This twisty, socially engaged Icelandic noir, Sheldon’s debut, opens with one of the two dead plutocrats promised by the title: American tech billionaire Jack Drumman, wealthy from social media and data mining, is discovered with his throat slit in a luxury hot-spring hotel 45 minutes out of Reykjavik. Facing her first murder investigation, and the nation’s “first known murder in years,” detective Hekla Rafney Fritzdóttir, shaken but determined, quickly finds wealthy Americans like Drumman’s wife and assistant to be defiantly uncooperative, as both nations put on the pressure to solve the case, and the evidence at first seems to point to a homegrown killer— Aldís Eva, an activist investigative journalist, famous for targeting international financial crime and making a target of Drumman.

With crisp prose and a strong feeling for characters living at the ends of their ropes, Sheldon mines tension not just from the crime and its coverup. Throughout, Hekla understands that Iceland’s future is in some ways at stake, from her disgust at Drumman’s hotel—“sleek, two-story monument to excess” —to her reluctance to ascribe guilt to Aldís, who has stoked great controversy in her zeal to push “back on the corroding influence that countries like the United States had on Iceland.” Hekla’s nerves and exhaustion, touchingly drawn, never diminish her savviness, and she proves a compelling detective as she faces bureaucratic setbacks, red herrings, and tough interrogations—she snaps at her nation’s wealthiest citizen, a business partner of Drumman’s wife, “If you’re helping Iceland, why are all your negotiations in secret?”

Sheldon’s plot eventually pairs Hekla with August Sorenson, a former FBI legal attaché in Copenhagen who once was close to Aldís. August, too, is living bleakly, and his early perspective chapters wallowing in sex, suicidal ideation, and autoerotic asphyxiation feel convincingly miserable but diminish narrative momentum. Still, August eventually proves a memorable co-lead, but it’s Hekla who grabs attention and keeps the pages turning.

Takeaway: Dark Icelandic noir with a strong edge of outrage at economic injustice.

Comparable Titles: Sara Blædel, Ragna Jonasson.

Production grades
Cover: B+
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A

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Siegel mounts a vigorous yet inviting response to “the theory that the story of the exodus and monotheism,” as set down in the Torah, were “later inventions meant to unify the Israelites,” finding this claim “not just implausible” but simply failing “to explain many facts.” The History Behind the Bible digs deep into the composition of the Bible’s first five books, how the history laid out by the four accepted authors of the Torah reflects the beliefs and thinking of their likely eras, and how revelations from the archaeological record point to the likelihood that an actual Israeli exodus from Egypt did occur, contrary to the arguments of some current historians. While always acknowledging that the Torah is no infallible historical record—its stories, he notes, can be “rambling, repetitive and sometimes self-contradictory” and written to “serve” their authors’ contemporary purposes—Siegel (author of The Bible Untangled) mounts fascinating evidence for the plausibility of Torah stories, the common origins of overlapping “doublet” passages, and more insights into a theory that “there was an exodus” albeit one “different in many ways from what the Bible describes.”

Siegel earns reader’s trust with his painstaking, historically informed approach, drawing on established scholarship about biblical authorship, offering clear explanations of how different texts were combined and expanded upon over the course of the Bible’s composition, and illuminating consideration of why authors in different eras would pen contradictory details, such as why in one version of the Noah story the ark-builder gathers seven pairs of animals rather than just two. (The likely explanation? Each authorship period’s rules for animal sacrifice.)

Writing with crisp precision and a welcome lack of dogmatism, Siegel both illuminates and challenges contemporary scholarship about biblical history, the development of monotheism, the deep histories of the twelve tribes of Israel, the life of Moses, and more. He always acknowledges that he’s offering informed speculation rooted in the best-available history and interpretation, rather than carrying truth down from the mountain, buoying his arguments.

Takeaway: Historically informed look at the veracity of the Torah’s story of exodus.

Comparable Titles: Richard Elliott Friedman’s Exodus, Yitzchak Meitlis’s Excavating the Bible.

Production grades
Cover: B
Design and typography: A-
Illustrations: N/A
Editing: A
Marketing copy: A-

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A young girl’s fancy takes flight in Welton’s charming debut picture book. In a distant kingdom bursting “with rays of light,” the inquisitive Myrtle gets lost one day while out picking apples. With no way back to her home, she skitters across the clouds in search of help, wondering “What on earth will happen to me?” Luckily, the wind whisks Myrtle down to the ocean, where, thanks to a couple of savvy seagulls and one very cheerful sea turtle named Max, Myrtle gently lands on a magic carpet, safely on Max’s back, surrounded by a flood of friendly ocean animals.

Myrtle’s journey is every bit as fanciful as readers might hope, given her dreamlike descent to the ocean. Pham paints her adventures in sweeping strokes of aquamarine wonder, as Myrtle is flanked by otters, dolphins, and even a quizzical octopus, all curiously asking her “Where is your home? And who are you? You came here right out of the blue.” She adapts to her new surroundings quickly, making friends and sharing her dreams—an inspiration for younger readers facing unfamiliar situations—and that willingness to stretch her wings pays off big in the end.

Welton’s rhyming structure feels forced in places, but Myrtle’s charisma and sense of whimsy more than make up for it. “In my land, I wished to be queen,” she announces, giving birth to a spectacular cavalcade of briny fun, as she learns to swim with dolphins, frolics with flying fish, and pretends to be a turtle alongside Max—culminating with a dramatic ending that plays off Myrtle’s imagination and special fondness for sea turtles. Welton’s pearls of wisdom—to “see what happens when you believe”—are the perfect fit for this saltwater romp, and Myrtle’s eventual transformation will make even the youngest reader believe in the magic of imagination.

Takeaway: Dreamy aquatic adventure that stretches the imagination.

Comparable Titles: Patrick McDonnell’s Shine!, Amy Sparkes’s Once Upon a Wish.

Production grades
Cover: A
Design and typography: A
Illustrations: A
Editing: B
Marketing copy: A

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This urgent debut imagines a dystopian (very) near-future shaped and haunted by racial injustices of the American past and present, as bin Vilio spins a surprising and incisive story about vengeance, history, spirits, retribution, connection, and systemic oppression. Twenty-something best friends Ida, Soweto, and Abeni set off on their annual vacation, blowing off some steam from their hectic college careers—and stoking some drama among their parents. As the young women roadtrip, their African ancestors send a message neither they nor the world can ignore: those that history has been engineered to erase rise from the watery depths in which they perished with a reminder of broken promises and what is owed.

While the stakes could not be higher, bin Vilio roots the novel in the compelling lived experience of his leads. Ida is partially deaf and has vitiligo, the rare skin condition; Black and adopted by a mixed-race couple, she has always felt out of place. Her sisterhood with Soweto and Abeni, plus the love of her professor parents, are all she can count on, even before they find themselves facing ghosts and, eventually, the government’s totalitarian overreach. Into that potent study of three Black women’s journeys bin Vilio deftly incorporates history, rousing voices from the past, “chosen one” elements edged with cultural critique, and depictions of authoritarian terror that all-too-convincingly suggest contemporary politics.

Especially powerful is the women’s bearing witness to what they previously knew from historical accounts. “It was then that the dominating sentiment being sadness stopped,” bin Vilio writes. “Fear came to the fore and took a firm stake.” And then, following fear: action, though what that will actually look like is a matter for readers to discover. Promised Land is about learning one's past and taking back one's power, with three educated, resourceful young women standing on the strength of their knowledge, their family lineage, and the protection of their ancestors.

Takeaway: Three Black women’s powerful trip through a near-future America with ghosts of the past.

Comparable Titles: Tochi Onyebuchi’s Riot Baby; LaTanya McQueen's When the Reckoning Comes.

Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A

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Composed of poems written over the course of 35 years, software engineer Kerl’s stormy debut collection offers a record of the poet’s life and emotional states from youth to middle age while also exploring the mysteries of cyclical time, all without, as the title suggests, wasting words. Kerl distills his history to essences in Brevity, allowing readers to absorb his life’s trajectory, structured here by shifts in attitude and perspective, from a discerning distance. “Younger, I had been a ghost moving through the world but not seen by it,” Kerl writes in “Touch” from 2006, but for readers, this metaphor has heightened significance—the younger ghost wails into the void not 30 pages prior.

In the striking “Not much” from 1989, Kerl writes “I was feeling like not much at all, except maybe a lifeless rock,” moving through the world listlessly, naming the stars pallid rather than brilliant. Thus concentrated, Kerl’s collection allows readers a far-removed overview effect of his life, something like seeing a photograph of Earth from the moon, and from the fresh perspective offered by the collection’s structure and approach, the concept of time both stretches and shrinks. That’s particularly true in Kerl’s six Perseid and Orionid meteor shower poems, which are dispersed throughout Brevity and mark the transformations and cycles of Kerl’s—and the cosmos’s—existence.

In these surprising and thought-provoking entries, the poet and the cosmos are united; Kerl’s words bridge human and asteroid and show that each is a body of stardust, just differently shaped. For Kerl, humanity is not insignificant and separate from the universe, but as necessary a part of it as gas giants and galaxies. In the collection’s penultimate poem “Kitchen,” which tenderly describes an “old and threadbare” kitchen rug worn by years of use, the speaker writes “say what you want,” about the tattered carpet, “it is the center of the world.” Everything matters, Kerl’s collection shouts, because everything contributes to “more irreplaceable brief sudden-bright moments such as this.”

Takeaway: Moody, reflective poetry surveying love, time, life, and the cosmos over 35 years.

Comparable Titles: Christopher Buckley’s “Perseid Meteor Shower,” Paul Smyth’s “Desert Watch”

Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A

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This straight-talking, tool-packed, at times proudly impolitic handbook from behavioral scientist Gavoni (author of The 5 Scientific Laws of Life & Leadership) explores leadership as both art and science, offering practical steps, conceptual frameworks, and tools like the Performance Diagnostic Checklist, crafted for anyone wishing to improve their leadership skills. Gavoni makes the case that true leadership goes past “positional authority” and even tangible measures like exceeding sales goals or wins vs. losses. Instead, he sees it as measured by the impact those who lead have on the hearts and minds of those who look to them to be roused to that elusive next level.

With a nod towards behavioral-analyst pioneer B. F. Skinner, Gavoni notes that when faced with a leadership conundrum, there are three basic courses of action: accept the status quo, try to change it, or walk away. It’s the second option that provides the impetus for the book. Gavoni persuasively describes effective leadership as “a dance of balance and precision, akin to traversing a high wire.” Leaders, he argues, should positively contribute to the greater good, with each decision and action nurturing a “culture of trust, collaboration, and collective excellence. With clarity, evidence, and more rigor than many titles in the genre, Gavoni lays out practical steps leaders can take to achieve that goal: understanding one’s limitations while finding ways to surpass them, setting reasonable goals, managing boundaries, keeping communication open, giving credit, remaining unselfish, and maintaining behavior accountability, including for those at the top.

Gavoni also advocates for “quick wins” that set a positive tone while encouraging momentum and cohesiveness, and establishing clear paths to victory to improve the chance for group success and set the stage for meeting greater goals. For all the striking, research-backed insights, Gavoni’s tone bounces from serious to crass—he’s fond of the capped, half-censored term “A$$ CLOWNS”—which may put off some readers. A glossary, checklists, and a heartfelt epilogue all add to the book’s value and utility.

Takeaway: Persuasive, pragmatic guide to encouraging, effective leadership.

Comparable Titles: Natalie Parks, Ashley Tudor, and Adam Ventura’s Leadership in Behavioral Analysis, Aubrey C. Daniels’s Bringing Out the Best in People.

Production grades
Cover: B+
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A-

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Debut novelist Lieman’s engaging narrative reads like a memoir but is the fictional account of Erik Bernstein and his self-examination of life and mortality. From the age of eleven, Erik has long pondered about death—and, as the story begins, Erik is watching his own funeral from the back of his synagogue. Burdened during life with overwhelming self-doubt, anxiety and shame, Erik has never felt as if he fit in anywhere, despite the friends he sees eulogizing him. Next, he’s transported to another world which might be Heaven, where he is soon issued an invitation to God’s house, inexplicably narrated by the beloved late Chicago Cubs broadcaster, Harry Caray. But rather than the Almighty, a short jester named Fate appears, calling himself God’s court jester.

Fate soon explains that situations that appear to be random instead were orchestrated by his machinations. “Many—not all—of those moments are creations of my imagination. They are designed to delight God,” Fate intones. A fellow traveler is shown the unlikely way he met his beloved wife of five decades; another received a promotion when the lost file he’d been fired for reappeared. And Erik is shown the many times during his life that he lost out by not making choices — when it’s too late to do anything about it. Or is it?

Lieman deftly illustrates the weight of mortality carried by all humans, and his polished, inviting prose allows readers to imagine themselves in similar situations. Indeed, he punctuates each chapter with a real-life unlikely situation—including a NICU nurse who cares for a baby and after twenty-eight years and across the country cares for that preemie’s own infant — all examples are footnoted at the end of his story. Anyone who has ever contemplated the meaning of life and its fleeting duration will find deep meaning in Lieman’s words.

Takeaway: This inspiring novel will have readers re-evaluating their own life choices.

Comparable Titles: Mitch Albom, Richard Bach.

Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A

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Debut novelist Young offers young readers a wild sense of wonder and adventure in this coming-of-age science fiction drama. At 16, Dayton Murdoch elevated himself through hard work to the rank of Survey pilot aboard the exploration ship he was born on, Venture. With only a handful of flying hours left until he earns a coveted Recon pilot designation, he finds his future bright. When Venture, supposedly still 4 years away from returning to Earth, undergoes an unexpectedly early re-entry, Dayton, his partner Zara, and the rest of the crew find themselves living in a very different world than the one they’d been living out amongst the stars.

What comes next is an exciting space-to-Earth coming-of-age story that relies on action to share a powerful message of adaptation and acceptance. Dayton is rudely introduced to Earth law and culture, stuck in Chuck Yeager High School until his 18th birthday. That means no more flying, and no more tight-knit camaraderie with his fellow pilots. The adjustment is difficult for the confident Dayton, who says, “A lot of you on the spacer side say I’m too much of an Earther. Then the Earthborn say I’m too much of a spacer.” When his father is recalled to active service in space, Dayton finds he must contend with an aunt who has very different ideals than the ones he grew up with. To top everything off, he’s head over heels for Allyson, a popular classmate.

With its stark focus on societal divides (with Griefers, neuros, and more), the novel shines a bright light on contemporary issues and plays on the classical literary themes of man vs self, man vs nature, and man vs other. The 1950’s-esque plot calls back to Heinlen’s Juveniles, and action-packed scenes will provide middle-grade readers with a delightful taste of science fiction without being overwhelmed by excessive character development.

Takeaway: Exciting coming-of-age SF story in space, on Earth, and inbetween.

Comparable Titles: Robert A. Heinlen’s Have Space Suit—Will Travel, Jennifer L. Holm’s The Lion of Mars.

Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: B
Marketing copy: A

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A feat of research revealing fascinating textures of life, faith, and the building of community in 19th century America, this first volume of McCormick’s historical study focuses on the establishment and growth of the New Church—inspired by the teaching of Swedish theologian/philosopher Emanuel Swedenborg Swedenborgians—of Frankford, a village just north of Philadelphia. As McCormick’s title suggests, the denomination emphasized good works, and her narrative of the church’s development mirrors that of Frankford (and what we now think of as greater Philadelphia) itself. From the start, public spirited Swedenborgians of the New Jerusalem Society of Frankford, many of them immigrants from England, involved themselves in charitable efforts, relief organizations, and the societies, associations, and businesses that shaped the still-young nation.

McCormick’s telling, covering the better part of a century, boasts both sweep and depth. Early Frankford Swedenborgians like Maskell Carll, the first minister of The First New Jerusalem Church in the City of Philadelphia, and “humble instruments” like Thomas Seddon found success preaching “Swedenborg’s doctrines to working-class people,” forging “an independent religious path, born of diversity and imbued with an ecumenical vision” and emphasizing a spiritual sense of scripture as well as “local activism to generate ‘happiness’ and community betterment.” McCormick notes that the faith was often misunderstood, and accounts of theological controversies, schisms, and occasional outside pushback will fascinate scholars of American faith.

The story of the Swedenborgians reflects the story of the nation itself, as McCormick’s rich chapters, each covering a half decade or so, explore local impacts of national news and politics, as well as local and community issues. The narrative draws deeply on local publications, digging into customs, the practicalities of community-building, news events like fires and new businesses, and reports on controversies and the Society’s responses, like Rev. B. F. Barrett’s 1866 sermon in support of desegregating Philadelphia streetcars. The level of detail is likely too granular for readers of pop histories, but McCormick offers a feast of insights, connections, and revelations.

Takeaway: Richly detailed history of Swedenborgian Christians near 18th century Philadelphia.

Comparable Titles: Marguerite Block’s The New Church in the New World, Harry C. Silcox and Frank W. Hollingsworth’s Northeast Philadelphia.

Production grades
Cover: B
Design and typography: A
Illustrations: A
Editing: A
Marketing copy: A

Click here for more about Charity, Change, and Community: Frankford's Swedenborgians and Their Circle; Volume I: 1817 - 1875

Keefer offers readers a meticulous summary of the connection between hearing loss and chronic illness, the science behind contemporary hearing aids, and more in this informative debut. His passion for improving access to high quality hearing aids for the millions of Americans who struggle with hearing deficits is evident throughout, as he chronicles the basics while advocating for systemic change, drawing on his years of experience working in the healthcare and hearing industries. The advice is straightforward and relevant, and the stakes, Keefer argues, are high: “people with hearing loss have up to an astonishing 500 percent higher risk of long-term health issues like dementia, Alzheimer’s, and falls with broken bones.”

If that statistic doesn’t grab readers’ attention, it should. Keefer goes on to note that 80 percent of Americans suffering from hearing loss don’t employ hearing aids, chalking that choice up to three main reasons: barriers with Medicare insurance, substandard audiological care, and “human ego.” If health insurance won’t pay for hearing aids, he asserts, most individuals are forced to sacrifice quality and accept what they can afford—even if that means missing the subtle sounds, nuances, and communication that keep us connected to others. That outcome kickstarts a domino process with far-reaching emotional, physical, and social impacts; hearing loss doesn’t happen in a vacuum, and, according to Keefer, it can damage our physical condition, relationships, and more.

Readers will find a wealth of information here, with useful guidance and handy tips, whether Keefer’s outlining the different types of hearing aids and their costs, reviewing the new technology transforming the field, or reminding readers there’s a glimmer of hope: “you are not alone,” he comforts, and “with the right treatment, [you can] experience an improved quality of life with hearing aids.” Keefer closes with real life stories of individuals with hearing loss, professionals in the field, and resources to champion change.

Takeaway:Informative call-to-action for the effective treatment of hearing loss.

Comparable Titles: Keith N. Darrow’s Stop Living In Isolation, Bella Bathurst’s Sound.

Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A

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Belasco offers readers a captivating and deeply moving glimpse into the world of the am’r, akin to vampires, in these three standalone novellas set in the world of her debut series, Blood & Ancient Scrolls. The collection delves into the backstories of side characters from the series, the first two recounted to the protagonist, Noosh, as she embarks on archiving the histories of the am’r. In "Teeth Are Bones," readers are transported to Haiti, where Zoraida and her lover and patar, Kgosi, fight for the liberation of their homeland amidst the backdrop of historical atrocities. "Blood Brothers" explores the enduring bond between Scottish am’r Dubhghall and Viking Norwegian am’r Wulfhram, forged through centuries of shared experiences. Lastly, "Abyssinia" follows the story of am’r woman Astryiah and her romantic relationship with Palmina in Prohibition-era Philadelphia, a story drawn from the life of Belasco’s grandmother as the protagonists aid women seeking abortions in a society unwilling to afford them support and services.

Readers will find themselves fully immersed in the vividly depicted world of the am’r as Belasco's intimate storytelling delves into intricate bonds of friendship, love, and resilience. Each novella offers a distinctive perspective and contributes depth to the overarching narrative of Blood & Ancient Scrolls while still proving welcoming to new readers. The exploration of historical settings and events adds urgency and variety, with engaging period detail never slowing narrative momentum. Belasco adeptly navigates themes such as love, loyalty, and trust throughout the novellas, resulting in three moving reads. A heart-to-heart between Astriyah and Palmina on death, life, blood, and Dracula pulses with feeling, while the range of milieus (and Belasco’s mastery of her world) yield a bounty of striking detail and situations.

Blood Triad is a must-read for fans of vampire fiction and historical fantasy, especially those who value meticulously researched narratives that deliver immersive world-building, nuanced character dynamics and diverse perspectives, and thought-provoking explorations of love and resilience.

Takeaway: Resonant, immersive historical vampire novellas with diverse themes.

Comparable Titles: Deborah Harkness's The All Souls Trilogy, Octavia Butler’s Fledgling

Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A

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Roberts (author of Seven Thin Dimes) offers up a story of ambition, love, betrayal, and redemption as cybersecurity specialist Ted McCord faces the toughest days of his life. He and his wife Charlotte are in marriage counseling, his brother Jesse is having financial difficulties running the family ranch in Montana that Ted fled for the corporate life, and now Ted has just been fired and accused of embezzling money from his company and hiding it in an account under the name of his 5-year-old daughter. Soon the FBI is knocking on his door, while Charlotte feels at loose ends. Ted insists he’s didn’t do it, but Charlotte says, heartbreakingly, “I’m not so naive, Ted, that I can’t figure out it’s unlikely you’re totally innocent.”

Readers are taken through the cold sweat of Ted's nightmares: fear of being exposed, fear of being duped, fear of being left behind, and the fear of losing everything he holds dear as a result of a few desperate decisions. Roberts grounds the suspense in convincing human detail and relationships: Ted left the family ranch in Montana as a young man to seek out a life where he felt validated by titles, money, and upward mobility. When Ted confesses to Charlotte that everything about their life has come unwound, the couple are forced to face some hard truths: he’s been lying to her, their friends may not be who they think they are and there is a bigger scheme underway to destroy them both than either really knows.

The story is engaging and the characters and plot are both well-developed, though the "whodunnit" and "why" are fairly easy to deduce. Most every character is fairly flawed, in ways both touchingly human and sometimes disheartening, but the novel’s most moving when it reveals there’s more to these people than expected, as in a lovely exchange between Charlotte and the mother she considers cold and disapproving. Unexpected warmth and connection amid the suspense will keep readers turning the pages.

Takeaway: Tense story of the fallout in a marriage after a husband’s accused of embezzlement.

Comparable Titles: Michael Eon’s These Things Happen, Angela Terry’s Charming Falls Apart.

Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A

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Greene’s third book in her Everyone’s Included at the Animal Party series (after The Little Girl Learns About Patience & Imagination) takes on the weighty topics of boundaries and body safety, as Little Bear learns how to play safely with his forest friends. “New to life [with] so much to explore,” Little Bear is delighted and bursting with energy to investigate the world around him, but that same zip that makes him so much fun to be with can get in his way, too. When a playdate with his friend Turtle ends with a cannonball gone awry, he learns the hard way why careful play is so important.

The theme is complex, but Greene skillfully simplifies it, offering reflection questions adult readers can use to guide discussion. As Little Bear practices interacting with his environment, a wise Frog serves as his mentor, prompting him to consider the impact his behaviors can have on others—a process that Greene mirrors through the adult-centered questions included throughout. When Frog explains the tangled concept of boundaries to Little Bear, adult readers are encouraged to have kids brainstorm boundaries Turtle can set in their play; when Frog details the “Animal Party Pact” of respecting others’ physical boundaries, adults are given prompts that explore why it’s crucial to ask others before touching them.

K.K.P. Dananjali’s brightly hued, entertaining illustrations bounce readers through a colorful, inviting world that, though sprinkled with some hefty learning moments, is a celebration of how exciting life can be with just a little forethought. Little Bear’s a quick learner, and he and Turtle eventually reunite with their other pals for a boisterous, pool-splashing romp that kids will love. Greene closes with a list of the top five body aware rules for young readers to master, alongside a gentle reminder that “when we’re having fun, our bodies should feel safe too.”

Takeaway: Delightfully crafted lesson on boundaries and safe play.

Comparable Titles: Jenny Simmons’s I Can Say No, Emily Nelson’s Can I Give You a Squish?.

Production grades
Cover: B
Design and typography: A
Illustrations: A-
Editing: B+
Marketing copy: A

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Johnson’s second West Virginia-set Mountaineer Mystery (after Moonshine Messiah) features Jasper County’s first female sheriff Mary Beth Cain, reinvestigating a cold case at the insistence of her son Sam, who has been inspired by a mystic. Maria Ruiz—granddaughter to Guadalupe, former housekeeper to the Cain family—disappeared without a trace several years ago. Mary Beth discovers her remains thanks to clues provided by the mystic and help from her deputy, Izzy Baker. She suspects the involvement of Maria’s ex-boyfriend Pedro Kowalski, now an orthopedist, but forensic analysis reveals a strand of hair on Maria’s remains, which leads Mary Beth to convicted criminal Octavio Silva, who reveals the involvement of Raul, Pedro’s brother, a former drug peddler. But Raul, after ratting on his cartel, has now fled to Mexico.

Narrated in breezy, conversational language with much local color, the novel is fast-paced, with action that never lets up, bringing life to a milieu of Waffle Houses, gravel roads, ramshackle wooden bridges, and bars specializing in bikini bull riding. Though on the outside Mary Beth is a hardened law enforcer, her own vulnerabilities regarding her son Sam, her confused loyalties and feelings of guilt regarding her late husband and some family members make her human and fallible, while her dialogue—calling a prosecutor “Boss Hogg,” for example—is charmingly expressive of her region. Izzy is a good sidekick to Mary Beth, restraining her when required and backing her up when the situation demands. Apart from the two, Princess, Izzy’s wife, and Sam, prove especially engaging, the kind of characters who reward readers over series installments.

Johnson’s story will test Mary Beth, with some personal complications at times seeming to keep her from seeing the truth of key matters—in fact, seasoned mystery readers might be able to guess at some secrets she misses long before the reveal. Still, this thriller is a brisk, tense read, pulsing with character, and it will hold reader interest till the last page.

Takeaway: A West Virginia county’s first female sheriff takes on an engaging cold case.

Comparable Titles: Julie Ann Lindsey’s Apple Cider Slaying, Rita Herron’s The Silent Dolls.

Production grades
Cover: B+
Design and typography: A
Illustrations: N/A
Editing: B
Marketing copy: A

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Morgan’s third novel illuminates the bold life and struggles of Anne of Brittany as the 15th century gave way to the 16th. Orphaned at 11, Anne inherits the feudal duchy of Brittany, situated between French Provinces, the Atlantic Ocean, and the English Channel, from her father and fights to be recognized as the de facto ruler. Though betrayed by her guardians, Madame de Dinan and Marshal de Rieux, who, plot to get her married to the obnoxious Alain d’Albret, Anne refuses to be cowed, thwarting d’Albret’s self-interested schemes. In a clever counter move, she dares to have herself crowned and declares her opponents, rebels. But life and love remain complicated, and for Brittany’s welfare she is forced to marry by proxy Maximilian, King of the Romans, who promises to be there as Anne and Brittany face the direst of times.

Morgan’s language evokes an ambience of the gated cities, ducal castles, courtly intrigue, “plump ruddy prince”s, conjuring rich detail without diminishing narrative momentum. Among the host of characters peopling the pages, the maternal figure Madame de Dinan, Anne’s gouvernante, stands out, offering support but perhaps uncertain loyalty. These only add to the demands made on Anne seem impossible. As a pre-teen, she shows remarkable courage and intelligence in thwarting the underhand moves of people whom she believed she could trust. Though her love for her land is idealistic, she exhibits pragmatism in her decisions about marriage.

The pace of the novel remains brisk to the end, even as Morgan’s research and her deep knowledge of the era and obvious love for her subject shine throughout. The curious custom of marriage by proxy will fascinate and amuse contemporary readers, but the fact that marriage itself was often rooted in political considerations among the ruling elite is explored without 21st century judgment. Morgan blends fact and fiction seamlessly and the result is an authentic story of a strong woman ruler determined to defend her right to rule and face the challenges of her situation.

Takeaway: Brisk, involving historical novel of Anne of Brittany, protecting her duchy.

Comparable Titles: Rozsa Gaston’s Sense of Touch, Tracy Chevalier’s The Lady and the Unicorn.

Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A

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McCarthy (author of Dancing Near the Edge) joins past and present in this bittersweet, irony-touched historical romance. Drawing its inspiration from the real-world phenomenon of lovesick people penning letters to the tragic heroine Juliet, Anna’s Shadow centers on 2005 Verona, where Juliet’s Letter Club responds to missives from heartbroken and long-lost lovers. Sofia is a Canadian-Italian orthopedic surgeon taking time away from her life as a volunteer for Doctors without Borders after enduring a romantic tragedy of her own. Not long after beginning service as one of Juliet’s secretaries in a Verona of bistros, disgetivos, and delectable bombolones, she is intrigued by a letter asking the Club to help an old man, Luke Miller, find Anna Bissoli, an Italian woman he fell for after one fleeting encounter at the end of World War II.

This collision with history will change not just Luke’s life, and McCarthy keeps the tension (and the feels) at a strong simmer as Sofia, like readers, gets caught up in the story. The setup is emotionally complex: Luke—then Lukas—had been a German soldier, just 18 years old, in occupied Verona, and Anna a resident hiding under her bed as his unit searched her house. Boldly, he chose not to reveal her to the other Germans, but he never saw her again. In the present, Sofia and her family dive into the case, striving to find Anna and answer questions that have haunted Luke.

The end of World War II is brought to vivid life as McCarthy balances the timelines of Sofia’s 2005 and Luke’s 1945, with storytelling that emphasizes sleuthing and history. Sofia’s own story, of healing and self-discovery, never compels as much as the beautifully narrated tale of Luke and Uwe, Luke’s oldest friend and mentor, which reveals just how unpredictable life can be. Readers will appreciate, though, how McCarthy’s attention to telling detail never slows narrative momentum.

Takeaway: Romantic historical mystery of love lost and found in the aftermath of a world war.

Comparable Titles: Jillian Cantor’s In Another Time, Laura Nowlin’s If Only I Had Told Her.

Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A

Click here for more about Anna's Shadow