes the importance of learning "how to love someone for exactly who they are." Ages 5-6. (June) © Copyright PWxyz, LLC. All rights reserved.

(c) Copyright PWxyz, LLC. All rights reserved

Kirkus A transgender boy anticipates his new job as a big brother by helping his parents prepare for his baby sibling's arrival.Aidan "felt trapped" in his old name, clothes, and room before he told his parents "what he knew about himself." Some girls never wore dresses, "but Aidan didn't feel like any kind of girl" because he was "another kind of boy." With his parents' support, he embraces his identity and takes on a new, important role, becoming a big brother. More than anything, he wants the baby to feel loved and understood. This picture book sets a new standard of excellence in transgender representation by centering the feelings of Aidan, a biracial (black and South Asian) transgender boy. Juanita's (Ta-Da!, 2018) digital illustrations have the look of ink and watercolor, and they bring the love in Aidan's family to life. Bright, mixed patterns in Aidan's clothes capture the vibrancy of his personality and his excitement to welcome a baby into the family. Lukoff (A Storytelling of Ravens, 2018) breaks away from binary language and stereotypical gender roles, highlighting within the text and in an author's note that there is more than one way to be a person of any gender. The hopeful message at the end emphasizes love and the importance of staying open to learning.Joyful and affirming, Aidan's story is the first of its kind among books for welcoming a new baby. (Picture book. 3-7) Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.

Horn Book Brown-skinned (possibly biracial) Aidan, who's transgender, knows how it feels to be misunderstood, so he wants to get things right for his new sibling. Lukoff's straightforward approach to Aidan's gender transition rings with authenticity, and he puts the child-centered story ahead of message. Celebrating the family's close, affirming relationship, Juanita's vibrant digital illustrations take cues from the text, which models how to avoid the male/female binary. (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.

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Book list *Starred Review* With this lushly designed and wonderfully rendered offering, Bardugo (Six of Crows, 2015) returns to her Grishaverse with a collection of six stories. In an ending note, Bardugo mentions that her intention was to craft stories her characters might have heard as children, and indeed, no knowledge of her previous works is necessary for enjoying this. The stories are framed as coming from four of her Grishaverse nations three from Ravka and one each from Kerch, Fjerda, and Novyi Zem and flavors and morals change from culture to fictional culture. At their heart, these are tales built from the eeriest elements of fairy tales we know. Though readers may recognize certain components a girl with a wolfskin cape, a house that smells like gingerbread, a mermaid with a silver voice the stories here are entirely, luminously new. Bardugo doesn't twist familiar tales so much as rip them open, and the magic of the collection is enhanced by Kipin's otherworldly artwork: borders that grow ominously longer and more detailed with each page, and culminate in a final double-page spread for each story. Bardugo may be best known for her exemplary world building, but here more than anything, it is her language, lovely and unsettling, that is on display, as well as the accompanying characters who, like the stories themselves, are never what they seem. HIGH-DEMAND BACKSTORY: Bardugo's already got two acclaimed, best-selling Grishaverse series under her belt, and this release in the same world isn't likely to slow the momentum.--Reagan, Maggie Copyright 2017 Booklist

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

Horn Book Six fairy tales set in the Imperial Russiaflavored fantasy world of Bardugo's Grisha Trilogy (Shadow and Bone and sequels) have the feel of centuries-old tales, but the ending of each offers a twist that recasts the story with a more modern sensibility. The stories are decorated in the margins with a cumulative illustration (one visual element added per page) plus a full-spread illustration at each tale's conclusion. (c) Copyright 2018. 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 Six reimagined fairy tales set in the Grishaverse. Bardugo returns to the setting of Shadow and Bone (2012) with both original tales and familiar ones retold. Three are set in the Russia-like Ravka, including "The Witch of Duva." This "Hansel and Gretel" variant plays on stereotypes about villainy held by protagonist Nadya. (It also replaces candy with mouthwatering meals: "crispy roast goose," "butter-soaked blini," "black bread spread with soft cheese," "hot tea laced with sugar," "sweet rolls with prune jam.") From the island nation of Kerch, there's "The Soldier Prince," a retelling of The Nutcracker that raises questions about the selfhood of magical creatures. The Fjerdan "When Water Sang Fire" provides a villain origin story for "The Little Mermaid" that owes far more to Disney than to Hans Christian Andersen; it's nevertheless gorgeously otherworldly. Only the Ravkan stories offer substantial local flavor, though Zemeni Ayama is brown-skinned while the Fjerdan mermaids are fair. Kipin's two-color illustrated borders build cumulatively and fascinatingly, culminating in a double-page spread for each story. The more stylized illustrations, such as the thorns and labyrinth building slowly around the "Beauty and the Beast" variant "Ayama and the Thorn Wood," are the most successful; depictions of people are a little cutesy for the eerie prose. Any lover of retellings or original fairy tales will enjoy these offerings, whether they're new to Bardugo's worlds or are established fans. (Fantasy. 12-16) Copyright Kirkus Reviews, used with permission.

Copyright © Kirkus Reviews, used with permission.