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The Ocean at the End of the Lane, by Neil Gaiman, is a touching blend of family drama and otherworldliness. He wrote it for his wife, who does not care so much for extreme fantasy, and so he decided to include many realistic details from his own childhood. But he enriched that beginning with dark and horrific drama, as well as beauty and wisdom, and ultimately gave it an elemental, magical grounding.
In Long Lankin, by Lindsey Barraclough, it’s 1958, and Cora and her small sister Mimi have been taken from their London home and dumped in the middle of the English marshes where something is waiting for them.
Michael K. already has a few strikes against him. He's a new kid at a new school in a new town, but did he really have to get stuck sitting next to the two weirdest kids in the classroom? The girl, Jennifer, is halfway through eating her pencil when the boy, Bob, tells Michael that the two of them aren't human. They are Spaceheadz.
Bob, Jennifer, and the hamster, Major Fluffy, are on an intergalatic mission to save Earth. They must do this by recruiting 3.14 million Earthlings as Spaceheadz, and they think Michael K. is the person to help them get the job done.
Joel and Ethan Coen might be the two finest filmmakers working in America today. There are few directors who have captured more entertaining, accurate, or varied instances of the American experience.
Nearly all of their films center around some sort of crime or illicit behavior. Sometimes the protagonist is the perpetrator. Other times he is a victim or an unwitting bystander sucked into the chaos. Almost always though, the protagonist is a fool.
Jon Ronson sees insanity all around him. Partially that is because as a journalist he is drawn to write stories in which people engage in erratic behavior. It is also because he has learned The Psychopath Test, and he cannot stop administering the 20-point checklist to everyone around him.
Item 1: Glibness/superficial charm
Item 2: Grandiose sense of self-worth
Item 3: Need for stimulation/proneness to boredom
Item 4: Pathological lying
And, so on. From a rude concierge at a hotel to the CEO of a giant corporation, no matter where Ronson looks, everything's coming up psycho.
Daisy Kutter: The Last Train follows a feisty female trying to be on her best behavior. Ms. Kutter runs the town general store, but she was always most at her element when committing train robberies and other such deeds.
She may be trying to be a good girl at the beginning of the story, but we all know that old habits die hard. When she's asked to come out of retirement to rob one last locomotive, the offer sounds too good to be true.