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Cover of FLASH GORDON

FLASH GORDON

by an escape pod containing Flash Gordon, a freckle\u002Dfaced girl with endless curiosity and energy but no memory of her identity. When the Ark crashes on planet Omnia X, the new friends find themselves at odds with the “Merciless Emperor” Prince Azimuth, who dominates the planet’s kingdoms with his rage\u002Dpowered dark magic. Flash is shocked to discover the tyrant is no older than she is, while Azimuth’s sister, Princess Aura, is even more surprised by the fear her brother has for their unexpected visitor. Seeking to use this, Aura saves the girl from the gladiatorial arena and takes her to Arboria, a land of rebellious tree\u002Dfolk and gallant knights led by the honorable Captain Barin. But as the determined Flash readies herself to save Dale and liberate Omnia, she is blind to the Princess’ own ambitions and the unsettling reason behind the Prince’s fixation on her. Johnson’s illustrations, delightfully influenced by shojo manga, are rich with detailed characters set against simple, colorful storybook\u002Dstyle backgrounds, capturing expressive facial expressions—even during an intense battle with a giant, razor\u002Dtoothed axolotl. Bennett, who has worked on some of Marvel’s and DC’s biggest properties, displays her talent for inclusive storytelling—this universe is filled with more than just the white and green faces so many space operas feature. The spirit of Alex Raymond’s original creation is here, too\u003B there’s an intoxicating combination of sword\u002Dand\u002Dsorcery tropes with laser guns and flying saucers. The book never talks down to its audience, and this heartfelt adventure will be great for kids to share with parents, or even for longtime fans looking for a reminder of what made them love Flash Gordon—and comics—in the first place."3.1/5(11)

Cover of Forfeiture

Forfeiture

by murderous timbermen in the Brazilian rainforest. Above the Arctic Circle, an old Inuit woman takes her skeptical, indolent “grandson” to a remote old village (from which oil companies uprooted them) to enact an obscure ritual. Both use ancestral memories to summon help from an advanced extraterrestrial civilization of color\u002Dshifting, somewhat reptilian humanoids of about 8 feet in stature who call themselves the Indigo. Eons ago, interstellar Indigo explorers were awestruck by Earth’s unparalleled biodiversity and beauty and left such safeguards behind to protect the planet. The two distress signals prompt the aliens’ return in massive ships that intimidate even the Earth’s superpowers. Meeting with a few chosen human representatives (including the U.S. president), the Indigo are horrified at the state of Earth, now beset by pollution, species extinctions, unsustainable economic development, war, and other existential threats. The Indigo give humanity one year to reverse the failing state of the world\u003B meanwhile, they will remain as noninterfering “Observers.” Some Indigo opinion\u002Dleaders grow quite fond of humanity’s arts and music\u003B others harbor no affection for the predatory apes and begin a grim judgment process. A radical\u002Denvironmentalist spin on Arthur C. Clarke’s Childhood’s End (1953), Nebra’s narrative will find favor with those who have fantasies of captains of industry and world leaders being brought to account by a galactic Greenpeace for crimes against nature: “Dolphins in terror, surrounded by humans with an enclosing net and frantically writhing and rolling in a red sea, the blood of their family. A Hawksbill turtle, grotesquely deformed by the plastic ring slowly choking it. The hillside shorn of its trees, the fertile soil pointlessly pouring away in streams with every rain.” The polemical material is balanced by fairly nuanced characterizations (including developing nation indigenes, too often idealized by sympathetic writers as unspoiled, cardboard Edenic angels), good pacing, and a final act that is fairly unputdownable."

Cover of FRANCISCO DE SAAVEDRA’S AMERICAN REVOLUTIONARY WAR

FRANCISCO DE SAAVEDRA’S AMERICAN REVOLUTIONARY WAR

by the British, he was taken as a prisoner to Jamaica, which he realized was an excellent opportunity for espionage. After talking his way out of incarceration, he made his way to Havana, the Spanish base of operations in the Caribbean. The Spanish allied with the French, hoping to drive the British out of the area, and Saavedra, a genius in money matters, financed his lifelong friend Bernardo de Gálvez’s successful rout of the British from Pensacola in British West Florida. At this point, the dispirited and nearly bankrupt Americans turned in desperation to their allies, the Spanish and the French. Saavedra wrangled loans in record time from far and wide to pay for the Battle of Yorktown in 1781—a decisive conflict that effectively sealed the independence of the United States of America. From there, he went from strength to strength, even reluctantly becoming the Spanish prime minister for a time. Ever a modest man, he once said, “In one way or another this contrast between my true and apparent merit is one of the keys to my life.”In a book that fairly bristles with endnotes and indices, one might expect to encounter very dry prose, but Giesler proves to be a graceful and often lively writer. This biography of Saavedra engagingly addresses all the momentous affairs in which he had a hand, and Giesler relies greatly on Saavedra’s diaries and letters. The author points out that his subject was not only savvy in financial matters but was also a talented administrator. The situation in Havana, for example, often pitted the old guard, who not only jealously guarded their privileges but were also overly cautious in military matters, against the young and rash—Bernardo de Gálvez being a good example of the latter. Saavedra, the author establishes, was the perfect go\u002Dbetween, compromiser, and schmoozer, who could handle people set in their ways and young fire\u002Deaters. The powers back in Madrid, including his patron, José de Gálvez, saw the Central American colonies as simply cash cows—but Saavedra, the man who was actually there, in Cuba, in Mexico, and later in Venezuela, realized that the colonists had legitimate grievances and deserved respect and audience. Giesler reveals his subject’s prescience in realizing that if the colonists didn’t get that respect, they would eventually rise in revolt, which is, of course, exactly what happened. Saavedra died in Seville in 1819, perhaps the most respected man in all of Spain at the time—a man for whom the term “national treasure” is fitting."

Cover of FREE PIANO (NOT HAUNTED)

FREE PIANO (NOT HAUNTED)

by the emergence of the ghost of the piano’s original owner from its keyboard: 1980s one\u002Dhit\u002Dwonder pop star Vision. Vision’s cool vibes are eventually too much to resist, though, and she becomes a welcome source of support as Margot reckons with her mom’s long working hours, feeling like her dad’s “dumb invisible daughter,” and the success of @sonsofsmash, her best friends’ social media channel about smashing things, which is gaining the followers she’s desperate for. But Vision isn’t the only ghost in the machine, and Margot may be in danger. The art features amusing details, vivid gradients, and bright colors (like Vision’s candy apple red hair and blue eyeshadow), as well as expressively drawn characters. Margot, who has light skin and blond hair, grapples with feelings of abandonment and betrayal when her existence is clearly a lower priority to her father than his own fame in a way that’s accessible and grounding, balancing emotional depth with the creepy mystery. "3.4/5(601)

Cover of FROM COCINAS TO LUCHA LIBRE RINGSIDES

FROM COCINAS TO LUCHA LIBRE RINGSIDES

by themes, including “Building Bridges, Building Community” and “Belonging…Dolor y Alegría.” The authors and illustrators run with the inspiration provided by food and sports, exploring the nuances of diaspora culture and belonging through the lens of their diverse Latinx heritages. The varied artistic styles include both full\u002Dcolor and black\u002Dand\u002Dwhite illustrations. While the central focus on Latinx identity is strongly developed throughout, some of the entries feel too similar to one another to stand out on their own, making this collection better for dipping into and browsing than reading cover to cover. Some stories are brief and humorous while others are longer, more thoughtful pieces reflecting on serious topics. The strongest narratives are the ones rooted in memoir and family history, such as Valerie Martínez Cabrera and Andrés Vera Martínez’ “Lamesa” (a story of enduring Chicano cultural pride in mid\u002D20th\u002Dcentury Texas, which features atmospheric, sepia\u002Dtoned illustrations) and “El Limber” by Rafael Rosado (a charmingly buoyant slice\u002Dof\u002Dlife tale set in 1970s Puerto Rico)."4.2/5(5)

Cover of FROM LANGUAGE TO LANGUAGE

FROM LANGUAGE TO LANGUAGE

by the Stagirite.” In another example, he unpacks how a metaphysical “notion of being would be entirely different” in the West African tonal language Ewe. The book itself is intertextual, emphasizing the collaborative act of knowledge building, as Diagne traces the evolution and lineage of his thinking in elegant prose. The author cites numerous late cultural theorists and philosophers, including Henri Bergson, Gottfried Wilhelm Leibniz, and Léopold Sédar Senghor, as well as present\u002Dday figures, among them Kwame Anthony Appiah, Philippe Dagen, and Sandra Laugier."4.0/5(1)

Cover of FROM MALICE TO ASHES

FROM MALICE TO ASHES

by Soviet border guards. Before long, the Germans begin mass executions in the woods. Olek manages to help an injured Jewish boy in hiding, and it’s not long before Olek himself is in trouble. Al makes it to the United States and joins the war effort as quickly as he can\u003B soon, he’s back in Europe with Allied forces. Meanwhile, Zeneta is struggling for her life, along with other Lithuanians whom the Soviets have shipped to Siberia. Toyn’s narrative is based on true events—most notably, the horrors of the Ponary Massacre—and it’s at its strongest when describing, without embellishment, unthinkable events. For instance, as German power waned, prisoners were forced to dig up and systematically burn corpses to cover up the fact that there were mass graves in the Ponary forest. This included the placement of thermite grenades to ensure that the fire “burned hot enough to incinerate the bodies”\u003B the resulting blazes would then burn “for three days or until a heap of ashes remained.” The dialogue isn’t always as sharp, as characters sometimes unnecessarily narrate their actions with statements such as “I have a gift for each of you.” Overall, though, the work succeeds in its author’s aim to shed light on “events largely unknown to Western audiences.”"

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