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Top reviews:
Rosenstiel a press critic and journalism professor presents a solid case that news organizations’ problems are bigger than they realize. Along with declining public trust and countless newsroom layoffs the industry faces an “intellectual” crisis. Woefully behind the times journalists must embrace “emotionally intelligent newsgathering” that “meets audiences where they are.” Seasoned reporters may blanch at his quasi-therapeutic terminology but it’s backed by concrete ideas. Rosenstiel proposes 10 ways journalists can save their profession urging them to put less emphasis on “watchdogging” scoops and more on work that “helps people.” He praises nonprofit LAist’s efforts to help its audience navigate bureaucracies connect with one another and improve their communities. Citing social science research he wants journalists to “acknowledge alternative worldviews.” An article correcting misinformation about climate change might be more persuasive to conservative-leaning readers if it mentions commercial opportunities associated with addressing the problem. Journalists should embrace artificial intelligence using it to identify falsehoods and build a so-called Civic Internet of useful data obtained from governments. Meanwhile journalists can demonstrate “competence benevolence and accountability” by doing their work as transparently as possible. They should also more open to new storytelling methods and more intentional in how they listen to their audiences’ “questions and needs.” This is a thoughtful contribution to an important conversation. But if Rosenstiel is big on imperatives—journalists must “invent new products” and do “constant” fact-checking—he has little practical counsel for carrying them out with slashed newsgathering budgets. And if his optimism about AI’s “tremendous potential for journalism” is backed by encouraging evidence from newsrooms he doesn’t seriously reckon with the broader threats AI poses to industry jobs. He allows that AI has “serious trust problems” feebly advising journalists to “manage and mitigate them.”
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It’s 2045. AI runs the world. Earth’s first trillionaire has “overdosed en route to Mars” and his successor in the world of the superwealthy is conducting eldritch explorations of animal intelligence to possibly nefarious ends. Prologue to all that in Andersen’s latest is a devastating attack on Oklahoma City by fascist militia as America is dividing the blue United States facing off against the red Free American Republic. Rationalizes Natalie Frederick a dual citizen living in red Tennessee “Yes the politics of Disunion are still driving some people to kill but—grading on a curve—three or five or ten deaths a week among 375 million basically rounds down to zero.” Andersen populates this bitter dissolution with real characters from Trump (who dies of “a massive brainstem stroke while on the famous escalator to a 20th anniversary celebration of his first presidential candidacy”) to a fulminating Tucker Carlson whipping up right-wing frenzy from the confines of West Texas. Enjoying a supermajority with MAGA’s exodus plenty of real-life Democrats figure too. Natalie’s estranged husband is bound up in that AI world one of its denizens a thoughtful giant tortoise living in deep-blue San Francisco with a daughter who describes herself as “a self-absorbed narcissistic teen. Who can pass for self-reliant.” Natalie and Asher reunite to take Logan across the two countries on a tour of potential college campuses—guess where the best schools are—where they see the damaging effects of national divorce a warning that they might rethink their own relationship. The AI part of the story is a little undercooked and the political commentary none too subtle but overall it’s an effective exercise in dystopian fiction with some nicely developed thriller elements in the mix.
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Marvin a shy self-conscious merchild spends his days playing with his best friend Pearl a big round shiny pearl. While playing hide-and-seek Pearl rolls away and Marvin distraught swims deep into the reef to find her. He discovers something shiny but it isn’t Pearl—it’s a little fish called Pinky. Marvin blushes with embarrassment but Pinky wants to help. The search leads them to Inky the octopus and Angie the anglerfish who illuminates a dark cave as they look for Pearl together (“I can light the way”). Eventually Marvin loses hope and heads home heartbroken. His companions don’t give up on finding Pearl; buoyed by their unwavering support Marvin overcomes his social hesitation to embrace the budding friendships. Hinckson’s vibrant whimsical full-page illustrations beautifully capture the story’s emotional core evoking how the protagonist feels different and timid while longing to fit in. The bright expressive portrayals of Marvin make him instantly endearing and relatable. The story effectively highlights the power of courage friendship and meaningful connections when faced with a tough situation. The narrative is simple clear and perfectly suited to younger readers; its charm and heartfelt delivery make it both accessible and uplifting.
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Renée Richards made a splash in 1977 when she sued to be allowed to compete in the U.S. Women’s Open and won her case. The former Richard Raskind an ophthalmologist and fervent amateur tennis player from New York underwent gender-affirming surgery in 1975 and then taking on the name of Renée Richards at age 41 moved to California and worked in ophthalmology there. The next year she quit her job in medicine in order to pursue a professional career in women’s tennis earning the support of prominent figures like Billie Jean King along the way. Kliegman (Mind Game: An Inside Look at the Mental Health Playbook of Elite Athletes 2024) follows Richards from a childhood filled with tennis and “fantasizing about being a girl” through marriage and the birth of a child the decision to transition and then a relatively brief tennis career a return to practicing medicine and a retirement focused on golf and friendship. Drawing on other publications and Richards’ autobiographical writings as well as on interviews with the now-91-year-old Richards and her friends and associates Kliegman crafts an absorbing and intriguingly complex portrait of Richards’ evolution. They view Richards as a “trans pioneer” but they are nevertheless initially intimidated by Richards’ “prickly protective exterior.” Kliegman who is nonbinary and transgender is “floored” as well to realize that Richards has changed her position and says: “I believe that having gone through male puberty disqualifies transgender women from the female category in sports.” Yet the author writes “Richards’s opinion was stark and straightforward something I’d come to expect from her. She didn’t hedge her comments except to make clear that the conversation and findings on the subject are of course ongoing.” Besides Richards said “Why should I say anything otherwise? I’ve got two feet in the grave. I don’t have to pull my punches.”
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The six Marigold Cottages in Santa Barbara California are owned by the good-hearted yenta Golda Bakofsky—fondly known as Mrs. B—who’ll do anything for the people she loves. That includes confessing to murder as she did six months ago bringing the diverse but equally eccentric residents together to find the real killer. Now that Sophie the traumatized playwright has written a play based on the crime she’s moving in with Nicholas who used to be totally closed off. Lily-Ann a brilliant perfectionist is falling for Anthony who was arrested for the murder because he was a felon. Ocean the lesbian divorced mother of two is dating CJ whom she and Mrs. B met at swim class. Hamilton is still agoraphobic. Sophie’s landed a job fundraising for the New Vic and CJ who works for a wealthy man Frank has gotten her and Nicholas an invitation to a party where she can meet rich donors. The elderly Frank’s habit of treating CJ like a daughter doesn’t sit well with his wife Karina who loves him but is frustrated by his refusal to do a major update on their home or buy a yacht or follow his best friend Sunny’s search for eternal youth. Sophie enjoys Frank’s party until the host falls down the steps and dies and Karina accuses CJ of pushing him. Sunny comes forward to say that he too saw CJ push Frank and DS Vernon Enible arrests CJ despite his certainty that the Marigold sleuths are hiding something. Even though they’re not entirely sure that CJ is innocent the Marigold group still works to help her.
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Blair didn’t expect her life on Earth to end face to face with a venomous snake—and she certainly couldn’t have predicted that the Biwbans a race of penguinlike creatures would swoop her up onto their spaceship just before tragedy struck. Now she’s stranded on a faraway planet with Osid a king who’s just as alien there as she is. Despite their language barrier he claims her as his mate. Blair is fiercely independent though and she’s unwilling to rely on a man for anything even one as commanding and handsome as Osid. When the Biwbans find that the two intended mates are at nigh-insurmountable odds the couples therapy of the title commences. Using their advanced technology the Biwbans place Blair and Osid—who are now able to communicate with one another—in a series of trials designed around popular human romance tropes. We get to see the Biwbans’ idea of a first date a Christmas caper and the “Airport Chase” in which Osid must find Blair’s plane and reunite with her before a bomb detonates. Lemming’s work here is clever and loads of fun. Readers will identify with Blair’s steadfast independence and unwillingness to pair up on anything except her own terms. Osid proves to be a charming leading man and his unwavering devotion to his mate—even when she wants nothing to do with him—is admirable. Intimate scenes are steamy and surprising though some readers may want less sexual tension and more action between the two leads.
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Zara Persil-Pendleton is a private investigator in Alameda California who mostly takes employment-related cases with a sideline involving the museum world particularly regarding Judaica-related works and their provenance. As the daughter of a Holocaust survivor who hid her Jewishness after the war Zara finds this heritage connection becoming important to her later in life. That enthusiasm is only partly shared by her wine aunt sister and investigative partner Lilly. After a Bay Area museum spends heavily on a drawing by Caravaggio—a study related to his work Judith and Holofernes—a news report calls the drawing spurious so the museum administrators put Zara on the case. Later an art authenticator suspected of lying about the drawing’s authenticity disappears (as does the drawing itself) and a museum donor appears to be in on the fraud. Soon Zara and Lilly are to their mingled pleasure and indignation tracking an art thief to New York City and then to eastern France where the current case may overlap with one involving Lilly’s boyfriend’s family’s murder during the Holocaust. The plot in Long’s series installment has just the right energy; it’s brisk without being frantic and the third act’s Alsatian setting adds a fun pop of novelty. In the borderline-fussy Zara and the bon vivant Lilly Long presents a classic and exquisitely funny sister act—one is even blond and the other brunette. Long also writes about food with the vim of a lifelong menu studier. The novel’s only significant weakness is its connection to its companion volumes: Zara as narrator has to do a lot of memory-jogging about events from the other mysteries walking readers through what admittedly sound like rip-snorting tales—just so they’ll remember who’s looking for what and which characters have which traumas in their pasts. Despite touches of heaviness the book remains escapist yet intelligent and it merits a read by any devoted mystery fan.
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As 17-year-old Maura Ellard is leaving the women’s clinic where she terminated her pregnancy she’s spotted by Maxine a classmate she barely knows who later violates her privacy by revealing this information on social media. Maura is comfortable with the choice she made—she’s relieved knowing she did the right thing for herself—but she wanted to keep it private: “My body isn’t a freaking political statement.” Instead she’s barraged by online harassment and snubbed by her best friend. She also has to deal with her mom’s and ex-boyfriend’s feelings. She deletes all her social media apps a move that makes her feel like she “just ate a cup of warm chicken noodle soup.” The only person Maura feels comfortable with is Dane a new classmate from Toronto. As her feelings for him develop Maura faces the rumor that her pregnancy was the result of an assault and must decide how far she’ll go to prove it’s untrue. In this well-written work for striving readers Maura is refreshingly straightforward about her choice to have an abortion even as she struggles with everyone else’s opinions. Whatever their own feelings on the matter readers will sympathize with Maura when personal information is shared online without her consent and root for her to find a healthy new relationship. Most characters are cued white.
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Ben and Andreas struggle to sustain friendships with their peers and each other. Formerly close they’ve drifted apart over the past two years. Ben’s girlfriend Clara recognizes that she became the third wheel but noticing the tension between the boys she tried hard not to “come across as the big divider.” But then Ben and Clara hit a rough patch too—he resented the fact that she felt unable to open up to him about an issue that was weighing on her. Loner Andreas is saving up for laser eye surgery. He feels stuck in an unhealthy secretive relationship and the story hints at his unrequited feelings for Ben. The boys juggle these issues along with constant questions about their futures after graduation. The story’s focus alternates between Ben and Andreas providing personal insights into their situations. While the sophisticated loosely drawn illustration style is minimalist at times debut graphic novelist Fischels works intricate details into the characters’ facial expressions creating highly emotionally resonant panels that invite readers to seek plot details that aren’t explicitly stated. At times this can lead to some confusion about the storyline. The leisurely paced subtly told plot wraps up with a sudden and tidy conclusion an inconsistency that creates an uneven story structure. Nevertheless the core themes of growth and transition remain resonant. Most characters present white.
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This informative book starts with the basics. First what is an amphibian? The opening spread doesn’t present the full definition though readers can infer the rest from the pages that follow: These cold-blooded vertebrates mainly begin life in water with gills and metamorphose to live on land with lungs. De la Bédoyère moves on to discuss evolution; types of amphibians and their habitats and adaptations; metamorphosis; how they move eat and raise their young; and how the lives of people and amphibians have intersected not always to the benefit of the animals. As with others in the series this book lacks a table of contents and index relying instead on spreads addressing specific topics. There is no glossary but words sometimes bolded are defined in context. Teckentrup’s digital illustrations are collagelike appearing to be cut out of marvelously patterned papers. Children are sure to pore over the pages given the spotting challenges de la Bédoyère scatters throughout; the author’s lucid prose and knack for incorporating intriguing details (the greater siren can live without food for up to five years underground; the Taita caecilian grows an extra layer of skin for her hungry young to bite into) will keep them absorbed.
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Making free use of pop-culture references in this second series entry Myklusch sends Jack and Allegra from the Imagine Nation through “space…the fatal frontier” in search of a final message from her long-lost mother. Cranking up the suspense by placing much of the action on a planet that will be destroyed by a supernova in three days’ time the author chucks in battles betrayals and a villain’s scheme to unleash a fresh wave of the terrifying predatory Rüstov before retiring to (as he puts it) “a galaxy far far away.” Jack and his own reformed bad guy father also start to rebuild their relationship. Using insets and overlaps to sustain the headlong pacing Orlando fills his graphic panels with a broadly varied assortment of anthropomorphic Star Trek–style aliens. As she goes on to stretch herself (literally and figuratively) to the utmost to save her friend from both the supernova and a parasitic Rüstov Allegra also battles an adversary—green-skinned Bekanti who’s motivated by religious convictions. The thematic conflict between belief in self and belief in higher powers adds some nuance to the conventional good vs. evil trope. Readers will come away appreciating Allegra’s fortitude marveling at her superpowers and applauding her eventual success in reclaiming her family’s legacy.
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Sofia Mendoza doesn’t intend to become TikTok famous—after she’s fired for calling out a male co-worker gets drunk and records a video about physicist Jocelyn Bell Burnell whose advisers won the Nobel Prize for her observations it just happens. When Sofia wakes up she’s gone viral. Though she’s happy to lean into the unexpected fame and make some money she’s too anxious to tell her friends about the series of videos and won’t tell her family she lost her job. The only person she can talk to about her sudden notoriety is the anonymous User16892 a man who leaves supportive comments on her videos and who she discovers on a video chat is “really really hot.” Her attraction comes to a halt though when she learns that his name is Alex—and they’re introduced by Sofia’s best friend Caitlin who’d flown to Phoenix to see him. Since Alex just moved to Phoenix where Sofia lives for a new job Caitlin asks Sofia to show him around and they connect instantly over their shared Puerto Rican heritage among other things. As they keep getting closer their chemistry is obvious and becomes agonizing to Sofia. Thanks to Sofia’s strong complex character and pride in her heritage De la Rosa’s contemporary debut will appeal to readers of her historical romances and the many references to the inspiring real-life women Sofia centers in her videos bring a historical flavor to the story as well. Unfortunately on several occasions the novel veers into a nearly didactic tone which disrupts the slow burn developing between Sofia and Alex. In addition the plot which is told almost entirely from Sofia’s first-person perspective rests heavily on a continued misunderstanding that readers may find hard to believe. Still though it doesn’t quite live up to the standard set by De la Rosa’s excellent Luna Sisters trilogy Sofia’s journey will resonate with many readers.
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As the family builds their sukkah in the backyard a child excitedly describes how they will use the small hut during this Jewish harvest holiday: eating meals sleeping there and counting the stars and adjusting to shifts in weather. Then a blast of wind scatters the greenery and decorations across the neighborhood. The child is sad until a diverse group of neighbors helps the family gather the pieces and rebuild. They all share a meal in a “warm and welcoming sukkah…that’s big enough for everyone to share.” Ludwig’s spare text written in first person plural narrated by the family’s older child leaves the heavy lifting to Guy’s illustrations which depict the steps of building a sukkah: constructing a wooden frame attaching canvas walls adding s’chach (covering for the roof usually made from twigs or branches) and hanging paper decorations. Backmatter explains more about the holiday and includes a sukkah diorama craft. Though the windy day is off-putting for the family the narrative is low-key and gentle in tone; this is a slice-of-life tale primarily focused on the sukkah and newcomers to Sukkot will come away enlightened. The primary driver of the page-turns is the joyfully colorful art with bold pops of yellow red pink and green giving the visuals a celebratory feel. The narrator and two other family members are pale-skinned; one parent is brown-skinned.
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Ryan Ramirez has just about had it with his little brother. Teddy often waits for Ryan at his after-school practices and the 12-year-old feels self-conscious in front of his track teammates: Teddy carries a stuffed bear everywhere which Ryan thinks is embarrassing for an 8-year-old and once even wandered away in the middle of practice forcing Ryan to go find him. Teddy also has an unhealthy fixation on the missing locals their dad who died not too long ago and was a search and rescue volunteer collected information on. The boys whose father was a Spanish-speaking immigrant and mother is implied white live in rural South Carolina in a town bordered by the Hungry Forest “a missing persons black hole.” One day they’re tricked into entering the creepy woods when they hear Dad’s voice calling to them. They’re immediately plunged into a pocket dimension inhabited by inhuman Curses whose faces are concealed behind magical masks. All of them are linked to Dad’s newspaper clippings. Aided by Perdida a girl who’s been trapped in the forest looking for her own family for decades the brothers gain insights into the real curses that are keeping everyone bound. The spot art contributes to the eerie atmosphere of this work that moves at a swift pace while exploring meaningful coming-of-age themes.
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When Hot Dog appears 18-year-old Logan—the girl with the silver nose ring who’s hosting the party—asks “Did she send you?” Hot Dog has no idea who she’s talking about; she has no memories from before she died but she’s thrilled by the interaction because she’s a ghost “a thing crabs like to look at and people can’t see.” Hot Dog has 14 stitches sewing her mouth shut so uses the Ouija board to communicate with Logan who’s grieving her best friend Avery. A friendship develops between the white-presenting girls something deep and complicated. Hot Dog is more than just a friendly ghost—she wants to be a normal living teen to do the things best friends do. What Hot Dog and Logan don’t at first realize is that Logan’s house is haunted and Hot Dog may be the only one who can protect her. This spectacular story straddles a surreal almost mystical line before dropping readers into the terrifying challenges of facing the ghost-eaters that can rip people’s souls from their bodies. The throughline anchoring this highly original narrative is the fierce power of love.
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The hold the city of Bassa once had on the great unicontinent of Oon has collapsed leaving splintered factions vying for control. The Nameless Republic and Kangala’s forces jockey for position while Biemwensé Supreme Magnanimous works to keep her people safe. Meanwhile far from the center of power and conflict Lilong Danso and their companions face off against the ibor-seeking creatures that have been unleashed on the world while wrestling with how they might make amends for the calamities that have befallen both Oon and the islands off the coast. As war looms ever closer plans will be made and deals will be struck but ultimately it is impossible to completely prepare for the coming death loss and change. The conclusion to the Nameless Republic trilogy this installment sweeps from one end of the continent to the other focusing on the relationships between characters even as events spiral and violence and destruction press ever closer. Okungbowa excels at exploring the inner workings and motivations of characters and the narrative turns easily from one to the next demonstrating how the singular voice of one person can create a chorus with many others rising to a final crescendo. Characters old and new converge in a satisfying worthy conclusion to the series with space still to ponder. In this trilogy Okungbowa has crafted an epic with heart and an unflinching portrayal of the best and worst of humanity and the mixtures in-between. Inseparable from its West African influences this is a complex tale with both deep characterization and a grand scope leading through many twists and turns to the inevitable wrenching finale.
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No one elected Elon Musk. The Constitution forbids him from becoming president. Yet writes longtime San Francisco tech reporter Durán he “found a workaround” contributing almost $300 million to Donald Trump’s 2024 campaign to “buy himself a kind of co-presidency.” The effects of his DOGE rampage were immediate dismantling regulatory agencies that monitored Musk and his fortunes—as well as those of Sam Altman Marc Andreessen Peter Thiel and other exponents of a kind of libertarianism that has morphed Durán writes into “tech fascism.” The first tenet as Thiel—the sponsor of JD Vance and many other Trump lieutenants—once proclaimed is that democracy is the enemy of freedom which is to say the kind of unregulated laissez-faire capitalism that Silicon Valley’s oligarchs wish to enshrine. The oligarchs have a theoretician in Curtis Yarvin who proposes that the president be replaced by a monarchical CEO (with a tech pedigree)—just one of his “radically unhinged ideas [that] evolved from a blogger’s musings into a serious effort to undo democracy that would be adopted by a presidential administration.” Other antidemocratic projects include Balaji Srinivasan’s exhortation that those with the means “‘exit’ American democracy for life in privatized micro-nations called network states” an idea that aligns with efforts to create “freedom cities” in easily bought-off countries such as Honduras. Other gains in the second Trump administration are the direct results of Silicon Valley’s right-wing radicalization thanks to big-ticket players “who had used crypto to capture the election AI to seize government.” In doing so they have gained immense power without any checks. Durán closes by proposing reforms that include ending the reign of the billionaires by expropriating their wealth through taxation: “We can have billionaires or we can have democracy.”
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Kagan was a renowned Jewish scholar editor of Yiddish literature and author of several books following his immigration to the United States from Italy in 1950. He first published the diary of his Holocaust survival in the original Yiddish in 1955. Readers now have access to an English version of this diary; Kagan’s daughter donated the handwritten original to the Archives of the YIVO Institute for Jewish Research in New York after Kagan’s death in 1993. It’s a firsthand account starting in 1943 of a survivor whose experience included one of the lesser-known aspects of the Holocaust: the fact that many Jewish people in Eastern Europe managed to evade the Gestapo by hiding in forest camps. To be sure this diary covers much more than this topic including the perilous situation of the “Righteous Gentiles” who hid the author and other Jews until they could do so no longer as well as Kagan’s tough decision to flee the Kovno Ghetto which he regretted before learning the fate of those who’d stayed behind. Still it’s Kagan’s account of hiding in nature with his wife sister-in-law and others evading predators both human and animal that makes this work stand out: (“That first night we hardly shut our eyes. Animals of all sorts scream and growl.”) Overall this diary offers raw firsthand recollections conveying fear despair and hope—as well as the later challenges of readjusting to freedom. It also honestly shows the ambivalence of the people who sheltered Kagan and others in a one-room cottage with few hiding places. Portions of the work can be very difficult to read such as a recollection of sexual liaisons between a Jewish woman and her rescuers which the author tentatively acknowledges may not have been consensual.
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Born Ilich Ramírez Sánchez in Venezuela Carlos was just one of the countless fake names that “the Jackal” used. It was the one that stuck and the one that he used in Warrick’s opening episode when Carlos and crew attacked a meeting of OPEC ministers in Vienna in 1975. Just whom he was working for is unclear: It could have been the Popular Front for the Liberation of Palestine (PFLP) Muammar Gaddafi or any of a number of clients who funded his “new kind of state-sponsored terrorism.” Nominally a communist Carlos was even financed by former Nazis as well as the KGB and Romania’s Securitate. Already wanted for a string of killings in France and England he would gain international notoriety for the OPEC attack and subsequent escape as well as plane hijackings bombings assassinations and cruel operations such as tossing a grenade among civilians in a Paris shopping mall in 1974. Trained by the PFLP in a “summer camp with guns” Carlos eventually went out on his own skillfully amassing a fortune that funded a lavish drunken lifestyle that occupied his time behind the Iron Curtain in Hungary and even in backwaters like Sudan. Warrick skillfully assembles the details of Carlos’ adventures in terrorism which earned him almost legendary status: “He was ruthless killing without remorse or mercy. Most astonishingly he was capable of carrying out attacks in the heart of Europe’s great capitals and then vanishing without a trace.” He was finally tracked down in Khartoum in 1993 by a CIA agent who was “conducting surveillance on multiple terrorist groups” and French agents spirited him away to prison outside Paris near the scene of some of his most devious crimes. He is housed there to this day.
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Inside the studio hums with motion as the youngster wanders from room to room each spread revealing a new style: ballet at the barre swirling hula the powerful unity of the haka and more. As the journey continues Mello’s illustrations grow more abstract and electric: Technicolored breakdancers explode across pop-art panels of bold color and looping shapes with figures that blur into their surroundings making movement music and space feel inseparable. Layered panels cinematic perspective and repeated motifs create a mural-like quality evoking both street art and a vibrant citywide pulse. Shifting layouts—from full-bleed scenes to crisp panels—showcase global traditions like the Chinese dragon dance the First Nations round dance and Brazilian capoeira. Quintero’s celebratory prose details what dancers need—a beat a space and music—and what dance can be: ritual joy connection. Backmatter adds depth with cultural context to the many featured dance types and a how-to for dancing the Colombian cumbia. Our protagonist has brown skin and braids and the performers are refreshingly diverse in skin tone body shape ability and dress grounding the book’s central message: The only right way to dance is your way.
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