In a milder variation on the theme of self-discovery through experience sounded in Hatchet (Newbery Honor, 1988), Wil spends a few solitary days on an island near his home, tuning into nature and his own creativity. Wil has just moved from Madison, Wisconsin, to a decrepit country house near his father's new highway job. Feeling dislocated but not rebellious, Wil suddenly decides to camp out on the island that he has just discovered; he sends new friend Susan to tell his parents he won't be coming home for a while. He is engrossed in trying to re-create his experiences (what his grandmother was like, a turtle capturing and eating a sunfish) in words and in paint; he observes wildlife and takes up meditation. Meanwhile, his parents don't understand and are upset; they even send a psychologist to check him out, but not before the media have descended on this odd story. Wil is a fully developed character and—as Susan's mother suggests—gifted ("one of the thirsty people who need to know"); it's easy to imagine Paulsen as such an unusual boy. But there are some implausibilities in his story, including why a boy of 15 deciding to camp out a short distance from his home, in June, should cause such a fuss; and how such apparently limited and unimaginative parents could have produced such a son. And although there are some tautly written scenes (a fight with the local bully; Wil trying to imitate the loon's cry in order to understand the meaning of the loon), much of the book moves slowly. Fuller development of the parents would have made a stronger book; still, Wil's realization that they too are worthy of understanding makes a poignant conclusion to a novel that will appeal most to the unusual reader.
Pub Date: April 1, 1988
ISBN: 0439786622
Page Count: -
Publisher: Orchard/Watts
Review Posted Online: Oct. 18, 2011
Kirkus Reviews Issue: March 15, 1988
Raw, delicate, and deeply caring.
When Death-Cast doesn’t call, fate intertwines the lives of two boys, both haunted by their pasts and with futures they can’t escape.
In this third installment of the series that opened with 2017’s They Both Die at the End, Paz Dario waits every night for Death-Cast to call—as it should have for his father nearly 10 years ago, when Paz shot him to save his mother’s life. But the call never comes. Death-Cast killed Paz’s dreams of an acting career: No one will hire him now because the world sees him as a villain. When Paz tries (not for the first time) to put an end to his suffering, an unexpected encounter with Alano Rosa, the heir of Death-Cast, stops him. Both in a place of desperation, Alano and Paz sign a contract to live for Begin Days instead of waiting for their End Days. As suspenseful and emotionally wrenching as the previous titles in the series, this new installment explores heavy themes of abuse, mental health, self-harm, and suicide. Paz grapples with a recent diagnosis of borderline personality disorder. Silvera surrounds Alano and Paz with a web of complex relationships. Although the protagonists fall fast for one another and form a deep connection over Alano’s desire to support Paz, Silvera emphasizes the importance of professional help. Both Alano and Paz have Puerto Rican heritage. The cliffhanger ending promises more to come.
Raw, delicate, and deeply caring. (content warning, resources) (Speculative fiction. 14-18)Pub Date: May 6, 2025
ISBN: 9780063240858
Page Count: 720
Publisher: Quill Tree Books/HarperCollins
Review Posted Online: March 22, 2025
Kirkus Reviews Issue: April 15, 2025
An ode to the children of migrants who have been taken away.
A Mexican American boy takes on heavy responsibilities when his family is torn apart.
Mateo’s life is turned upside down the day U.S. Immigration and Customs Enforcement agents show up unsuccessfully seeking his Pa at his New York City bodega. The Garcias live in fear until the day both parents are picked up; his Pa is taken to jail and his Ma to a detention center. The adults around Mateo offer support to him and his 7-year-old sister, Sophie, however, he knows he is now responsible for caring for her and the bodega as well as trying to survive junior year—that is, if he wants to fulfill his dream to enter the drama program at the Tisch School of the Arts and become an actor. Mateo’s relationships with his friends Kimmie and Adam (a potential love interest) also suffer repercussions as he keeps his situation a secret. Kimmie is half Korean (her other half is unspecified) and Adam is Italian American; Mateo feels disconnected from them, less American, and with worries they can’t understand. He talks himself out of choosing a safer course of action, a decision that deepens the story. Mateo’s self-awareness and inner monologue at times make him seem older than 16, and, with significant turmoil in the main plot, some side elements feel underdeveloped. Aleman’s narrative joins the ranks of heart-wrenching stories of migrant families who have been separated.
An ode to the children of migrants who have been taken away. (Fiction. 14-18)Pub Date: May 4, 2021
ISBN: 978-0-7595-5605-8
Page Count: 400
Publisher: Little, Brown
Review Posted Online: Feb. 22, 2021
Kirkus Reviews Issue: March 15, 2021
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