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· Genre: This book definitely falls under the horror genre. The title pretty much tells it all; it is a collection of scary stories. While some of the stories are definitely meant to garner some laughter, this is intended to give readers chills. The author even offers tips as to how to scare the audience. This book is unlikely to terrify anyone older than 11, but it's a good example of children's horror.

· Book Summary: What's the best way to tell scary stories? In the dark. Little boys that eat toes, the undying dancing, witches, and white wolves—this book has it all! Stories to make you shiver and stories to make you laugh! Grab some friends, and get ready to lower your voices, it's time for a scare.

· APA Reference of Book: Schwarts, A. (1981). Scary stories to tell in the dark. New York, NY: HarperCollins Children's Book.

· Impressions: I love horror, and I was definitely one of those kids who loved to scare themselves. Bloody Mary in the mirror, Goosebumps in bed, all that jazz. I would have been the perfect audience for this when I was a child. Which is why it's a little hard to admit I thought this book was, well, okay.

I thought the stories were cute, and sometimes a little funny. The writing is done in broad strokes, so nothing ever gets too graphic. That's not necessarily a bad thing, you can tell a horror story in two sentences if you wanted. Mostly, it feels like the author was content to introduce readers to a scary concept, get them worked up, and then leave them to their own imagination. No doubt, I would have found this much scarier as a kid, but as an adult I wasn't terribly impressed.

I do want to give a special mention to the artwork, however, which probably thrilled children as much as the writing did. It's gory and spooky, and also sketchy. It's a style that suits the subject matter; the drawings look like they could have come out of a nightmare. They take up almost as many pages as the writing does, and deservedly so.

Although I didn't get much mileage out of this, I do think kids can have a lot of fun with it. The author basically says as much; he suggests reading the stories with an audience and even gives tips as to how to achieve maximum scares. Also, given how tame the work actually is, it's perfect for it's target audience.

While I wouldn't check out this one, it's a perfect match for a kid with a love for scares and a library card to match.

· Professional Review: Schwartz' latest folklore collection will be a popular sourcebook for ghost story sessions. Some of these tales end in shock screams by the teller and some in laughs. Most are old, but some, about a girl driver followed home or a babysitter receiving threatening phone calls, have contemporary settings. Whether the subject is a witch caught out, a girl dying of fright in a graveyard, or a wolf's revenge on a bounty hunter, all are perfectly tailored for telling aloud and splendidly illustrated with an appropriate blend of scraggly and truly eerie notes.

· APA Reference of Professional Review: (October 14, 1982). Scary stories to tell in the dark. Kirkus. Retrieved from https://www.kirkusreviews.com/book-reviews/alvin-schwartz-8/scary-stories-to-tell-in-the-dark/

· Library Uses: Scary stories are best told in the dark, and with friends. This is an excellent book for a kid's program, for older children who haven't quite hit their tweens yet. Librarians can do a campfire themed event; kids can crowd around the pretend fire and read from the book. They can even help set up the scares, which the author helpfully outlines.

Although this program would be great for Halloween, it's a good match for any month. When aren't people in the mood for a good scare?

· Readalikes: For readers who liked this book, Coraline by Neil Gaiman, Welcome to the Dead House by R.L. Stine, and Favorite Scary Stories of American Children by Richard Young are books to look for.

Each of these works are guaranteed to send some chills up your spine. Just like Schwarts, Young collected a set of scary short stories for children to enjoy, although he does keep it to American tales. Probably the only other work with as much staying power as Scary Stories is the Goosebumps series. Welcome to Dead House is the first book in the series and sure to please any young horror aficionado. Coraline is as spooky a novel as they come, with a child protagonist who is sure to resonate with kids.

· Genre: While Yes! We Are Latinos is considered a poetry collection, it isn't easily confined to this genre. The main cause for this is the informational text following each poem, placing the work in context for the reader. The prose takes up almost as many pages as the poems themselves. This gives the work the impression it is both poetry and nonfiction. However, the range of style in the poetry still make this work a quality representation.

· Book Summary: Latinos are as diverse as the countries they hail from. In language, food, traditions, religions and more. An El Salvador immigrant in Houston and a Japanese Peruvian Angeleno. They are both Latino. Each poem in this collection offers a glimpse into an individual life, all of them defining what it means to be Latino.

· APA Reference of Book: Ada, A. & Campoy, F.I. (2013). Yes! We are Latinos. Watertown, MA: Charlesbridge.

· Impressions: I enjoyed this book immensely. While I'll admit to a preference for poetry that rhymes, there is undeniable emotion and honesty racing through these poems. Although authored by only two people, each poem has a distinctive style, there's one that borders on a vignette in prose, while another is curt.

The work does an excellent job capturing the nuance of a group of people who are usually turned into a monolith. Some are immigrants, some are citizens, some are indigenous. And not everyone speaks Spanish! That was refreshing to see. Often times, native peoples and their languages are often marginalized, even in their own countries. I also appreciated the willingness of the work to approach heavy topics, such as immigration, prison, and dislocation. At the same time, the authors also allow for moments of joy and quiet.

Each of the poems is followed by an explanation, in prose, placing the work in context. Readers are given a succinct overview of relevant histories and traditions. This is great for younger readers, who might have limited knowledge or exposure to this information. I also admire the work for it's truthfulness and willingness to draw sharp lines about morality. The authors have no qualms distinguishing between legal and moral, or addressing past injustices.

This was a great read. Clocking in just under 90 pages, this is an accessible and emotional work. Aside from the poetry, there is so much informational text, readers can't go through this book without learning something new.  Yes! We Are Latinos deserves a place on your bookshelf.

· Professional Review: The authors of Tales Our Abuelitas Told shape fictional portraits of 13 young people living in the U.S., who have diverse experiences and backgrounds but share a Latino heritage. The first-person narrative poems range from reflective to free-spirited, methodical to free-association. A boy in Detroit dreams of opening a hospital in his family’s native Dominican Republic; a Puerto Rican girl wants her parents to support her dreams of attending college, rather than splurge on “an elaborate party—/ a quinceañera production”; and two friends—one Guatemalan, one Peruvian—are learning the native language of their Chinese and Japanese grandparents. In the most resounding monologue, a Hispanic Native American shares advice from his brother that crystallizes the book’s message: “Never forget who you are.” Informative nonfictional interludes succinctly address relevant subjects, including immigration, the challenges migrant workers face, and Cuba-U.S. history. Diaz’s (Smoky Night) angular, hand-cut b&w illustrations are reminiscent of woodblock prints, balancing images from the past and present. An eye-opening and thoughtful celebration of cultural identity. Ages 10–13.

· APA Reference of Professional Review: (June 17, 2013). Yes! We are Latinos. Publisher’s Weekly. Retrieved from: https://www.publishersweekly.com/978-1-58089-383-1

· Library Uses: Poems can be a huge hit with teens and this is an excellent work to introduce them to. Most of the time, when people think of poetry, they think of works that rhyme. Yes! We Are Latinos is a great way to expose kids to different kinds of poetry. Librarians can use this in a poetry program for older children and teens. Kids can look to the book as guide while they compose their own poems.  

· Readalikes: For readers who enjoyed this book, Flying Lessons & Other Stories, edited by Ellen Oh, Save Me a Seat by Sarah Weeks and Gita Varadarajan, and Funny Business: Conversations with Writer of Comedy, edited by Leonard S. Marcus, are works to look forward to.

While not a collection of poetry, Oh assembles an assortment of short stories that celebrate the diversity and uniqueness of all children. Week's work is also prose, but just like Ada and Campoy, the topics of immigration and bullying are addressed honestly. Marcus' book is lighter than either of these, but for readers who enjoyed the informational text in Yes! We Are Latinos, his work should appeal as well. Also organized into about a dozen stories, Funny Business is an honest and fun look into comedy.

· Genre: Beowulf by Gareth Hinds is a graphic novel, and for all the carefully handled dialogue, there is no doubt this is a visual adaptation of an old story. There are entire scenes that play out without a single word on the page. It's a balanced take on a legend rooted in oral storytelling, and a great example of how graphic novels work as a medium.

· Book Summary: There once was a hall that was merry. Then a monster came to end the merriment, a beast so dreadful, no one ever survived contact. Warriors of all kinds tried to kill it, but they all fell. Until Beowulf came ashore.

· APA Reference of Book: Hinds, G. (2007). Beowulf. Cambridge, MA: Candlewick Press.

· Impressions: Right before the story starts, there's an author's note. Hinds gives historical context to the Beowulf legend and explains how the adaptation, while based off another version of the story, has its own writing. It's a brief note, but it gives the reader a good idea of how seriously Hinds took this retelling.

And it shows.

This is a respectful, accessible account of the heroics and fall of Beowulf. The writing, keeping in the spirit of the original manuscript, might occasionally confuse the audience. However, Hinds did a good job breaking it down and creating a language readers can follow. It's aided greatly by the art, which is where this work really stands out. The words and images of Hinds' Beowulf are great together, even if the latter sometimes steals the show. Hinds does a good job of placing readers in the setting. It's a harsh, brutal world in which this story takes place, but the work makes a deft introduction. The audience soon understands, this is a world where warriors boast and mourn in equal measure.

I want to touch on the artwork again, since my own reaction to it is rather mixed. I don't really like it; I find the color palette too muted and the character design isn't appealing at all. It's definitely skillful, but I dislike the style. I do think it fits the story perfectly though. The washed out feel of the illustrations lends weight to the idea this is an old story, slightly faded from time and retellings. And if I find Hind's art ugly, it matches the ugliness of Beowulf. 

This is not a nice story—it makes sense the art isn't nice either. I also have to reflect on how well Hinds uses the artwork to convey tension and actions. There's stretches of pages where there's no text, and the story doesn't need it. My favorite moment in the book is probably when Beowulf rises from a bloodied lake, with a sword in one hand and a monster head dangling from his clenched teeth. It's a bloody sight, and a great one.

This is a good adaptation of a story that's been retold a thousand times. The writing takes old words and morphs it into something modern readers can understand. Definitely worth borrowing from the library, just for the artwork.

· Professional Review: The king of heroic epics gets a lavish visual interpretation in Hinds's full-color mixed-media gem, originally self-published as three separate issues in 2000. He begins with a credit to two versions of the familiar story (A.J. Church's 1904 translation and that of Francis Gummere), in which a vicious monster named Grendel terrorizes the great hall of King Hrothgar for 12 winters, and the hero Beowulf arrives from afar, to try to defeat the creature and succeeds—with his bare hands. Then he must contend with Grendel's mother, when she comes to avenge her son's fate; the third chapter deals with the mournful end to the hero's life, resulting from a battle with an enormous dragon. Each chapter begins with a brief narrative (paying homage to the cadences of the story's early verse renditions), before giving way to a lengthy, wordless and bloody battle. Hinds's angular perspectives and unusual color palettes (dark, ruddy colors, deep burgundy blood, and not a ray of sunshine in sight) lend the book an almost overwhelming sense of menace. The third and most emotionally forceful chapter centers around an incredible two-page spread that shows the dragon awakening; it's an arresting image in a book filled with many. For fantasy fans both young and old, this makes an ideal introduction to a story without which the entire fantasy genre would look very different; many scenes may be too intense for very young readers. Ages 10-up.

· APA Reference of Professional Review: (March 5, 2007). Beowulf. Publisher’s Weekly. Retrieved from: https://www.publishersweekly.com/978-0-7636-3022-5

· Library Uses: Graphic novels tend to get pigeonholed into a superhero shaped square, and Beowulf is a great example of how much range the medium has. It would be great for a teen program; people could learn how to design a comic and how it can be used to adapt existing stories.

Librarians can show excerpts from the original manuscript and contrast it with how Beowulf depicts those moments. Teens can use it for inspiration into how they can use graphic novels to tell a story.

· Readalikes: If readers enjoyed this visual adaptation, they might also enjoy Hamlet by Neil Barba, Odyssey: Escaping Poseidon's Curse by Dan Jolley, and Gilgamesh: A Graphic Novel by Andrew Winegarner. All of these works are graphic novel adaptations of classics, aimed at teens.

Barba uses a more vivd color palette than Hinds, but his artwork is just as striking. Odyssey's illustrations aren't quite up to par with either of those works, but Jolley does a good job condensing an epic into a cohesive story—just like Hinds.

Winegarner also manages to take an ancient tale and turn into an accessible read. Readers' immersion into the world of Gilgamesh is easy. However, as any telling of Gilgamesh deals with the sexuality inherent in the original material, this graphic novel is recommended for older teens.

· Genre: This book falls under the biography genre, but seems to fit there on a technicality. It does focus on the life of a real person, Rosa Parks, the civil rights icon. However, it's a very narrow focus. Readers get a brief introduction to Rosa's daily life, before the scene is set for her historic moment of defiance. Most of the book is spent on the bus, and while it does continue past her arrest, Rosa shifts out of focus. The work looks at the larger movement around the country. Overall, Rosa is not the best example of a biography.

· Book Summary: Extraordinary can come from ordinary people, on ordinary days. Rosa Parks was a seamstress, catching the bus for a ride home. She wasn't a celebrity, not at first. This is the story about how Rosa became a star, and later the guiding light of a movement.

· APA Reference of Book: Giovanni, N. (2005). Rosa. New York, NY: Henry Holt and Company.

· Impressions: This is a gorgeous book. The artwork is spectacular, with a grounded color palette and a grainy design, matching the rough period of the times. The writing is less spectacular. While most of the vocabulary is simple, there are occasional words such as "alterations", which might slow down younger readers. The author also tends to skew towards weighty statements over concise sentences. This line—"she recited in her mind the 1954 Brown versus Board of Education decision, in which the United States Supreme Court ruled that separate is ‘inherently unequal." That's a really long sentence. There are also other moments, although meaningful, which don't quite land. Like "and the soul force that bound the community together would sustain many marchers for the years of struggle to come."

Although the writing might be a little clunky at times, the artwork is always powerful. The colors are very earthy, which gives everything a rooted tone. The use of gold in this book is excellent, especially when it's used to emphasize the characters. Bryan Collier, the illustrator, states in a note, this was intentional and meant to invoke the heat and emotions of Montgomery and Selma. The details in the artwork are lovely, like the light shining in Rosa's hair and the neat patterns on people's clothing. While much attention is probably going to go towards the gorgeous four page spread towards the end of the book, for me, the stand out happens half way through. When Rosa Parks says no to the police, we don't see her face. Instead, readers are given a look at her hands, tightly grasping her bag. The imagery of her seated form and clenched fists conveys more than anything the writing could have.

Admittedly, my prior knowledge of this event might be coloring this review. Other than some brief details about her home life and job, the book does not discuss Rosa Parks herself in length. She was long time activist, a member of the NAACP, and the moment of the bus was planned. So this does come off as a sanitized retelling to me.

Still, it's a good book. Rosa covers an important moment in history and works hard to convey why this is the case. It's worth borrowing from a library for the artwork alone.

· Professional Review: Giovanni (The Sun Is So Quiet ) and Collier (Uptown ) offer a moving interpretation of Rosa Parks's momentous refusal to give up her bus seat. The author brings her heroine very much to life as she convincingly imagines Parks's thoughts and words while she rode the bus on December 1, 1955 ("She was not frightened. She was not going to give in to that which was wrong"), pointing out that Mrs. Parks was in the neutral section of the bus and (as some fellow riders observe) "She had a right to be there." The author and poet lyrically rephrases what the heroine herself has frequently said, "She had not sought this moment, but she was ready for it." After Mrs. Parks's arrest, the narrative's focus shifts to the 25 members of the Women's Political Council, who met secretly to stage the bus boycott. Inventively juxtaposing textures, patterns, geometric shapes and angles, Collier's watercolor and collage art presents a fitting graphic accompaniment to the poetic text. After viewing an image of Martin Luther King, Jr., encouraging a crowd to walk rather than ride the buses, readers open a dramatic double-page foldout of the Montgomery masses walking for nearly a year before the Supreme Court finally ruled that segregation on buses was illegal. A fresh take on a remarkable historic event and on Mrs. Parks's extraordinary integrity and resolve. Ages 5-up.

· APA Reference of Professional Review: (August 29, 2005). Rosa. Publisher’s Weekly. Retrieved from: https://www.publishersweekly.com/978-0-8050-7106-1

· Library Uses: One of the main criticisms of Black History Month, is that it implies African American history can be limited to just one month and that is should only be highlighted once a year. December would be a great month to showcase this book, since I doubt many people are aware Rosa's famous moment happened during the festive season. 

Librarians could have a program centered around events people didn't know happened in December and include this moment. A segment could be dedicated to the start of the Montgomery Bus Boycott and Rosa could be used as an aid in the discussion.

· Readalikes: For readers of Rosa, other books to look to are Josephine: The Dazzling Life of Josephine Baker by Patricia Hruby Power, Coretta Scott by Ntozake Shange, and Maya Angelou by Lisbeth Kaiser.

Although not all are strictly biographies, all of these books highlight the lives of real life African American women. Shange's Coretta Scott is told in prose and focuses on a women who's contributions and activism are usually overshadowed by her husband's. The artwork for this, and Power's Josephine Baker, is exquisite. The illustrations in the latter are as dazzling as the star it spotlights. Josephine Baker was an activist, artist, and a spy. Although her time in history is a bit before Rosa Park's, she was just as much a trailblazer. Maya Angelou was also an artist and activist, and while she came a little after Rosa Parks, her life was just as groundbreaking. Kaiser does a good job portraying her life story in an accessible way.

· Genre: This book falls easily under the category of nonfiction. The work focuses on the creation of the Ku Klux Klan and its existence during the Reconstruction Era. Bartoletti offers a succinct and honest narrative, depicting domestic terrorism and the context for it. She bolsters her writing with numerous primary sources and visual aids. This is an phenomenal example of an informational work.  

· Book Summary: Many factors contributed to the birth and rise of the K.K.K, but its inception can be traced back to a conversation between six wealthy, educated, white men. "Boys, let us get up a club." A flippant comment with devastating consequences, a good description for the organization it wrought. 

Bartoletti provides a powerful look into the country's oldest domestic terrorist group. From the fanciful brainstorming that brought about the name of the organization, to the nonchalant manner in which they wreaked havoc, this book is an unflinching dive into the disturbing waters of our history.

· APA Reference of Book: Bartoletti, S.C. (2010). They called themselves the K.K.K.: The birth of an American terrorist group. New York, NY: Houghton Mifflin.  

· Impressions: Nonfiction get's the rep it's not fun to read. Well, at least in this case, it’s not far off. This is not a fun book, and it's not an easy read. Bartoletti has created an exceptional, engaging work. In terms of craftsmanship, I think it is expertly made. As readers follow the history of the organization, they are provided with a wealth of context.

The creation and popularity of the K.K.K is directly related to the fallout of the Civil War and the socioeconomic realities of the time. White people, from the wealthy to the poverty stricken, felt fear and anxiety in this new post-war world. What happens to a society which has built itself on the oppression of an entire group of people, when the continued oppression is no longer a guarantee? Nothing good, and nothing peaceful.

While Bartoletti manages an even keel tone throughout the book, It's difficult for readers to be detached while reading this. Brutality and malevolence is on full display; even more chilling, is the matter-a-fact cruelties people just admitted to without shame. This is an excellent depiction of how deeply ingrained racism is in our society.

Reading this, I remembered something one of my history professors once told me during a course on genocide. She said, in the darkest times, there are people who shine. Bartoletti's book is full of stars, of people who strove to find success, happiness, and safety in a world that was not kind. I was affected by many an atrocity in this book, but the line that moved me more deeply than anything else? "A man can kill me, but he can't scare me."

Bartoletti does an amazing job of portraying the Ku Klux Klan, while never diminishing the personhood of the people they terrorized. This is aided by the consistent use of primary sources throughout the book. Anecdotes pepper almost every page. When possible, Bartoletti allows everyone to speak for themselves.  

I also want to take a moment to say this book is also a great example of how to make history accessible to young readers. The writing is clear and concise. The layout has the type restricted to a few paragraphs per page, alongside effecting visual sources. Bartoletti goes beyond photographs; newspaper articles, notices, political cartoons, and dozens more have been employed in the telling of this history.

This book is a must read and deserves a place on your bookshelf.

· Professional Review: On a May evening in 1866, in Pulaski, Tenn., six men lounged about a law office. “Boys, let us get up a club or society,” John Lester said. And they did. Two of the men suggested that they call themselves “Kuklos,” the Greek word for “circle” or “band,” but that wasn’t mysterious enough, so they made up a variation: Ku Klux Klan, which literally means “circle circle.” They delighted in dressing up in flowing white robes, riding about town pretending to be ghosts of Confederate dead and playing pranks, but they also understood the power of anonymity to stir up fear and thwart the new Freedmen’s Bureau programs to help former slaves. Balancing the stories of the Klan and the former slaves’ determination to remake their lives, Bartoletti makes extensive use of congressional testimony, interviews, journals, diaries and slave narratives to allow the players to speak in their own voices as much as possible. Documentation is superb, and even the source notes are fascinating. An exemplar of history writing and a must for libraries and classrooms. (a note to the reader, time line, quote attributions, bibliography) (Nonfiction. 12 & up).

· APA Reference of Professional Review: (July 26, 2010). They called themselves the K.K.K.: The birth of an American terrorist group. Publisher’s Weekly. Retrieved from: https://www.publishersweekly.com/978-0-618-44033-7

· Library Uses: While this book should be considered a must read, because of it's subject matter, it frequently features acts of cruelty and tragedy. It is a difficult topic to grapple with and I feel teen patrons would benefit from a program. The event would use the book to lead a presentation on the history of the K.K.K. Librarians could reach out to local historians to help with the event. This program could even be part of a series.

· Readalikes: Readers of They Called Themselves the K.K.K.: The Birth of an American Terrorist Group, should look at I am Malala by Malala Yousafzai, A Wreath for Emmett Till by Marilyn Nelson, and March by John Lewis for their next foray.

Like Bartoletti, Nelson refuses to allow Emmett Till to remain a victim or a caricature. Although in poetry form, her work is likewise accessible. The writing remains evocative as it delves into wounded waters. Lewis uses the visual medium of comics to great effect, and likewise, provides readers with a fleshed out look at a tumultuous time. There is injustice, but the people in the narrative are allowed to be more than victims.

· Genre: This book was falls under the historical fiction and it is an excellent representation of the genre. The story follows Manjiro an actual historical figure who helped change Japan's international policies. The story largely sticks to his real life and follows a precise timeline of events. The author does a good job of capturing the settings of both Japan and the U.S., as well as the attitudes of the characters populating them. This is an accessible and clear example of a historical fiction novel.

· Book Summary: Manjiro is a fisherman's son, and he wishes he could be a samurai. Most days, he could settle with scrounging enough food for his family. But when a fishing trip goes awry and Manjiro ends up stranded on an island with his companions, nothing matters more than survival.

Eventually, Manjiro and his friends get rescued—by an American ship. As they try to grapple with their interactions with these foreign devils, they are also forced to accept they can never go home.

In 1841, Japan strictly enforces its isolationist policies at the border. No one can enter the county, not even its own citizens.

So when Manjiro is given an opportunity to explore the world he's been thrown into, he grabs onto it with all his might and becomes the first Japanese citizen to ever set foot on American soil.

· APA Reference of Book: Preus, M. (2010). Heart of a samurai. New York, NY: Abrams.

· Impressions: I found Heart of a Samurai to be an easy read, in every sense of the word. The prose is simple; I don't think I ran into a single compound sentence. The sentences still have weight to them though. The style is warm and never frivolous, with gems like "time fell away; there were just the two of them and the silence." I also have to get credit to the author for their metaphors; the ocean is used in frequently, but the comparison doesn't get old.

The choice to allow Manjiro, to stay Manjiro—he never refers to himself by John or think of Mung as his family name—was a good choice. Even as he adapts to his new home and find success in the roles he's assigned, he never forgets Japan. It’s really hammered in, how alone Manjiro is. Everywhere he goes, he's the only Japanese person there. There is something very sad in how the only other living thing he could speak Japanese to was his horse.

I also appreciated how Preus included details like how Japanese has different dialects, and even native speakers can have difficulty understanding each other. Elements like these help flesh out Japan as a country, by showing it is not a monolith. There are different social classes, different dialects, different cities, etc.

Heart of a Samurai is a modest, grounded story about a survivor who went on to accomplish great things. It's a good read and worth borrowing from the library.

· Professional Review:

In picture book author (The Peace Bell) Preus’s excellent first novel, based on the true story of Manjiro Nakahama, Manjiro is 14 in 1841 when he is shipwrecked in a storm. An American whaling ship eventually rescues him and his shipmates, and while his fellow fishermen are fearful of the “barbarians,” Manjiro is curious about them and the world. Knowing Japanese law forbids him from returning home because he’s left the country, he learns English and whaling, gets a new name and family with the captain, and eventually seeks his way in America as the first known Japanese to set foot there. He finds innovative ways to challenge both hardships and prejudice, and never loses his curiosity. Preus mixes fact with fiction in a tale that is at once adventurous, heartwarming, sprawling, and nerve-racking in its depictions of early anti-Asian sentiment. She succeeds in making readers feel every bit as “other” as Manjiro, while showing America at its best and worst through his eyes. Period illustrations by Manjiro himself and others, as well as new art from Jillian Tamaki, a glossary, and other background information are included. Ages 10–14.

· APA Reference of Professional Review: (July 26, 2010). Heart of a samurai. Publisher’s Weekly. Retrieved from: https://www.publishersweekly.com/978-0-8109-8981-8

· Library Uses: This would be a great novel to use in a discussion, particularly any taking place in the upcoming month. Despite the magnitude of Manjiro's accomplishments, his story is not well known. April is Asian Pacific Heritage Month, so this would be a great opportunity to spotlight it.

At a time when the country is debating the role of immigration and isolationism, this is a relevant book. Manjiro's life as an immigrant and policy maker is sure to provide readers with rich material to discuss.

· Readalikes: For readers who enjoyed this work, Fever 1793 by Laurie Halse Anderson, The Land by Mildred D. Taylor, and Bloody Jack by L.A. Meyer are books to look to. All feature smart teen protagonists doing their best to survive the situations they find themselves in. In the case of Bloody Jack, the story also revolves around sailing.

Like Manjiro, Mary, our protagonist, is friendly and inquisitive. She finds herself pushed into a life she would not have chosen, but adapts to with ferocity. The same can be said for The Land's Paul Edward, a multiracial youth in the 1800s. Born to a slave and her white master, Paul-Edward’s existence is considered a blight on society, as he is mixed and highly educated. Like Manjiro, his ethnicity limits his opportunities, but he still manages to find success.

Anderson's Mattie Cook finds herself in the wake of a disaster as well, though this one is an epidemic. Mattie finds her community and herself ravaged by the disease. Luck may have allowed her to survive the epidemic, but it's her bravery and ambition that allows Mattie to find a place in the aftermath.

· Genre: While Code Name Verity takes place during WWII, it is foremost a mystery. This is not immediately evident. To fit under this genre, there must be a mystery at the center of the story, one that drives the narrative. With Julie immediately confessing to cracking under torture, her retelling of the events leading up to her capture seems more like catch up than detective work. 

Once the perspective switches over to the other character, Maddie, it become clear the story is indeed a mystery, as it turns out Julie's retelling is a deliberate misdirection. The story then concerns itself with why Julie lied and what she was trying to accomplish while captured. This is a complex example of the genre, but a good one. It makes the readers think just as much as the characters and keeps us all guessing.

· Book Summary: WWII caused a lot of horrors, but it also brought about the friendship between a spy, who's infiltration of a French town is cut short, and a pilot, who flew them there. They're both good at what they do, but that isn't enough to save the spy, who is caught by the Gestapo. 

Even giving up Allied information, after brutal torture, isn't enough to save her. But maybe scrawling down her story on scraps of paper, maybe that can save something. And maybe with Maddie, the pilot, they can still complete the mission they'd come to do.

· APA Reference of Book: Wein, E. (2012). Code name verity. New York, NY: Hyperion.

· Impressions: Code Name Verity is a great read, but it's not a book I would recommend lightly. The author does an amazing job depicting her characters' bravery and terror. Julie still managing to complete her mission while inside her cell—sneaking in instructions on paper given to her by her own guards no less—that should be implausible. But instead, everything feels real. Although the story is printed in neat type, I can almost see the shaky hand Julie would have been writing in. However, while the passages portray her emotional state very well, they do ramble. Dialogue, while not sparse exactly, is vastly outweighed by description.

This is a story that makes you work. If you want to understand what's going on, readers need to pay close attention. Code Name Verity also requires a lot of patience. Julie's point of view lays the groundwork for the last third of the book, told by Maddie, where the payoff occurs. Until that point, the book doesn't seem like a mystery, since Julie's assertion that she caved under torture seems plausible, even understandable. Astute readers can pick up on certain turns of phrase or descriptions Julie includes in her account.

I want to take this moment to admit I knew the ending of this book beforehand. A friend of mine read it last year and told me the protagonist died. So for me, Julie's fate wasn't a mystery. And while I knew her mission would be completed somehow by Maddie, i still found the stakes riveting. I became invested in Julie's character and devastated by her death. It is a testament to the author's skill I remained interested in the process, even while knowing the end result.

Before this module, I would have considered this a historical novel. Now, having read it, I know better. It's a true mystery that can even manage to keep its genre a secret. Overall, this is a heart-wrenching story, and while I don't know if every reader can stick with it, Code Name Verity is at least worth borrowing from your library.

· Professional Review:

Wein (The Empty Kingdom) serves up a riveting and often brutal tale of WWII action and espionage with a powerful friendship at its core. Captured Scottish spy Queenie has agreed to tell her tale—and reveal any confidential information she knows—in exchange for relief from being tortured by Nazis. Her story, which alternates between her early friendship with a pilot named Maddie and her recent sufferings in prison, works both as a story of cross-class friendship (from an upper-crust family, Queenie realizes that she would likely never have met Maddie under other circumstances) and as a harrowing spy story (Queenie’s captor, von Loewe, is humanized without losing his menace). Queenie’s deliberately rambling and unreliable narration keeps the story engaging, and there are enough action sequences and well-delivered twists (including a gut-wrenching climax and late revelations that will have readers returning to reread the first half of the book) to please readers of all stripes. Wein balances the horrors of war against genuine heroics, delivering a well-researched and expertly crafted adventure. Ages 14–up.

· APA Reference of Professional Review: (April 16, 2012). Code name verity. Publisher’s Weekly. Retrieved from: https://www.publishersweekly.com/978-1-4231-5219-4

· Library Uses: Code Name Verity is fantastic choice for any library display, but especially in March, as it's Women's History Month. As this book makes clear, while women weren't given the same freedom or rights as men, they still found ways to be successful and have an impact. Libraries can, and should, include this work in their book displays. Maddie and Julie might not have been actual people, but real girls did those jobs and their efforts deserve recognition.

· Readalikes: For readers of Code Name Verity, other books to look out for are The Book Thief by Markus Zusak, City of Thieves by David Benioff and Out of Darkness by Ashley Hope Pérez. All of these story are set in the past, have teen protagonists, and feature mature storylines. They even take place in roughly the same time period.

Like Wein's book, Zusak's work is also set in WWII Europe, though in Germany. Another similarity is how unusually the story is told. Code Name Verity is an epistolary novel, told through reports, written on scraps of paper and notebooks. The Book Thief opens with an introduction from Death himself. Both books focus on platonic relationships.

City of Thieves also places a big emphasize on friendship and has a Jewish protagonist. Benioff's work is also set during WWII, but in Russia, and follows two boys as they try and save their lives. It's a tense read, much like Wein's.

Out of Darkness is set in the 1930s Texas, but there is still an undercurrent of fear in the novel. While the main characters in this work aren't facing war, they do face daily discrimination, as one is Hispanic and the other black. They can never really feel safe because their society doesn’t provide that security for them. While this book is more romantic than the others, it fleshes out the characters just as well as Code Name Verity does.

· Genre: This book falls under the category of fantasy, and it fits extremely well. The vampirism in The Coldest Girl in Coldtown affects the entire story; from the world to the characters that inhabit it. If you were to remove the fantasy element, not only would the conflict not exist, the setting would be radically different. The concept of a Coldtown, a walled off city where vampires and infected peoples live in quarantine, wouldn’t even exist. This is a fantastic example of the genre.

· Book Summary: The existence of vampires isn't shocking to Tana. Years ago, there was a mass epidemic that resulted in countless newborn vampires and even more victims. She has scars from her first encounter with an infected person; her mother. 

Vampires are glamorous now. But while humans might treat them like celebrities, vampires still treat humans like prey. A fact Tana is violently reminded of when she wakes up to a slaughter. A house party with her classmates ends with most of them dead. Tana, her ex-boyfriend Aiden, and a crazy trapped vampire named Gavriel are the only survivors. 

Aiden is in the process of turning, and Tana—she might be too. Either way, there's only one place she can go now that she might be infected. To a Coldtown; a quarantined city that's completely walled off. 

Coldtown isn't a place you walk back out of, even if you stay 100% human. But Tana doesn't have much of a choice—not if she wants to keep everyone else safe. 

· APA Reference of Book: Black, H. (2013). The coldest girl in coldtown. New York, NY: Hatchette Book Group.

· Impressions: This is a fantastic book. It manages to take a big concept and apply it to every level of the world building. The origin of the outbreak is tied back to Gavriel in a completely organic way. How the United States managed to adapt to vampires better than any other country was shown thoroughly. Economically, vampires became lucrative. There are even vampire bounty hunter shows, and Tana's little sister Pearl is an avid fan. 

The opening scene is amazing. Tana wakes up, disgruntled and hungover, and the chapter turns into something from a horror movie almost right away. Actual bloodshed doesn't happen until later in the book, but Black writes one hell of a chilling atmosphere. Following Tana as she walks through a house full of her dead classmates is a tense experience. 

Tana herself is a powerful protagonist. She carries immense guilt over ruining her mother's chance of recovering from the infection. She's smart, and a little self loathing. Her relationships with the other characters are complex, but always warm. She still cares about her ex-boyfriend, her alcoholic father, and her little sister. Almost right off the bat, she saves the life of a vampire she doesn't even know, just because he needed help. The story makes it clear this is who Tana is. 

The romance that ends up developing between Tana and Gavriel is a breath of fresh air. Human and vampire, mostly good person and mostly bad person—they acknowledge who the other is. Tana doesn't want to be vampire, but she cares about Gavriel as he is. And Gavriel might be an unrepentant monster, but he's not incapable of kindness. And I loved how it's precisely his monstrousness that allows him to give the greatest kindness to Tana in the end. 

The Coldest Girl in Coldtown is a terrific delight, and it's definitely worth a buy. 

· Professional Review: In Black’s exquisitely imagined contribution to vampire lore, the creatures have shaken off centuries of clandestine existence and gone public, turning thousands into bloodsuckers like themselves. In an attempt to control their spread, the U.S. government has restricted vampires to ghettolike Coldtowns, where a glamorous, high-octane culture has developed, broadcasting its debauched parties to the world and creating a subculture of humans who fetishize eternal life and long to be turned themselves. Seventeen-year-old Tana wakes up after a wild night of partying to discover that almost everyone in attendance has been killed by vampires, “dried blood crusted on their clothing like rust... dotting their skin like freckles.” Wandering through the carnage, she finds her infected ex-boyfriend, Aiden, and a mysterious, half-mad vampire named Gavriel chained in a bedroom. Escaping the massacre, Tana drives them to the nearest Coldtown, knowing that if she enters, a quick death might be the best outcome. Replete with grisly violence, an intriguingly complex take on the mechanics of vampirism, and well-developed and memorable characters, this superior, dread-soaked tale will satisfy vampire addicts of all ages.

· APA Reference of Professional Review: (July 1, 2013). The coldest girl in coldtown. Publisher’s Weekly. Retrieved from: https://www.publishersweekly.com/978-0-316-21310-3

· Library Uses: This would be a great choice for an October teen read. It's an engrossing, gory tale that will give readers shivers. Monthly book clubs should always try to keep their picks interesting, and The Coldest Girl in Coldtown matches up well with the Halloween season. Or, if librarians wanted try a Nightmare Before Christmas theme, it'd be good in December too. The book is dreadful and fun in equal measure; any teen discussion would be as well. 

· Readalikes: Fans of this book will enjoy Six of Crows by Leigh Bardugo, Anna Dressed in Blood by Kendare Blake, and Throne of Glass by Sarah J. Maas. Blake's work is also a horror romance story, though it is lighter in tone. The protagonist is male, but just as jaded and committed to helping people as Tana.

Throne of Glass and Six of Crows take place in completely different worlds. Maas' heroine is more similar to Gavriel in terms of personality, but the dark and exciting storyline is sure to appeal to teen readers. Six of Crows is a book with multiple point of view characters, and much more diverse. The story may have more fantastical elements than Black's work, but it is just as gritty. 

· Genre: Anna and the French Kiss falls under the genre of realistic fiction, and it fits this classification well. Nothing in the story happens that contradicts the natural laws of the world, although the narrative does strain credulity at times. Anna's circumstances are not normal, but they aren't extraordinary either. The characters themselves come across as relatable, and the book settles under this genre comfortably.  

· Book Summary: Switching schools in your senior year is stressful enough, and that's without changing countries. But that's exactly what Anna's obnoxious author-dad has condemned her to—a trip across the pond, to a Parisian boarding school. Where she'll spend an entire academic year. Alone. Leaving your family, awesome best friend, and hot crush for a place where you don't even speak the language sucks. 

Still, Anna has her love of film to sustain her, and soon enough she gets friends too. She slowly settles in and even falls in love. With one of her new friends, in fact. The only problem is he's already dating someone else.  

· APA Reference of Book: Perkins, S. (2010). Anna and the French kiss. New York, NY: Penguin Group.

· Impressions: This was a fun read. Even though the author tackles an old dilemma—switching schools, falling love with your best friend, etc.—she manages to infuse them with new blood by combining them with other situations. Moving countries, falling in love with your taken best friend, and so on. Although Anna's exact life problems aren't too likely to fall upon readers, such as an inconsiderate Nicholas Sparks-type writer for a dad, she never veers into unsympathetic. She's an intelligent, friendly girl who's not happy about being forced to move, but also tries her best to adapt.

The author also took care to flesh out the supporting cast; her best friend and love interest, Étienne St. Clair, could easily come off as indecisive and selfish, but instead is portrayed as earnest and vulnerable. 

I appreciated how fully the author explored Anna's situation. Of course, she comes under fire from her classmates, just like any other new kid, but that's balanced out by the new friends she's made. Anna doesn’t wallow, but Perkins does let her main character feel sad and confused about moving. Anna makes mistakes that hurt people, but she also makes amends as best she can.

Anna is a sweet and fun character to follow, and this book is definitely worth borrowing from your library.

· Professional Review: Since her father’s Nicholas Sparks–like novels have been turned into blockbuster movies and he now has the means (and status) to give her culture, Anna Oliphant finds herself uprooted from her Atlanta home to become the newest senior at the School of America in Paris. Her seemingly enviable situation is offset by her inability to speak French, her fear of venturing off school property and a possible romantic interest back home. But then the young film critic meets gorgeous, heart-stopping classmate Étienne St. Clair, who has a sexy British accent and offers to show her around Paris—and who also has a serious girlfriend at a local university. Perkins’s debut surpasses the usual chick-lit fare with smart dialogue, fresh characters and plenty of tingly interactions, all set amid pastries, parks and walks along the Seine in arguably the most romantic city in the world. Sarah Dessen fans will welcome another author who gracefully combines love and realism, as Anna’s story is as much about finding and accepting herself as it is about finding love. Très charmante.

· APA Reference of Professional Review: (October 11, 2010). Anna and the French kiss. Kirkus Reviews. Retrieved from: https://www.kirkusreviews.com/book-reviews/stephanie-perkins/anna-and-french-kiss/

· Library Uses: I think this would be a great book to include for a "Blind Date with A Book" library event. How it works is that library staff chooses an assortment of books and covers them up completely. The only thing showing is the barcode; a description of the plot is scrawled on the front, but no other specifics. I think this would be a great book to include in a February version of the event, where every book is a different kind of romance--paranormal, mystery, Amish, etc.

· Readalikes: For readers who enjoyed Perkins' book, Eleanor & Park by Rainbow Rowell, To All the Boys I've Loved Before by Jenny Han, and Along for the Ride by Sarah Dessen are books to look out for. They are all YA literature and fall under the umbrella of realistic fiction.

· Genre: Llama Llama Home With Mama falls under the fantasy genre. This label describes works where anything deviates from the laws of the natural world. While the situation itself is one of the most normal occurrences that can happen to a person—getting sick and having to stay home—the characters are obviously not normal.  They are both llamas, who live in a house, wear clothes, and read. As the focus of the story falls on two personified animals, it fits neatly as a representation of fantasy.

· Book Summary: In the morning light, Llama Llama can tell he just didn't wake up right. Llama Llama, in his red pajamas, heads down to breakfast, sniffling all the way. Mama Llama knows what this is: Llama Llama is sick! He needs rest and medicine, and more importantly, to stay home with mama! But once Llama Llama starts feeling better, Mama Llama gets sick! What are two, under the weather llamas to do at home?

· APA Reference of Book: Dewdney, A. (2011). Llama llama home with mama. New York, NY: Penguin Group.

· Impressions: This is a very fun and relatable book. As soon as Llama Llama wakes up, the situation is immediately apparent to the reader. He's sick and he needs to stay home. And then the true conflict arises; what to do after you've had a chance to rest? Llama Llama isn't just feeling crummy, he's bored, and the author does a wonderful job of showing how a kid processes those two things. He gets to be in his pajamas and with his toys, but he's also got a fuzzy head. 

I liked that the author also showed the hazards of recovery, fleshing out the story of a sick day. A nap starts setting Llama Llama to rights, but now Mama Llama is on the down and outs. Luckily, and logically too, Llama Llama knows just what to do. What could be saccharine is sweet instead, as an enthusiastic Llama Llama endeavors to help mama rest.

The prose is just great; the rhymes are simple and flow easily from page to page. The art also deserves a mention; it gives the story a warm feeling, where rumpled pajamas and home time with mama fits right in. Even Llama Llama's disgruntled face after he takes his medicine is cute. The illustrations capture his listlessness perfectly, as well as his mother's exhaustion. I also like that the artwork looks a bit grainy, it adds a sense of texture to the story that makes it feel a more grounded.

This is a book definitely worth borrowing from the library, and would be great for a stay at home--sick or otherwise.

· Professional Review: When Llama Llama wakes up with a cold, Mama Llama feels his forehead, looks at his throat, and sends him back to bed to rest. Later, she reads Llama Llama a story and makes him some soup, but while Llama Llama is on the mend, Mama is starting to feel sick herself: "Get more tissues. Bring a cup./ Fluff a comfy pillow up./ What else could Mama Llama need?/ How about some books to read?" Dewdney's rhymes are as cozy as ever, and she captures the frustrations of both those who are ill and those who have to attend to them: "Mama coughs, and Llama yawns..../ How long can this day go on?" Readers of any age who have been there will relate.

· APA Reference of Professional Review: (June 27, 2011). Llama llama home with mama. Retrieved from: https://www.publishersweekly.com/978-0-670-01232-9

· Library Uses: This would be a great book for a health themed program for kids. Every summer our library has an ongoing event called Eat, Play, Grow to help educate kids about how to stay healthy. A program focusing on what to do when you’re sick is a good idea, especially if it takes place around the beginning of flu season. Librarians can read the book to kids and use it to guide for a discussion on what people do when they're sick and why.

· Readalikes: For readers who liked Llama Llama Home With Mom, Bear Feels Sick by Karma Wilson, I Am Sick by Patricia Jensen, and Caillou is Sick by Roger Harvey are books to look for. All center on protagonists who are sick, and the story follows them as they try to get better.

· Genre: Realistic fiction is a genre covering stories set in our own world, lacking any fantastical elements. Yaqui Delgado Wants to Kick Your Ass absolutely fits and is a great representation of realistic fiction because this could be any kid’s story. Bullying happens to real teenagers, just like it happens to the protagonist. 

· Book Summary: Piddy's mom has been threatening to move them out of their rundown apartment complex for a long time. But when the stairway literally collapses—well, she means it this time. And moving means Piddy has to go to a new high school. 

Between dealing with her newly developed body and questions about her missing dad, changing schools is just another burden Piddy really doesn't need. And that's without Yaqui Delgado wanting to kick her ass. At first, Piddy is just confused. Who is Yaqui? Why does she want to kick her ass? Unfortunately, finding out the answers doesn't actually change anything, and Yaqui quickly goes from a discomforting presence to an actual threat.

· APA Reference of Book: Medina, M. (2013). Yaqui Delgado wants to kick your ass. Somerville, MA: Candlewick Press.

· Impressions: This is an incredibly engaging book. It's extremely well written; no character feels like a caricature, especially Piddy. All of her interactions feel very real. There's a line in the book where she runs into an old family acquaintance at her job, and she tells Piddy "estás hecha una mujer," Piddy looks like a woman. Piddy notes it's an observation she's started getting often from older women, and none of them ever seem happy to make it. It's something that perfectly encapsulates how Piddy feels about her developing body; she's maturing, but instead of feeling like she's settling into her skin, Piddy is uncomfortable with the changes to her body and unhappy with the attention it gets her.

The author is able to show that Piddy is a smart, kind girl, but not without flaws. She loses her temper, and she bottle things up. She's written with a lot of nuance, and so is the supporting cast in her story. I love how the adults aren't one note; her mother and Lila, her mother's best friend, genuinely love Piddy and want her to succeed. But when the strain of Yaqui's bullying gets too much, readers understand why Piddy lashes out at them. Her arguments with her mom are born from miscommunication; her Ma tends to talk at her, rather than with her, and, with the bullying, Piddy stops trying to talk to her mom at all.

The author takes what's a common situation, being bullied at school, and turns it into a terrifying experience. Piddy starts off dismissive when she’s told that a girl named Yaqui Delgado wants to kick her ass, and she assumes nothing will come of it. But she starts getting harassed and going to school turns into a terror. Piddy’s reasoning—that she needs to be able to handle it, that telling someone will just makes everything worse—starts to make less and less sense. Because the bullying is already making everything worse, and Piddy can't handle it. When it finally escalates to an actual confrontation, it's devastating.

This is a great book, with a wonderful protagonist and an enthralling story. It's a novel I definitely want on my own bookshelf.

· Professional Review: High school sophomore Piddy Sanchez can't catch a break. She's just moved and transferred schools, separating her from her best friend. Piddy's curvy figure attracts the attention of both boys and school bully Yaqui, who is jealous and won't accept ambitious and independent Piddy into her group of Latinas, and threatens to harm her. Piddy's life is complicated enough before Yaqui's cruel threats and violent attacks. Outside of school, Piddy works with a flamboyant family friend at a hair salon; has just discovered that her traditional mother may have secrets about Piddy's absent father; develops romantic feelings for a childhood friend; and worries if her dream of working with animals can come true. When Yaqui takes things too far, Piddy has to decide what she is willing to do to defend herself. Piddy is a strong heroine whose sense of self is realistically jarred by her conflicting emotions. Medina (The Girl Who Could Silence the Wind) effectively prods at the motivations behind bullying (without excusing it) and sensitively explores the delicate balance between belonging and maintaining individuality.

· APA Reference of Professional Review: (March 25, 2013). Yaqui Delgado wants to kick your ass. Publisher’s Weekly. Retrieved from: https://www.publishersweekly.com/978-0-7636-5859-5

· Library Uses: For branches looking to start up a teen book club, this is a great one the program with start with. For libraries that already have a book club, this is a wonderful selection. It's accessible and easy for teens to relate to. Piddy is a girl they could have gone to school with.

· Readalikes: For readers who enjoyed this novel, Marcelo in the Real World by Francisco X. Stork, Aristotle and Dante Discover the Secrets of the Universe by Benjamin Alire Sáenz, and Mexican Whiteboy by Matt de la Peña are good books to look at. While none of these novels have bullying as the central conflict, they do all have hispanic teenagers as their main characters and feature their struggles with parents, identity, and finding your place.

· Genre: Realistic fiction describes works with stories that could take place in our world, where none of the elements in the novel stray outside of natural laws. The crux of Miyax's, the protagonist, struggles in the wild are rooted in her difficultly in understanding how wolves communicate with each other. The biggest flaw is that the science is outdated. Julie of the Wolves was a perfect representation of realistic fiction when it was first published. Presently, it is a good example, with some antiquated ideas of animal behavior.

· Book Summary: Miyax’s early childhood was perfect, she grew up surrounded by cherished traditions and her father's love. Until one day, when Aunt Martha comes for her and a war comes for her father. The next few years see Miyax forced into a servile role. At first, it seems like an arranged marriage with a family friend's son might be her way out. But when the marriage turns disastrous, Miyax's only hope lies in San Francisco, where her pen pal Amy lives. Packing only the essentials, Miyax sets out into the Alaskan wilderness. Out there, survival means relying on the old Eskimo ways to survive. A pack of wolves might be able to help too, but only if Miyax can learn to communicate with them.

· APA Reference of Book: Geroge, J.C. (1972). Julie of the wolves. New York, NY: Harper & Row.

· Impressions: Julie of the Wolves is a classic that is actually a good read, a rare pedigree. Although there are some flaws that date the book—like the science behind wolf behavior—for the most part, it holds up. Unfortunately, indigenous people in the U.S. still face a lot of the issues presented in Miyax's Alaska. Poor education, lack of opportunities, and alcoholism, to name a few. The book does a wonderful job of balancing the beauty of Eskimo culture, while also acknowledging the darker aspects to tradition. 

The best part of this book is definitely the wolves. The author did a brilliant job making Miyax's attempts to understand the pack come across as realistic. She's bright, curious, and attentive; watching her succeed was satisfying to read. Even reading about mundane tasks, such as sewing or gathering caribou waste, is fun. Following Miyax on her journey is a delight because we get to see her come into her own. I also appreciate the book for not hesitating to end on a bittersweet note. Miyax has her father back, but they've both changed and he's become part of a system that's brought an end to the "hour of the wolf and the Eskimo." 

While I appreciated the frankness of the book, I did feel like some elements are glossed over. Such as David's assault, which Miyax scarcely thinks about once she runs away. Miyax's time with the wolves is much more fleshed out than her interactions with people. The ending also felt a little rushed, The book had such a strong beginning and rich middle, the ending feels lopsided in comparison. Miyax makes her decision to stay in the wild, only to run into a couple who know her father, who turns out to still be alive. Then she finds him right away. 

Still, this was an enjoyable read. Definitely worth borrowing from the library.

· Professional Review: Running away from an arranged marriage with simpleminded Donald, thirteen year-old Julie (she prefers Miyax, her Eskimo name) survives on the barren tundra by making friends with a family of wolves. Her patient, intelligent courting of the animals -- observing their signs of leadership, submission, etc. and aping the appropriate ones -- and her resourcefulness in keeping herself alive (first with a bite of meat a wolf regurgitates for her, then by smoking and freezing what the wolves leave of the caribou they kill) are meticulously observed. In a central flashback we learn of her life to date -- at seal camp with Kapugen, her widowed father who taught her to live in the wild, in town with her unsympathetic aunt who calls her Julie, sends her to an American school, and tells her of Kapugen's presumed death, then with Donald's family, reasonably contented until he, goaded by the other boys, roughly attempts to assert his husbandly prerogative. Now Miyax plans to make her way to a harbor town, then fly to the pink bedroom and velvet theater seats promised by her pen pal in San Francisco. But as she nears the coast months later (the wolves still paralleling her course) a plane appears. Then the air explodes with gunshots and the magnificent Amaroq, her adoptive wolf father, is killed. "Black exhaust envolved her, and civilization became this monster that snarled across the sky." The final devastation occurs when Miyax, having heard from traveling hunters that Kapugen is alive, arrives at her father's new house to find, along with the harpoons and kayak and couch of furs, a white wife, electric lights, and a helmet and goggles. "'Aw, that. I now own an airplane, Miyax. It's the only way to hunt today. The seals are scarce and the whales are almost gone.' . . . Kapugen, after all, was dead to her," and later, alone in the snow, Miyax sings to the totem she has carved of Amaroq "that the hour of the wolf and the Eskimo is over." Though remarkable Miyax and her experience are totally believable, her spirit living evidence of the magnitude of the loss.

· APA Reference of Professional Review: (November 1, 1972). Julie of the Wolves. Kirkus Reviews. Retrieved from: https://www.kirkusreviews.com/book-reviews/jean-craighead-george/julie-of-the-wolves/

· Library Uses:

I would use this work for a book talk. I think we take for granted that children are going to read classics like Julie of the Wolves, because they're classics and likely to end up on required reading lists for school. It's easy to forget that Julie of the Wolves is a good book on it's own, with themes that appeal to kids. For the book talk, I feel like the 11-13 years old is the best age range. The kids are old enough to understand the nuance, but still young enough for Miyax's independence and capability to hit home.

· Readalikes: For readers who enjoyed this work, Hatchet by Gary Paulsen, Island of the Blue Dolphins by Scott O'Dell, and Roll of Thunder, Hear My Cry by Mildred D. Taylor are good books to look for.

O'Dell and Paulsen's works both feature young protagonists coming of age, while contending with both the wilderness and social pressures. The main characters find themselves torn between appreciation for the nature they're isolated in and longing for people, despite their bittersweet feelings towards them. 

· Genre: Works falling under the fantasy genre include any depiction of something that deviates from the natural laws of the world we know. In This is Not My Hat, you can infer it’s fantasy because the small fish has dialogue, and animals don’t talk. However, it’s even apparent from the cover, where the titular fish is wearing a hat. Animals don’t wear clothing. This is a subtle representation of the fantasy genre, but a good one. The animals don’t have to tap dance for readers to figure out they aren’t quite like the fish in our pond.

· Book Summary: A thief absconds with his prize; a small hat. The thief knows the hat does not belong to him, but it fits him better than the big fish he stole it from. Unbothered by his conscience, he aims to reach the place where the tall plants grow—a great hiding spot. And so the thief makes for his haven, unaware that his victim has been on his trail since the beginning. 

· APA Reference of Book: Klassen, J. (2012). This is not my hat. Somerville, MA: Candlewick Press.  

· Impressions: I thoroughly adored this book. it’s clever and treats readers like they’re clever too. Picture books aim to be accessible to the young children they’re for and occasionally they aim a little low. But This is Not My Hat doesn’t bother with lengthy exposition. The story is about a small fish with a misbegotten hat. We don’t see the hat being stolen, only the aftermath of the crime. The books start with action; the thief is swimming away. And almost immediately, the robbed big fish gives chase.

This was a hilarious story, with almost every line of dialogue being contradicted by what the illustrations were depicting. The other characters, the big fish and a small crab witness, don’t speak at all. But they don’t need to. The illustrations show how the story is progressing and invites the reader in on the joke. The small fish has a hat that isn’t his and the big fish will be getting it back. 

I also enjoyed the art style. The choice in color is interesting, because the palette is actually quite muted. But a strong contrast against a black back drop makes the images vivid. It’s a very minimalist design and sets the scene perfectly for this would-be caper. The dark setting tells us we are at the bottom of the ocean, in a place almost barren of animals. It also makes the ending deliciously satisfying. ”Nobody will ever find me” indeed. 

I love this book. This is Not My Hat is such a fantastic example of “show, don’t tell.” I plan on adding it to my own bookshelf. 

· Professional Review: Like Klassen's very funny and much-praised I Want My Hat Back, this story involves a hat theft; this time, Klassen ups the ante by having the thief narrate. It's a small gray fish who has stolen a tiny bowler hat from a much larger fish ("It was too small for him anyway," the little fish sniffs. "It fits me just right"). Klassen excels at using pictures to tell the parts of the story his unreliable narrators omit or evade. "There is someone who saw me already," admits the little fish, about a goggle-eyed crab. "But he said he wouldn't tell anyone which way I went. So I am not worried about that." The spread tells another story; the crab betrays the small fish in a heartbeat, pointing to its hiding place, "where the plants are big and tall and close together." Readers hope for the best, but after the big fish darts in, only one of them emerges, sporting the hat. It's no surprise that the dominant color of the spreads is black. Tough times call for tough picture books. 

· APA Reference of Professional Review: (August 27, 2012). This is not my hat. Publisher’s Weekly. Retrieved from: https://www.publishersweekly.com/978-0-7636-5599-0

· Library Uses: Older readers will definitely infer that the big fish ate, or offed, the small fish. But for young readers, the case is not so clear. A good idea for a program would be to read This is Not My Hat to the kids and let them come to their own conclusions. They can break off into groups of three to brainstorm the ending. Each child will then be assigned a character and will act out what happens after the big fish gets to the seaweed. This is Not My Hat is the kind of book that invites readers to engage with the material, and given the rather open-ended conclusion, the kids’ guesses are as good as anyone else’s.

· Readalikes: If readers enjoyed This is Not My Hat, they should give Dr. Seuss’ Sneetches and Other Stories, Eric Kaplan’s Monsters Eat Whiny Children, and Mo Willems’ Can I Play Too? a try. Kaplan’s work is edgier than most children’s picture books, much like Klassen’s. The storytelling is a little more dark in both and a welcome change for readers tired off soft balls. They can also enjoy the blunt prose.

The humor in Klassen’s work is sly. Sneetches and Other Stories is perfectly suited to that taste. It depicts the perils of discrimination, and the titular story, in which in the only real winner is the businessman playing both sides of the Sneetches, has a similarly dark, humorous ending. 

· Genre: Realistic fiction features stories that takes place in our world, exactly as we know it. This book falls under that umbrella beautifully and is great representation of the genre. The Dead Bird is set in our normal world, and the storytelling gels so well with the ways of actual children. There is little doubt that this could have actually happened in some park, somewhere. 

· Book Summary: A group a children come across the body of a dead bird. The children take it upon themselves to give the small animal a proper burial. It's a duty they take seriously, from scouting out where to bury him to how they lay him down to rest. Solemnly, the children sing for the bird. The book closes with the children visiting his grave every day until they forget.

· APA Reference of Book: Brown, M. (2016). The dead bird. New York, NY: Harper.  

· Impressions: I enjoyed this book immensely. The artwork is wonderful; it's drawn in such a way it gives the impression a talented child with a marker could have drawn it. And yet, there's a quiet restraint to the colors and lines. Details like the buttons on one of the girls’ dresses and the way the kids hold their hands agains their faces, make it clear this is the work of a skilled professional. Even though the story revolves around a funeral, the colors are bright—exactly how a child would view the day.

The writing is breathtakingly realistic. There's the ease in how the children's sadness at the bird's death and their excitement at being able to do a burial the way "adults do," coexists. The book also completely sells the certainty in which the children conduct the funeral; they have to bury the bird, they have to give it a gravestone, they have to sing it a song. And the lyrics to the song are perfect—not lyrical and very literal.

I loved how seriously the kids took their duty. The children take such care in the in the flowers they pick, and even in how they wrap the little body in grapevine leaves. They're imitating adults, but their actions have significance because the children give actual weight to them. Reading this reminded me of how stubborn I was about burying my hamster. This is a great children's work.

This is one book I definitely want to have on my shelves.

· Professional Review: Brown’s 1938 story, best known from a 1958 version illustrated by Remy Charlip, describes a group of children who discover a dead bird. Robinson (Leo: A Ghost Story) pictures a verdant urban park, where four children—one dressed as a red fox, another wearing blue fairy wings—frolic with a big gray dog. The sad news arrives on the first page: “The bird was dead when the children found it.” The frowning children gently lift the small brown bird, finding “it was still warm and its eyes were closed.... But there was no heart beating. That was how they knew it was dead.” They solemnly bury the bird under the leafy trees, improvise a mourning song, and surround a stone marker with summer flowers, behaving “the way grown-up people did when someone died.” Even as the children imitate grief in response to the wild bird’s death, they genuinely grieve the joy that has been lost: “You’ll never fly again,” they realize. Robinson’s illustrations hint at how the improvised funeral enables the children to acknowledge impermanence, his close-ups capturing their concentration as they assemble the memorial. Brown takes a direct approach to a difficult subject, suggesting how community rituals provide solace. Robinson concludes with a wide-angle view of growing trees and the children flying a kite, implying a return to carefree fun and putting a poignant distance between the tiny figures and readers. Ages 4–8. Illustrator’s agent: Steven Malk, Writers House. (Mar.)

· APA Reference of Professional Review: (December 21, 2015). The dead bird. Publisher’s Weekly. Retrieved from: https://www.publishersweekly.com/978-0-06-028931-7

· Library Uses: I would use this book as a part of library's program for Dia de los Muertos. The idea that another county would celebrate the death of loved ones can seem strange, even off-putting. But children tend to be more accepting to seemingly-strange concepts. And a book like The Dead Bird can encourage kids to use their own cultural practices to better relate to this Mexican holiday. This book could be used to explain some of the common practices of Dia de los Muertos.

· Readalikes: For readers who enjoyed this book, Duck, Death, and the Tulip by Wolf Erlbruch, The Dark by Lemony Snicket, and Grandfather's Journey by Allen Say are works to look to. Duck, Death and the Tulip treats death just as matter-a-fact as Brown did. And even takes it a step further, by actually personifying death. That puts it out of the realm of realistic fiction, but the quiet sincerity between characters rings just as true as it does in Brown's work. 

The Dark also falls more under fantasy, as it personifies “the dark” in a little boy's house. But the solemness in which the boy handles his fear of the dark, and the fairness in which he treats the dark, a concept he doesn't really understand, is similar to The Dead Bird. 

· Genre: This book best fits under the fantasy genre, which describes works containing any deviation from the natural physical law. This work is not the clearest representation of the genre, since it’s set in the real world and all the characters featured—sun, ladybugs, etc.—are ones that exist in our world too. It really comes down to how the characters are personified—the wind has the ability to whisper. This is not a straightforward example, but it is fantasy. 

· Book Summary: Never has an occasion been so momentous as the night you were born. Celebrations abound in this book, which shows a world that not only knows you were born, but enthusiastically welcomes you. Celestial bodies saw your arrival and the wind and rain let everyone else know as well. You are special, and On the Night You Were Born makes sure you know how beloved you are. 

· APA Reference of Book: Tillman, N. (2005). On the night you were born. Tualatin, OR: Darling Press.

· Impressions: This is a very pretty book. The most impressive part of this work is the illustrations. They are gorgeous; even though most of the story takes place at night, the majority of the color palette is vibrant and the drawings are distinct. I enjoyed how a face was always visible on each page, usually in the moon. The art is definitely the strength in this work. 

The writing is weak. Most of story is told in rhyme, which wouldn’t be a problem if it hadn’t started in standard prose. Moreover, when the writing switches to rhyme, it’s not consistent. One page has, “not once has there been such, eyes, such a nose, and such silly, wiggly, toes.” Almost right after, there’s a page that has “from far away places the geese flew home,” and the one right after “the moon stayed up until morning next day.” This lack of consistency means there isn’t a good flow. I found myself enjoying the rhythm of a rhyme, before running smack into a bald sentence. 

While children might enjoy the emphasis the book places on them, I think it will resonate more with the adults reading it to them. Despite, its shortcomings, there’s a sincerity to this book. On the Night You Were Born says that when a child is born, the world changes. Having a baby no doubt seems like the earth has shifted, and parents will probably relate to this. 

Overall, I think this is a charming book. The artwork is exquisite and the earnest writing will be a joy for parents to read. Definitely worth a borrow from the library.

· Professional Review: The birth of a baby, "the one and only ever you" causes jubilation throughout creation in this quietly celebratory picture book from newcomer Tillman. Polar bears dance, giraffes weave to the sound of brass horns, and "the moon smiled with such wonder/ that the stars peeked in to see you/ and the night wind whispered,/ 'Life will never be the same.'" Tillman successfully sidesteps the soft-focus sappiness that can accompany this genre. Her writing has the authenticity of whispered conversation; occasionally, she pauses in her exaltations of the baby to address the subject directly: "I think I'll count to three so you can wiggle your toes for me." Her strong, assured paintings truly set this book apart. The pictures subtly radiate golden glints of moonlight, and her almost sculptural rendering style gives her characters a hefty physicality that counterbalances the ethereal sentiments being expressed. Although one suspects that grown-ups will be most taken with the topic and treatment, this is one of those rare baby books that should make both skeptics and sentimentalists of all ages happy. All ages.

· APA Reference of Professional Review: (October 16, 2006). On the night you were born. Publisher’s Weekly. Retrieved from: https://www.publishersweekly.com/978-0-312-34606-5

· Library Uses: I would use this book for a craft. The program can start with a librarian reading the book aloud to the kids. Then, using the book as inspiration, the children can come up with their own stories about what happened when they born. Or, they can create a story about their younger siblings, relatives, or even pets. 

Pictures of a variety of things—space, animals, nature, etc.—can already be printed so the kids can cut and paste them into pre-made booklets. The emphasis on using visuals, rather than writing will allow young children to participate as well.  

The book makes a point about how a child is unique, and this craft would encourage kids to celebrate their birth on their own terms, as well as stimulating their creativity. 

· Readalikes: If readers enjoyed this book, Take My Heart, My Child by Ainsley Earhardt, What's Special About Me, Mama? by Kristina Evans, and Do You Know What I'll Do? by Charlotte Zolotow are books to look for. All of the illustrations in these works are superb and the writing is done in rhymes. Earhardt focuses on the love parents have for their children, an earnest sentiment that colors On the Night You Were Born all the way through.

Do You Know What I’ll Do? is from the point of view of a sibling, but there’s a strong feeling of excitement, an eagerness for the way a baby can change your life, also present in Tillman’s book.