(2) YA In an appealing and innovative collection, Wilson (One Last Shot, rev. 3/23) brings together a dozen authors (David Bowles, Margarita Engle, Eric Gansworth, Mariama J. Lockington, among others), each creating a different short story in verse around the overarching theme of love. The tales explore this theme from various perspectives: love that is new, controlling, forbidden, rejected, familial, spiritual, same sex, among friends, and for our pets. The poets each bring their unique storytelling style -- some accessibly conversational, some more layered and narratively complex -- with stories ranging from fantasy to contemporary and historical fiction. Poetic language builds each story: in the heartbreaking but hopeful "Kaleidoscope," for instance, Alexandra Alessandri writes, "I can learn to find beauty in the ashes, / to choose joy in the hard places, / to make art from broken pieces." Each entry stands strongly on its own, while the collection creates a compelling picture of the many dimensions of love.

Reviewer: | Horn Book Magazine Issue: March, 2025

(2) 4-6 In this fantasy novel in verse, spare narration yields jewel-bright imagery of a frozen land where a magic metal -- Fermata -- is necessary for Humans to buy entrance into the Giants' jealously guarded, sheltered gardens. In Lyriana's experience, Songsummoners who sing Fermata into existence -- the protagonist's mother and, someday, Lyrie herself -- are exploited, Lyrie's mother even losing her life trying to make enough metal to save everyone from the cold. Lyrie hopes that rumors of a fabled Orphan's Garden are true -- that an enclave exists where the Winter Spirits don't rule. Meanwhile Brob, a boy Giant whose family had been banished by the Giant King, leads his family toward the secret garden he himself created when he was six. The author's nonlinear storytelling style meshes with the tale's alternating voices and varied poetic structures, creating multiple narratives with intertwined mysteries and payoffs, while poetry aficionados will note, among others, a sonnet, haiku, and sestina tucked in with the blank verse. Themes of trust, interdependence, and the power of music develop meaningfully over the course of this taut, beautifully rendered adventure in which Lyriana and Brob, if they can overcome their differences, have complementary roles to play in ending the tyranny of winter.

Reviewer: Anita L. Burkam | Horn Book Magazine Issue: March, 2025

(2) Illustrated by Diana Ejaita. James introduces young readers to the life and work of Myra Viola Wilds (1875-1935), a Black woman who became a renowned dress designer and dressmaker, and then an acclaimed poet. Wilds's life unfolds via James's loose quatrains, often using off-rhymes, that sketch her story in broad strokes -- her beginnings in rural Kentucky, her success as a dressmaker and the subsequent loss of her sight, and her creativity then taking the form of writing poetry. The language of James's poems echoes Wilds's own, with a focus on the thoughts and dreams that empowered her. Bold and color-drenched illustrations propel the story forward, through expansive images echoing the vivid collage work of Matisse, with the added texture of chalk or fabric or paint. A central figure -- a woman in profile cut from black or brown paper -- is the focus, but details of birds, flowers, and geometric swirls add dimension. An endnote provides further biographical information; an archival photograph of Wilds and her poem "Dewdrops" conclude the book.

Reviewer: | Horn Book Magazine Issue: March, 2025

(2) YA When seventh grader Finn Connelly is caught on a surveillance camera kicking over a headstone in a local Lake Placid cemetery, little does he know it was the grave of Edna Grace Thomas, "Queen of the High Peaks," one of the first women 46ers: those who have climbed all forty-six Adirondack High Peaks. Edna's daughter, Kelly, sets Finn on a mission of atonement: to climb all forty-six mountains in memory of her mother. She suspects that Finn can use what the peaks offer: "The power to heal. / To help a troubled soul find peace. / Make a broken person whole." Finn begins a hero's journey, accompanied by Seymour, "the most slobbery, / drooly-faced, / smelly-furred, / farty-butted dog / in the world," along with a series of 46er "trail nannies," and soon realizes that "the trouble with long hikes / is that your brain has to come with you." He has plenty of time to think about the mess he has made of his life recently and about his anger and grief over the (unprocessed) loss of his father two years earlier. Messner relates Finn's story through an animated first-person narrative and through the poems Finn must write for a school project, mixing in text messages with his mother, letters to his English teacher, cookie recipes, and more. This verse novel covers a lot of ground, literally and metaphorically, and thoughtfully grapples with the big ideas of life.

Reviewer: Dean Schneider | Horn Book Magazine Issue: March, 2025

(2) 4-6 In this historical novel in verse, fifth grader Cooper Dale is growing up near Pittsburgh in 1963 and grappling with issues concerning her identity as a Black child attending a predominantly white school. While her family encourages her to embrace who she is, Cooper doesn't always feel that way: "Sometimes / I don't want to be black." Mama tells her that she has to "study harder" and "shine brighter" in school due to racism. Wade Carter, a racist classroom bully, makes things even harder, calling Cooper "Mud Face" and "Tar Baby." Things get worse when Cooper's mom takes a job as the Carters' maid. At first, this is just another thing for Wade to lord over her, but it ends up being the impetus for Cooper to see her tormentor in a new light and for him to change his behavior. Wade's mom is seriously ill, and once she learns this, Cooper slowly begins to feel compassion for him and fully embraces Mama's call to "be radiant" along with their church's beliefs about mercy. Nelson has created a likable character in Cooper, and this quiet, introspective novel (with some moments of levity; e.g., Cooper's embrace of Beatlemania) effectively examines what it means to forgive along with the importance of family.

Reviewer: | Horn Book Magazine Issue: March, 2025

(1) 4-6 Illustrated by Daniel Minter. Toni Morrison (1931-2019), a gifted student, was the only Black girl in her Lorain, Ohio, first-grade class. She grew up to be a trailblazing book editor and a Pulitzer- and Nobel Prize-winning author who stands as a giant in the pantheon of literary greats, all while navigating the world as a Black woman. Pinkney honors her legacy with a sophisticated narrative ode in verse. Weaving biographical moments together with exaltation and admiration ("Oh, Toni Morrison, / you liberate all of us. / You -- let us breathe"), Pinkney conveys not only a life dedicated to the artistry of the written word but also the woman behind the pen. Minter, who uses mixed media that includes hand-painting, acrylic, and digital techniques, says in an appended note that he framed the work as a "praise poem." The art is awash in saturated tones and bold, almost oversized renderings of Morrison that become transcendent with the intricate white lines that are meticulously included on every page. Each spread is full of beauty, depth, and movement honoring one whose life's work amounts to a love letter to Black people. Back matter includes statements from the author and artist, biographical timelines, and a list of Morrison's selected works. Pair with Weatherford and Thompson's A Crown of Stories: The Life and Language of Beloved Writer Toni Morrison (rev. 5/24).

Reviewer: Monique Harris | Horn Book Magazine Issue: March, 2025

(2) K-3 Illustrated by Tonya Engel. President Barack Obama's path through life has been anything but linear. This picture-book biography in verse relates how "Barry" (as he was known in childhood), who was born to a white woman from Kansas and a Black Kenyan father, began to explore his racial identity at an early age. He increasingly felt like an outsider as he moved from Hawaii to Indonesia and back again. In early adulthood, he spent time in big cities on the U.S. mainland ("I came home in Chicago") and, realizing that his unique background was an asset to the community, began to organize, which led to the start of his political career. Chronicling his personal life, political rise, and presidency in a style both poetic and informative, Rappaport offers a narrative that emphasizes themes of community and perseverance. Engel's paintings effectively complement the text, with dynamic colors capturing the energy of Obama's journey. Select quotes about both his political and personal achievements, peppered throughout the text, add richness. With a detailed timeline and bibliography, this is a strong narrative that is equal parts biography and tribute to a man who discovered that his uniqueness was precisely what qualified him to serve others.

Reviewer: Eboni Njoku | Horn Book Magazine Issue: March, 2025

(2) 4-6 Geetha and her mother, who lives with depression, move from Chennai, India, to Rhode Island, leaving behind the rest of their family and settling in an apartment near Narragansett Bay. Geetha is lonely at school and is made fun of for her accent, food, and thrift-store clothes. She often fights to "hold back the dam of anger building," though regular trips to the library and composing music on her bamboo flute provide release. She befriends Miguel, a Mexican American boy, and the two find a harp seal that has been injured by a fishing line; after it's taken in by the Marine Mammal Rehabilitation Center, they visit it as it convalesces. Inspired to prevent further injury to animals from pollution, the two organize a community beach cleanup. Written in verse, this compact, emotional story brims with metaphors about the ocean and sea life that echo its themes of home and the scary process of learning to let go of people, things, and beliefs. Additionally, there is a strong marine conservationist message that may inspire readers to learn more and take action. An author's note contextualizes Geetha's story in Venkatraman's own experiences; resources about marine life, bullying, and mental health are also appended.

Reviewer: Julie Hakim Azzam | Horn Book Magazine Issue: March, 2025

(1) YA "I didn't know / best friends could die." From the very first line, Watson takes a deep dive into the intricacies of grief and healing. On her thirteenth birthday, Sage is looking forward to spending the day with her best friend; instead, she receives news that her friend has been killed by a drunk driver. Her parents and aunt provide Sage with as much support as possible, even as she observes that adults don't always know how to discuss death with one another, much less with children. She attends an afterschool grief group, where she connects with Ebony and DD, who understand "how death comes suddenly and without warning." She also finds herself drawing back from loved ones as her emotions vacillate among sadness, anger, and guilt. Her attempts to streamline those emotions prove pointless, while interactions with friends, family, potential crushes, and even her beloved math class ("where everything makes sense") show Sage there are no linear or concrete solutions in life, including in healing. Watson makes the wise choice to avoid neat resolutions to Sage's process. An author's note detailing her own recent experiences with grief adds impact to the idea that "the sadness & anger & laughter / don't wait their turn." A poignant story for all and a valuable resource for those experiencing grief and loss.

Reviewer: Eboni Njoku | Horn Book Magazine Issue: March, 2025

(2) K-3 Illustrated by Ernel Martinez. "My mom claims I was rapping before I could speak. / Matter of fact, I freestyled eight days a week." A young MC serves as the narrator of this ode to hip-hop, which introduces readers to rap as an art form that is primarily about wordplay. An early illustration shows three kids drawing on a wall with the word hyperbole incorporated into the art. The word is then defined on the following page, providing an important lesson about language: "Remember that rap is poetry." The text includes several terms that reinforce the use of literary devices -- alliteration, onomatopoeia, and personification -- all of which are defined in an appended glossary. The young protagonist provides a step-by-step guide to writing and performing rap lyrics, with many instructions written on what appears to be notebook paper. Martinez's illustrations in a dreamlike watercolor style include some classic hallmarks of rap: a crate full of records, a cassette tape, a large boom box, shell-top sneakers, and plenty of microphones. The young characters' faces are expressive and lifelike. One particularly effective double-page spread depicts a tree whose branches sprout words and verses. An author's note by Jeffery Boston Weatherford is appended.

Reviewer: | Horn Book Magazine Issue: March, 2025

(1) YA In this verse novel with a basis in Caribbean folklore, fifteen-year-old Marisol and her mother, Lourdes, have recently emigrated from the Caribbean to Brooklyn. The two are soucouyant, shapeshifting "monsters" who shed their skin during the new moon to feed on the souls of their enemies. As a poor Black immigrant girl, Marisol finds that the world she inhabits sees her as monstrous in more ways than one. Seventeen-year-old Genevieve, by contrast, has lived in New York her whole life with her white father and stepmother (she has a Black biological mother). Although she enjoys privileges such as wealth, light skin, and U.S. citizenship, Genevieve feels trapped in her own body: enflamed rashes make her feel like her skin "will burn and melt / right off my fucking bones." The two girls' lives intersect when Lourdes is hired as a full-time nanny by Genevieve's stepmother for her newborn twins, and they come to realize that despite their very different upbringings, their worlds are more interconnected than they could have imagined. Expressive verse alternates between Marisol and Genevieve's perspectives, with judicious shifts in placement emphasizing connections between them. In a story that explores class, nationalism, colorism, colonialism, and ancestry, Zoboi skillfully captures the complexities of identity and belonging, offering a powerful narrative about two girls struggling to understand who they are and where they come from.

Reviewer: S. R. Toliver | Horn Book Magazine Issue: March, 2025

(2) PS There's a lot happening in this clever picture book with an all-dialogue text that introduces the nonsense words used when we can't remember the proper name for something. An adult elephant "can't find the...I forget the word...the...thing-a-ma-jig," so their little one confidently dashes off with a magnifying glass to track it down. Forgetfulness is in the air: a small yellow bird is missing its "hoo-zee-wots-it that makes thunder" and offers to help search. As they investigate, more animals (and stand-in words) join them, including a slug that can't find its "hoo-pull-dee-pewp. It kept the sun off my back" and a squirrel on the hunt for "the shis-moo I was using to carry things from here to there." Is there "a thief in the neighborhood"? Alexander's (You Rule!, rev. 7/23) deceptively simple illustrations, rendered in collaged photographs and hand-cut rubber stamps, are composed of bold primary and secondary colors that pop against ample white space. The expressive animal characters add humor and bring this who(didn't)dunit to life. Three double-page spreads provide a visual hint to what's really happening: the thing-a-ma-jig, hoo-zee-wots-it, shis-moo, etc., are all the same blue bottle cap, which began its journey through the neighborhood when the elephant left it on a tree stump. Spoiler alert: The cap is returned to its bottle, and together the group finds "something for everyone" to replace the multipurpose item, a process that will have young listeners turning back to the beginning to spot subtly placed details in the illustrations. A final spread provides the language of origin for the nonsense words employed in the text.

Reviewer: Kitty Flynn | Horn Book Magazine Issue: March, 2024

(2) YA In this loose retelling of the Greek myth, Icarus Gallagher is a seventeen-year-old art thief. He breaks into Mr. Black's home, steals his art, and replaces it with forgeries by his father, Angus -- largely as revenge for Mr. Black's role in Icarus's mother's death years earlier. This revenge comes at a cost, however. Angus has strict rules that keep Icarus distanced from others, and he isn't the novel's only abusive father. One night, Icarus meets Mr. Black's son, Helios, who is essentially under house arrest. Against Icarus's better judgment, they strike up a friendship, and then a romance -- and then they must face their inner demons as they plot their escape. Written in brief vignettes that hover somewhere between flash fiction and prose poems, the narrative begins as an impressionistic character study of Icarus. Gradually, a plot emerges, many secrets are revealed, suspense builds, and the romantic tension between the characters ratchets up -- all of it enhanced by the vivid prose in this refreshingly succinct novel.

Reviewer: Jonathan Hunt | Horn Book Magazine Issue: May, 2024

(2) 4-6 Illustrated by Sophie Blackall. In this first-person novel in verse, Burg (Serafina's Promise, rev. 9/13) imagines the life of the groundbreaking environmentalist from age eleven through adulthood. Rachel possesses a heightened awareness of nature and makes close observation of the plants, birds, and animals in the surrounding fields and woods. When a teacher praises her writing, she vows to become a writer of fiction. Many obstacles thwart her success, including multiple family crises, so she shifts her career ambitions to studying science. While the limitations on women in the field keep her from capitalizing on all the skills and scientific knowledge she acquires, she is persistent and publishes articles, pamphlets, letters, reports, and books -- laying the foundation for a global movement of environmental awareness and action. Burg's lyrical language keeps the focus on Carson's love of nature and raises many questions that prompt the reader to think critically; e.g., "Why is science considered / the realm of men? / Are we not all people?" and "When will man realize that he / is a part of nature, not its master?" Along with interspersed "Field Notes," Blackall's occasional black-and-white illustrations of plants and animals aptly suggest a kind of nature journal.

Reviewer: | Horn Book Magazine Issue: May, 2024

(1) 4-6 In 1879, Lettie's African American family begins a westward journey from Natchez, Mississippi, to Nebraska, where her father seeks a better life for them. "We can't live free / on someone else's land / picking someone else's crop! / I need something to call my own." Eleven-year-old Lettie, her parents, and her two younger brothers load all they can into a wagon and join a caravan of ten families journeying on flatboat and on foot. Cline-Ransome's spare free-verse narrative centers three skillfully developed female voices: Lettie; her mother, Sylvia; and eighteen-year-old Philomena, on her way to her first teaching job in Nebraska. Lettie keeps track of the miles and spending on supplies while Sylvia does her best to keep the children's spirits uplifted. Philomena joins the family in Missouri, gaining passage in exchange for help with cooking and laundry. The treacherous terrain, extreme weather changes, and unforeseen tragedies are overwhelming at times, but the sense of community among the travelers offers a prevailing sense of hope. This is a captivating story about African American homesteaders and their claims to land promised them after the Civil War.

Reviewer: Pauletta Brown Bracy | Horn Book Magazine Issue: March, 2024

(2) YA Illustrated by Kate Milner. Coelho, the U.K.'s current Children's Laureate, here interweaves two narratives -- one a riff on the classical story of Theseus; the other of Theo, a contemporary biracial teen seeking his Black father. They are "two boys searching a maze of manhood," as an introductory poem by "the Oracle" proclaims. In first-person, present-tense verse -- free verse as well as rondels, sestinas, pantoums, and other tightly structured poetic forms -- the story focuses on Theo's visceral desire to know the father who long ago abandoned him and his mother. At the same time, for coursework, he pursues the project of telling Theseus's story in a series of poems. Theseus's labors as he travels to meet his father become the structure by which Theo envisions and interprets progress and setbacks, liars and swindlers, in his own quest. He has his own take on the tricksters and monsters Theseus slaughters, offering compassionate, complex readings that explore and contest ideas of masculinity and the monstrous. Coelho's verse is expressive and arresting: his description of washing a contemporary Sciron's feet is enough to curl your toenails. His mingling of contemporary urban features with the fantastic grotesqueries of the classical story creates a surreality that suits adolescent passions. Milner's pen-and-ink illustrations throughout combine the statuesque, hieroglyphic, and superheroic in a parallel expression of the mythic nature of teen quests. An appended note gives background on the story of Theseus.

Reviewer: Deirdre F. Baker | Horn Book Magazine Issue: March, 2024

(2) YA Seventeen-year-old Ariel Burns is struggling with constant, anxious "what-if" thoughts and dark, violent "crocodile in my mind" fantasies that have escalated to an obsessive degree. She resorts to extreme, repetitive actions such as walking in circles sixty-four times to keep those awful thoughts at bay. With her beloved older sister away at college, her parents emotionally distant, and her best friend gone for the summer, Ariel is having difficulty separating fantasy from reality and worries that she is a danger to others. The support of new friends and texts from her sister help her to begin to confront those concerns. Cole explores the parallel stories of Ariel's inner and outer realities through compelling free verse and illuminating juxtaposition of inner monologue and external events. Questions of gender identity are interwoven as Ariel wonders what it means to be a "girl" when you're 5'11" and wear a size twelve shoe. "I am too many things, all of them / too. / Too big / Too quiet / Too broad / Too off." This powerful novel in verse provides an intimate look at the patterns of obsessive-compulsive disorder and offers an opportunity to explore the ways our inner voices affect our behavior and self-concept. Mental health resources are appended.

Reviewer: | Horn Book Magazine Issue: May, 2024

(2) 4-6 Corry introduces readers to the young Emily Dickinson (1830–1886) in creative graphic-novel form. "One day Emily would become known as one of the greatest poets who ever lived!" But this is not that story; instead, it is a glimpse of some of the things that helped shape her future as a poet. We learn that she loved studying botany in school and created her own herbarium, gathering plant specimens on her "wildflower walks" with her dog, Carlo ("my shaggy ally"). Most of the book imagines one such walk to "meet the flowers." Throughout, Corry incorporates Dickinson's own words in speech bubbles as well as a selection of her poems. Watercolor, gouache, and colored-pencil illustrations reflect Emily's internal transformation as color transitions from shades of sepia for the school and home scenes to full color as she embarks on her walk. The illustrations also playfully highlight Emily's imagination at work, as insects play instruments, sail the sea, have tea, and more; when she briefly loses track of Carlo in the woods, Emily fearfully envisions what could have happened ("What if...goblins have kidnapped him?"). The varied panel layout is easy to follow, adds momentum, and reflects Emily's passionate and detailed nature. While Corry admits to taking artistic license with the timeline, the book gives readers a sense of Dickinson without overwhelming them with facts. Back matter includes additional biographical information and suggestions for further reading.

Reviewer: Cynthia K. Ritter | Horn Book Magazine Issue: January, 2025

(2) YA Sixteen-year-old Samira feels restricted by the watchful eyes of her tight-knit Sudanese American community, especially those of her protective mother. The community has labeled her a "bad girl" because of a false rumor that a boy started years ago. Now, while trying to sneak out to a party with friends, Samira is caught by her mom and grounded. Forbidden from leaving the house, she turns to an online poetry forum to stay connected. She begins chatting with an older poet, Horus, with whom she quickly finds herself falling in love. She begins to question him, though, when he pretends her poem is his. Through vivid free-verse poetry, text messages, and emails, Elhillo (Home Is Not a Country, rev. 7/21) creates a realistic picture of a teenage girl trying to push against unfair perceptions. She also highlights the fears of parents who are trying to raise children in a foreign country. In addition, the book offers a glimpse into the world of poetry and how young artists may be manipulated by older ones. Readers will appreciate the believable portrayal of a teen who is dealing with complex issues of family, friendship, and romantic love.

Reviewer: Nicholl Denice Montgomery | Horn Book Magazine Issue: March, 2024

(2) 4-6 Sixth grader Joseph Oaks claims he isn't a superhero (even if he did fly like Superman once): "I don't have any special powers -- unless / you count my ability to be invisible, / and to survive." Joe's mother gets what he calls "The Itch" and disappears for "days. / Weeks. / Months. / You never know when she'll take off / or when she'll come back." Thus, Joe "know[s] a lot of things / kids shouldn't / have / to know," including housing insecurity (Joe and Grandmum live in her car), poverty, and hunger. Things start to look up when they find "The Overripe Banana," a mobile home in King of the Castle Mobile Home Park. Once settled in, Joe considers his favorite possession, the quilt Grandmum made years ago: he understands that "Grandmum's the thread / holding her, Mom, and me, / separate pieces so different from each other, / together / as a family." Supporting characters, including Joe's teacher, his friends Nick and Hakeem, and the mobile home park's compassionate owner, are well drawn and vividly portrayed. As in Starfish (rev. 5/21), Fipps uses short lines, lots of white space, and an engaging first-person voice to carry the story. A fine example of how a novel in verse can be the perfect vehicle for getting inside the head of a character and creating empathy for what it's like to be him.

Reviewer: Dean Schneider | Horn Book Magazine Issue: May, 2024