For two decades Laurie Halse Anderson has been speaking out, giving voice to teens who have experienced horrific trauma. Speak has brought the shame and humiliation experienced by rape victims out of the dark recesses of suppressed memory. Acknowledging the suffering, the rage. Initiating the first steps to healing.

In my early years as a youth librarian, Speak was constantly requested, always checked out. The story is as relevant to a fourteen-year-year-old girl from a small Texas town in 2000 as it is to a teen living in urban New York in 2019.

It all started in 1999. Laurie Halse Anderson published her first book: a ground-breaking young adult novel chronicling the story of fifteen-year-old Melinda Sordino. Beginning her freshman year, this young student is ostracized by her former friends and classmates. She is singled out at a school pep rally for calling the police at a summer party.
What Melinda cannot say is that she was raped at that party. School becomes unbearable. She is constantly confronted with the shame and agony of that night, as the boy who raped her is a student at her school. Shunned by her friends, 

Speak: The Graphic Novel
​by Laurie Halse Anderson ill by Emily Carroll

Publishing a graphic novel version of Speak is both an obvious choice and a brilliant decision. This visceral narrative translates to striking visual imagery.

Anderson chooses to update the original story, including references to cell phones and Instagram. This gives the narrative a fresh, contemporary vibe. Her Author's Note serves as an introduction. A helpful list of organizations which support victims of sexual assault contains descriptions and contact information can be found in the back matter.

Told primarily in verse, this memoir covers a wide range of events and emotions. Part One shares moments from Laurie’s difficult and conflicted childhood, her rape at age thirteen and subsequent reliance on drugs to mask the anguish, the slow ascent from depression during tenth grade, her year as a foreign exchange student in Denmark, and her foray into writing for teens. Part Two explores the publication of Speak and the impact it has had on her and a world-wide audience. Part Three returns to recurring symbols and themes: trees, blood, family, and stories. She acknowledges her parents’ personal troubles, but is willing to maintain a relationship with each. What a generous heart!

Laurie reads "Me,Too" from Shout.

Laurie reads "Listen" from the 20th edition of Speak.

The first two covers feature dark backgrounds synonymous with outer space and inner earth. Lupe's sweet ride, the modified Chevy Impala, cruises proudly across the cover. 

With this episode Cathy Camper and Raúl the Third take us the back in time. We meet young Lupe, traveling on a bike, similar to her transportation at the beginning of Lowriders in Space.

Initial pages introduce the backstories of the threesome. 

• Young mechanic Lupe Impala, her Mamá Impala owns of a junk store and Mamá Gazelle creates tissue paper decorations.
• Elirio Mararia mosquito, an artist whose father helps him collect words.
• El Chavo Flapjack octopus, cleaning expert whose family are talented performers.

The trio encounter Los Matamoscas (The Flyswatters), who destroy Flappy’s bike and deface Elirio’s outdoor murals. The new friends team up repair the damage and then prepare Lupe’s moms’ car for a Lowriders competition. Los Matamoscas impose a series of bizarre rules that will disqualify Impala and Gazelle. The youngsters jump into the fray and triumphantly meet each obstacle. Their car enters and wins the competition. Even better, they enlist the help of their former tormentors and together create a stunning mural.

Minh Lê has created a tribute to the miraculous power of art, imagination, and love. Readers meet a young Asian American boy sent to spend time with his grandfather. This is difficult for both because they appear to have little in common. Grandfather speaks only Thai. Grandson speaks only English.

Using a graphic novel format, Dan Santat opens with a series of wordless panels, as the young man is unwillingly deposited on his grandfather's doorstep. Images highlight the contrasting cultures, with wordless panels progressing into panels with separate speech balloons in Thai and English. Things are not going well for either one.
Until...
The boy gives up talking and begins to draw.
Observing what is happening, Grandfather hurries to find his own drawing implements. With his first brush stroke, a new world opens.

In the process of drawing together, the two form a connection that is able to break down barriers and overcome obstacles.

Thirteen-year-old Bina is devastated when her best friend Austin decides to spend a month at summer soccer camp. She wonders: What will become of her? Will there be no fun adventures for her this summer?

With mom and dad away at work, Bina descends into a funk. Austin is pursuing his passion for soccer. Her two older brothers have moved on and created independent meaningful lives, including the imminent arrival of a birth to bless the family. Not Bina. She feels trapped.
A chance encounter sets her off in a new direction. She begins to hang out with Austin's older sister Charlie. Initially they connect because they share a love of music. Charlie needs someone to help with some chores and babysitting jobs. Bina is happy to be noticed by older-sister Charlie and begins to tag along. Eventually she determines that Charlie may be using her. Bina must decide what she want she is willing to do to maintain the relationship.

Bina wants a friend. She also must to be true to herself. The month becomes one of self-realization.

Characters are presented with a deft hand.  Each is fleshed out with a distinct personality. Readers can readily identify with each one.  There are no "good guys" or "bad guys," just real people in real life struggling to define themselves.

Many of Larson’s books have a mystical element and so I expected a bit of magic in this graphic novel.  All Summer Long offers a magical scene, but with a distinct difference. Readers witness Bina's transformation as she responds to music. It's subtle, but her joyful rapture is evident. 
​Bonus: Larson uses fingering for guitar chord progressions to signal the beginning of each new chapter. Clever touch.

Savor the delights of coming-of-age in this touching homage to power of family, friends, and music. 

It begins with the cover. All the trauma, drama, insecurities of summer camp are perfectly captured in this image. She’s got the gear, all the gear. She’s got the uniform with requisite badges. She’s got the wilderness setting, complete with flags and tents and little critters.

​But wait.  She's got a look that seems to cry out "Help!"
​This is NOT at all what she signed up for. Not. At. All.

Vera had heard the stories of camp and was sure that a summer experience was what she desperately needed. With a great deal of coaxing, her mother relented and signed Vera and brother up for Russian camp. Certain that this would be the experience she envisioned, she set off with high hopes.

In a strange twist of fate, her brother who initially protested the idea of summer camp, instantly took to the experience and dived right in.  Vera, on the other hand was having a miserable experience. No friends, mean girls, unfamiliar routines: this just wasn't working out. Unfortunately, it is too late. Mom has deposited the siblings and Vera is stuck at a summer camp for children of Russian heritage.

Exploring camp, Vera finds a directional sign for Hollywood.

Further investigation brings her to the horrifying conclusion: a
​visit to Hollywood is a dreaded necessity.

Look at her face. It captures the range of her emotions and sensations.

Kudos to Brosgol for predominantly featuring Russian culture. From occasionally use of Cyrillic alphabet, depictions of Russian Orthodox services and icons, and traditional foods, she brings her heritage to the forefront.

Russian camp setting notwithstanding, this dramatic recreation of real-life youth camp transcends a specific culture. Vera's story will resonate with all youngsters who feel different but want to be accepted and included. 

Brain Camp by Susan Kim, Lawrence  

Camp Midnight by Steven T. Seagle Jason Adam Katzenstein

Chiggers by Hope Larson

Recently I received a box of artisan chocolates. This was not your ordinary drug store variety. Each bonbon was a unique creation with a complex blend of flavors. Think burnt caramel, tarragon grapefruit, Piedmont hazelnut.

Brazen: Rebel Ladies Who Rocked the World is the literary equivalent to a box of artisan chocolates. The gorgeous case holds a selection of biography bonbons.
Like an assortment of confections, the micro-biographies are presented without regard to chronology, geography or sphere of influence. Entries showcase distinctive details of each woman's life, morsels to be savored.

Pénélope Bagieu has created a fascinating and highly entertaining compendium of female trailblazers. Each vignette consists of an introductory portrait with basic biographical  information.
Most pages follow a six or nine panel-per-page format. Black and white line drawings are punctuated with bright spots of color. A chapter's color pallet is unique to the life and reflects the personality of the highlighted woman. Each entry concludes with a gorgeous two-page full color illustration, celebrating the life of this woman and her contributions to her world.
Emphasis is placed on the circumstances which compelled each to take a stand. Bagieu's adds her own observations and witty asides to the narrative. Sometimes her tone is slightly sardonic. This is not an exhaustive in-depth historical treatise. The author is here to tell the story of rebels. In keeping of her purpose, she at times merely alludes to and occasionally omits historical details.

Shaka Rising: A Legend of the Warrior Prince by Luke W. Molver and Mason O'Connor introduces readers to the early life and ascent to power of the founder of the Zulu Kingdom. 
Shaka was born in the 18th century, during the American Revolution and French Revolution. At that time small clans dotted the continent, vying for supremacy. Some chiefs sold conquered individuals to slave traders. With this practice, the southeast coast became "a wound” on Africa’s coastline.   Shaka temporarily left the Zulu clan to serve as an army commander under the tutelage of King Dingiswayo. Through victorious battles and strategic planning, he defeated his competition and united the warring factions to create the Kingdom of the Zulu.

African society and Shaka receive even-handed treatment. Throughout the narrative, heroic feats contrast with glaring character flaws. This balance adds credibility to the account. Note:  I'm still hurting over Shaka's insistence, despite her objections, that his sister must marry for political gain. 

Several interesting visual devices bring the story to life. Setting the story within the context of a storyteller relating the legend to a group gathered around a fire is an excellent way to reinforce the importance of the African oral tradition.  Hand and facial close-ups inset within the context of sweeping visual backgrounds highlight both the overall result, as well as the personal impact of key events. During intense battle scenes panels depart from the rectangular shape with diagonal frames.

Mbongeni Malaba's Forward places the story in context and provides the legend's academic foundation.  An illustrated "cast of characters" is helpful in identifying key individuals.

Ah, the stuff that fairytales are made of: a handsome young prince, overbearing parents who seek to marry off the heir to the throne, a glittering ballroom filled with all manner of royalty, and a shy young commoner with a heart of gold.
​But wait. Things take an unexpected turn. The prince, it seems, enjoys wearing gorgeous gowns. He covertly employs Frances, a lowly young dressmaker with a flair for the spectacular to create custom creations for him. When she learns the identity of her employer, the dressmaker is nonplussed and continues her work, making stunning works of couture for her client.
Eventually his private passion for dazzling attire becomes public and his parents must come to terms with this aspect of their son's identity. Wang injects a humorous conclusion at the story’s reveal that is fanciful and immensely satisfying.
Cross-dressing is only one aspect of The Prince and the Dressmaker story line. For me, the development of the relationship between the prince and the dressmaker is at its heart.

First Second has done it again. This publisher has its finger on the pulse of young readers' interests, moving beyond the genre traditionally found in comics and exploring fresh concepts to offer in graphic format.  Recent examples: The Science Comics series features a wide array of fascinating nonfiction in panel form. Also consider the brilliant journal/comic book hybrid CiCi's Journal: The Adventures of A Writer-in-Training.
​Now this leaders in children's comics turns its attention to the Maker Movement with a series of graphic novels for young readers featuring Crafty Cat, the fearless alter ego for somewhat timid Birdie.  Crafty Cat and the Crafty Camp Crisis finds Crafty Cat preparing for Monster Craft Camp.  She has the right tools, plenty of skills and the "crafty feelings" needed to create a winning project.   Best friend Evan, requisite "mean girl" Anya, and a school janitor who serves as craft instructor attend this camp. Each chapter is devoted the escapades surrounding the creation of a monster-related craft. ​Bonus: Birdie's imaginary friend Cloudy. Love this!

I followed the directions for making mini monsters. This is a fun and easy-to-do project. These would be great as place cards. They would also make terrific cards to top a gift. Think fun reminders for table tops too!

My tale begins in another time and another place, Ben Hatke was a young artist breaking into the comic scene with the publication of a charming graphic novel about a spacegirl named Zita. I was to meet Ben at a train station and escort him to an author event held at a public library.
I arrived at the designated station, searching for someone who looked like a cartoonist. As I scanned the arrivals, I could not see anyone who seemed to be seeking a librarian. The train had left the station and few travelers remained on the arrival side of the tracks.
Finally a young man came into view, nimbly working his way around the tracks, appearing to be on a grand adventure. I wondered: could this be the author/artist that I was to scheduled meet?
Bag slung over his should and flashing a winning smile, I soon learned that he was indeed Ben Hatke.

If you have been following comic artist Ben Hatke you know that he has created an impressive body of graphic novels and picture books for young readers. His latest book, Mighty Jack and the Goblin King does not disappoint. This story continues the saga of Jack. As readers will remember, Jack's sister Maddy has been captured and taken to another realm. It is up to Jack and his friend Lilly to use the magic of plants, a healthy dose of courage, and their wits to locate Maddy and bring her safely home.
In true Hatke fashion there are some bizarre characters, high-powered action scenes with plenty of sword-play, and a take-no-prisoners heroine who will leave readers cheering. Careful observation will offer readers glimpses of familiar themes, tropes, and characters.
A hallmark of Hatke's books is his brilliant use of dialog. Each character has his/her/its own distinct speech pattern. The story begs to be read aloud with ample pauses to appreciate the many visual bons mots waiting to be discovered within the pages.
There will be no spoilers from me except this: I gave an audible gasp when I arrived at a certain juncture in the story. Then my eyes filled with tears. How I love his characters and their stories. I Just Love Them