This tale dawns alongside the universe as an all-powerful God grows lonely and, out of a colorful, nebulous Everything, creates “land and seas, skies and stars.” Flora and fauna follow and, finally, God’s pièce de résistance—humanity. Ever benevolent, God seeks to empower these people with special gifts (among them peace, health, and kindness), each bathed in light and delivered via clay pot, but God’s knack for hand-building leaves something to be desired. The vessels grow “shaky-er and breaky-ier,” smashing upon impact and scattering the gifts, whose lights dim. God gathers a crowd and delivers a crucial missive: Search for these wayward gifts and act accordingly once they’re found, sharing laughter, love, and wisdom with the communities you create. The “big, beautiful job” of earthly betterment belongs to its inhabitants—a weighty ask, but a challenge worth undertaking. Though God is never depicted on the page (and no gendered pronouns are used), Cooper’s sweetly whimsical prose offers a surprisingly endearing and humane portrayal; this is a deity who creates humanity to combat feelings of loneliness and whose excitement at sending the gifts down to earth inadvertently causes problems. Evoking the aesthetic of a newspaper comic, Hoffmann’s twee illustrations depict people diverse in terms of race and culture. In an author’s note, Cooper explains that the narrative is rooted in the practice of tikkun olam, Hebrew for “repair the world.”

Beginning with an explanation of the Jewish calendar, Shafiroff explores Shabbat, Rosh Hashanah and Yom Kippur, Sukkot, Simchat Torah, Hanukkah, Tu Bi’Shvat, Purim, Pesach (Passover), and Shavuot. She considers various foods such as challah, latkes, hamantaschen, and charoset, as well as individual observances and customs within larger holidays, such as the ritual of Havdalah, which concludes Shabbat, and the ceremony of Tashlich, observed on Rosh Hashanah. Each section includes a detailed description explaining the importance of the holiday, why it’s celebrated, and common customs; Shafiroff combines stories from the Torah along with discussions of modern practices, such as playing dreidel on Hanukkah. The author doesn’t acknowledge that customs differ widely, and no sources are included, though word pronunciations and definitions do appear in the text. Still, the informative, accessible, and conversational text will kindle excitement for the holidays, while the bright, cheery illustrations invite readers in. Shafiroff depicts a diverse cast; characters vary in terms of skin tone, and Jews of color are included, as are a variety of head coverings.

As Mama prepares tonight’s dinner, she asks her little one, “Can you help me buy some meat at the market?” The youngster, who narrates, energetically leaves with empty basket in hand. The villagers are already engaged in daily chores and jobs, giving the child plenty of opportunities to interact. Repeated animated exchanges of “zǎo ān” (Chinese for “good morning”) and “xiè xiè” (“thank you”) result in unexpected gifts: radishes from Ms. Chen, fresh-caught shrimp from Mr. Li, and persimmons and other treats from Grandma and Aunt Ruby, all to bring home to Mama. The child enjoys moments of play, splashing through puddles and trying “to turn a toad into a prince.” At the market, the protagonist picks up Mama’s special pork from Ms. Zhou, who adds a bone for the family puppy. After presenting Mama with the heavily laden basket, the young narrator announces “I have an idea” before dashing back through the village to invite others to enjoy Mama’s toothsome meal together. Canadian author Wong’s welcoming tale of connected community is lovingly enhanced by Zhu’s pastoral illustrations, their earthy tones highlighting the warmth enjoyed throughout the village. Backgrounds, clothing, and the few Mandarin phrases (untranslated but easily discernible from the context) suggest a Chinese setting.

Elín S. Jónsdóttir has always been very intentional in measuring out her life. Years ago, she decided that Deadline would be the 10th and last in her series of whodunits. So when Rut Thoroddsen, her publisher, can’t reach her at home, the break in Elín’s routine is already alarming. Helgi Reykdal, a mystery fan who’s taking advantage of his vacation from the Reykjavík Criminal Investigative Division to nest in his family’s bookstore, is the obvious person to investigate, and he’s certainly willing to join the search for one of his favorite authors before it’s leaked to the press and everyone on social media joins the hunt. The problem is that there seems to be no trail to follow. Rut; her accountant husband, Thor; and Elín’s best friend, retired judge Lovísa, add details about Elín’s highly successful career, but nothing that would indicate either a reason for anyone to kill her or a reason for her to vanish. Eventually, however, Jónasson, who—apart from his many leaps among different time frames—seems more indebted here to the rhythm of Helgi’s earlier police procedurals than to the golden age mysteries that link his detective and his quarry, reveals evidence that makes Helgi look more closely at Marteinn Einarsson, the pseudonymous author of Killer; at a 1965 bank robbery that left one employee dead and one robber in prison; and Helgi’s vengeful ex-girlfriend Bergthóra, whose erratic behavior threatens to hijack the whole case.

Harriet Lockhart, born in a Camden brothel and now an actress in a Sapphist Shakespearean theater company, has long been accustomed to living on the fringes of society and finding happiness when she can, with whomever she pleases. When she learns that her father is the prince regent, it’s a shock to consider what life might be like on London’s fancier side. Prinny offers her an inheritance, of sorts, provided that she can find a respectable marriage. Luckily, Harriet knows the Duke of Rochester, and she can imagine some sort of marriage in name only to him. Unfortunately, he is also being pursued by Emily Sergeant, who has arrived in London desperately looking for a husband who can outrank the odious man to whom her family has betrothed her. When their separate pursuits of the duke bring the two women together, after a few days of bickering both become more interested in each other’s company than anything, or anyone, else. The worldly Harriet is well aware of the nature of her developing feelings for Emily, but it takes Emily longer to understand her emotions. When she finally learns what a Sapphist is, the women connect emotionally and physically. However, society hasn’t changed, nor have the expectations of their families. Lee’s delightful adult debut will please fans of her YA historical fiction as well as romance readers encountering her for the first time. The story, which centers queer and theatrical Regency life alongside the familiar tropes of the London Season, is well-paced, with entertaining side characters and rich detail. The clever ending, moving and satisfying on its own, is enhanced by Lee’s extensive, thoughtful notes sharing historical background and revealing that much of her plot is less fantastic than readers might assume.