Editorial Reviews for Nominees
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Review of "Desert Friends" by Linda Harkey, Illustrated by Mike Minick, Narrated by Jeremiah Acevedo4/17/2025  Paperback Score: 94/100 (9.4 out of 10)
Audiobook Score: 93/100 (9.3 out of 10) Desert Friends is yet another fun-filled, adorable animal adventure by Linda Harkey! This children's book joins a plethora of Harkey's award-winning animal adventure stories including The Great Animal Escape and The Remarkable Story of Willie the Crow! As the title of the book implies, Desert Friends is a book about friendship and forming connections with others, especially those with whom we share some differences and dissimilarities. This is a theme that was heavily explored in The Great Animal Escape and The Remarkable Story of Willie the Crow. You don't have to look the same, you don't have to be the same, you don't have to think the same, you don't have to talk the same, and you don't even have to like the same foods, but you can still find common ground with other people—other creatures. There's always something that unites us, whether it's a desire to survive, a desire for shelter or sustenance, or perhaps a simple desire for companionship and company. In The Remarkable Story of Willie the Crow, we saw dogs and birds put aside their differences to save one of their friends from drowning in a pool. Likewise, in Desert Friends, dogs and birds put aside their differences to save... wait a minute, is this practically the same story? Anyway, despite a lot of similarities to the author's other works, it still stands out as unique in its own way. There's just something about it... Set in the Arizona Sonoran Desert, this delightful tale follows the adventures of four unlikely friends: Rodney the roadrunner, Quincy the Gambel’s quail, Gator the hunting dog, and his three-legged companion, Tripod. Rodney and Quincy enjoy playful games in the arroyos until one day they encounter Gator and Tripod. The four strike up a friendly rapport, but their bonding is interrupted by a sudden desert thunderstorm that floods the arroyo. Tripod is swept away by the floodwaters, triggering a fast-paced rescue mission by his friends. Ultimately, the group shows teamwork and bravery, culminating in Tripod’s rescue by Gator and a gentle encounter with the dogs’ human/hunter, “the Great One.” What's really noteworthy is how many of these characters didn't exactly get along to kick things off. Rodney and Quincy first speculated about how different they were and how strange they were to one another. For example, Quincy couldn’t understand why Rodney exposed his black feathers to the sun, while Rodney was surprised to learn that Quincy stayed warm by cuddling with a covey. Their playful banter even touched on toilet habits and diet—Rodney offered Quincy part of a tarantula (and, earlier, a lizard), only for Quincy to recoil in horror, proudly declaring himself a vegetarian. Despite these differences and misunderstandings, they slowly found common ground, showing that friendship doesn’t require similarity—it just needs a bit of curiosity, kindness, and shared adventure. Similarly, the birds and the dogs, Gator and Tripod, don't immediately trust each other, and the birds actually have some incentive to fear them (being hunting dogs). Rodney, in particular, is wary of Gator and Tripod, fearing they might be a threat—especially when he sees them “pointing” in his direction. Quincy has to reassure him that Gator once helped his covey escape a hunter, revealing that not all dogs are dangerous. Even then, there’s tension as the dogs explain their beeping collars and mention their human, the “Great One.” It’s only after they all face the flood together—and the dogs risk their safety to save Tripod—that a real bond of trust is formed, proving that courage and teamwork can overcome even the strongest initial doubts. Speaking of Tripod, he was a nice little addition to this book. We didn't expect to see a three-legged dog be represented in this book and we had to rub our eyes the first time we saw him with only three legs. Tripod instantly wins your sympathy, which is great for the last act of the book. While we're talking about character designs, we also wanted to add that it's really cool to have a roadrunner and a quail character. Both are such funny and funny-looking birds when you really stop to think of it. They also have a reputation for being cartoonish goofballs, along with the woodpecker, likely due to how they're portrayed in media like Looney Tunes or Doug. The artwork is arguably the best we've seen from the works of Mike Minick! The characters look more refined than they do in the other aforementioned children's books. They may not be as colorful (the color scheme in this book is a mix of beige, brown, white, and sparsely green), but it sorta fits with the whole Arizona-desert-theme. Not every location needs to be a tropical paradise or a winter wonderland. As Zachary Simpson pointed out in Arizona Way Out West and Wacky, even a dryer, more desert environment like Arizona can be beautiful and special in its own way. Arizona has its own unique ecosystem and wildlife to accompany its unique climate and terrain. That's something that Minick really puts across in the backgrounds of this book. They're full of cactuses, dirt, sand, and gravel. Minick also does a good job at portraying the expressions on the faces of the animals, particularly Rodney, who always looks like he's just secretly passed gas or has just told a joke and is waiting for a response. It really adds to the comical humor of this book, something that we saw a lot of in The Great Animal Escape. Now, let's talk about the audiobook! Right off the bat, our hats go off to the young narrator, Jeremiah Acevedo, who was only nine-years-old when he recorded this project! WOW! He really does his best to bring uniqueness to all of the characters (which we'll get to). And he's a young man with a ton of talent and potential that is only going to get better and better with time and experience. Anything remotely negative or critical we say isn't directed at Jeremiah—he deserves all the positive reinforcement and credit he can get for the tremendous effort he clearly put into this—rather, it's provided as construtive criticism for how the studio or producer may have helped his performance and the overall presentationof the audiobook. First and foremost, it doesn't sound like Jeremiah's voice (his AMAZING VOICE) projected as clearly or as well as the other audiobook readers like Heidi Immler, May Webster, Immy Dymott, and Stewart Joiner Davis. It often sounds muddled, soft, or far away. It also sounds... echoey. And that really made us think that perhaps he was seated or standing too far away from the mic when he recorded. Or perhaps he's a bit shy and/or is used to strictly using his indoor voice (good kid, we like that!). Or perhaps the acoustics in the room/studio itself weren't optimized on that particular day or at that particular time (of the recording). It may have helped to have Jeremiah record a few practice runs, then coach him up and adjust the sound and acoustics accordingly. The kid clearly has talent and was clearly trying, but due the acoustics, the sound just doesn't sound sharp, crisp, or loud enough. The jump in sound quality from the narration to the Story Monsters Theme (at the end) is the biggest indication of that. Aside from that, there were no glaring errors. There were, however, some notable pauses likely caused by some of the more challenging passages that Harkey likes to throw into her work (The Remarkable Story of Willie the Crow was notorious for tricky-to-read passages, something we gave Heidi Immler a lot of credit for dealing with). There's a pause between "I can outrun... ants and spiders." There's another pause between "wiggling all... eight of its furry beige legs." With all that said, Jeremiah does some dynamic things in this book including giving each of the characters unique voices. Quincy's voice is deep yet cute. Gator and Tripod sound like they're from a different part of town. Jeremiah even voices Rodney when the silly roadrunner is trying to eat a lizard (which later escapes), seemingly clenching his teeth while reading these lines. It's clever! And he even tries to give The Great One/Hunter a southern accent. All in all, putting this all together is a monumental effort that should be commended. Furthermore, this book and audiobook teach some excellent lessons about friendship, not jumping to conclusions about people who are different, and the importance of teamwork. Check it out on Amazon!
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 Score: 95/100 (9.5 out of 10)
Do you remember the day when your hobby became your passion? Do you recall the initial spark that lit that flame? The moment when you decided that this is what you wanted to do for the rest of your life? A Tail of Twirls tells the origin story of the cute, charismatic, and cat-tastic dance teacher, Kittina (known as "Kit" in her younger years), previously featured in Ready Set Dance. Both books exist in the whimsical universe of Once Upon a Dance, which advocates for and celebrates the performing arts, particularly ballet and dance! This is a universe featuring anthropomorphic talking animals, mythical creatures like unicorns, dragons, and trolls, and even a bit of magic from time to time (like the magic mirror in this book)! This phenomenal, fun, imaginative, and uplifting series is one of the mainstays of our contests. Once Upon a Dance, alongside Tuula Pere, have proven to be the most prolific children's book authors to come through the Outstanding Creator Awards, and we're incredibly excited for every new installment and the progress they've made! A Tail of Twirls is a testament to how far Once Upon a Dance has come as an author brand, featuring several improvements and changes from previous books, key of which are more focused storytelling and character development. Because there's more exclusive focus on Kit and her personal journey, the story itself is easy to follow and flows naturally. The text is also better laid out and more concise than previous books, occurring in blocks that naturally move from left to right, top to bottom throughout the page. This might actually be the least wordy Once Upon a Dance book yet, which gives you a little more incentive to enjoy and appreciate the words that are there rather than being overwhelmed. That's not to say that there's not a bit of chaos in this book, but it's beautiful chaos. There are little Easter eggs (hidden references) throughout the book including the many diagrams of dance poses and techniques mentioned in previous books like Ready Set Dance. You could make the argument that we're seeing the origin story of not only Teacher/School Director Kittina, but also of all the dance moves she later teaches her students! In fact, by the end of this, Kit promises to share what she's learned and, by extension, her passion for dance. It's beautiful! You can really feel that this is how the authors (a mother-daughter team) feel about dance as well. It's a gift to give the world! It's something that changed their lives for the better, and they want to share it with others! They've made probably dozens of books on dance, and it's sobering to think about all the love, passion, and commitment that goes into that. We've only barely touched on the story, huh? Well, the story follows Kit, a curious little cat who stumbles upon a mysterious dance studio one moonlit night. After discovering posters and a talking mirror, Kit begins to mimic ballet movements and, with the mirror's encouragement, starts her journey into dance. As she returns night after night to learn pliés, tendus, and eventually passés, Kit blossoms from an unsure observer into a confident, twirling ballerina. Though the studio vanishes briefly, Kit embraces her newfound joy and identity, ultimately receiving a key and a title: Kittina Ballerina, School Director, ready to share her love of dance with others. What's really special about this is that it shines a light on how you can be successful at something (and passionate about something) regardless of your starting point. You don't need to come from a long pedigree of dancers. You don't need anything fancy. You don't need to be super athletic or super fit. You don't even need a ton of money. You just need a willingness to learn and try. Kit is an extremely relatable character in this because she's like a lot of us, someone who is still struggling to find her identity and way in life. We said something similar when we reviewed Ballerina Wisdom (also by Once Upon a Dance), but a lot of us see or think of teachers, gurus, experts, and professionals and think that they were always teachers, gurus, experts, and professionals—people who know everything and can do anything. The truth is, they had to start somewhere too (just like us). Kit/Kittina had to start somewhere too, not as an expert or professional, but as a student with very little knowledge, skill, or experience. However, she became knowledgeable, skillful, and experienced through practice, dedication, hard work, and a willingness to learn. That's really special! Ballerina K (Ballerina Konora) also makes her highly anticipated return in this book! And she's terrific as always. Ballerina K has been one of our favorite aspects of these books—bringing a very relatable and human element to these texts. She's also elegant, beautiful, and charismatic. Her positive energy is contagious. To top it off, she's someone of experience who walks the talk—she performs these moves and techniques on stage, and is incredibly proficient at them. In other words, she's a great role-model! At the same time, in previous books, it did seem slightly distracting that so much of the page was taken up by Ballerina K's dance recommendations and instructions. This book makes the interesting change of making Ballerina K's sections slightly smaller (maybe about 15%-20% of each page), or at least it seemed that way. On one hand, it's fortunate because we could focus on the story and the characters more; on the other hand, it's unfortunate because beautiful, talented Ballerina Konora and her sections seem smaller. A lot of effort was clearly taken in the professional photography of Ballerina K's scenes, who got dressed up in the most elegant and regal of magenta-pink tutus! She looks like a princess! By the way, the instructions Ballerina K gives are actually quite helpful. For example, she uses analogies like, "Imagine squeezing a ball between your ankles" and "paint the air... with your imaginary paintbrush." The text of these instructions could probably be made to stand out more, possibly bolding them? We're really torn about how to handle and balance the story, characters, and dance instructions. For all we know, Once Upon a Dance is pulling off that balance better than anyone! Stella Maris's illustrations are whimsical, soft, and expressive—evoking the charm of classic storybooks. Each page blends rich purples, golds, and starlight to create a dreamlike world that feels magical yet cozy. The brush textures resemble watercolor and gouache, creating soft, blended edges and atmospheric depth. The illustrator uses warm pastels & magical tones with dominant hues including lavender, peach, coral, and gold—evoking warmth, softness, and enchantment. There is an aspect of this art style that washes a lot of the action out (sorta like a cloud or dream filter over a base image), but it's not overly distracting or detracting, and it's objectively beautiful, fitting with the dreamlike, imaginative presentation of the book. Check it out on Amazon!  Score: 93+/100 (9.3+ out of 10)
When it comes to underappreciated and underrated online talk shows and YouTube channels, The Long Island Breakfast Club Show is somewhere near the top of that list! The talk show is the brain child of a visionary, Valentina Janek (AKA "Tina Valentina"), a woman of wisdom and experiences. If you read her OCA award-winning book, From Fired to Freedom, you know how liberating it was for Valentina to transition from an ordinary work life to an extraordinary one—authoring her book, hosting this talk show, acting in movies, and meeting all sorts of extraordinary people. The people/guests whom Valentina meets and works with are typically the highlights of every episode. They are usually visionaries and entrepreneurs themselves. Some of them are a little out there and different (we'll get to some examples with the Halloween episode), but these guests are always fascinating and insightful in one way or another. With that said, you may have guessed that we're a bit familiar with Valentina and Long Island Breakfast Club show. They're actually previous Outstanding Creator Awards winners! They amazed us in the past with their creativity, presentation, insights, and inspirational content. Oh, and their quotes! They always have such great quotes and words of wisdom to share. We'll get to a few later. But getting back on track... this is actually a new contest entry focused on the new (2024) season of the show, specifically three of the holiday episodes: Valentine's Day, Halloween, and Thanksgiving. We may talk a little bit more about other holiday episodes because this series can honestly be a bit addicting (in a good way)! The 2024 Valentine's Day episode kicks off with the familiar jingle/song that opens most episodes. First off, we really appreciate this song. It's catchy and the lyrics introduce you to the host ("Tina Valentina is the host you see"; "cohost Gregg has a lot to say") and also get you ready for the show ("grab a cup of coffee or expresso" and "grab a cup or hot cocoa"). We also love the little twist in the chorus: "Grab a cup of coffee or... I don't know" as if to leave the door open to viewers in the audience who may have different or varied taste. We didn't notice that little twist the last time we reviewed the show (for 2023). It's so positive, uplifting, and energizing with lines like "Rise and shine, get up and go; It's the Long Island Breakfast Club Show." Doesn't that just make you feel ready to jump right in? It's also surprisingly well produced, as is the rest of the show—the set design and the sound/audio are all things we could praise later on. There are a few times when sporadic, spontaneous interruptions will occur such as a cellphone dinging or ringing, a dog yipping or barking, and even a car alarm going off at one point. This is organic, natural, and we understand that these things happen and the show must go on. If anything, they make the show seem spontaneous, genuine, and authentic. Yes, they're trying to put on a good, entertaining, insightful show, but they're also being raw and real. They're not trying to hide the fact that a beloved pet might be on set, for example. It's like the wind at the ball park or at the football field, you don't control it, you just go with it. So, when an alarm goes off in the parking lot/garage, you don't drop everything you're doing until it stops, you just keep trudging on. That's professionalism. It's similar to like when you're a stage performer and there's a heckler in the audience. You can't let it sabotage you. Anyway, the 2024 Valentine's Day episode is sadly missing the regular cohost, Gregg Cajuste, however, we get great compensation as a incredible man named Jim "Jimmy" Altamore joins the table. Apparently, Valentina has known Jim for 16 years (wow!). Jim had once lost his day job and shared that he had a passion and a gift for singing. Jim is blessed with Frank Sinatra-like voice. In fact, his voice was even used to replicate Sinatra in media. Specifically, he was featured in the first act of "A Bronx Tale" in which the song "Fly Me to the Moon" is sung. No, this is not a recording of Sinatra, this is the voice of Jim! This episode mostly focuses on the featured super couple, TJ Kiss & Natasha Landrow, a business owner and an actress. Apparently, they were chosen from a collection of 25 applicants (as explained in another episode). This couple is a really interesting aspect of the episode, but maybe not for the reasons the show intended. What stands out about this featured couple isn't that they're successful (which they are), it isn't the beautiful way they met, the romantic things they've done—no, what stood out to us about this couple is how there's a real, raw, and somewhat playful tension between them. They're like Tom & Jerry or Wile-E-Coyote & Roadrunner. It's a reminder that couples in real life aren't like in the fairy tales. They don't just ride off into the sunset happily ever after. No, real couples argue, fight, and have disagreements because they have enough trust to know that they will still be together afterward and can tell each other anything. This is evident when the two have a back-and-forth disagreement about the way they met and their romantic journey. They disagree on the order of how things happen, but—poetically—the important thing is that these things happened (regardless of order). This spoke to us. They also argue about which of them is the more irritable and/or has the shorter temper. Interesting prompt! And, of course, they disagree. It's a very raw and human thing. Oh, hey, this episode also features one of the funniest quotes in the show's history in which Valentina states: "No bitches. We don't allow bitches on the show. We closed the door on bitches." That's hilarious. One improvement to the show that we really appreciated were the graphics that briefly show who the guest or speaker is. For example, we learned Jim's last name from one of these graphics (though it was in a cursive font that made it a bit challenging to read). This actually carries on into other episodes. The identifying info is usually like a screenshot or a poster graphic of the guest. Near the end of the episode, we finally get a beautiful rendition of "L.O.V.E." by Frank Sinatra sung by Jim Altamore. It's terrific! He's terrific! It's no wonder he's hired to sing for events and in media! We hope that he continues to perform at more and more places. We wanted to also briefly share that we watched the 2025 Valentine's Day episode as well, and it's actually better in a lot of ways than the 2024 one! We get a bit more singing, particularly from Bob Damato, who gives us Andy-Williams-quality vocals! We also get a really cute story from one of the guests about how he knew his wife, Debbie, since he was only 10 (and she was a little older). He would sneak off just to visit Debbie at home. Eventually, they reunited later in life and fell in love! Awww... To give this a real New York/Long Island tinge, they named their dogs Phoebe and Newman (after the characters from Friends and Seinfeld). There are also some outstanding quotes from this particular episode including Valentina sharing that her father would say that "Everything is up here" (the brain--the mind) and that everything is possible when you use it. Valentina also gives us the humorous yet great advice that if you're single, go to the diner to meet someone, "Sit at the counter. Every guy at the counter is single, and they don't cook." Sounds like legit advice to us! Oh, and if we recall, this is the first episode in which the set-designer, Susan/Suzanne, appears! And she's a breath of fresh air. Moving on... the next episode sent to us was the 2024 Halloween episode! Admittedly, the subject matter of this episode wasn't exactly our thing, but that just might be us being prudish conservative religious people. The episode plays into the spookiness and mystery of Halloween by featuring a "gypsy goddess," witch, psychic medium, and reishi certified crystal healer. So, yes, brace yourselves if this is foreign to you. There's Michele Comodo of The Witches Parlour, which she has done so successfully that she doesn't even need to start or run a website—the business just comes. There's Asia Lee, who has a background in quantum physics and neuroscience as well as being an advocate and believer in what's called the "Emotional Freedom Technique" (EFT). Then there's Kathleen Klatman, a psuchic medium and spiritual adviser. On a related note, this isn't the first time we've heard of the "tapping" technique. It was actually a huge feature in The Woo Woo Way by Sandy Evenson. This is also not the first time we've read about reishi, crystals, or even being a psychic medium. Empathic Evolution by Jennifer Elizabeth Moore & Heated Earth: Aedgar Moves In by Miki Mitayn featured communication with spiritual entities via what some of us would call ESP. Magda Revealed by Ursula Werner presented Mary Magdalene as a sort of healer, using reishi or reishi-like techniques/abilities. Awaken to Your Truth by Joanna Alexopoulos also featured elements like chakras and the use of stones and mindfulness for spiritual purposes. Anyway, the guests talk about using crystals like amethyst or even something as simple as salt for healing. They emphasize using the "white light of God" to balance chakras, spiritual energy. If this is something you're interested in and are into, this might fit your fancy. It's honestly a bit fascinating. At the same time, if you're either conservative or very grounded in physical reality, this might make your eyes roll or even upset you. The guests do a surprisingly good job at trying to defend and explain their otherworldly crafts, pointing to a lot of Catholicism (and Christianity) having origins in pagan practices and belief systems like this. They also point out that the cartoonish or over-the-top perception of the word "witch" is wrong. The better interpretation for the word witch, according to these women, is "wise woman"--an ancient interpretation of the term, sorta like "shaman." The strangeness aside, this episode features some of the coolest set, costume, and background designs in the show's history! The green screen and background with the spooky Gothic houses, the large orange/red moon, the whithered trees without leaves, and the bats in flight are great! In the foreground, on the table, you've got pumpkins, scarescrows, and Autumn leaves. Beautiful! Susan/Suzanne (not sure her full name or spelling) once again demonstrates her keen skills and decorative abilities. She always does a great job. Another person who always does a great job, and is spotlighted in the beginning, is the studio's owner, Bobby LaSera. See, we finally know how to spell his name because they actually provided graphics with the spellings in the newer episodes. The third holiday episode we were asked to look at was the Thanksgiving episode, and it was one of our favorites! The episode is beaming with positivity and a reminder to be thankful and not take anything (or anyone) for granted. It opens with a spirited singing performance by Chris Milo. He gives us a lovely bilingual vocal and guitar performance! Apparently, he started singing and ballroom dancing when he was just eight. He has a bright future! The guest list is jaw-dropping: from TV legend Dan Lauria to filmmaker and band leader Gerry Ferretti, the creative energy in the room is palpable. Then comes Johnny “Soho” Pasquale, promoting the chilling thriller The Beast Inside—an avant-garde horror film with a twist of female empowerment and demonic legacy. His philanthropic and entertainment ventures make him a standout personality. The episode also shines a spotlight on Anthony and Ellen Pellegrino, blending culinary mastery and spiritual healing—Anthony with his restaurant empire and IMDb acting creds, and Ellen with her role as a life coach and producer. Their presence beautifully reflects the show’s theme of diverse talent and family legacy. Rounding out the lineup are Brad and Qeta Cohn, event and social media pros; a surprise appearance by Jason Scheff of Fresh Sync Music; and Frank Peruzza of Frank’s Fantastic Fenders, proving small business and local pride are always center stage. National Cake Day and Small Business Day are the icing on this feel-good feast. With heartfelt shout-outs, lively performances, and a focus on supporting others, this episode captures the soul of community. And, hey, food and community are kinda the heart of both the Long Island Breakfast Club Show and Thanksgiving. The show and Valentina (in particular) are known for this great quotes. We loved these: "Wake up and say: I live my life to the best that I can, and I want to be happy. I make my own happiness." "Get up. Get dressed. Show up." – Valentina Janek’s personal mantra "There’s always a reason. We all have to go through things to get to the next level." – Angela Credenza "Don’t say it was a mistake. It was an experience. Whether a marriage or an illness, you grow stronger because of it." – Valentina Janek This is a really lovely talk show with a really classic, Boomer feel. A lot of these hosts and guests have twice as much lifetime experience as most people alive today. There's an audience for that, and we hope that Valentina and company are able to reach them. Check them out, like, and subscribe!  Paperback Score: 90+/100 (9.0+ out of 10)
Audiobook Score: 93+/100 (9.3+ out of 10) The Remarkable Story of Willie the Crow is a cute, warm, and quirky children's book by Linda Harkey! It is adorably illustrated by Mike Minick. The audiobook is exceptionally narrated by Heidi Immler, a young and rising star who really elevates this story with a stellar, dynamic, and deliberate performance. While maintaining a positive and friendly tone, this book still manages to explore a lot of deeper and more complex themes like prejudice, disabilities, peer pressure, overcoming fear, teamwork, and the importance of empathy—even among the most unlikely of friends. This is a book about setting aside differences and realizing that we all have so much in common and so much to learn from one another! The book chooses to take the perspective of a wise old hunting dog named Doc as he narrates the unexpected friendship between his daughter Patch and a young crow named Willie, exploring their adventures, challenges, and the lessons they all learn along the way. We find that a lot of the other hunting dogs like Zeke ("Windwalker Storm Shadow") look down on (and distrust) birds like Willie, disapproving of the relationship/friendship between Patch and Willie. One could interpret the friendship between Patch and Willie as a subtle metaphor for interracial or intercultural relationships, highlighting how bonds can form across perceived boundaries despite societal pressures, prejudice, and norms. Zeke comes across as the old-fashioned bigot who can't accept that people who are different might not be so bad after all. However, it can be inferred that Zeke has his reasons. Birds are, after all, their targets—sorta like their "enemies" in a sense. Zeke comes across as a person of experience (despite being younger than Doc, his older brother) and may have had negative experiences with birds and crows. Still, a bad experience or two with one group of people doesn't make that entire group of people bad. It also doesn't make one group of people the same. Individuals are still individuals. Some may choose to do bad deeds like crimes while others in the same group might choose to help the needy, invent a cure to a disease, or contribute to society in some other positive way. This might give parents and teachers a lot to talk to their children about. This book is very ambitious and attempts a lot of big, huge things. However, we have to admit that there are aspects of this book that frustrated us and stood out like a sore thumb. The umbrella reason for our frustration is that this book is needlessly complicated and wordy despite its relatively straight-forward story and character arcs. Let's start with the names, nicknames, and designations of different characters and places in this book. We're told that most of these characters are "German Shorthaired Pointers." This is something that means nothing to most kids (and even adults) and really exemplifies how needlessly wordy and complicated parts of this book are. How often do you have a conversation with someone about their German Shorthaired Pointer? To most kids (and adults) a dog is a dog—a big dog, a medium dog, a small dog, a white dog, a brown dog, etc. We're told that this book takes place at somewhere called the "Lazy Dog Hacienda." Ok... Most American kids know what "Lazy" is. Most American kids know what a "Dog" is. However, most American kids don't know what a "Hacienda" is. Is it a hotel? A house? A farm? A spa? It could honestly be either of these (or none of these). It could literally translate to "The Lazy Dog Place." We're also told about "Shorthair Boulevard" and "Catoosa, Oklahoma" as if these details mean anything to most people. This on its own isn't such a big deal, but it becomes a big deal when it's compounded by other mouthfuls of information that's dumped on us. For example, why do the following character names have to be so complicated, wordy, and difficult to remember/keep track of? Chicoree’s Hickory Doc Windwalker Storm Shadow Newt Splashing Star Cocoa Jayhawk Crow Patch Those long names just seem really unnecessary and tedious. Yes, their names are shortened later on, but that creates another problem: it can seem to readers like these characters either have two names or are different characters altogether. Why would you want to create that kind of confusion just to have a name like Newt Splashing Star Cocoa and get one joke out of it? On that note, let's talk about the narrator of the story (the character, not the audiobook narrator). Who is talking? And why do we need a narrator who is also a character in the story? Couldn't we have just had a normal semi-omniscient narrator to communicate in third-person and not complicate things? Seriously, it's a big question because the narrator keeps referring to himself as "I" and talking about personal things (like his connection to Patch, his daughter). Ok, fair enough. But that gets needlessly complicated when he starts referring to his "Ma." Wait a minute... Ma? Who's Ma? His mom or Patch's mom? By the way, who is Patch's Mom? Where is Patch's Mom? Why is Patch's Mom not there and why doesn't she show concern when Patch is in danger? Kids might start to wonder. Kids wonder about that sort of thing and might start to worry about her. We also briefly hear about "our Pa." We thought Doc was an elderly dog (seemingly the oldest), so hearing him talk about his Ma and Pa is both confusing and strange. Then we learn that Zeke is his younger brother, and somehow, someway he has a completely different opinion on birds and society despite presumably having the same upbringing as Doc. The focus of this whole story is presumably supposed to be on Patch and Willie, the titular character of the book. However, things get muddled when another character named Newt gets introduced seemingly out of left field without any prior build, lead up, or even a passing mention until page 23—2/3rds of the way through the book! Yes, he kind of appears in the crowd of dogs on page 17, but he isn't named or talked about, and no attention at all is drawn to him. In fact, his back is turned to the reader. He is literally just a dog in a crowd of dogs on the page. Then, he abruptly and out of nowhere becomes the hero of the entire book all of sudden. That's a bit of a problem. You could argue that this is indicative of how anyone can be a hero and anyone can make a difference no matter their status in life. However, we're not quite sure if that was the point of sidelining Newt in the beginning or if it might have just been an oversight. Imagine if, in Romeo & Juliet, the narrator cut away from Romeo & Juliet only to have Friar John become the main hero of the story as he manages to stop the Capulets and Montagues from fighting and brought peace to Verona because Juliet encouraged him to overcome his fear of public speaking (or something like that). In this scenario, Romeo & Juliet would get sidelined like a quarterback who threw three interceptions in a quarter, hardly contributing to the resolution at all or serving a passive role. It kind of feels that way with Patch and Willie. Newt also has his entire character development and even a whole character arc (involving an inability to swim/fear of water) crammed into a few pages near the end. It's really strange. Like, if Newt was going to be so important to the outcome of this book, why not mention him earlier on? Why not describe his phobia on page five or something? Maybe tease him being afraid of going in the bath tub or something. Anything. It just kind of feels like he gets dropped in there like a deus ex machina. Anyway, with that out of the way... This is why the narrator, Heidi Immler, deserves a tremendous amount of credit. We can't say it enough: Heidi elevates this book (in audiobook form) in a way that not many child narrators can do. This was not a small task. This is probably not the easiest book to read aloud, and it kind of shows. You can tell that the narrator reads this book VERY methodically, deliberately, and carefully. The narration is very measured, likely because stumbling on any of the wordy, topsy-turvy, tongue-twisting passages or misreading any of these long, multi-part names could lead to a narrator having to reread a whole section. That could mean more time in the studio (meaning more expense), more time rereading and repeating the same things, and the potential for some mounting frustration. That does not seem to have happened here. Heidi sounds like she was having a blast, and everyone involved must have been smiling ear to ear. Heidi sounds cheerful, happy, positive, and excited throughout the reading. She exudes enthusiasm! Not only does Heidi narrate this book enthusiastically and efficiently, she also performs the voices of the different characters very well! The voice she does for Willie is our favorite. It's very cute and friendly. The scratchiness of the voice is characteristic of the cawing sound that a crow makes (without becoming annoying). She also voices Zeke exceptionally well. She gives Zeke this deep, grumpy sounding voice which fits his character well. Heidi also performs some fun accents like when doing the voice of Ma. Other highlights of this book include the illustrations by Mike Minick. The expressions on the faces of the animals are particularly good. You really get the sense of what characters might be thinking or feeling. We can also appreciate the footprints of crows decorating the interior. That's a nice touch. The book also attempts to tackle some additional themes including the dangers of throwing caution to the wind or disregarding warnings. For example, Patch ignores Willie's warnings about the dangers of the pool and ends up learning the hard way. It should also be noted that Patch shows a little bit of a mean-streak in this scene as she begins to tease, mock, and call Willie names. Patch calls Willie "Chicken" knowing full well that this offends and hurts Willie. This might be a good opportunity to teach kids why bullying and name-calling is wrong. At the same time, it doesn't paint Patch or her friendship with Willie in the best light. It's a low point for them. It shows that Patch doesn't completely respect Willie as her name-calling and mockery is a sign of disrespect. At the same time, you could argue (somewhat ironically) that this is a sign of great trust between the characters, even when they're disagreeing and arguing a little. After all, Patch trusts Willie enough to know that she can call him names and get away with it. This is something that family members often do. Siblings call each other names. Husbands and wives frequently argue. Why? Because they trust each other and trust the fact that—no matter how bad things get—they'll always come back together in the end. Anyway, this is a really ambitious children's books that tries to tackle all these big topics and themes. It does seem to stretch itself thin at times, and it seems to succeed in spite of itself. The characters are lovable, the illustrations are cute, and the narration of the audiobook is superb! Ultimately, this is really a good children's book in terms of exploring different people coming together in a time of crisis for the common/greater good. Check it out on Amazon!  Score: 91/100 (9.1 out of 10)
The Violin’s Curse by Lydia Laga is a short yet slow-burning supernatural mystery that fuses gothic horror with a personal journey of grief, legacy, and self-discovery. The story centers on Olivia Hart, a reserved violinist whose world is upended after she encounters a haunted violin in a dusty antique shop owned by Theo Callahan. The instrument awakens eerie visions, mysterious music, and a path to uncovering the truth about her father’s disappearance, a demonic curse, and an ancient gateway to Hell itself. Legends tell of a magical, mystical, and powerful enchanted violin with strings crafted by the devil himself. It is said to manipulate and corrupt all who possess it, similar to the One Ring. And, similar to the One Ring, it grants (or promises to grant) the wielder with unspeakable power. In Olivia’s hands, this violin becomes more than an instrument—it becomes a key, a vessel through which ancient secrets, buried memories, and haunting truths are unearthed. As she follows a trail of cryptic melodies and spectral visions across Europe, Olivia is drawn deeper into a centuries-old curse tied to her bloodline. The more she plays, the more the line blurs between her own thoughts and the will of the violin, forcing her to confront the price of obsession, the pull of legacy, and the terrifying possibility that completing the melody may unleash something the world is not ready to face. This isn't the first time we've dealt with a magic or accursed instrument (or musical composition) in our contests. The Devil Pulls the Strings by J.W. Zarek employs essentially the same idea, and this is also a major plot device in Kindred of the Unseen by Micah Beardsley. However, we think the accursed instrument itself was given a lot more specific attention and focus in this book than in these other examples (which seemed more interested in other things). You could kinda compare it to the teapot in The Brass Teapot--this object that—like the One Ring—calls out to people and gradually corrupts them. Actually, the best comparison we have is the titular portrait in The Portrait of Dorian Gray by Oscar Wilde. That might seem like the strangest of these comparisons, but hear us out. In Dorian Gray, the portrait ages and decays with every sin Dorian commits, while he remains young and untouched—his guilt and darkness hidden away in a frame. In The Violin’s Curse, Olivia’s haunted instrument works in a similar way. The more she plays it, the more it draws out her memories, grief, and obsessions, almost like the violin is feeding on her emotions and leading her toward something darker. Both Dorian and Olivia are tempted by something beautiful—Dorian by eternal youth, Olivia by music that seems to connect her to her lost father—and in both cases, that beauty hides something deeply unnatural. Think of it like Dr. Frankenstein wanting to cheat death—it seems virtuous on the surface, but it's wholly unnatural. As the story goes on, Olivia begins to lose trust in others, in her own mind, and even in the music itself. Like Dorian, she’s caught in a slow descent, not through flashy horror, but through quiet, creeping dread. You can see aspects that reflect addiction and a downward spiral in both characters (Dorian and Olivia). Speaking of comparisons and similarities, this isn't the only character named Olivia Hart to come through our contests either. Olivia Hart was a central character in Mighty Morphin' Power Rangers: The Return by Amy Jo Johnson & Matt Hotson, the daughter of Kimberly Hart (the Pink Ranger) and Tommy Oliver (the Green/White Ranger). So, it's kinda funny reading these works of fiction back-to-back. It almost seems and feels intertextual in a meta sense. Like, imagine if this descendant of heroic Power Rangers actually gained possession of an evil object like this violin, thus leading to her heel-turn. It's a funny and interesting thought. This book is conceptually very good. However, it has some glaring issues. First and foremost, the formatting was a nightmare for us to deal with. NOTE: The following issues don't seem to have been an issue with the Kindle version, just the PDF we were sent. There were symbols and missing letters in the version we got, which was frustrating. We think this was caused by the author or editor's need to add violin pictures and large stylized letters at the beginning of chapters, throwing off the font and causing conversion problems in different PDF readers (we tried Adobe Acrobat & Sumatra PDF with mixed and varied results). Ultimately, we invested $100 or so to get an OCR (optical character recognition) software just to convert this into something readable. In all fairness, other books have similar issues (though rarely). Maybe this is an issue with Vellum or authors/editors getting too fancy and cute? Please don't overformat and overstylize your text. Just present the text. Your characters and plots will speak for themselves. Please, for the love of God. Another issue with this book is that it kinda seems unfinished. It's quite sparse (less than 200 pages) and seems to end almost as soon as it picks up (when it becomes exciting). Maybe this is building to a sequel or a full-blown series? After all, magical objects have a way of reemerging and inserting themselves into new or continuing plotlines. So, if you're up for a novella-length fantasy mystery story, check this out on Amazon!  Score: 96/100 (9.6 out of 10)
The Girl and The Ocean is a fabulous, enchanting, and impactful children's book by Lei'a Haff, brilliantly illustrated by Julia Moroko! First and foremost: this is one of the best illustrated children's books we've seen so far this year! A tremendous amount of credit needs to go to the illustrator, Julia Moroko, who perfectly blends realistic character proportions with a cartoonishly fun, vibrant, and beautiful flare! You can tell that a ton of time and effort went into every single illustration. The backgrounds and environments are absolutely breathtaking and gorgeous! They're highly detailed and dynamic—showing the whiteness of the waves as they gently crash against the shore, a rainbow forming in the ocean mist, dolphins leaping from the water, and birds flying by in the bright, cotton-cloud sky. One of our favorite illustrations is on page 30 (when the son is shown to be grown up). The background and foreground on this page are phenomenal and breathtaking, featuring plumeria flowers up front and a gorgeous, green mountain that may be Kualoa Ranch and/or the Ko'olau Mountains on the Hawaiian island of Oahu. By the way, this book is uniquely Hawaiian, looking like one of those artsy yet funny postcards you might buy at Shirokiya (an old Japanese store that used to be in Ala Moana mall). The characters are also incredibly appealing. The girl becomes a beautiful, gorgeous mother with soft, friendly features. It's magnificent to see her grow and develop as a person and a character. Her dad sports a handsome beard. Her son grows to be a handsome young man who looks like a real-life person you might run into on the island. Anyway, we haven't even gotten into the story yet! The book tells the heartfelt story of a young girl who forms a deep connection with the ocean. As a child, she plays, swims, and bonds with the sea, expressing her love each time she visits. However, as she grows older, her visits become infrequent, and the ocean suffers neglect and pollution from others. Over time, the ocean’s beauty diminishes, and marine life disappears. It's actually a bit like The Giving Tree by Shel Silverstein in its story and characters, however, is a bit more intricate and better illustrated. Eventually, the girl returns with her baby boy. Seeing the ocean’s suffering, she dedicates herself to restoring it. With determination and persistence, the girl, her son, and others clean the beach and water, allowing the ocean to heal and thrive again. In the end, after the girl passes, her son continues her legacy, showing that the love for the ocean transcends generations. This is a book that seeks to address humanity's negative and reckless impact on nature and the environment. Indeed, one of the most frustrating things about visiting a gorgeous, picturesque place like Hawaii is how tourists (and even locals) carelessly litter, leaving bags, cups, soda cans, bottles, and other trash everywhere. The people of Hawaii tend to be very protective of their land—their aina—having a nigh-spiritual connection to it. To spit, urinate, or litter on the land without apologizing or saying "excuse me" is considered very taboo among many people on the islands. That same spirit extends to the ocean, the kai (near the shore) and the moana (in the deep). In Hawaii, the most hardcore and superstitious people say that you shouldn't turn your back on the sea, you back away facing it with respect and reverence first. Littering on the island, as you might imagine, is a huge no-no. It's a huge act of disrespect and disregard. In fact, Mahalo Does Not Mean Trash by Paki Perkins, a previous Outstanding Creator Awards winner, littering was a major focus. Both books discourage littering and put forward the idea that you should treat nature with respect, like it's your home (because it is)! One last thing we want to mention that's remarkable about this book is how the mood fluctuates dramatically, punctuated not only by the events but by the color and lighting effects used by the illustrator. It's really powerful and brilliant. The sky and waters become darker and murkish as the girl fails to return to the ocean for a long time and as the people continue to pollute. However, brightness, color, and light return as the girl and her supporters rally to help the ocean. As the ocean heals, so do we. And it's a powerful feeling! Another strength of this book is the simplicity of its writing. Kids of all ages can pick this up and read it. Parents and teachers won't struggle or have to worry about their kids losing interest. Every passage is short, sweet, and to the point. Check it out on the author's website!  Score: 84/100 (8.4 out of 10)
Hugs and Kisses is a unique little LGBTQ+ story by Joel Shoemaker, a multi-time Outstanding Creator Awards winner, former librarian, and magician (not to mention an admitted lover of cheese and probably bacon)! Hugs and Kisses is essentially a short, two-pronged narrative about identity, authenticity, and survival in a world that demands conformity. These two prongs, one following Barbara and another following Terrace, intersect and blend in some interesting, contrasting ways. At its core, Barbara and Terrance are two individuals navigating the complexities of their unconventional relationship, identities, and personal transformations in mid-to-late 20th-century America. Barbara idolizes Jacqueline Kennedy, wanting to embody an ideal of femininity and elegance, but she struggles with feeling like an outsider. When we first read about her, she's holding a pair of shoes that are not hers, setting the tone for a theme of longing and displacement. It also says a lot about being your authentic, genuine, "real" self. Because of Barbara's obsession with Jacqueline Kennedy, she has become fanatical with being and looking just like her—owning the things that she did, wearing the clothes that she did, having the same hair and makeup that she did; perhaps even talking like she did. And, as bizarre and crazy as this sounds, it is actually very relatable to a lot of readers. All of us have heroes and role-models—people we look up to and aspire to be like. Maybe it's a parent. Maybe it's an athlete. Maybe it's a political leader, an actor, actress, singer, or professional in our field. Maybe it's a fictitious character from a TV show, movie, cartoon, or anime. As wild as that sounds, it's likely any reader would say "YES" to admiring and aspiring to be like one of these. So, Barbara actually comes across as a very relatable character. It's a bit of a shame that she's packed like a sardine into this tiny story. We'd love to read and learn more about her as a character! Terrance's character and story meshes, blends, and contrasts with Barbara's in a fascinating way. See, while Barbara seems to be living a double life with two masks—hers and Kennedy's—Terrace lives a double life as a biological male under their birth name (Terrance) while also being a drag queen going by the name "Terry Lynn." It's actually an interesting dynamic, particularly with how—despite their similar struggles—they also contrast and clash in different ways. Barbara remains trapped in a cycle of dissatisfaction and unfulfilled longing, whereas Terry Lynn fully embraces transformation, success, and self-expression. Barbara envies the freedom and recognition Terry Lynn achieves, yet she also resents it, feeling overshadowed and left behind. Their relationship, built on convenience and mutual survival, becomes a tense balance of admiration, dependence, and simmering resentment. While Barbara’s story feels like one of restraint and yearning, Terry Lynn’s is one of liberation and bold self-actualization. The contrast between them is stark—Barbara clings to an illusion of what she believes she should be, whereas Terry Lynn dares to become who she truly is. This makes for a compelling, emotionally charged read that explores themes of gender, identity, and societal expectations in a nuanced and heartfelt way. The writing style itself is immersive with a sharp quality that enhances the mood and tone of the story. Shoemaker does a decent job of painting vivid, atmospheric scenes, from smoky nightclubs to backstage dressing rooms, capturing the raw emotions of each character’s journey. What seems to be missing from this book is Shoemaker's typical humorous flair. While his past works often showcase a sharp wit and playful tone, Hugs and Kisses leans heavily into melancholic introspection This is a much more serious and somber book. There's a real aura of darkness, mystery, and melancholy that pervades this story, which contrasts starkly with the lighthearted, humorous tone of Bacon Grief and Teeth and Crumpets, some of the the author's other works. The brevity of the story is also both a strength and a weakness. While it delivers a punchy, well-crafted narrative, it also leaves the reader wanting more—more depth, more exploration of Barbara’s inner world, and more insight into the evolving dynamic between her and Terry Lynn. Unfortunately, it doesn't seem like this story is long enough to let the characters breathe and develop more naturally. It seems a bit rushed. It ends almost as soon as it begins. That's not to say that there's not some promise and substance here, especially when it deals with important themes like identity and self-discovery. Overall, Hugs and Kisses is a solidly crafted short story exploring LGBTQ+ themes and issues. Follow updates on its release on the author's website!  Empathic Evolution by Jennifer Elizabeth Moore is a deeply introspective and spiritually-oriented work that serves as both a guide for empaths and a channeling of “divine wisdom.”
As a psychic, energy healer, and spiritual teacher with decades of experience, Moore has long been attuned to the struggles and potential of empaths. Her previous works, such as Empathic Mastery, laid the groundwork for this book, emphasizing healing and empowerment for sensitive individuals. From what we gathered, this particular book—and Empathic Mastery--were highly inspired by the events of 2020 and the impact of the COVID-19 pandemic. While 2020 and the pandemic have inspired numerous books we've read in the last four years, Moore's experiences are much more personal and profound than most. Moore's father tragically contracted and passed away from COVID in 2020. We were saddened to hear that. This experience—along with the lockdowns and general malaise of society at the time—led to a lot of introspection and soul searching by Moore, who was already a very spiritual person. Moore reflected on questions like why we hurt, why we suffer, and why we experience loss. She reflected on the impermanence and transient nature of things and the universe/multiverse as a whole. Those reflections led to the creation of this book. While we have our personal reservations about this text, there are still some positive things about this book. First and foremost is the emphasis on empathy and compassion—things that the world and society appeared to be sorely lacking in 2019-2021 (and still lacks today). If you recall, many people in 2020 refused to wear masks or be vaccinated out of stubbornness and rebelliousness. Meanwhile, millions of people—particularly the elderly—become sick with the virus and tragically passed away. Moore (and the Council of We that is purported to speak through her) are arguably right to point out that humanity needs some of its humanity back—more empathy and compassion. We should love one another, look out for one another, and take care of one another. In a somewhat-hippy-sort-of-way, this is a book that champions peace, love, caring, unity, and kindness. How can you root against that? Another good thing about this book is that it seems to want to help the reader to manage and come to terms with their grief, encouraging them to be ok with feeling grief, “Surrender” to it. Grief is a “skid” in the flow of life. But it's also a natural part of life. We don't have to suppress, repress, or ignore it. We should allow ourselves to feel it. This is arguably the best part of the book because it uses one of the most relatable analogies in the book: that of turning into the skid on the road rather than slamming on the brakes (which can lead to a worse accident). One last thing we liked about this book is that it emphasized that being a empath or even a very sensitive person can be challenging and even painful. Often times, the motherly figures among us feel the need to take care of everyone else, even to the detriment of their own health, safety, and sanity. You don't have to drown yourself in everyone else's negative feelings and experiences. You can have boundaries and limits. Well, this book does have some aspects of it that trouble us. First of all, it has a very accusatory/persecutory tone that flies in the face of the positive approach the authors seems to have wanted to convey. The narrative always sounds like its wagging its finger in your face, telling you all the things that you and the rest of humanity are doing wrong. It always reads like a parent or teaching saying, “NO!” or “BAD!” Going along with that, there's also something oddly nihilistic, negative, and disturbing about certain parts of this book. For example, the narrative literally says, “We promise you that you will die and you will become food for the Earth.” There are also numerous passages that talk about how—since you're part of a Collective or a Whole (“cells in the body of Mother Earth”)—you should distance/separate yourself from concepts of personal individuality, freedom, and self-determination. Wait, what? We're humans made in the image of God. We're not the Borg. We'll get back to some of that in a moment. Another thing that bothered us about this book—similar to what bothered us about Awaken to Your Truth by Joanna Alexopoulos—is how it seems to want to be a Christian or pseudo-Christian work while contradicting some of the fundamentals of the faith. Look, we're not the authority on what makes something “Christian” or not, but we have eyes, ears, minds, and experiences that would suggest this is much more New Age mysticism/spirituality than it is Christian. And that wouldn't be such a big deal if the narrative didn't specifically reference events and characters from The Bible. For example, there are multiple references to the Garden of Eden and the Fall. There are references to Jesus and Mary, his mother. The phrase “Alpha and Omega” is used to describe the “Council of We.” This passage is particularly sacrilegious to those who associate this phrase to God the Father. The passage reads: “We are the Alpha and the Omega. We are the I Am That I Am. We are the great mystery of All That Is.” This sounds more like the Borg from Star Trek than any Abrahamic God or angels we know. Angels and ghosts are not God. God is God. Perhaps the passage in this book that stood out to us the most was: “Being in a community with other channels is very helpful for those who are coming into this. However, we must offer a caveat with this: it is imperative that people do their work. What we mean by this is people taking responsibility for their own thoughts and feelings, acknowledging and addressing reactive behaviors, and recognizing and healing old wounds and triggers. Many heinous acts have been committed in the name of divine guidance. This was not, and never will be, our guidance. Any message that instructs you to bring harm to yourself or others is not of us. At the fundamental core, our truth is love, grace, and peace. We wish you to practice discernment. We wish you to consider whatever we offer thoroughly and then decide if it is aligned with your free will.” In other words, the very voices from the Council of We that are supposed to be telling us the truth are also warning us to do our own due diligence and not trust everything that they or anyone else who claims to speak for God says. This is a HUGE disclaimer. It's almost like Mephistopheles in Doctor Faustus telling Faustus (to paraphrase): “Yeah, I want your soul and all, but I am contractually required to tell you that the outcome could/will likely be very bad for you. Are you sure you want to go through with this?” At least this passage encourages the reader to be discerning and to think for themselves. Although... wait a minute... aren't there countless passages that talk about how we should separate ourselves from our free will and consider ourselves a part of a Collective? Speaking of Collectives... There's a real Borg-like, neo-Marxist vibe going on with that. That's not necessarily a good thing. We've mentioned the Borg a few times, but do you blame us after reading passages like the following? "You are cells in her body." This statement mirrors the Borg’s philosophy of individuality being part of a collective, emphasizing humanity as integral parts of a larger system—in this case, Mother Earth. "Each of you serves as an interconnected part of the neural net of this world." The reference to a "neural net" evokes the Borg's hive mind concept, where all individuals are nodes in a collective consciousness. "The illusion of separation is dissolving, and your shells of individuality are being dismantled." This sounds particularly Borg-like, as it aligns with their goal of eliminating individuality to achieve unity. "You are the children of this divine union. You are being invited to recognize that the experience of safety starts with connection." While the book frames this as a spiritual connection, the Borg might interpret it as an invitation to join the collective. "You are part of an exponentially expanding life form." This could easily be a Borg mantra, reflecting their focus on growth and the assimilation of new species. "To thrive as a species and progress to the next link on your evolutionary chain, all human beings will have to expand their collective toolbox." The Borg’s focus on technological and biological "perfection" aligns with the idea of evolving through collective efforts. There are also about 40 references to a “Collective” or “Collective Consciousness” including: “While there is no separation between all of you and the collective consciousness in the glow of the galactic mind, we still ask you to embrace distinction.” Wait, so we have a "galactic mind" now? Are we reading an L. Ron Hubbard book now? Another thing we wanted to briefly talk about is the narrative's accusatory tone. It always reads like its scolding you. Put aside (for a moment) that the narrative keeps calling us a “species” and “humans” as if these supposed-spirits are so much bigger, better, smarter, and separate from us (and they don't read like it)... they also keep directing their language toward “YOU.” It's always: YOU have done this and YOU have done that. YOU PEOPLE are responsible for the pain and suffering of the pandemic and what happened in 2020. YOU are to blame for climate change and systemic racism, etc. Even if YOU aren't the one who knelt on George Floyd's neck, it is your actions or inactions that allowed that to happen. It's really grating to read this kind of language directed at the reader. On that note, the narrative keeps referring to us as monkeys or having a “monkey brain.” This sounds like Frieza—a bigoted anime supervillain—not some benevolent force for good. But we digress. We may not agree with how this book is worded or every single little concept, but we do appreciate that the author seems to want the world to be a better, more peaceful, more unified place. That's admirable. Anyway, if you're into this New Age mysticism/spirituality stuff... check it out on Amazon!  Score: 95+/100 (9.5+ out of 10)
Crown Prince is an outstanding fantasy novel by W.D. Kilpack III! This is more than just a fantasy novel—it's a beautiful romance story as well as an epic adventure tale! Crown Prince is the first installment in the New Blood series, and what a first impression this series makes! It stars exceptional characters like Natharr and Darshelle who are compelling, believable, hot, dynamic, badass, and cool! It also features tremendous world-building. The world in this book seems lived in, featuring its own history and culture. Scratch that, it not only features one history and one culture, there are numerous histories and numerous cultures shared by a diverse and interesting cast of characters. Each region and group introduces unique traditions, beliefs, and conflicts that intertwine seamlessly, creating a rich tapestry of perspectives. This diversity adds depth to the narrative, making the world feel expansive and authentic, as though it exists far beyond the pages of the book. Something that this book does beautifully is to show how there are two sides to every story. In fact, sometimes there are numerous sides to every story. "Savages" and "barbarians" to one group may be heroes to another group. This book masterfully explores how perspective shapes truth, revealing that morality and justice are often subjective. Characters who are portrayed as villains by one faction are shown to have their own motivations, values, and struggles that make them sympathetic or even admirable from another point of view. This nuanced approach challenges readers to question assumptions, recognize the complexity of cultural conflicts, and understand that history is rarely black and white, but rather a collection of interwoven narratives shaped by those who tell them. There are two examples of this that really stand out in our minds. In the beginning of the book, the people who live in the mountains are routinely referred to as "savages" and "barbarians" by the ruling kingdom. They are depicted as violent and uncivilized, posing a threat to the kingdom’s stability. However, as the story unfolds, it becomes clear that these mountain people have a rich culture, their own code of honor, and legitimate reasons for resisting the kingdom’s expansion. Their actions, once seen as hostile, are reframed as acts of survival and resistance against oppression. Another such example is when Ellis the True, a elderly character who plays a significant role later in the book, starts to sing a song that's somewhat familiar to the main characters, but has a twist that's unique from his perspective as an elder and as a keeper of oral history. The song, which the main characters recognize as a tale of heroism and conquest, is revealed through Ellis’s version to have deeper, more tragic undertones. His rendition tells the story from the perspective of those who were conquered—highlighting loss, displacement, and the cost of war that the original version omits. This twist not only surprises the main characters but also forces them to reconsider the history they thought they knew. Again, a traitor to one side may be a heroic whistleblower to another. On that note, something else that's excellently portrayed in this book is the idea that human beings are inherently imperfect and that neither side in a conflict is 100% right or 100% good. Yes, we might cheer for one side more than another because we like something about them, are familiar with them, or support one (or more) of their causes, but that doesn't make them perfect or omnibenevolent. We see this in the way that both kings in the War of Succession—King Valane (whose side the reader initially follows) and the treacherous Brandt the Usurper/Brandt of the Green—make morally questionable decisions, revealing that power and circumstance often force individuals into difficult, ethically gray situations. Hey, sometimes you have to mount the severed heads of your enemies on walls to send the message that you don't want any more of them coming up those walls. Sometimes, it's either kill or be killed, conquer or be conquered, us or them. A modern idealist might scoff at these notions, but truth often hurts, and reality is often harsh and brutal. Again, in a perfect world with perfect people who always get along, this would not be the case. But this isn't a perfect world with perfect people who always get along. And nowhere is that better exemplified and demonstrated than in the character of Natharr, the main protagonist. Despite him winning the reader over with his pure coolness and badassery, he's actually a bit of a morally gray character—an antihero who threatens to beat up and gut a kid like a rabbit and roughly grabs, pulls, and orders his eventual love interst around during a life-and-death event. He's not a benevolent angel, nor is he a knight in shining armor, but you can really tell that he's more or less on the light side of things—more or less doing the right, good, and noble thing (in his mind). And that's why we gravitate to him: he's trying. He's fighting. He's struggling. He's doing everything he can to ensure that his people—the "good guys" (Darshelle, Nathan, and himself) survive. Now, Natharr has some really great aspects of his character and some not so great. First of all, he's as dynamic as he is morally gray. In fact, the fact that he's so dynamic is both awesome and off putting. How can that be? Well, Natharr seems like an amalgamation of several different characters concepts that got mashed, mixed, and blended together. In fact, he's very similar to Elsa from The Devil's Conquest by K.M. Taylor in that sense. Let's put it this way: he arguably has too many different powers and gifts. Why is this potentially a bad thing? Well, it takes away from a character's uniqueness. What makes Spider-Man special and unique? Web-slinging and spider sense. What makes The Flash special and unique? Unmatched super speed. What makes The Hulk special and unique? Unmatched super strength. What makes Doctor Strange special and unique? Powerful magic. So, let's take a look at Natharr's powers, talents, and abilities... Natharr is a seer/precog/psychic (having the gifts of Sight). He's also the Guardian of Maarihk (similar to the head of the King's Guard from Game of Thrones). He's an elite warrior. He's a next-level archer. He's an expert military tactician. He's also a seasoned woodsman with advanced wilderness/forestry skills. Oh, he's also a bit of a healer/medicine man! Darshelle responds to him in surprise, "You amaze me, my guardian... I would never have imagined that you are a healer, as well.” It does kinda seems like these talents are just tacked on sometimes. Is there nothing this one guy can't do? Ok, to be fair he's not invulernable and can't fly or teleport, but we wouldn't be surprised if he did! And this brings up what we call the "Superman problem." Yes, Superman has a variety of powers and is still compelling, but... well, Superman is Superman. It's hard to write a character like that without completely killing the tension. Superman is compelling because of what he represents: ultimate power contrasted with profound humanity. He's an immigrant in a foreign world. He's also a lover and a son. He's strangely relatable to most people as a person due to his personality, feeling, emotions, and experiences despite being dramatically unrelatable to everyone as a superhero due to his Swiss Army Knife of powers. It does make this book and the character dynamics seem a bit unbalanced. For example, couldn't Darshelle have had more abilities unique from Natharr, perhaps a complementary one? Like, maybe she could have had white mage or seeress powers? Even villains like Brandt or his followers don't seem to have powers like Natharr does. In fact, Vikari/Nathan—the Gohan of this book—is probably the only other person who shows power(s) comparable to Natharr. No, we don't count the lion-folk as having powers per se, they more so benefit from a unique physiology and honestly don't seem all that much of a threat to Natharr, more like an annoyance. It almost seems unfair and lopsided. Perhaps the sequel(s) will give Natharr someone formidable who can match him? Perhaps an overpowered villain or antagonist of some sort? Yes, Superman has Lex Luthor, but he also has Doomsday, Zod, and Darkseid. Batman has The Joker, but he also has Bane. Spider-Man has Venom and Doc Oc. Goku has dudes like Vegeta, Frieza, Cell, Buu, and Beerus. The Undertaker had Kane. An overpowered superhero needs an overpowered counterpart, otherwise the character and story dynamics become unbalanced and lopsided. Maybe (in the sequel) Brandt can hire an elite assassin or mercenary to take on Natharr? Maybe Nathan can be turned to the Dark Side (which seems to be what's going on anyway)? With all that said, we were still entertained by Natharr for the most part. Part of that is not really Natharr himself or all of his powers, it's actually the relationships he shares with others, especially Darshelle and, later, Nathan and Ellis. Natharr is the kind of character that can't exist in a vacuum, which is ironic because he becomes a bit of a hermit or rogue later on. He's a thousand times better when he plays off of others. And there's no other character he meshes better with than Darshelle, the lead female character and love interest in the book. Darshelle is instantly a compelling character despite being introduced so subtly and in a relatively mundane role (given the enormity of the surrounding succession war and royal family drama). She begins as nothing more than a wet nurse, a role that could have easily left her overshadowed by the larger-than-life figures around her. However, Darshelle is anything but forgettable. From the moment she is introduced, there is an underlying strength and complexity to her that sets her apart. She isn’t a warrior, a queen, or a sorceress—she’s an ordinary woman thrown into extraordinary circumstances. And yet, she not only survives but thrives, carving out her own space in the narrative alongside characters who are physically stronger, politically more powerful, or mystically gifted. What makes her especially compelling is how she acts as a foil to Natharr. While he is brooding, battle-hardened, and often guided by destiny rather than personal desires, Darshelle is deeply emotional, fiercely protective, and unafraid to challenge him. She provides a grounding force for him, constantly questioning his decisions and forcing him to consider the human cost of his actions. She has no prophetic Sight, no legendary combat skills—what she has is fierce maternal instinct, resilience, and a sharp mind that allow her to stand toe-to-toe with one of the most powerful men in the story. Her relationship with Nathan (formerly Vikari) cements her role as the heart of the novel. She isn’t just there to take care of him—she shapes his upbringing, serving as his moral compass and primary source of warmth in a world filled with violence and power struggles. Unlike Natharr, who often treats the child as an obligation tied to destiny, Darshelle sees him as a person first, a prince second. She loves him not because of what he represents, but because of who he is, and that love becomes an essential force in the story. But perhaps the most striking part of Darshelle’s character is that she never fades into the background. Even when the story shifts focus to battles, politics, and ancient powers, she remains one of the most vital voices in the narrative. She holds her own in conversations with warriors and kings, refuses to be sidelined, and makes her presence known not through brute force, but through sheer willpower and intelligence. Her dynamic with Natharr is at the core of what makes his character work. She challenges him, humanizes him, and, in many ways, saves him from himself. Without her, Natharr risks becoming another tragic, lonely hero weighed down by duty. With her, he is something far more interesting: a man forced to confront his own limitations, to acknowledge emotions he would rather suppress, and to consider the possibility that fate alone is not enough to shape a life. Another thing we really loved and appreciated about Darshelle is that she isn't portrayed as conventionally beautiful, sexy, or hot in the present-day sense. She isn't a skinny young little Barbie with perfectly smooth skin and shiny Revlon hair. In fact, some of her skin is covered in stretch marks—purple, pink, and red ones. However, Natharr—like many men (surprisingly)—finds this attractive, especially since they indicate fertility from an evolutionary standpoint. This is such a refreshing and realistic take on female beauty, especially in a genre where heroines are often described as impossibly flawless. Darshelle's attractiveness isn't based on societal standards but rather on her strength, resilience, and the natural marks of motherhood—things that, in many ways, make her more appealing. Her stretch marks aren't hidden, ignored, or framed as imperfections to be overcome; instead, they are embraced as part of who she is. Natharr's appreciation of her is also deeply character-driven. He isn’t drawn to her because she fits some idealized vision of beauty; he is drawn to her because she is real—a woman who has endured hardship, brought life into the world, and continues to fight for those she loves. His attraction to her isn’t just physical; it is rooted in admiration, respect, and an understanding of the life she has lived. This also adds another layer to their dynamic. Darshelle isn’t presented as some untouchable fantasy figure—she’s flesh and blood, with all the marks and scars that come with a real life. That makes her connection with Natharr feel more authentic, more earned, and, ultimately, more meaningful. It also reinforces one of the book’s strongest themes: strength, beauty, and worth are not defined by perfection, but by resilience and character. Speaking of Darshelle, the relationship she has with Natharr makes this an exceptional romance tale as well as being a fantasy story. This book does something that we really appreciated: it was tactful. Want to know how to tactfully write sex scenes? Read this book! So often, we read books that just have no chill or tact with regard to their sex scenes. In sex scenes in those books, it seems like every other word is an expletive. Characters are just forcefully pulling and/or tugging at every orifice and private part with little or no consent. They don't check on their partner to see if they're ok or even still breathing. And they have sex in machine-gun fashion seemingly every hour! The dudes don't even have to reload and the gals don't have to use the restroom or shower afterward. Those books just seem really over the top and unrealistic. Well, that's not a problem in this book! Yes, Natharr and Darshelle are physically intimate, but it's beautiful and tactful. "Am I hurting you?" Natharr asks Darshelle, showing consent and consideration as he touches her. It should also be noted that the intimacy between them isn't just sexy for the sake of being sexy, it's relevant to the characters and the plot. For example, in the aforementioned scene, we learn both about the wound/scab on Darshelle's back as well as Natharr's Dryad healing skills. And rather than being explicitly focused on the sex itself, we get almost poetic descriptions of the acts like: "Natharr frowned at the crackling flames, elbows resting on his knees, fingers laced. He could still feel the intoxicating press of Darshelle’s legs around his waist, smell her breath on his face and in his whiskers, taste the milk of her breasts. They had not said a word after they exhausted their passions, each exulting in the moment, the blaze of their emotions." In this passage, the flames of the campfire are juxtaposed with the flames of the passions of the two characters. In another scene, the verge of climax is described as "just shy of rapture." We know what the book is talking about without being explicitly told. Later on we get the passage: "...they remained there in bed, each of them glistening with sweat, gasping for breath..." We know they were going at it without being told they were going at it. And that's good writing. Show don't tell. That's not to say the writing is perfect. There's an error or two (like "drown in the dessert" rather than "drown in the desert"). Another strength of this book that we alluded to earlier is how sprawling and detailed the world of this book is. There are the mountain clans, fierce and independent, who are often seen as barbarians by the more “civilized” kingdoms, yet they have their own rich traditions and a deep connection to their land. Then, there are the Qaanese, whose customs and naming conventions set them apart, influencing the way characters like Nathan transition into their new identities. Darshelle talks a ton about Qaanese culture and the land of Qaan, a place of rolling grasslands and plains—where women don't marry. They also name their kids after their parents. This is compared and contrasted with Natharr's role as a Guardian of Maarihk. Natharr says that, per Maarihkish tradition, Guardians don't marry because they are married to the state. Then there's the lion-folk, or Beasts, like Talika and Alira. As alluded to before, their physiology and animal insticts make them somewhat fearsome and threatening, but they mostly just want what everyone does: to survive. There are the Hamadryads, forest spirits with the beauty of goddesses who, like Sirens, are seductive and potentially dangerous. However, they also have powerful healing ingredients. Religious and philosophical differences also shape the narrative. The struggle between the followers of the Olde Gods and the New Gods is not just a subplot—it actively influences politics, personal beliefs, and character motivations. Even within the central kingdom of Maarihk, there are intricate power dynamics at play. The noble houses, the royal bloodline, and the forces seeking to overthrow or manipulate the throne create a sense of political tension that makes the stakes feel real. If there's one weakness this book has, it's that it really loses momentum about half way through. This book started off with a bang, then it really seemed to meander and wander aimlessly before finally getting back on track. That whole time stuck in the ancient forest with Nathan seemed a bit flat and boring. Speaking of Nathan, it's hard not to feel for the kid. There's a point where he basically says that his only friends are his mom and dad because of how sheltered he is. How sad is that? Anyway, this is overall a great book. Check it out on Amazon!  Score: 93+/100 (9.3+ out of 10)
Songs for the Deaf is more than a novel—it's a mosaic of grief, history, political defiance, and moral complexity. In this book, Kenneth A. Silver blends historical fiction, political thriller, and personal memoir (a bit of a pseudo-memoir as it blend fiction for privacy and liability reasons) into a deeply emotional and at times destabilizing reading experience. Centered around the post-Vietnam War era and the ongoing search for missing American soldiers (POWs/MIAs), the book explores the devastating effects of war not only on soldiers but also on their families, national policy, and collective memory. At its heart, this novel is about truth—its pursuit, its burden, and the moral cost of bearing it. The concept of this book is truly intriguing and compelling. After all, we have family and friends who have served in war. Heck, we have family and friends who've served in the Vietnam War (the focus of this book). So, this truly hits close to home. Furthermore, we've had numerous clients for which these issues are near and dear. For example, Lt. Col. Matthew Louis is a multi-time Outstanding Creator Awards winner for Mission Transition and Hiring Veterans, both of which highlight the challenges of transitioning from military to civilian life. No, it's not just PTSD. The struggles include things like a loss of identity, difficulty navigating bureaucratic systems, and a sense of isolation in a society that often doesn’t understand or value military experience. These are the same emotional undercurrents that ripple through Songs for the Deaf. The novel doesn’t just recount history—it taps into the psychological limbo faced by both veterans and their families, especially when the fate of a loved one is unknown. Much like Lt. Col. Matthew Louis’s work, this book shines a light on the enduring costs of service, not only for those who wore the uniform but for the ones who waited, hoped, and mourned in silence. The themes of betrayal, sacrifice, and the search for closure make this more than a work of fiction—it’s a tribute, a reckoning, and a reminder that for many, the war never truly ends. In addition, the book shines a light on a different kind of veteran: those who've gone AWOL or defected. These are people who are often shunned, looked down on, rejected, or even persecuted (up to and including death sentences). This is sure to be a touchy subject for a lot of people, especially how you interpet words like patriotism and nationalism. Ask yourself: was Edward Snowden a heroic, patriotic whistleblower or an anti-American traitor? Your answer to that question will likely influence how you feel about this book. In that spirit or vein, is a soldier who defects for perceivably noble or honorable reasons still noble or honorable? Can they still be considered heroic or even patriotic for the time they served? Is there ever a good reason to turn your back on your country or your unit? Also, here's another big question: Is it more noble and honorable to follow orders when your country is doing something wrong than refusing to participate when your country is doing something wrong? Those are some tough questions. And this book doesn't stop there. It dares to ask: Would the US government and military abandon POWs and MIAs, even with all this talk about leaving no man behind? Go to Arlington National Cemetery. Go to the Tomb of the Unknown Soldier and you get the impression that the United States loves and values its troops, especially POWs and MIAs. We have phrases and terms like "Gold Star Families" to describe families of the lost and fallen. Lastly, would some evil entity or group of people dare to profit off of the suffering of soldiers and their families? The tough questions keep coming and they hit like a bag of bricks. That's what makes this book so compelling. With that said, unfortunately, the book does lose some steam as it begins to meander into things like eco-activism, zoning loopholes, and land development politics—topics that, while important, shift the narrative away from the emotional core that initially hooks the reader. The powerful momentum built through the Hathaway family’s grief, the gripping MIA mystery, and the raw exposure of scams and coverups begins to dilute as the story detours into corporate maneuvering and environmental legalese. While these subplots are thematically relevant—showing how ideals can erode over time—they occasionally feel overextended, distancing us from the heart-wrenching urgency that defines the novel’s strongest moments. It’s not a deal-breaker, but the tonal shift might leave some readers yearning to get back to the fire that made the first half so unshakable. Perhaps the thing that will make or break the experience for you (well, beside the patriotism/nationalism thing) is the intrusive narrator. For some reason—perhaps an urge to make this story more personal by sharing personal insight and experience—the author decided to insert himself and interject in various parts of the book. Yes, what he says adds context and can even be educational, but it really breaks the immersion in the story itself. It also interrupts the flow. We weren't huge fans of the intrusive narrator, but maybe you'll be. Think of it like Deadpool breaking the fourth wall to tell you "You might be wondering how I got here..." except it's far more serious and deals with real-world life and death problems and implications such as the fates of service men and women as well as the impact of war on numerous people, the environment, and the world as a whole. From time to time, there are things in this book that hit the reader right between the eyes since they're surprisingly relevant. For example, the book talks about protests at Columbia University. We've seen more protests at Columbia University recently! It's ironic it was happening decades ago! Another thing that this book does exceptionally is craft really tasty and memorable quotes. For example: - "No one has ever accused me of being the world’s greatest writer, and I don’t try to be. When I’m having trouble getting the words out, I need only write the way I talk. It’s an excellent laxative for a constipated brain." - “When you need to communicate your test results, you’d better have the lungs of a carnival barker.” - “Some folks will sell their soul for a piece of hope.” - “We do earn our rep. Peace and shalom.” - “It’s not the sight of blood that bothers me, it’s the aftermath.” - "She ran to her husband... like an injured bird that was barely able to sing." There's a lot of personality in these lines, not to mention literary techniques like similes and analogies. This is ironic because the actually personalities of the characters are a bit cartoonish and/or comical in stark contrast to the writing and the serious topics and subject matters. For instance, "Major" Boris Richardson comes across as really over-the-top evil in some scenes, such as when he menaces the Hathaways and even strikes Sarah. He comes across as a scumbag con artist, which we guess fits his role. Miles himself comes across as a bit disingenuous. It's difficult to explain why, but it might be because he's a bit of a self-insert character who needs to run parallel to the already-self-insert intrusive narrator who keeps intruding and self-inserting. It almost feels like there's a desk between you (the reader) and Miles. Miles is never directly in front of you, he's always three feet away. Why? Well, because the author/narrator is constantly trying to create plausible deniability that characters and events existed the way they did (perhaps for legal or privacy reasons). Other character that kinda got on our nerves or that we didn't connect much with were Huckleberry Finn ( better known as "Huck") and Ted ("the bear"). You can even tell from their nicknames that they're kinda meant to be comical characters. Huck talks in this really meandering, sometimes nonsensical way. The wordiness of his speech is probably why he's called "Huck." Ted (and sometimes Huck) is vulgar and crude. He says a few things that rubbed us the wrong way, but that's locker room talk for you. Sarah is a compelling character if for no other reason than her reason for existing is virtuous and loving. She longs to reunite with her son, John Hathaway (who is MIA) again and even has dreams/nightmares about him. She keeps his memory (and hope) alive as much as possible. General Calvin Hathaway, who has suffered the same tragedy and copes with it in different ways, is a really awesome character. He is grizzled old protector and the definition of a veteran. His quest for redemption is one of the selling points of this book. Check it out on Amazon! |
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