At dawn on a stormy morning in 1838, Grace Darling, 22, a lighthouse keeper's daughter off England's northeast coast, spied a wreck and nine survivors. Knowing the lifeboat from shore would be too late to save them and that if none of the castaways could help on the return journey the rescuers too would perish, she and her father—in a heroic rescue—used a boat normally rowed by three men. When the lifeboat arrived at the lighthouse, its crew was furious at losing the rescue bounty. Thus began an even greater test of Grace's character: extraordinary nationwide adulation for her brave deed, bafflingly countered by neighbors' jealousy and anger. Though she invents dialogue and centers on Grace's honest and conscientious moral struggle, Paton Walsh's splendid narrative of this true event is as much an imaginative reconstruction as a novel, frequently using direct quotes from contemporary accounts, journals, and letters. The portrait that emerges is imbued with vibrant reality; as gifts (including money) and letters pour in and the curious throng her home, Grace responds with intelligence, dignity, and integrity, never losing her fundamental independence and good sense. Still, she is deeply troubled by self-doubt: Were her motives pure, or had she thought of a reward? The many misconstructions of this thorny issue dramatize the period's social structure and prejudices (the condescension of a duke toward Grace's class and a parson toward her sex are sure to raise hackles); in the end, as Grace is dying (at 26) from consumption, she has the liberating realization that ``no money has ever been minted which could pay for such conduct.'' Vivid, fascinating, and written with this author's usual artistry and skill. A provocative contrast to Avi's Nothing But the Truth (1991). (Fiction. 11+)
Pub Date: June 3, 1992
ISBN: 0-374-32758-0
Page Count: 256
Publisher: Farrar, Straus and Giroux
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: June 15, 1992
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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