“Reason #1: Because of me, you will never date the hottest guy in school,” begins Jess Lanza’s second blog entry addressed to the three classmates who’ve targeted her. Their persecution began in the aftermath of Jess’ kissing Noah, a fellow theater kid who’s dating her former best friend, Chloe, a Black-presenting girl who’s also autistic. Each blog post lists another reason for these bullies to hate Jess, who’s cued white, many of which are tongue-in-cheek (“I assault innocent people with baked goods, and I am reluctant to apologize for it”). In reality, Jess is desperate to make amends with Chloe. As Jess grows closer to athletic Cam, an attractive boy who has floppy blond hair, their friendship complicates her exploration into whether she’s asexual. Jess, who nurses a great love for Shakespeare and a longtime desire to attend the ultra-competitive dramatic writing program at Tisch, sometimes includes in her posts snippets of dialogue in a screenplay format to process the hypothetical scenarios she’s imagining. Unfortunately, meandering and unclear storytelling lessens the impact of the central conflict by muddying the stakes and undermining readers’ understanding of the characters’ motivations.

Ronak’s big sister, Dida, will be visiting for the holiday, and Ronak’s thrilled. But small worries interrupt his happiness: A breeze smudges the floral rangoli pattern he makes; he spills mango juice on his new kurta. And though the day is filled with happy moments, Ronak’s constantly reminded that Dida still hasn’t arrived. Chatting with far-off relatives via video, the boy wishes them a happy Diwali, but they sign off quickly. “Dida didn’t get to say hello to them,” laments the youngster. And when Ronak and his best friend enjoy a delicious spread of sweets, he notices that there are no jalebis, Dida’s favorite. Soon everyone gathers in the garden for fireworks. Despite the beauty of the display, Ronak is upset that Dida has missed it. When the family says a prayer in thankfulness, the lights go out, and Ronak feels free to release the tears he’s been holding back. Just then he hears a familiar voice telling him to open his eyes—Dida! Anand’s mixed-media illustrations, which blend eye-popping colors and textures with visible lines, create a homey, cheery backdrop. Kothari’s sensitively written text—anchored with a refrain of “Arré, arré! No, No! Now what will I do?”—highlights the big and little rituals of Diwali while speaking to Ronak’s joys and uncertainties.

“I like your face. It’s super special. Like an ultra-rare trading card or that giant pink octopus at the aquarium.” So begins a tribute to friendship between two adorable tots. Though the tale is narrated in first person, it’s never clear which is speaking, but the loving sentiments are clearly felt by both. These youngsters know each other—and their faces—so well that they could spot one another “in a crowd of a million gazillion people.” The kids list all the faces they enjoy making—silly ones, “hangry” ones, even the “holding-in-a-fart” face. Davidson’s text is rife with goofy, kid-friendly humor, but it also offers comforting revelations: “We even know each other’s ‘Pretending-to-Be-Brave Faces…although when we’re together, I never feel like I have to pretend.” For these two, friendship means listening, showing up, being a team, and feeling safe enough to reveal one’s vulnerable side; friends are the people who will empathize with and understand you no matter what. Más Davidson’s cartoon illustrations place the round-headed youngsters in a variety of entertaining situations: watching fireworks, attending school, and (in a scene where they envision the future) still friends as elders winning a Halloween costume at their retirement community. Uncluttered backgrounds keep the emphasis on their shining, expressive faces. One of the kids presents Black; the other is pale-skinned and dark-haired.

In a brief introduction, Engle adds intent behind this “brief sampler of poems” on “independent thinkers who serve as role models for determination or creativity.” Surveying the Americas, the author considers figures from eras as far back as the 15th century—see the fierce poem “Proud” on Anacaona, the brave leader of the Taíno people—to contemporary times. Historical trailblazers such as the revolutionist Simón Bolívar and chroniclers Martín de la Cruz and Juan Badiano stand beside the athletic might of Cuban Olympic winner Ramón Fonst Segundo and renowned soccer player Pelé. About half of the featured heroes are women, including the Indigenous Peruvian resistance leader Micaela Bastidas Puyucahua and wartime healer Mariana Grajales Cuello. Each vaguely biographical poem amounts to a few stanzas, ranging from the sublime—see “Courageous,” a powerful ode to modern Indigenous environmentalists—to the perfunctory, like in “Movie Star” for Juano Hernández: “Many years later, in 1949, I receive / a Golden Globe nomination for my role / as the star of Intruder in the Dust, a movie.” Short biographical notes at the end offer a few more clues for readers to explore further on their own. Menéndez’s watercolor artwork shines throughout each hero’s double-page spread, depicting these immense figures in bold form against mostly monochromatic backgrounds of warm colors.

An Ezra Jack Keats Illustrator Honor recipient, Gutiérrez Hernández draws from her own experiences visiting Oaxacan turtle sanctuaries to craft an intimate portrait of conservation work, seen through the eyes of young Gabriela, who joins Papá Grande on nighttime beach patrols as he watches over transported “nidadas” (sets of eggs laid by turtles). The author doesn’t shy away from the challenges; when beetles destroy a nest, leaving only broken shells, the moment provides authentic emotional weight that distinguishes this tale from more sanitized nature books. Papá Grande’s transformation from turtle hunter to “tortuguero” (turtle enthusiast) reflects the real stories of many Mexican coastal communities that shifted from exploitation to protection. The lovely gouache and colored pencil illustrations capture both the magical nocturnal world of nesting turtles and the methodical work of egg collection and hatchery maintenance. Rich blues and teals dominate the underwater scenes, while warm oranges and pinks highlight moments on the beach. The art particularly shines in depicting the four turtle species that visit Oaxaca’s coast. Extensive backmatter elevates this work beyond a simple story: A comprehensive glossary, detailed life cycle information, a map of conservation sites, an author’s note with photographs, and additional resources make it invaluable for reports or curious readers wanting deeper knowledge.