Publisher Bloomsbury Children’s, 3rd July 2025, ISBN: 978-1526683335
A sunny bank holiday by the sea, an escape from the shadows of abandonment and a search for security…
Runaways is a contemporary story of two eleven-year-olds from London, who despite living in very different circumstances, both suffer from poor parenting and individually decide to take an extreme form of agency in changing their circumstances. The book is beautifully and sensitively written, so that despite covering difficult themes it is not just suitable for a readership aged 10+, but also helps tween readers empathise with children living under difficult conditions.
Author E.L. Norry has a warm writing style which introduces the reader to the lives led by the two child protagonists, July and Jamie, and generates empathy for the two characters from the start. I loved the device of a meal at Nando’s with their mothers being used as the introduction to each of their home circumstances. This will be such a relatable experience for many middle grade readers, and therefore transports them into the characters’ lives. July is instantly suspicious that her mother has brought her out for a rare treat which normally they cannot afford, recognising from prior experience that her mother prefers to break bad news in a public space where July will not react with a scene. Jamie, on the other hand, is taken for a treat by his affluent mother because her new live-in partner does not approve of fast food or fizzy drinks and she is possibly feeling some guilt at dragging her son shopping for new uniform before sending him to the boarding school that Garrett (the partner) has suggested for him. The subsequent chapters, which alternate between July and Jamie’s first-person narratives, show us two children whose childhood experiences have had inconsistent levels of care and nurturing due to choices made by their parents.
When events in each of July and Jamie’s lives spiral beyond their capabilities to cope, they both run away from their respective homes. A chance interaction at Waterloo station and subsequent meeting on the train to Bournemouth, followed by further serendipitous encounters, eventually leads to the runaways accompanying each other in their search for trusted adults in the seaside town. July is looking for Bee, who was a loving and caring foster parent to her, while Jamie is in search of his auntie Liz from whom his mum has been estranged since the time that his Dad disappeared from his life. Their backgrounds have given both children high levels of wariness, and each of them spin alternate realities for their current circumstances, only beginning to trust each other with their real stories as the weekend progresses.
This book highlights an important issue (The Children’s Society estimates that around 100,000 children go missing from home each year in the UK) which I have not seen covered in a contemporary work of UK middle grade fiction before. In a gripping narrative, readers are given insights into the difficulties and dangers that face young people on the streets; how to obtain food and drink, where to find a safe place to sleep, the threat of falling victim to thieves or other forms of exploitation. These issues are intrinsic to the storyline but written in a manner suitable for readers aged 10 years and above, and at no time does the book feel ‘preachy’. I was drawn into the story to such an extent that I read the book from cover to cover in one sitting; the author (who grew up in the care system) has expertly blended her lived-experience and research to craft characters and a storyline which makes readers care about an issue they might not have considered before. I thoroughly recommend Runaways to teachers, public librarians, and school librarians at both primary and secondary schools to add to their collections, publication is due on 3rd July 2025.
Disclaimer: I am grateful to Isi at Bloomsbury Children’s Books for sending me an ARC of Runaways ahead of publication. I believe that the published version will contain a collection of helpful links on subjects such as foster families and parents in prison which will be useful to anyone affected by the issues faced by the fictional characters in the story.
Cover art by Anna Boulogne, published by Little Island Books, 9 April 2025, ISBN: 978-1915071798
Today I am delighted to welcome Irish novelist Gráinne O’Brien to my blog. Gráinne has written an utterly fabulous verse novel, Solo, published by Little Island Books, and has kindly agreed to answer some questions that I asked her. I am super grateful to Kate at Little Island Books for arranging this interview.
Gráinne O’Brien, photo credit Dean Kelly
Welcome to my blog Gráinne. Congratulations on the recent publication of your YA verse novel Solo, which blew me away (please excuse the pun) and thank you so much for allowing me to ask you some questions.
Could I begin by asking you to give us a short summary of the story and introduce us to the main protagonist Daisy?
Daisy is an eighteen year old recorder player who recently got broken up with by her first boyfriend. When we meet her, she is going through it all, the poor thing. Not only has she been broken up with, her friendship with her oldest friend has ended as they drift apart, she is feeling disconnected with her music.
Are you a musician yourself, I’m guessing you might be with the use of the music terminology throughout the novel? When I saw the book cover my immediate thought was: what motivated the choice of the recorder as Daisy’s instrument? So I was amazed to see this question addressed by Daisy. Could you explain why you chose this particular instrument for Daisy?
I sing as a part of a choir as a first soprano and have done for many years, but I am no way as musically gift as Daisy is. I chose the recorder because I feel like most of us have some kind of relationship with it, we recognise it from being made to play it in school and rarely do we continue it beyond those few years. But hearing a recorder played well is such a beautiful sound. I wanted Daisy to become enamoured with the recorder when most of her classmates hated it. I thought it really suited her personality. I am very lucky that my choir director is a recorder player, and I regularly picked her brain to make sure Daisy’s experience would be as true to life as possible.
You address some big topics in the novel and I love the way that the emotional upheavals are related to the musical theme throughout; do you think that teenagers have a particular tendency to link music to their emotions during a time when many are experiencing hormonal surges and mood swings? What do you hope that they will take from this novel?
I think it is incredibly important that teenagers have access to books that are just for them, that reflect the things they are going through, regardless of what is happening in the wider world. I think everyone remembers the music they listened to when they were teenagers, in writing Solo I went back to a lot of what I listened to. I think at times when we are especially vulnerable in our lives, to find music that seems to speak to that experience makes us feel less alone. And we are never as vulnerable as we are when we are a teenager. Everything is raw and exposed.
I’m really interested to know what prompted your decision to write Solo as a verse novel, could you tell us why you chose to write in this format?
In truth, it really felt like it was the only option. The verse comes from Daisy’s connection to her music, and it’s there to demonstrate that it pulses through her, even when she isn’t able to play. The characters and the plot determined what form the book was going to be written in, and I was dragged along for the ride. I have learned a lot about verse and poetry in the last two years and I am infinitely better for it.
Does the process of planning and writing a novel in verse differ from writing prose, and if so, in what ways?
Not really, but sometimes I had to be flexible and willing to jump around if I got an idea for a particular poem that I knew would be used much later in the book, or I came across a musical term that worked better with a poem I have already written. Verse novels are fun because they can almost be quilted together, and if (like me) you struggle with sticking to a strict plan or structure, there is a lot of freedom in their creation.
I have only started reading verse novels myself in the last couple of years, and wish that I had discovered them sooner (and that they had been available when I was a teen reader, which is rather a long time ago). Do you have any particular favourites that you would recommend?
The Black Flamingo by Dean Atta
Long Way Down by Jason Reynolds
Moonrise and One both by Sarah Crossan
The Lonely Book by Meg Grehan
Wider That the Sea by Serena Malloy
I also love the poetry of Nikkita Gill, and think every teenager should read her collection These Are The Words
Which authors and/or poets did you most enjoy as a teenager? And who are your current favourite authors writing for children and young people?
I always loved stories that took place in real life. Judy Blume especially, Jacquline Wilson, Beverly Cleary, Louis Sachar and Robert Cormier. I also loved the fantasy world created by Tamora Pierce. And, but of course, the Babysitters Club. But I would read anything I could get my hands on.
There are some incredible writers working in Ireland at the moment and they are all at different stages of their careers so it is so exciting to watch, but some of my favourites of the last year are, Derek Landy, Dave Rudden, Clara Kumagai, Padraig Kenny, Meg Grehan, Patrica Forde, Sarah Bowie, Alex Dunne, Amy Clarkin, Kevin Moran, Sheena Dempsy, Kel Menton, honestly the list goes on and on.
In your role as head buyer for Kenny’s Bookshop in Galway, what do you look for in novels written for middle grade and young adult readers?
I look for books that make me feel things, that put the characters and the plot ahead of all other messaging and have a beautiful cover. It’s a simple enough formula to be honest, and it has never not worked for me.
I have read online that you founded a literary service to support writers of fiction for children to get their work published. Could you tell us about your motivation for this, and what is the current children’s book scene like in Ireland?
What Rontu is really about is about supporting authors as they navigate the next steps in their writing career. Bookselling and the realities of it can be a bit of a mystery and a scary place if you don’t understand what is happening in the market. I do my best to help calm anxieties and reassure people about whatever stage in their writing career that they are in. The current children’s book scene in Ireland is thriving. It is an incredibly exciting time to be a part of it.
How do you manage to carve out time for writing alongside your other roles?
I am not a person who writes every day. I do a lot of thinking about what I am going to write for sure, usually when I am in the car, but I tried that idea of writing every day, but for my life it wasn’t realistic and it became something I would bully myself about when I missed a day. Now I am much more relaxed about it, but every bit of annual leave that I get I usually use for writing. I try to get away for a few days at a time. I am lucky that my life and job accommodate this. My best advice to anyone writing is to find a process that works for you. Don’t kill yourself trying to reach someone else’s standard. Write when you can, and be kind to yourself while you do it.
Was your ambition always to write for children and young people? If so, what are your reasons for choosing this particular readership?
For a while I actually avoided writing for the children’s market, because I spent all day everyday with children’s books, I tried to do something different when I came home, but what can I say, the ideas wouldn’t leave me alone and eventually there were some that I just couldn’t ignore. I am open to writing for any market, but at the moment I am very happy with the books I have written and the ideas that I have on the horizon, are all for the children’s market.
In the UK, recent research indicates that the percentage of children choosing to read for pleasure is falling year-on-year. What do you think that writers and the publishing industry can do to try to persuade more youngsters to choose to spend their spare time enjoying a book?
A) THIS IS THE MOST IMPORTANT! Make sure the children in your life not only see you reading a book, but hear you talk passionately about it. Talk to children about the book you are reading! Tell them why you love it. Be honest with yourself about how much you are reading, and how often the children around you see you doing it, and talking about it in a way that tell them it is bringing you joy.
B) Don’t treat reading as a punishment, or something that must be done. It doesn’t always need to be a lesson or an opportunity to challenge them. Let kids read what they want to read. If they want to read the same book over and over again, let them. If they want to read a book that is ‘below their level’ let them. It’s not about constantly pushing them to move on or move up, its about associating the habit of reading with pleasure. Children that love reading will find their way to other books, more complicated books, books that make them think and challenge them and show them different points of view. All of that will come. But we need to let them experience the joy of reading in whatever form that comes first. Cultivate that joy. The rest will follow.
C) As adults we sometimes allow our own egos and vision of what a child reading should look like to get in the way. Talk to your young reader. Bring them a library or bookshop and let them talk to the staff there and tell them what they are interested in and what they want to read about. That book may be wildly different from the books you read and loved as a child. That can be hard to accept, especially if you want that child to love the same books you did so you can talk about them. But you can still talk about them! Tell them how much you loved them and why, not because you want them to love the books you read, but to show them how much reading has brought to your life.
Is there any chance that you will visit any book festivals in the UK in the near future, and are you appearing at any festivals or book events in Ireland this year where readers can come and meet you?
I would love to visit UK festivals and do my best to do so! I am doing an event in Books Upstairs in Dublin with the wonderful verse novel writer Meg Grehan on May 1st. On May 20th I am taking part in a live DnD game with other writers as part of the International Literature Festival Dublin.
Thank you so much for spending some time in answering my questions, Gráinne and for so many recommendations to follow up on. I wish you every success with the launch of Solo. I found it immensely powerful and enjoyable, and hope that school librarians, public librarians and parents/caregivers will put it into the hands of many teen readers.
Here’s my review:
Solo by Gráinne O’Brien is a note-perfect story of teenage heartbreak, written in verse so that the reader actually feels every one of teenage protagonist Daisy Ryan’s emotions. I couldn’t put it down, so compelling was the voice. The verse-novel format works perfectly for this tale, the rhythm of the writing portraying the musicality which lies at the heart of the narrative. This is an astonishingly brilliant debut novel which dives into the deep well of emotional experiences which are often first encountered during the later teenage years. In sparse text, the author portrays a central character, a family, and a school community with such precision that you feel like you know them inside out.
The story opens on Daisy’s eighteenth birthday. Immediately you realise that she would like to stay buried in her duvet, nursing the utter rejection that she feels after David her first boyfriend has moved on to new conquests. Her mother and father tiptoe around her, at a loss to know what to do or say; confused that their single-minded, dedicated student daughter, who has spent her girlhood utterly dedicated to music, now appears to have lost interest in everything other than mourning for her lost love. Meanwhile, her twin brothers Fiachra and Tadgh, who operate as a single unit in everything that they do, exhibit less patience on their visits home from medical school. The author builds a picture of Daisy as a solitary presence, who built an impressive reputation as a performer and winner of musical awards through single-minded dedication to her craft. Following her Dad’s mantra, built during his former years as a hurling champion:
You must practise more
You must want it more
You must love it more
Than anyone else page 41
she perfected her art, only to neglect it for a boy unworthy of her love.
Now, with the Leaving Certificate exams looming, Daisy is cut adrift from her music, her studies, her former best friend Shannon, and David for whom she gave up her own passion to encourage him to progress from being a substitute player in the local hurling team, to now being seen as a star player who will help the school team ‘break the curse’ in the school championships this year. Dreading the final year of school, Daisy is surprised to be befriended by new arrival Nora, whose cavalier attitude hides her own private heartbreak and who begins to reawaken Daisy’s interest in music. The story builds to a crescendo as Daisy faces the prospect of losing her father to cancer and in dramatic fashion, learns of the deep loathing that Nora feels for her own father.
I loved every aspect of this book. From the beautiful cover, where the raised font on the title makes the Os feel like the holes on a recorder, to the clever text effects on some pages, to the pertinent use of musical terms as headers for each section of the story, and to the powerfully emotional narrative. I loved the character of Daisy, for whom music “forms the very fabric of who I am as a person” and loved the portrayal of her parents who exhibited her love for her in ways that authentically matched their personalities. I raced through the novel the first time, which is very possible due to the economy of the text, and then reread to savour the fantastic imagery and intelligent asides which fleshed out the personalities so perfectly. I have read quite a number of books written for the YA market over the past few years and I have to say that Solo is outstanding; a perfectly composed masterpiece which can be enjoyed by all readers of 15+.
I whole-heartedly recommend Solo to anyone who loves music, anyone who loves poetry and anyone who loves a compelling story.
Disclaimer: I am very grateful to Kate at Little Island Books for sending me a copy of Solo and for arranging the interview. It was my own decision to write a review and all opinions are my own.
Cover image by Sandra de la Prada, published by Little Tiger, 1 May 2025, ISBN: 978-1801046602
Jump up off your bottom and get in the groove!
Wiggle your body, let’s see how you MOVE! pages 1-2
So begins this exuberant picture book with rhyming text by Laura Baker and vibrantly coloured illustrations, bursting with energy, by Sandra de la Prada. The perfectly matched words and pictures bounce along through a sequence of moves designed to encourage everyone to get active. The depiction of an older lady (who could be interpreted as a grandmother, librarian, teacher or caregiver) with a young child, working their way through an exercise routine, accompanied by an imaginative cast of animals is irresistible; they look as if they are having the most wonderful time as they get active together. They perform cool down stretches at the end before the final encouragement to just flop…at which point there would be time to enjoy observing the lovely details in the pictures. I especially loved the underground-dwelling animals joining in with the activity in their burrows!
This is a wonderful book for adults to share with young children, the rhyming and repeating text will soon be learnt by heart, and the activity of moving together is likely to have both physical and mental health benefits. There is so much evidence in the academic literature pointing towards inactive lifestyles having negative effects on the nation’s health, that I am sure this book will be welcomed by educators and caregivers alike. I can see it being thoroughly enjoyed in nurseries, pre-schools and early years classrooms, as well as in homes. In my opinion All the Wonderful Ways to Move is a joyous book to add to your collections for sharing with children aged 3-6 years.
Disclaimer: I am grateful to Little Tiger for sending me a copy of this book. It was my decision to write a review and all opinions are my own.
Cover image for ARC, published by Rock the Boat, 8 May 2025
TraumaLand is the third #YA novel written by Josh Silver, he writes books that I cannot put down once I start them. This is a gripping psychological thriller with a touching story of first love at its heart. It is told in the first person voice of seventeen year old Elias (Eli) who we immediately discover is receiving psychotherapy after experiencing significant trauma. Eli breaks the fourth wall and reveals his inner thoughts to the reader, thoughts which are often the opposite to those he conveys to his therapist and family. This is such a clever device, gaining the reader’s sympathy for the main character, whilst also making you question the reliability of his narration, especially once you learn that he cannot remember the traumatic event or the months that followed it. I found his voice utterly compelling throughout the twists and turns of the narrative. I am not going to describe the plot in any detail because it is revealed so inventively that I do not want to spoil anyone’s enjoyment of discovering it for themselves.
As in his first two books, Josh Silver writes about mental health with the clarity of his professional experience as a mental health nurse, whilst subjecting his characters to unethical treatment by sinister characters who manipulate futuristic treatment regimes for their own nefarious purposes. This novel deals with some hard-hitting themes including self-harm, restraint, loss of a sibling and attempted suicide, all of which are written about with understanding and sympathy. At its centre, and driving the narrative is Eli, a lost boy, trying to reconnect with his feelings, desperately seeking the answers to his missing months, whilst looking for connection, truth and love. It’s a beautifully written story, with a fantastic final twist and I think it will be as popular with older readers like myself as it will be with readers aged 15+.
Disclaimer: I am very grateful to publicist Liz Scott and Rock the Boat for sending me an ARC of TraumaLand ahead of publication on 8 May 2025. It was my decision to write a review and all opinions are my own.
Cover art by Amy Jeffs, published by Wren & Rook an imprint of Hachette Children’s Books, 6 March 2025, ISBN: 978-1526367402
This beautifully produced book is an adaptation of the author/illustrator’s original work, this time in a format suitable for readers of about 9/10+. Many children (and adults) are familiar with Greek and Norse mythology, but not so well informed about the mythology of the British Isles. In Storyland, historian Amy Jeffs presents a collection of the myths behind the history of Britain. She writes in clear, accessible language and has illustrated the book throughout with her striking linocut prints. These add to the manuscript-like feel of the book and are in keeping with the author telling us that these myths and legends would have been first written down during the middle ages, although they had of course originated many centuries earlier.
I loved the introduction in which Amy Jeffs describes the thrill of studying ancient manuscripts and the detective work involved in the work of a historian. After each of the myths or legends, which cover the geographical area from Cornwall to the Orkney Islands, and content about giants, dragons, heroes and villains, she provides a few pages of commentary on the historical facts as we understand them from the evidence. She frequently points out the overlap between myth and historical writing, guiding readers to the understanding that the historical record can be shaped by those who were responsible for writing it down originally. I thoroughly enjoyed learning more about the legends and early history of Britain and this is a book which I will dip into frequently. I think that teachers will find it a very useful resource – for literacy, history and art ideas – and I would encourage school librarians at both primary and secondary school to add it to their collections for readers aged 9/10 and above.
Disclaimer: I am very grateful to Karis at Hachette Children’s Books for sending me a copy of Storyland. It was my decision to write a review and all opinions are my own.
Cover image by Honie Beam, published by Little Tiger Press, 03 April 2025, ISBN: 978-1788957502
I absolutely loved meeting Clem Fatale, the youngest crook in 1950s London, in this cracking crime caper written for a middle grade audience. I would have loved it as a 9 year-old-kid who was just starting to watch the film noir movies that were shown on a Saturday afternoon back in the days when we only had 3 TV channels, and I’m certain that today’s young readers will find this a thoroughly enjoyable choice to read for pleasure.
Eve Wersocki-Morris brilliantly conjures up a past version of London that was still recovering from war-time damage. A London of seedy night clubs, where glamorous socialites and the criminal underworld mixed at the cocktail bar. In this space, Jimmy Fatale operates as the leader of the notorious Spider Gang, the most successful jewel thieves in the business of relieving the supremely wealthy of their most expensive baubles. However, as Jimmy executes his meticulous plan to steal the Fool’s Canary, a rare yellow diamond from Lord Weatherdale, Clem witnesses the plan going awry, her dad disappearing and then gets embroiled in an accidental kidnap! Feeling abandoned by the other gang members, Twizzler, Screw and Monty, Clem sets out to find her Dad with only Gilbert, the terribly polite and unadventurous son of Lord Weatherdale for company.
The trail of clues will take them on hair-raising adventures in nightclubs, greasy spoon cafes, safe houses and the back alleys of London where fences, rival gang leaders and henchmen operate. Helped by Konrad, the son of Clem’s parents’ Polish cook and Winnie, a cab driver who has arrived in London from the West Indies, Clem discovers a secret side to her Dad’s criminal operation and encounters some of the racism faced by immigrants to England. The action is fast-paced and thrilling, the dialogue is totally engaging and the characters are sharply drawn. I think that children will enjoy the partnership formed between Clem and Gilbert as they bravely take on mobsters, sift through red herrings and enjoy some comic moments in their search for Jimmy.
The plotting contains just the right level of complexity to keep readers aged 9+ guessing the identity of the double-crossing gang member right up to the costumed ball finale. Additionally, the stylish illustrations by Honie Beam which are dotted throughout the book, will add to readers’ enjoyment of this story. I would highly recommend Clem Fatale Has Been Betrayed for children aged 9+ who enjoy an exciting adventure. It’s a definite “must have” title for primary school library collections.
Disclaimer: I am very grateful to Little Tiger Press for sending me a review copy of this book. It was my decision to write a review and all opinions are my own.
Cover image by Ryan Hammond & Ricardo Bessa, publisher Farshore Books, 27 March 2025, ISBN: 978-0008720256
Jennifer Killick cements her position as the Queen of Middle Grade Horror with this first book in the new Serial Chillers series: The Witch in the Woods! The cleverness of the word play in the title gives you an insight of what awaits inside the covers: whip-smart dialogue, hugely engaging storylines and a presence in the woods that will send an Arctic blast down your spine!
Set in the small town of Hazard (there’s a fabulous map included), which has become a tourist attraction for those in search of the macabre, the story is recounted in the first person voice of 12-year-old Travis. This puts the reader right into the path of every jump scare and ghoulish experience; for a wimp like me this had to be a broad-daylight-hours-only reading experience! However, part of Jennifer Killick’s genius is her ability to mix heart-pounding drama with laugh-out-loud comedy, and the wise-cracking banter between Travis and his upbeat, lovable best friend Zayd, lightens even the darkest moments in the story. When the two boys are assigned to work on a class history project with golden-girl Seline, and the mayor’s daughter Danielle, they seem set up to fail. Travis clearly has some history with Danielle which has resulted in a strained relationship, and nobody but Seline really wants to investigate the history of town legend Blood-Eyed Mary. Forced to venture to the woods known locally as Mary’s Cauldron on a Friday evening, what begins as an evening of pranks swiftly descends into a fight for survival which will bring the four tweens into a close bond as they fight to escape their terrifying pursuer.
It becomes obvious that in a town which boasts the world’s largest sink hole, accountable for multiple disappearances over the years, there is human as well as geological danger lurking below the surface. Clues are unearthed pointing to the sinister historical activities of Danielle’s ancestors, the powerful Da Santos family, and I assume (and hope) that these will be explored further as the series develops. I am sure that I will not be alone in wishing to get my hands on book 2 The Monster in the Mines as soon as possible.
I know from. my school librarian and teacher friends that this author’s DreadWood series has been hugely popular with children aged 9/10 and above, so I highly recommend adding The Witch in the Woods to your library collections, it will fly off the shelves.
Disclaimer: I am grateful to Sarah Sleath at Farshore for sending me a review copy of Serial Chillers: The Witch in the Woods. It was my decision to write a review and all opinions are my own.
Hardback edition published in the UK by Guppy Books, 05 June 2025, ISBN:978-1916558458, Paperback edition published in the UK by Guppy Books, 30 April 2026, ISBN: 978-1916558434
Best of all Worlds is an outstanding YA dystopian speculative novel written by prize-winning Canadian author Kenneth Oppel. This novel combines themes of climate emergency, pandemic, survival, politics, racism and teen passion in the claustrophobic melting pot of a strictly enclosed environment. The prologue announces a death the opening page and then plunges the teenage narrator Xavier Oak into an alien landscape from where the novel builds tension throughout its 240 pages to an explosive conclusion. This is a novel which requires the reader to continually question their understanding of events, both fictional and in the real world. It is a work of the highest quality, which I (considerably older than the target audience of 14/15+) immensely enjoyed reading.
Xavier has reluctantly accompanied his dad (Caleb) and heavily pregnant step-mum (Nia) for a decompressing break at their lakeside holiday cottage, whilst his older teenage brother and mum have remained in the city. Missing his family, gaming fan Xavier just wants to listen to the music that his brother Sam has downloaded to his phone whilst working on the latest escape strategy for the Dungeons & Dragons game he and his city mates are engaged in. He is not impressed on the first morning to find that the Wi-Fi is down, thinking that this is part of Nia‘s plan for a tech-free getaway. Imagine his shock when he realises that the familiar lakeside scenery has been replaced by farmland, crops, chickens and goats and that all three inhabitants of the cottage have a strange triangular pattern of puncture wounds along their spines! After detailed exploration it becomes apparent that the family are trapped inside a dome from which their attempts to escape are fruitless. What’s more they appear to be overseen by an invisible benevolent force with the power to intervene when necessary; this becomes apparent following the traumatic birth of baby Noah.
… Fast forward three years, Xavier desperately misses his mum and Sam and constantly worries about what has befallen them. However, he has adapted to the self-sufficient lifestyle and the family have assumed that they have been kidnapped by aliens, and have given up attempts to escape. They are settled farming their crops, preserving food for the winters and tending their animals. Then without warning a new family are dropped into the dome. A family from the opposite side of the political divide, a family who own guns and a crossbow, a family who believe in deep-government conspiracy theories. The father, Riley Jackson, is convinced that the dome is some kind of deep state experiment, thinks that the Oaks have taken a cowardly and submissive approach to their captivity and is determined that he will lead his family out of the dome and back to their home in the deep south of America.
Tensions build at multiple levels as the families become acquainted. Firstly there is updated news about the climate emergency and pandemic status on Erf (as Noah refers to the planet he has never seen) and the measures being taken to prevent climate refugees from entering North America. Then there is the sexual tension between teens Xavier and Mackenzie (who is pining for the boyfriend she has left behind). Finally, the shifting levels of trust and distrust between the adults who represent different ends of the political spectrum bring a sense of foreboding and menace to the previously peaceful dome.
This is such a clever book which can be enjoyed purely as a compelling dystopian thriller, or can act as a prompt to conversation about the many issues contained within the narrative. I think that it is likely to spark many interpretations, ideas and questions. I saw the dome as a metaphor for the barriers being constructed between different sections of society and the tendency to interact mainly with others within one’s own particular thought bubble rather than engaging in dialogue to understand the views of others. Without any doubt I can state that this will be one of my choices for top books published and read during 2025.
I highly recommend this to secondary school librarians and readers aged 14/15+ who want a thought-provoking, enthralling read.
Disclaimer: I am very grateful to publicist Liz Scott and Guppy Books who sent me a proof copy of Best of All Worlds ahead of simultaneous publication in the UK, Canada and the US in June 2025. It was my decision to publish a review, and all opinions are my own. Additional thanks for a copy of the paperback edition, published 30 April 2026.
Cover art by Alexis Snell, published by Red Shed/Farshore, 27 February 2025, ISBN: 978-0008725075
This edition of Normal Women: Making History for 900 Years has been adapted from the original adult version to be accessible for a teenage or Young Adult readership. It packs a huge amount of information into under 300 pages, broken up into easily digestible chunks with bold headings and cleverly annotated in a style that looks like handwritten notes. The writing style is quite chatty, so that you feel that you are being guided through history by an enthusiastic and expert teacher. There are illustrations throughout by Alexis Snell, whose linocut prints complement the historical content and add another layer of appeal to this publication. The information spans the dates 1066 to 1994 and can be read in chronological order, but it is also a book which can be dipped into, to explore particular periods of history or themes.
In the introduction the author, Philippa Gregory, tells us that the vast majority of historical records and books throughout the centuries have been written by men, therefore it is unsurprising that women’s stories have been omitted from the narrative. She has carried out meticulous research to unearth the stories of normal women, and here provides accounts of named women who were engaged in every type of activity throughout the span of nine centuries. I found the book to be utterly fascinating and hugely educational, it has certainly filled a lot of gaps in my historical knowledge. It made me reflect that had such a book been available when I was 13/14, it might well have encouraged me to choose history as an O-level subject. I would highly recommend it to secondary school librarians as I feel that it could inspire teen readers to pursue their own interest in history. I also suggest that adult readers who perhaps do not have time to read the full-length adult version of this title, will also find this a very satisfying read. There are trigger warnings before the introduction, as the content does include some examples of abuse of women, so I would advise librarians, parents and care givers to take heed of this.
Disclaimer: I am grateful to Chris at Farshore Books for sending me a copy of Normal Women: Making History for 900 years. It was my decision to write a review and all opinions are my own.
I am delighted to be joining the #BlogTour for I Don’t Do Mountains and absolutely honoured to host the following guest post written by author Barbara Henderson:
Author Barbara Henderson
Enjoy the Great Outdoors – but responsibly!
Heading into THE GREAT OUTDOORS in Scotland? Here are some tips for keeping yourself, others and the environment safe:
You should always:
Respect the interests of other people.
Care for the environment.
Take responsibility for your own actions.
Here are some good principles:
If camping, use small tents and camp well away from buildings, roads and farmland – and have a backup plan to go somewhere else if it’s busy.
Do not light an open fire, including in fire bowls or BBQs, during times of high fire risk (prolonged periods of dry weather) or near forests, farmland, peaty ground, or close to buildings or historic sites. Always pay attention to fire danger warnings and report any out-of-control fires you find by calling 999 immediately.
If you need to, use a camping stove to cook your food. Place it on a level, non-flammable surface away from dry grass and vegetation (and your tent!) and keep a close watch while using it.
Take away all belongings and litter and leave no trace of your visit. When cleaning up, pick up any pieces of broken glass with the rest of your rubbish, as these act as a magnifying glass for the sun and can start fires.
Remember that deadwood provides a home and food for many creatures and is vital for the ecosystem. So, leave the wood on the ground and never cut down or damage trees.
Prepare for the call of nature. If there aren’t public toilets nearby, pack a trowel, toilet paper, hand sanitiser, and sealable bags for your litter to make it easy to clean up. Wash your hands with water or use hand sanitiser afterwards.
If you are interested in finding out more, my sources for this post are a brilliant place to start:
Barbara Henderson is the award-winning author of a dozen books. Her historical and eco-fiction for children is widely studied in schools, and she has won two Young Quills Awards from the Historical Association. She was the inaugural Forth Bridge Writer-in-Residence. Barbara is based in the Scottish Highlands where she still teaches Drama – but she loves to travel and spread the story-love in schools. When she gets the chance, she likes to head to a coffee shop, a museum, a ruin or to the nearby hills. Her latest novel for children, contemporary mountain adventure I Don’t Do Mountains, is out now from Scottish Mountaineering Press.
I am very grateful to Scottish Mountaineering Press and Antonia Wilkinson PR for inviting me to host this blog post and for sending me a copy of I Don’t Do Mountains. You can read my review for the book here.
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