Grade 9 Up–When Bella Swan moves from sunny Phoenix to Forks, Washington, a damp and dreary town known for the most rainfall in the United States, to live with her dad, she isnt expecting to like it. But the level of hostility displayed by her standoffish high school biology lab partner, Edward Cullen, surprises her. After several strange interactions, his preternatural beauty, strength, and speed have her intrigued. Edward is just as fascinated with Bella, and their attraction to one another grows. As Bella discovers more about Edwards nature and his family, she is thrown headlong into a dangerous adventure that has her making a desperate sacrifice to save her one true love. One of the more original vampire constructs around, this recording of Stephenie Meyers debut novel (Megan Tingley Books, 2005) is narrated with great style by Ilyana Kadushin, who makes the infinitely romantic tale of star-crossed lovers resonate with a bittersweet edge. Although Edward and Bellas romance and subsequent danger develops slowly, the pacing is appropriate for teens who want learn all the details in this suspenseful tale. An excellent purchase for both school and public libraries
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In the past Rose has overcome every obstacle in her path, no matter the odds, but now she may just be facing the one thing that could bring her down. Permanently. She's to be tried for the Queen's murder, an almost guaranteed death sentence despite her innocence. Fighting for her life isn't her only challenge, she also must carry out the Queen's last mission. Rose must find Lissa's illegitimate sibling to ensure her vote before it's too late. In the end it will take every last one of her allies working together for any hope at survival, let alone a happy resolution.
Rose makes the choice between the two men in her life. I can honestly say that I was almost equally rooting for both of them. They both were good for her in their own way, but her choice really seemed to be the right one for her once all of her reasons were laid out. I felt really bad for the one that she didn't choose, but as soon as she made her choice it was really apparent why it wouldn't have worked with him in the long run. I'm hoping in the spin-off series he just might get a slice of happiness, he deserves it.
Rose makes the choice between the two men in her life. I can honestly say that I was almost equally rooting for both of them. They both were good for her in their own way, but her choice really seemed to be the right one for her once all of her reasons were laid out. I felt really bad for the one that she didn't choose, but as soon as she made her choice it was really apparent why it wouldn't have worked with him in the long run. I'm hoping in the spin-off series he just might get a slice of happiness, he deserves it.
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David J. Pelzer's mother, Catherine Roerva, was, he writes in this ghastly, fascinating memoir, a devoted den mother to the Cub Scouts in her care, and somewhat nurturant to her children--but not to David, whom she referred to as "an It." This book is a brief, horrifying account of the bizarre tortures she inflicted on him, told from the point of view of the author as a young boy being starved, stabbed, smashed face-first into mirrors, forced to eat the contents of his sibling's diapers and a spoonful of ammonia, and burned over a gas stove by a maniacal, alcoholic mom. Sometimes she claimed he had violated some rule--no walking on the grass at school!--but mostly it was pure sadism. Inexplicably, his father didn't protect him; only an alert schoolteacher saved David. One wants to learn more about his ordeal and its aftermath, and now he's written a sequel, The Lost Boy, detailing his life in the foster-care system.
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On the sixteenth page of this incisive memoir, eighth-grader Brent Runyon drenches his bathrobe with gasoline and ("Should I do it? Yes.") sets himself on fire. The burns cover 85 percent of his body and require six months of painful skin grafts and equally invasive mental-health rehabilitation. From the beginning, readers are immersed in the mind of 14-year-old Brent as he struggles to heal body and mind, his experiences given devastating immediacy in a first-person, present-tense voice that judders from uncensored teenage attitude and poignant anxiety (he worries about getting hard-ons during physical therapy) to little-boy sweetness. And throughout is anguish over his suicide attempt and its impact on his family: "I have this guilt feeling all over me, like oil on one of those birds in Alaska." Runyon has, perhaps, written the defining book of a new genre, one that gazes as unflinchingly at boys on the emotional edge as Zibby O'Neal's The Language of Goldfish (1980) and Laurie Halse Anderson's Speak (1999) do at girls. Some excruciatingly painful moments notwithstanding, this can and should be read by young adults, as much for its literary merit as for its authentic perspective on what it means to attempt suicide, and, despite the resulting scars, be unable to remember why .
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Gay couple Stephan Jones and Frank Montgomery, antique dealers, escape Boston for a small town in Arkansas, only to face the bigotry of its small-minded, fundamentalist, and ultraconservative population. Carla Wayland, 16, lives with her liberal, librarian mother, and dreams of being part of the "in" crowd; dating handsome, rich, and popular Andy Harris is her wish come true. Although raised to act on her ethical beliefs, Carla finds that her enchantment with Andy draws her as a silent partner into his hate campaign and harassment of the couple. As a direct result of the gay bashing, Stephan dies. Hatred, the power of mob psychology, put-downs of the weak to gain power, and the self-righteousness of self-serving religious groups are themes addressed in this thought-provoking novel. Unaddressed are the psychological abuse of Andy by his father, the absence of support for intellectual freedom and religious tolerance, and the lack of justice in the death of another human being. Stereotypes are rampant and include not only the gay couple but extend to fundamental Christianity, conservatives, liberals, attorneys, and small-town inhabitants. Greene has a polished writing style; powerful scenes of dialogue include strong language and street slang that add immediacy and realism to arguments and taunts. Descriptive passages plod, however, and character development is uneven. Greene has addressed volatile issues, albeit somewhat unrealistically.
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Though it begins as the quietly electrifying story of an unmarried Amish teenager who gives birth to a baby she is accused of then smothering, Picoult's latest (after Keeping Faith) settles into an ordinary trial epic, albeit one centered intriguingly on an Amish dairy farm near Lancaster, Pa. Katie Fisher, 18, denies not only having committed the murder but even having borne the baby, whose body is found in the Fishers' calving pen, and she sticks to her story, even when she is quizzed by Ellie Hathaway, the high-powered Philadelphia attorney who undertakes Katie's defense as a favor to Leda, an aunt she and the young woman share. Ellie, who has retreated to Leda's farm in Paradise to reconsider her life--she successfully defends guilty clients--embarks on the case reluctantly: at 39, she wants nothing more than to have a child. However, to meet bail stipulations, she volunteers as Katie's guardian (since Kate's strict parents reject her) and moves in with the Fishers. Living with the Amish necessitates some adjustments for both parties, but Katie and Ellie become fast friends in spite of their differences. Very little action occurs beyond the initial setup, though the questions remain: Who was the father of Katie's child? And did she smother the newborn? Told from both third-person omniscient and first-person (Ellie's) vantages, the story rolls leisurely through the trial preparations, the results of which are repeated, tediously, in the courtroom. Perhaps the story's quietude is appropriate, given its magnificently painted backdrop and distinctive characters, but one can't help wishing that the spark igniting the book's opening pages had built into a full-fledged blaze.
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