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Someday My Printz Will Come
Inside Someday My Printz Will Come

Can Lightning Strike Twice?

prevwinnersPrevious winners, new books… Sometimes it means the magic has happened again, and a lucky (well, and talented) author will receive a second (or third) golden P sticker.

More often, the magic doesn’t happen again, but previous winners have a proven track record so it’s a pretty sure bet anything from a previous winner received at least a look from one or more RealCommittee members. Which means we, in our endless stalkery committee-emulating ways, also did our best to make sure we read everything out in 2015 from a previous Printz winner or honoree. And there were a lot this year.

We’ve covered several of these already (see: books from Almond, Almond again, Anderson, Bray, Lanagan, Mackler, Myers, Schmidt, Smith, and Wein), but not a few of the biggest ones. Until today (she says portentously).

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She Is Not Invisible

coverShe Is Not Invisible, Marcus Sedgwick
Roaring Brook Press, April 2014
Reviewed from ARC

Marcus Sedgwick has literary chops. Here’s an author who knows his way around a sentence. Last year, Karyn and I predicted that Sedgwick’s Midwinterblood would get a shiny sticker, despite our reservations about the novel’s ability to hold up under close scrutiny. We agreed that Sedgwick’s beautiful use of language and the book’s complicated structure would be enough to put it in the winners’ circle, so neither of us were surprised when Midwinterblood won Printz gold.

Sedgwick’s followup, She Is Not Invisible, isn’t likely to repeat its predecessor’s success. That doesn’t mean, however, that it’s a disappointment. In terms of critical response, it’s on Kirkus‘ best list for 2014 and has received three stars. It’s an interesting and satisfying reading experience, displaying some of the technical skills one expects from Sedgwick. Compared to the rest of 2014’s contenders though, it falls just below the best work of the year.

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Midwinterblood

Midwinterblood, Marcus Sedgwick
Roaring Brook Press, February 2013
Reviewed from final copy

Let me start with a provocative question: Can a book be so literary that it fails at being a book?

Midwinterblood is full of the sorts of things I’ve hardly thought about since my days as an English major: tropes, motifs, archetypes, foreshadowing, even an ekphrastic device (ok, I had to look that one up, but it’s there; it’s a work in one medium commenting on a work in another medium, here prose commenting on a painting). It’s also told in reverse chronological order, as a series of short pieces that move back in time and seek to illuminate one another and some deeper thematic scope.

Sometimes it’s so full of these things that they seem to crush any cohesive narrative, but at the same time there’s a nimble literary magic happening here that has garnered five starred reviews* and make this one feel like a serious contender.

I’ve read Midwinterblood twice now. I’ve marveled, I’ve complained, I’ve taken extensive notes, and I still waver between work of art and stinking hot mess.

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White Crow

Ideally, if I were really on the Printz Committee, I’d be done reading all the contendas by this point. Actually, if we’re going for ideal, I’d have been done for a couple of weeks. At this point in the year, it’s time for very serious rereading: really going through the contendas in detail, weighing various elements, moving past first impressions into a firmer opinion of each title.

And, you guys, that would be super helpful because I could do with a reread of this title. (I feel like I’ve been saying that a lot lately.) But let’s get started. [Read more…]