Editorial Reviews for Nominees
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 Score: 92/100 (9.2 out of 10)
Siona Talekar is a young prodigy who has made tremendous waves in our contests with her charming, self-illustrated book, I Know What You Do When I Go to School--a category champion in our 2025 Spring Contest! It even has its own theme song produced by Studio Story Monster with cheerful music and lyrics by Zachary Simpson and lovely, uplifting vocals by Erin Rementer. That's expected to place highly in this ongoing contest! Talekar is a star in the making with a ton of love, support, and momentum behind her! This cute, lovely little trailer, produced by Story Monsters, is a testament to all of that. The trailer does an excellent job at introducing us to Siona Talekar and her heartwarming book. It covers her inspiration to write the book, the story behind crafting (and eventually publishing) it, and even more insights! In fact, this trailer could just as accurately be titled "Q&A with Siona" as much of this plays out like a Q&A interview. You know what's often even more interesting than a work of fiction itself? The behind-the-scenes stuff surrounding it. And that's what this trailer provides us! What's more? The trailer is actually appealing and entertaining to watch. It has a bright and playful aesthetic. The colorful paw prints, paint splashes, hearts, clouds, stars, and whimsical fonts make it visually appealing to kids and parents. Those were nice touches! Oh, and we loved the colorful thought/speech bubbles that indicate the question or the topic being covered. It provides a comic-book-ish feel and makes the trailer seem more conversational, interactive, and engaging. It's as if Siona and the trailer are talking to us and conversing with us, welcoming and inviting us. Neon fonts also work well against dark backgrounds like this. It kinda evokes thoughts of a fun, night-life city like Las Vegas or Tokyo. It screams: fun and exciting! It also helps to not distract from Siona herself, who is central to this video and could've been washed out with an overly-bright background paired with overly bright graphics and fonts. The music is also perfect for this kind of trailer. It's a cheerful whistling tune that, thankfully, isn't so loud that it drowns out speaking parts (which sometimes happens in videos). It was a great music and volume choice. But there are really two superstars of this trailer: 1. Siona herself 2. Siona's illustrations In fact, our favorite part of this whole trailer was when Siona talked about rediscovering the illustrations and early draft of the book that she had created when she was in 1st grade. We get to see what that art looked like and even the spiral notebook that it was originally drawn on! We even get to see the original wording of the story, and it's not too dissimilar from what was ultimately published over a half-decade later. It's incredible to see how much Siona's art talent developed and improved in that time! Siona also gives encouraging words to other young authors, telling them to never give up on their dreams. A lot of credit needs to go to Siona for being courageous enough to speak out, advocate for, and talk about her work publicly. That might seem small, but public speaking and marketing are both humongous challenges even for adults. Can you imagine being a middle schooler doing that? Wow! Siona is doing things that adult authors struggle to do. She's a role-model and inspiration to people of all ages! She's also very well-spoken and provides clear, concise answers and input without any um's and uh's. Great work, Siona! Check it out the book on Amazon!
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 Score: 90+/100 (9.0+ out of 10)
Could you imagine running into your ex after two decades apart? How might your lives, you views, and your feelings have changed? The fact of the matter is that time and experiences change people; and what happens when two people come back together armed with these new experiences? Those questions are explored in False Neutral by Joshua S. Narins. Now, we're going to preface this review by saying that: 1. It's a pretty good book that you should read if you're into romance, purple prose, and deep introspective writing 2. We're going to vent a lot of frustration at the beginning of this review, but don't let that have you think that everything is negative. It's not. False Neutral is primarily a romance, but it is also a bit of an experimental novel. The two main characters may have been named at some point, but we don't recall their names, and no one else on the internet seems to know or remember them either. You can look. Essentially, the two partners in this turbulent romantic tango aren't named in the book. No, the guy's name isn't Smirnoff, that's just the Russian naval/diver guy she flirted with and who got her to think about the "lobster claws .vs. lobster tail" motif. And then there's her evil/jerk husband, whom we'll get to later. His name is Frank, right? Presumably the same Frank that Smirnoff saved. Neither of them are the "He"/"Him" mention throughout the book? Please tell us the jerk husband's name is Frank. We read this like 2-3 times each. Ah, hell, we're gonna chalk this up to being thrown off by the fractured, experimental narrative, the vagueness, the absence of main character names, and the lauded "trademark time signature." Anyway... the main characters are simply referred to as "She" and "He" the grand majority of the time like they're some enigmatic, abstract entities intended to stand in for all She's and He's (or something). And the book's description on Amazon and Goodreads isn't helpful at all because it's the most vague, bare-bones--"what does this even tell us?"--description ever. It's honestly a bit frustrating how evasive and tedious this is... the shear experience of trying to consume this book before we've even gotten our teeth into it. This is also one of those cases in which we were sending physical copies of the book back and forth because a digital copy couldn't be provided. It really seems like one of those cases in which the author was playing hide-and-seek, peekaboo, or Wac-A-Mole with the reader. We're not saying that's necessarily the case, but that's how it feels. And, again, it's irksome and frustrating. Needlessly so. Like, look at this description: "One chose to live a lie. . . One chose to live alone. . . One chance to finally make sense of it all. False Neutral transports readers directly to the intersection of the current path traveled and the road not taken. Set primarily in Boston’s Back Bay and the North End, False Neutral is a taut focused New England narrative told in Mr. Narins’ trademark compact time signature. Conveyed in a simple elegant voice, False Neutral is a unique story with inimitable characters, perfect for fiction fans seeking a story that will not only speak but resonate." Keep in mind, this was Narins' first novel, so how was anyone supposed to know what "Mr. Narins' trademark compact time signature" was supposed to be? Like, if something is "trademark" or a signature, it implies it's well known and familiar to people. How can something be well known and familiar to people if no one had ever seen a book by this person before? And what is a "taut focused New England narrative" supposed to even mean? We know what "inimitable" means, but we don't think it applies to these two main characters. Like, if it did, then why would you want to read about them? Why would you want to read about people you can't empathize, relate with, or imitate? It's like a nothing-burger of a flowery word that got thrown in the description for no reason--just like the other tedious things surrounding the reading of this book. Argh... so unnecessary. Like, we've barely talked about the content inside of the book yet, and we're already angry. It shouldn't be this agitating or hard to read a book. It just shouldn't. "...a story that will not only speak but resonate." Is that even a complete thought? Shouldn't it be "speak to their heart"/"speak to their soul" or "resonate with them"? Someone please rewrite this book description to help potential readers to actually know what the book is about. Like, hire Bryan Cohen to overhaul this or something. There's no need for this tedious vagueness. Even rewriting the description is challenging because of the lack of names. It's got to be something like: "She chose to live a lie. He chose to live alone. What will happen when their paths cross again?" Hey, that's actually not... that bad. So, like... do you want people to actually find, read, and understand your book or not? Cause, again, it seems like a tedious game of hide-and-seek. Ironically, having read the book multiple times, we actually know what most of the description is talking about. But what about new readers or prospective readers? They're going to be like: ...HUH?! The New England Patriots did what in Muttontown and it resonated with what? Thankfully, the book itself is not as bad as its description. In fact, we'd say it's a pretty good book—in some areas more than others. First of all, ironically, it's well-written. In fact, the writing is impressive at times, albeit a bit purple and flowery. Again, the description calls this a "simple elegant voice." We're not sure about "simple" but it is "elegant" and eloquent at times. For example: "...that light, that mesmerizing energetic radiance that you focused and shone so brightly for me and upon me, that lucent had left your eyes. Faded and dimmed, I had no idea how to attempt or manage a reignition." "It's that stomachache, those muscle cramps, those involuntary contractions, the emptiness I feel every day in that enormous, crowded mausoleum. I just never understood what it was telling me." We love the use of analogies and metaphors throughout this book. "...enormous, crowded mausoleum" is one of our favorites. That, along with the visceral descriptions of illness and pain that accompany it, exude a feeling of emptiness and longing. Something with a beautiful exterior and that everyone sees (like a mausoleum) is metaphorically filled with an, ironically, near-empty sarcophagus of a decayed corpse. It exudes a feeling of profound loss and regret that things could've worked out better and life would've worked out differently if certain choices were made in the past. But that's dead and gone now. All that remains are memories, what if's, and a figurative blackened skeleton or ashes. And how about the use of the figurative use of the words "irrigated" and "fertilized" in: "The electronic landscape pruned daily by local and national news outlets, cultivated hourly with the day's political misdeeded, irrigated nightly with the public's shattered trust, and continually fertilized with the elected's unconvincing outrage." There's another beautiful quote—which, again, is hard for us to find because we're working with the physical copy and forgot to note the page number—that says something like: "It's not the truth that hurts the most, It's the lies that we can't discern" Or something like that... you know how much easier this would be if we had a digital copy we could just use CTRL+F with? But not all of this book is so depressing, bleak, and melancholic. In fact, one of the best things about the writing is the use of sarcasm, humor, and irony. One of our favorite parts of the book is just when the female character (let's just call her "She" and "Her") says that she has no restrictions or preferences regarding what she can eat, but then goes on and on about the many different kinds of foods she can't eat: Indian, Chinese, Japanese etc. There's another part that made us genuinely chuckle when someone tells Her/She that she must be a "witch" and that she must have taken months of "flying lessons" on her broom. Ok, now that's funny! Another thing that's rather impressive about this book and its writing is that the pacing and length are actually good, even with the flowery prose. Like we said, we read this book multiple times. It's only like 4-5 hours of reading. The text is big, bold, and easy on the eyes (which is good). Passages are well-formatted in short blocks, making them stand out and "pop" like bullet points in a PowerPoint or something (sorry, couldn't think of a better analogy). Remember when we talked about the use of analogies, metaphors, and figurative speech in the book? Well, there are times when it's awesome and it works (as mentioned before), and there are times when it comes across as a bit awkward and contrived. Perhaps the part of this book that made us feel that way the most was the confrontation scene in which Her/She and Him/He are airing all their dirty laundry, especially Her/She. Him/He starts thinking about this whole conversation like a heavyweight boxing fight in which he needs to be strategic. For example, he starts to think that he is "winning on points" and just needs to avoid punches (being hurt by Her/She's statements and words) and get to the final round. Her/She also has a metaphorical framework going on in her mind as well. See, her father was apparently an expert Poker player and gambler who was great at reading the room, identifying tells, and hiding his hand. SEE, WE DID READ THE BOOK. We just don't know what the characters' names are. Unfortunately, he didn't pass on any of those skills to his daughter, so Her/She is open, explicit, and obvious. She can't hide her hand. She needs to always let it all out and let her thoughts and feelings be known and felt. So, you've got someone who can't hide their hand having an interaction with someone trying to avoid the punches to survive to the later rounds. That's interesting. It's a bit clunky and seems a little contrived, but we get it. There's a reoccurring motif that somewhat works. It's the lobster tail .vs. lobster claw thing. Her/She long enjoyed the lobster claws more than the tail that everyone else enjoyed. Why? Well... hey that's a good question. Maybe it represents her going against the grain? Maybe it's because the lobster claws have to be cracked open and require more effort to eat from? Yeah, that kind of fits Her/She's character, especially when she was in her 20s. We're told that when she was in her 20s, she was a social justice warrior/activist who pushed back against just about everything you might call "establishment." SEE, WE DID READ THE BOOK. We just don't know what the characters' names are. We can safely assume she was protesting the patriarchy, the military-industrial-complex, Wall Street, big business, big government, police brutality, climate change, and just about everything you'd expect a social justice warrior to protest. Well, Him/He wasn't supportive of all that. He seems to have been at least a bit of a conservative, or at least disintereted in being bold and outspoken about such things. That's one of the things that drove a wedge between the two. Well, that and their very-different expectations for where their relationship would go and what their futures would hold. It's really not anything you've never heard or read before (which makes the "inimitable" statement in the description a bit silly). It's pretty standard. The guy is afraid of commitment and wants to be free to pursue personal and professional opportunities without being weighed down by family. The girl? Well, she's the opposite. There's a bit more to that, though. See, when Her/She was 24 or 25, back when Her/She was with Him/He, she was a very controlling and domineering person. She wanted everything her way. It was her way or the highway. Ironically, the jerk husband she ended up marrying is controlling and domineering. She ends up having four children with him. She even says she has "five" if her husband is included, implying that he's a needy man-baby. We also get a strong sense that her world views have changed or evolved since then. That tends to happen. Now, this somewhat bothered us and we'll tell you why: it really started to feel like the author was strongly implying that Him/He was right all along about everything. And, by extension, that would mean that Her/She and everything she stood for were wrong all along. We started to get the sense that Him/He was a self-insert character who was now confirming personal biases. That felt contrived. It almost felt like the author was saying, "I am the good guy and I've been right all along." That becomes a bit more of a problem when the two start info-dumping on each other. It reminded us of that awkward reunion between Han Solo & Leia in Force Awakens when they're just explaining years of history to each other in seconds (so the audience knows what's going on). It didn't seem natural. Oh, and speaking of unnatural... when Her/She and Him/He first reunite, they start talking to each other in legalese like they're in an courtroom! It's full of procedures and all. Who does that? Like, on one hand, it's unique and a little funny. On the other hand, it would probably never happen. It's awkward, weird, and unnatural. But we digress. Maybe it shows that they know each other like the back of their hands. It shows they have rapport and a common understanding. But then again... it's confusing. Like, if you're not an attorney and you're just reading that, it sounds like two people talking gibberish to each other. It sounds like two computer nerds talking to each other in code! SEE, WE DID READ THE BOOK! We just don't know what the names of the characters are. Oh, and by the way, apparently “false neutral” has double meanings. You’d think it would be referring to the idea that the supposedly neutral feelings of a broken-up couple were, in fact, wrong all along—which is sort of true in the case of this book and its character dynamics. Their feelings for each other are far from neutral. In fact, they're rather deep. However, "false neutral" also refers to a mechanical term in motorcycling and driving: when a gearshift slips into a position that feels like neutral but isn’t, causing the engine to rev without moving forward. In the novel, that second meaning fits just as well: two people caught in a moment that feels like calm detachment but is really an unstable state, one false move away from lurching back into old emotions, unfinished business, and the messy momentum of their past. It's also fitting because, it turns out, Him/He is a motorcyclist, and he busts out his old leather rider jacket for this book. Hilariously, we thought he was going to take her horseback riding for some reason, but that just might be because our brains were fried at that point. Anyway... in conclusion. This is a good book. It's solid. The writing is better than average. The characters are interesting and deep, even despite lacking clear names (we're never letting that go). Like, we even learn that Her/She comes from three generations of Yankees fans. It's little things like that. Check it out on Amazon!  Score: 93/100 (9.3 out of 10)
This charming song opens with the comforting, uplifting sounds of birds chirping in the forested woods. It then transitions into the melodic strumming of an acoustic guitar by Zachary Simpson, leading right into the cheerful vocals performed by Erin Rementer. This is probably Simpson and Rementer's best song since the Story Monsters Theme itself, which is very tough to top! You know a children’s theme song has done its job when it’s not only catchy but also feels like a hug you can hum! Theme Song of Marky the Magnificent Fairy nails that unique feeling. It's bright enough to make kids want to sway and dance. All the while, it's warm enough to effectively deliver its core message of courage, kindness, and self-acceptance. Based on Cynthia Kern O’Brien’s touching book about a fairy born with a small wing, the song leans heavily into empowerment while keeping things playful. Simpson’s lyrics are simple but purposeful. Each line is a little nudge toward self-belief, and Erin Rementer’s vocals sparkle with sincerity (you can practically hear her smiling). The melody is upbeat but not frantic, with just enough whimsical lift to fit a fairy’s world without turning into a sugar rush. This song actually has a very sing-songy, calm, and mellow flow/vibe, almost like a butterfly (or, perhaps more accurately, a fairy) fluttering from one side of the tree line to the other. It does a good job at forwarding the message that Marky isn't just a remarkable person, but that she's also a familiar and relatable person. One of our favorite lines in this song is: "She has a small wing That won't stop her today 'I can do anything' is what she would say Her hopes and her dreams Are not different from you Everyone has hopes and dreams too" What this essentially tells the listener is that she isn't defined or limited by her disability. She is more than capable of doing great things. Furthermore—and perhaps even more importantly—she is a lot more similar than she is different. She has hopes, thoughts, feelings, emotions, and dreams just like "normal" or uninhibited people. Another great aspect of this song is how it gets the reader excited for adventure and exploration, which you would expect from a story about fairies. For example: "...where will you go? What will you do?" It's almost as if the narrative is challenging Marky and the listener/reader with the prospect of infinite possibilities. Now, there is a brief part near the end of this song in which it really seemed like it lost some momentum. It almost seems as if they used up all their good material in two minutes and ran out of things to sing about. The repeated refrain gradually gets softer and softer. You could argue that this is a musical landing, but... you're supposed to stick the landing, right? The song built up so much momentum, then it seemed to meander and get lost in some "oohs" and "whoos." But even that is a bit interesting considering that the story takes place in the woods, a place where people notoriously get lost and have to find their way back. So, for the song to end as it began (with the chirping of birds in the trees)... that's a pretty fitting ending. It's almost as if the singer, singing through the character, found their way back through the woods and into the clearing. Speaking of epiphanies we had... this song also made us realize that "Marky" might actually be a pun or a homonym for "marquee" (as in being premium or very important), which is important considering that Marky is disabled, having a smaller wing. However, we're told in the song that Marky is "everything wonderful, happy, and good." In other words, she an incredible (and magnificent) person—she's both Marky and marquee. This isn’t just a theme song, it’s a tiny, tuneful pep talk that tells children (and maybe a few adults) that their uniqueness is their magic. And that’s a tune worth putting on repeat. Check it out on Apple Music!  Score: 95/100 (9.5 out of 10)
Let's set the scene to establish how we approached this extremely unique book, especially since most of the other judges didn't know what to make of it. Many, many, many years ago (in the ancient days of the Internet), there was a shy, awkward middle school kid who wanted to win the Scripps National Spelling Bee: 1. To win $10,000 on ESPN TV because that seemed like life-changing amounts of money back then 2. To finally beat the two smartest kids in the world, Philip & Lucia Mocz, at something 3. To impress a nerdy, glasses-wearing girl he had a crush on who told him he was kind, strong, and smart once (because, of course) Well, he lost to Philip & Lucia Mocz, didn't win the thousands of dollars on national TV (in fact, didn't even make it onto television), and didn't get the girl. But that's beside the point. Along the way, he gained something: a deep understanding of the English language from the bottom-up. See, there were really three ways to study for the National Spelling Bee. The first way was to study the Paideia, a guide and list of vocabulary words that Scripps would put out every year for prospective participants. The second way was to study the whole entire English dictionary; no, not the little 50,000 word one that's probably gathering dust on your shelf, we mean the HALF-MILLION word Merriam-Webster one. And the third way to study for the National Spelling Bee was to dissect the entire English language and understand it in all its parts: prefixes, suffixes, roots, combining forms, etc.—essentially learning the nervous system of the English language. And that's pretty much what this is: a complete dissection and autopsy of the English language. Vademecum of English: A Complete Reference Guide by Ana María López Jimeno stands out as an exceptional resource for teachers and advanced students alike—a linguistic companion that feels both deeply practical and quietly profound. From its opening pages, the book reveals itself as a labor of love and expertise, the result of over forty years of the author’s journey as a language teacher, learner, and researcher. López Jimeno’s long dedication to the classroom and her scholarly rigor shine through every page, lending the work both credibility and warmth. Her voice is that of someone who not only knows the intricate landscape of English, but who has also helped generations of learners navigate its winding paths. What distinguishes this vademecum is not just its depth, but its thoughtful structure and the care with which it anticipates the real needs of its readers. Drawing on more than fifty dictionaries, trusted grammar references, and lexical sources, the author distills what could have been overwhelming complexity into a series of clean, navigable charts and tables. The approach is at once methodical and learner-friendly: key rules, common exceptions, and practical examples are always placed side by side, so that understanding emerges organically from comparison and contrast rather than rote memorization. Especially notable is the way the book speaks to Spanish-speaking learners, with bilingual notes and color-coded explanations that never condescend, but rather bridge linguistic gaps and build confidence. The first third of the book lays its foundation in the world of phonetics, a domain often overlooked in traditional grammar texts, yet absolutely crucial for any learner seeking true mastery of English. Here, López Jimeno’s teaching experience is evident in her insistence on clear, practical instruction. The English sound system is mapped out in meticulous detail: forty-four phonemes, including consonants, pure vowels, diphthongs, and even the less-familiar triphthongs, are explored using the International Phonetic Alphabet. The author understands that for many, English pronunciation seems chaotic and unpredictable, and she responds not by waving away these fears, but by confronting them head-on with organized information and gentle, teacherly guidance. Frequent comparison with Spanish sounds, often marked in blue, helps readers identify precisely where their native habits might interfere, and offers concrete solutions. Charts for consonant and vowel pronunciation, spelling patterns, homophones, and homographs are designed to be practical references, so that both teachers and students can spot trouble areas at a glance and return to them whenever needed. What emerges from this early section is a sense of the language as a system, complex, yes, but patterned and learnable. López Jimeno does not present English as an arbitrary list of rules and exceptions, but as a living organism, whose quirks are both explainable and, ultimately, manageable. This philosophy is carried forward into the second third of the book, where the focus shifts from sounds to structure, diving into the heart of English grammar. Here, the book’s strength as a “companion” comes into full flower. Grammar, often a source of anxiety and confusion, is rendered approachable and even elegant through the author’s disciplined use of charts and side-by-side comparisons. In these central chapters, learners encounter the full range of English grammar: nouns, pronouns, adjectives, determiners, verbs (including their many forms, voices, tenses, and moods), adverbs, prepositions, conjunctions, and the syntax that weaves them all together into meaningful sentences. Each topic is given the same thoughtful treatment: core rules, main exceptions, and illustrative examples are brought together, with Spanish-language commentary highlighting frequent pitfalls and clarifying false friends. This is particularly valuable for Spanish speakers, but even those from other linguistic backgrounds will find the contrastive method enlightening, as it encourages a habit of noticing and self-correction. The organization of information is never arbitrary; the charts are built to contain as much as possible on a single subject, making the reference process fast and intuitive. Even notoriously difficult topics such as irregular verbs, modal and semi-modal constructions, phrasal verbs, conditionals, and reported speech are broken down into manageable, visually clear sections. The practical, classroom-tested perspective of López Jimeno is ever present. Rather than teaching grammar as a list of isolated facts, she focuses on usage and the typical patterns that learners encounter in real-life reading, writing, and conversation. Charts on spelling patterns, changes, and punctuation round out this section, ensuring that the user is never far from a practical answer, whether they are constructing sentences, correcting mistakes, or preparing for exams. The cumulative effect is a guide that does not merely teach rules, but that actively builds the learner’s confidence, showing that mastery is not about knowing every exception by heart, but about understanding how the parts fit together and where one is most likely to stumble. The final third of Vademecum of English moves boldly into advanced territory, expanding the book’s scope from structural mastery to true language enrichment. Here, López Jimeno deploys her deep knowledge of vocabulary and etymology, giving learners and teachers tools for not only using English accurately, but for understanding its deeper logic and connections. This section opens with a series of thematic vocabulary families, over three thousand words grouped according to semantic fields such as health, food, home, society, nature, and more. The grouping is not just convenient; it reflects a pedagogy rooted in meaning, helping learners recognize clusters of related terms and encouraging the kind of flexible, fluent use that marks genuine proficiency. What follows is, perhaps, the most distinctive and empowering part of the guide: an extensive exploration of word origins, roots, prefixes, and suffixes. The author’s scholarly grounding is especially visible here, as she introduces readers to the Greek and Latin building blocks of English, linking thousands of words across academic, scientific, and everyday contexts. The presentation is systematic and friendly, with dozens of charts mapping roots to their meanings and providing a wealth of examples in both English and Spanish. By grouping these roots according to themes, including body parts, actions, knowledge, time, movement, and more, López Jimeno helps learners see English not as a set of arbitrary labels, but as a living, evolving system, rich with patterns and echoes from other languages. This etymological approach is not only intellectually satisfying; it is immensely practical, empowering users to deduce the meanings of unfamiliar words and to appreciate the relationships that bind the English lexicon to its Romance and classical forebears. Further cementing the book’s value as a reference guide are its closing appendices and indexes. These include comprehensive lists of phrasal verbs with Spanish equivalents, detailed spelling equivalence charts for translation work, and alphabetical as well as thematic indexes for roots and affixes. These tools are the product of a lifetime spent in the classroom and at the researcher’s desk, always with an eye toward helping the next learner or colleague find their way a little more quickly. Underlying the entire Vademecum is a vision of language learning as a transformative, lifelong journey. López Jimeno’s personal experience—her decades of teaching, her immersion in research, her daily encounters with the struggles and triumphs of real students—gives her work a practical authority and a sense of genuine care. The guide’s tone, both in its explanations and in its structure, is that of a wise and patient mentor. She reminds us that “a good teacher explains in ten minutes what took her ten years to learn,” and the book is a testament to that hard-won expertise, generously shared. Vademecum of English is, at its core, an invitation: to keep this “come with me” guide close at hand, to trust in the patterns beneath the seeming chaos of English, and to discover, step by step, not just the rules, but the “soul” of the language. For teachers seeking reliable reference, for advanced students hungry for deeper understanding, and for lifelong learners eager to explore, this book is more than a manual. It is a wise and enduring companion. Perhaps if Steven Seril had owned and studied Vademecum of English instead of the inferior resources he had in 2003, he could've won the money, defeated the Mocz siblings, won the National Spelling Bee, and gotten the girl... and he'd be a depressed, probably-divorced, probably-institutionalized, probably-Adderall-addicted, probably-paying-back-child-support... former "prodigy" instead of running the Outstanding Creator Awards. Check it out here! Review of “Passamaquoddy Legends Puzzle Book Vol. 3: Amazing Master Rabbit” by Michael Cook8/6/2025  Score: 90/100 (9.0 out of 10)
In early 2022, we were immensely impressed by Michael Cook's book, Passamaquoddy Legends, a collection of Indigenous folklore, specifically a retelling of myths and tribal stories from the Passamaquoddy people—part of the Wabanaki tribes native to Maine and eastern Canada. We learned so much about this lore, this culture, and the Passamaquoddy people! Furthermore, we found the stories to be so fun and entertaining. Heck, we even had some laughs over parts of the lore like the whole "garlands of enchanted sausage" bit. Passamaquoddy legend, as presented by Cook, is full of interesting, fun, and often-comical animals who are often personified like Uncle Crane, who needs the affirmation from weasels that he has long legs; Lox the Lynx, or Master Moose. Cook particularly did a good job at drawing connections between Passamaquoddy culture and many of the other cultures and peoples they encountered like the Vikings and the Christians. Lox, arguably, was inspired by Loki from Norse mythology. Glooskap is a messianic figure very similar to Jesus or King Arthur. It's so interesting to notice the similarities and think about how connected humanity and our histories truly are. As we established, Passamaquoddy Legends, was both entertaining and educational. Well, how do you enhance all that content? Well, you make it engaging! It is often said that the best way to learn about something is to actively engage with it, and that's why activity books like Passamaquoddy Legends Puzzle Book Vol. 3 can be so impactful. It challenges readers to not just see and hear but do. And nothing is a better teacher than actively doing something. Social studies teachers in Maine and eastern Canada, along with their students, could really benefit from something like this. Think back to when you were in elementary school. What did you learn about in social studies? The culture, the language, and the stories of the native people. Well, Passamaquoddy Legends and its accompanying puzzle/activity books accomplish that. Passamaquoddy Legends Puzzle Book Vol. 3 focuses on the part of the lore that revolves around Master Rabbit (“Ableegumooch”), the charismatic, clever trickster hero of many Passamaquoddy stories. While Master Rabbit may not be as powerful as beings like Glooskap or as maliciously tricky as beings like Lox, he is spunky and inspiring nonetheless. He seems to represent a resourceful, plucky underdog and survivor—a dreamer. We think we figured out the first puzzle to get this cute story about Rabbit living with his grandmother and dreaming of better times. One day, he discovers an otter named Keeoony living comfortably by the lake, catching plenty of food with little effort. Envious of this easy lifestyle, Rabbit convinces his grandmother to move their home closer to the water so they can also fish for eels. However, his plan doesn’t go smoothly. After trying to fish, Master Rabbit ends up cold, wet, and nearly frozen, showing that seeking shortcuts isn’t always as easy or rewarding as it seems. Silly Rabbit! Tricks are for kids. There's another story (we learned from filling in the blanks) which continues his story. After facing disappointment, Master Rabbit refuses to give up, showing his perseverance. While wandering in the wilderness, he comes across a wigwam full of young women who are actually Woodpeckers in disguise, each wearing a red head-dress. One of these “red-polled” girls climbs a tree with a wooden dish, collecting insects called apchel-moal-timpkawal (which resemble rice) by tapping on the tree. Through this magical encounter, Master Rabbit observes and learns, blending determination with curiosity and discovery. After this, we solved another fill in the blank section some time later to get a third story about Master Rabbit that seemed a bit darker and even a bit more violent than the others. The story tells how Master Rabbit, by embracing his own originality instead of copying others, becomes a skilled magician through hard work and determination. Although he’s accused by the Micmacs of stealing fish, the Passamaquoddy people defend him, recognizing him as their ancestor and the father of the Wabanaki. Despite being the natural prey of the fierce wild cat called Loup-Cervier, Master Rabbit proves his cleverness and bravery in a confrontation, managing to defend himself by wounding the wild cat with his tomahawk. The tale celebrates resilience, resourcefulness, and the importance of being true to oneself. The fourth story in the next fill in the blank section continues Rabbit's mastery of wizardry while cementing Wild Cat as a great antagonist and relentless rival to Rabbit. In this story, Master Rabbit, nearly out of magical power, uses his last bit of wizardry to escape danger from the relentless Wild Cat. He cleverly transforms a piece of wood into a grand magical ship on a lake, complete with a stately captain, to trick his pursuer. When the Wild Cat arrives and sees the ship, he is determined to catch Rabbit and, recalling his great oath, tries to swim out to the vessel. The tale highlights Rabbit’s quick thinking and resourcefulness, using magic and illusion to turn the tables on a powerful foe. The fifth story in the next fill in the blank section show how Master Rabbit becomes a bit big headed and starts rubbing shoulders with some of the heavy hitters in Passamaquoddy lore. In this story, Lox enjoys a life of luxury in his well-stocked wigwam and hosts a lavish dinner, inviting Marten and Mahtigwess (Master Rabbit). The tale humorously highlights Master Rabbit’s tendency to boast, as he claims his fine white fur is a mark of aristocracy and insists he keeps company with gentlemen. Although Marten has his own experiences with high society (living alongside the legendary Glooskap) he finds himself outmatched by Master Rabbit’s wit and self-assuredness. We'll say this: these stories are interesting, but you need to solve the puzzles to figure them out, and that can be challenging if you haven't already read and fully digested the source material. You really need to read Passamaquoddy Legends closely to have a realistic chance of solving these. Next, these aren't conventional stories, which can make them pretty hard to understand. We had to both solve and reread the stories we uncovered multiple times to finally get them. Fill in the blank acitivities aren't alone in this book. You’ll find word searches that spotlight key characters, terms, and traditional language, and cryptograms and hidden messages that challenge your logic and puzzle-solving skills. These aren’t just for fun; they reinforce vocabulary, cultural context, and the morals behind the stories. The book also weaves in creative, hands-on elements like coloring pages inspired by traditional birch bark etchings, hand-drawn mazes tied to story events, and connect-the-dots puzzles that bring the cast of characters to life. Activities like “Fallen Phrases” and double puzzles test memory and sequencing, while classic games like tic-tac-toe, featuring story characters, add a familiar, playful touch. There’s even Sudoku, offering a change of pace and keeping the brain sharp for readers of all ages. Every puzzle and activity is rooted in the legends themselves, helping kids and adults alike to learn and remember the stories in a natural, engaging way. Check it out on Amazon!  Score: 91/100 (9.1 out of 10)
Let’s face it: writing a memorable children’s theme song is no small feat, especially when it has to land in under two minutes. “Hey Mommy Theme Song” is inspired by the book I Know What You Do When I Go to School, nails the assignment with a big, storybook hug! But what really sets this one apart is its origin story: deep appreciation to 13-year-old author Siona Talekar, whose charming and imaginative tale—written and illustrated at just 7 years old—inspired this whimsical, spunky song. You can genuinely feel that spark of childhood wonder radiating through every note! And let's give credit and kudos to Zachary Simpson for crafting music and lyrics that are not only catchy, but full of bounce, whimsy, and cleverness. This isn’t just another kids’ tune, it’s one of those rare, playful tracks that adults will catch themselves humming, too. One thing that Simpson really captured with the lyrics is not just the curiosity of the book it's based on but also the profound sense of love and connection that radiates from it. That's especially apparent in the line: "...while I add two plus two All I think about is you and what you do..." There is so much love in those lyrics. It's enhanced by the delicate and deliberate pause right afterward as if inviting the listener to reflect on the feelings and emotions behind it. Erin Rementer’s vocal performance is a standout! It is lively and heartfelt, delivering just the right blend of warmth and energy to make the song unforgettable. If there’s a “voice of Story Monster,” she’s it. She and her voice just fit the role so perfectly. Her voice is high, sweet, welcoming, inviting, childlike, and friendly. It's like hearing a fairy or little angel sing to you! Credit where it’s due: the direction by Linda F. Radke, production by Studio Story Monster, and publishing by Story Monsters Press all come together to elevate this into something truly special. There’s love and professional polish packed into every second. Is it short? Yes—at just under two minutes, you’ll be wishing for a full album by the end. But what a minute and fifty seconds it is! Whether you’re in a classroom, on a morning drive, or cuddled up for bedtime, this song is tailor-made to spark smiles and get toes tapping. Pair it with the book and you’ll unlock even more magic. We don’t take a moment of this for granted. We’re truly honored and grateful to witness young creativity brought to life by a team that clearly cares. "Hey Mommy" is a joyful, whimsical, and utterly charming tribute to childhood wonder. It's another home run for Studio Story Monster and everyone involved, especially Siona Talekar, whose imagination started it all. Highly recommended for the young and young-at-heart! Check it out on Spotify!  Score: 94+/100 (9.4+ out of 10)
Pulse is a FANTASTIC collection of poems from a variety of creative and thoughtful young minds! We might even call it... outstanding! Who would've thought that poems written by middle schoolers would be so deep, dynamic, powerful, beautiful, emotional, expressive, high-quality, and thought-provoking? Some of these poems—dare we say—are more pleasant and enjoyable to read that poems written by much older and more experienced poets! This poetry collection really restored and renewed our hope in this future/up-and-coming generation. Times may be uncertain, but the future appears to be in good hands if these intelligent, brave, talented, creative, and thoughtful kiddos are any indication. So, we're in a bit of a conundrum. See, we read, enjoyed, and appreciated every single one of the poems in this collection in one way or another. We think that every single one of these young writers and their poems have something special to offer. However, we didn't take notes about every single one, which might limit our ability to discuss and highlight every single one. With that said, we wanted to highlight all of them at least once, so here it goes... this collection features the poems of: Alfredo Alegria (writer of "Life is a Wheel") Arlette Amaro-Arias (writer of "Abuelita’s Tamales") Anaisa Baldenegro-Navarro (writer of "Academics" and others) Gage Bluestein (writer of "Snake") Raina Coleman (writer of "Exotic Canopy") Sofia Gonzalez (writer of "A Lost Love" and others) Thomas Husted Billingsley (writer of "The Past. The Present. The Future.") Jasmine Jamison (writer of "A Forever Friend") Marianna Jimenez Godoy (writer of "Is Anyone There?") Aria Lacchei (writer of "The Night Discovery" and others) Milanni Macias (writer of "My Story") Isabella Mendez-Higareda (writer of "Where I’m From") Naomi Rodriguez Herrera (writer of "Saying Goodbye") Lesley Serrano (writer of "Alien?" and others) Anna Truong (writer of "Love is a Sunset") Meraly Uribe Franco (writer of "Dark Shadows") Amaiyah Valdez (writer of "Dream in Progress" and others) Alexa Webb (writer of "In the Forest") Julia Young (writer of "Pain") And what's incredible is that, despite there being so many poems and contributors in this book, it FLIES! It flows so well! Amaiyah Valdez contributed multiple poems to this collection, and each of them hit hard in their own unique ways. In "From the Heart" we really loved all of the metaphors and similes she used to describe different struggles and emotions she and other people experience. For example: "Happiness is like lightning and thunder The light never travels alone Anxiety is like a tornado It starts small but picks up debris and grows" Also, notice how the "O" sound is used in rhyme here. Lesley Serrano also gave us a number of impactful, heartfelt poems. One of them "Alien?" is one that played tug-o-war with our hearts as patriotic Americans but also as former immigrants in our ways. The poem immediately confronts the label of "Alien" used by USCIS (the American immigration system) to describe immigrants. Serrano retorts: "We are not aliens. Why are we given that name? We are not martians. We are all one and the same." Now, there were certain things that bugged us about statements and far-left talking points in the poem like "Eat the Rich" and "Let's see how he feels once his country falls"--almost celebrating and applauding these ideas we don't particularly agree with. At the same time, we understand the overall animosity and sentiment. The writer sees their people being persecuted and wronged, so they are essentially saying, "Wait 'til it happens to your people and your country, then you'll understand how we feel." We get it. We may not like or agree with it, but we get it. Serrano, an 8th grader, seems to be the activist in the bunch. There's always one. Hey, Steven was a loud mouthed, obnoxious activist in 8th grade. Spoke out against the Iraq War before it was the Iraq War we know today. Wonder what happened with that? Anyway, Serrano contributed another noteworthy poem called "Never" with colors as the theme. The color symbolism reflect on missed connections, misunderstood people, and personal regret. Each color—red, blue, green, yellow, pink—represents a person the speaker failed to truly see or connect with, whether due to judgment, insecurity, or indifference. The repeated phrase “I never…” emphasizes the weight of those lost opportunities, creating a confessional and emotionally vulnerable tone. Through vivid metaphors and introspective voice, the poem explores themes of loneliness, growth, and the quiet pain of realizing too late that someone mattered. It’s one of the most emotionally mature and symbolically rich works in Pulse, leaving a lasting impression. At the same time, it could be argued that colors have connotations and insinuations, especially when it comes to associating specific people with them, which can always be a sensitivity issue. Anna Truong, an 6th grader, gives us "Love is a Sunset"--one of our favorite poems in the collection! It's a breathtaking metaphorical poem that uses celestial imagery to trace the arc of a fading love—one that begins in admiration, slips into confusion, and ends in reluctant acceptance. Framed around the daily dance between the sun and moon, the poem draws a vivid parallel between the natural world and human emotion. The sun falls in love with the moon during their brief meetings at twilight, but over time, the distance between them grows—until all that’s left is silence and yearning. Truong’s language is both tender and devastating, capturing the innocence of a first crush and the grief of emotional abandonment. The metaphor deepens in the second half, where the speaker confesses the pain of being "abandoned, stale, and collecting dust," offering a heartbreakingly specific image of being left behind. And yet, the poem doesn’t end in bitterness—it ends in bittersweet truth. Like the sun and moon, some people were never meant to stay together, no matter how much love once existed. It’s a remarkably mature meditation on unrequited love, longing, and letting go—especially coming from a sixth grader. Quietly stunning. Some things to note: this is one of the rare times when the sun is personified as female while the moon is personified as male. It's usually the other way around (with the moon being feminine and the sun being masculine). Perhaps some female empowerment can be inferred from this? We loved certain passages in this book. For example: "..we are always chasing each other’s shadows I spent many birthdays closing my eyes wishing upon candles for you to disappear" We really loved the pairing of the words "shadows" and "candles" here. It's unconventional but it works! Anaisa Baldanegro Navarro, an 8th grader, brings us the poem "Academics." This poem really spoke to us as former scholastic overachievers and perfectionists ourselves. The education system and everyone (and everything) around it puts an enormous amount of pressure on students to succeed. Schools are set up like prisons. If you're caught off campus grounds during school hours, it's considered truancy. You're expected to follow a rigid schedule with set times of rest and work. The expectations are high and constant—relentless. So much weight is put on the shoulders of these kids. You know, there are pros and cons to that. It teaches discipline and hard work. The problem is—as this poem points out—it sometimes seems endless and pointless. How many more 100% scores in a row can you get? How many more times can you make the Dean's List? Get an A+? Succeeded at everything and anything they put in front of you? Does it make you rich? Does it actually get you a great job? Not to make this overly personal, but look at us... reviewing books for pennies an hour after getting A's in high school and college, working 9 to 5 jobs for years—being told that if we just did good in school and worked hard, everything was gonna be ok. We were gonna be set. We weren't gonna be reviewing books for pennies an hour every day, presumably for the rest of our lives. And we bought into the same idealistic beliefs about academia that Navarro alludes to. There's a real sense of overwhelm and dread in this poem which resonated with us: "Failed Rejected Wrong" "Hallways full of dread Where echoes of ambition tread Books piled high, a mountain steep A constant climb, no time for sleep... I realize What if I hadn’t earned the ribbon? Can I ever be forgiven? Will pity or dishonor ensue? And above all else, will love still be given by you?" When is enough enough? "Will this pressure ever stop? Lonely, sad, and all the above? Forgetting to practice a little self-love?" "All the above" almost sounds like "All of the Above" which is a possible answer on most tests. Another special thing about this poem is the repetition of the phrase "What if?" It really makes you feel the uncertainty and fear the poet feels. This is an example of anaphora. Speaking of which... Amaiyah Valdez, an 8th grader, wrote the poem titled "Dream in Progress"--a truly hard-hitting poem that also employs anaphora, the repetition of sounds or phrase throughout a poem. “Dream in Progress” is a deeply personal and motivational poem that captures the internal drive of a young person (particularly a female person) fighting for a better future—not just for herself, but for the “little girl” she used to be. The poem begins with bold, almost defiant affirmations (“I have to be successful / No, I will be successful”), showing both the pressure and determination that shapes the speaker’s life. While the surface answer to “Why?” is lighthearted—“who doesn’t wanna be rich?”—the poem quickly shifts, revealing that her ambitions are rooted in something far more profound. At the heart of the poem is the image of a younger self, “buried under smiles and tears,” whose dreams were “bigger than Hollywood.” This inner child is both a symbol of innocence and a source of strength, reminding the speaker of where she came from and what she’s still striving toward. The poem’s repeated lines—“I have to be successful for her / I will be successful for her”—are a powerful use of anaphora, emphasizing that the speaker’s present struggles are deeply connected to her past hopes and future goals. The poem also explores themes of generational hope: the desire to fulfill the promises made by her parents, to provide for her own future children, and to turn even her oldest, purest dreams into reality. The final lines, “She deserves to see the dreams she dreamed—/ Before she knew what a dream was—/ Come true,” are especially poignant, expressing a longing for both fulfillment and healing. You know... maybe its social media and all the fakeness we're surrounded with, but the sentiments of this poem resonated with us—the feeling of being held down and held back. The crippling fear of failure. If you've followed us on social media, you'll see that we've been pretty hard on ourselves in that regard. It always feels like someone or something is holding us down no matter how hard we work and how hard we try. No matter how much time we put into things. Maybe it's the social media algorithms. Maybe it's the "big guys" or the "guys in the shadows" on top. "A Woman's Dream" (also written by Valdez) continues these sentiments with the poet lamenting and highlighting how many dreams just don't/won't come true no matter how much you work and how hard you try. She critiques everything from 4.0 GPAs, going to Ivy League schools, marrying a Price Charming, or becoming a self-made millionaire. In contrast, "Secret Love" is arguably more positive and uplifting poem with a deeper, darker subtext. Again, the poet employs a lot of anaphora with the repetitions of "I love" and "That's why." The poet talks about how much she loves school, but there is something more to that. This especially apparent in the line "...because school is an escape from reality." The underlying implications are that reality outside of school must be rather bleak. The poems of Naomi Rodriguez Herrera, a 6th grader, really touched us. In fact, a part of us wants to declare one of her poems--"Big Brother"--might very well be our favorite poem in this whole book. It's the only one that made us feel like crying a bit. That's somewhat ironic because the poet's other poem before that--"Saying Goodbye"--is also very sad, deliberately so. In the poem, Herrera mourns the death of someone very important to her named Alice, attending Alice's funeral. The poem really highlights how tragedy and death often come so suddenly and unexpectedly. There's one part of the poem that we really liked. It's the passage: "One minute we were at the mall talking and shopping The next you were laying on the floor Caught in the crossfire We never saw coming I watched you die in my arms I did nothing There wasn’t anything I could do But still I ask myself: What did I do for my soul to deserve a funeral?" Not only is this passage objectively heartbreaking and powerful, but it also pairs the words "Caught" and "crossfire" alliteratively. "Anything" and "nothing" are rhymed, but that's not all. They're also juxtapositions. In other words, they mean opposite things and yet they assist each other in conveying the feeling of total despair. Also, by the way, it's amazing that "funeral" and "soul" actually rhyme. But back to "Big Brother"... The concept is simple: showing how a relationship between siblings has evolved, developed, changed, and matured over the years. While it's simple in concept, it's powerful and beautiful in its execution, contrasting the times that the brother and sister fought with the times they were there for each other. The repetition in this poem is also great: "By talking with you when you’re feeling sad By helping you to sort through problems By being with you when you need it the most" There's also the line "I can always count on you to be my North Star" which speaks volumes. It essentially says that the siblings know that they can always turn to each other when they need help or someone to confide in. Sofia Gonzalez is the poet of "A Lost Love" which is one of the most well-structured, traditional poems in this book. But the Gonzalez poem we want to talk about is "Whispers of Life." It follows many of the same rhyme schemes that "A Lost Love" did, but it shows an added layer of sophistication. "Trees" is rhymed with "ease." "Whole" is rhymed with "soul." "Stone" is rhymed with "unknown." These are dink-and-dunk rhymes. There's effort here. Thomas Husted Billingsley is 7th grade poet of "The Past. The Present. The Future." While this poem isn't as beautiful and eloquent as some of the others, it's impactful and effective in its own unique way. It DARES TO BE POSITIVE. It DARES TO HOPE. Remember how bleak, depressing, and miserable some of those other poems we mentioned were? Well, Billingsley's poem looks forward to the future—to "tomorrow." He hopes that, despite the trials and tribulations of being 13, he can still hope that "tomorrow" will be better—that, in the future, he can own a house, ask out his crush, grow up, and live a good life. There's something very raw, human, and relatable about this. Aria Lacchei provides one of the few examples of prose in this book with an excerpt of "The Night Discovery" which explores Heterochromia (having eyes that are different colors). That was pretty interesting. "Where I'm From" is an interesting little poem by Isabella Mendez-Higareda that that celebrates both the small details and the big moments that shape a person’s identity. Using vivid imagery—like “drawing tall trees in the field,” “origami butterflies,” and “the snowy white swan”—the poet invites readers into her imaginative world, full of movement, family, and change. The poem beautifully balances joy and loss, remembering loved ones while embracing new beginnings and growing confidence. Ultimately, “Where I’m From” feels like a warm and uplifting journey through memory, belonging, and the ever-expanding definition of home. Hey, we wrote "Where I'm From" poems before. This was kind of nostalgic to see. Again, every contributor was impressive in their own way. How can you not get behind these incredible kids who will be leading the next generation? Check it out on Amazon!  Score: 93+/100 (9.3+ out of 10)
Do you have a kid in your household who loves baseball? Are you trying to introduce your kids to this great sport? Saul the Baseball in the Big Game is a cheerful, imaginative, and fun children's book by Kim LeBlanc! It seems to be created in order to introduce and educate children about the sport of baseball, doing so in a creative and entertaining way! This book tackles those tasks by personifying the individual baseballs who get their time to shine in big baseball game! First of all, did you know that a baseball game can use up as many as 120 baseballs?! We didn't know that! We also didn't know that the baseballs in a game were changed so often. That's mindboggling! Anyway, though this book builds to and spotlights the titular baseball, Saul, it also allows other baseball characters to shine. Ted is the warmup baseball—the one who gets tossed back and forth before the game really starts. Ted’s big moment is all about helping the pitcher find his rhythm and get comfortable. He represents the warmup phase, where pitchers and catchers get loose and prepare for the action to come. Unfortunately for Ted, a “passed ball” sends him rolling away, and just like that, his job is done before the real excitement even begins. It’s a reminder that even warmups are important (and sometimes unpredictable) in baseball! Next up, we meet Ruth. Ruth is the game’s first “star” baseball. She gets pitched to a batter and, with a crack of the bat, is sent soaring high into the air. Ruth represents the classic “fly ball”—those dramatic, crowd-pleasing moments when everyone watches to see if the outfielder will make the catch. Sure enough, Ruth gets caught for an out and then thrown up into the stands as a souvenir. Ruth’s big moment shows kids the excitement of outfield catches and the tradition of giving caught balls to fans. Then there’s Joe. Joe finds himself at the center of a classic baseball maneuver—a bunt! When the batter squares around and gently taps Joe, he only rolls a few feet forward. Joe’s brief but important role teaches kids about bunting—a strategic play used to move runners and surprise the defense. Joe’s moment may be quiet, but it’s proof that every play counts, no matter how small. After that, we have Rico. Rico is the speedster. He zooms through the action—first getting thrown as a blazing fastball (that wows even the umpire), and then getting hit for a double! Rico represents both the thrill of fast pitching and the excitement of extra-base hits, where players hustle around the bases and fans hold their breath to see if they’ll make it. Now, it should be briefly mentioned that Rico's name appears to be misspelled as "Ricco" on the illustrations themselves. We think there may have been some slight miscommunication with the illustrator, Afton Jane, who otherwise did a really good job. We're not gonna make a big deal or deduct points for that, it's just something we noticed. And, again, Afton Jane did a good job with the illustrations overall. They're colorful, bright, expressive, and attractive. They're a joy to look at. Next, it’s Lynn’s time to shine. Lynn is all about power and hustle. Lynn’s moment is the triple—one of the most electrifying and challenging hits in baseball. The batter smacks Lynn deep, sending the runner racing around three bases and sliding safely into third. Lynn’s big play highlights athleticism, speed, and the dirt-kicking energy of a well-earned triple. Following Lynn is David. David is the ground ball. He’s the one who gets smacked along the infield, with runners hustling home and fielders diving to make a play. David’s sequence showcases the chaos and strategy of infield action—quick throws, dramatic slides, and the constant pressure that makes baseball so gripping. And finally, there’s Saul. Saul is the heart and soul of the story, and he gets to play the most coveted part: the home run ball. After watching his friends take their turns, Saul finally gets picked for the biggest moment—coming into the game with everything on the line. With one mighty swing, Saul soars out of the park, delivering a walk-off home run and securing the win for the team! Saul represents the dream of every baseball—the chance to be part of something legendary, to be the ball that everyone remembers. Each baseball in Saul the Baseball in the Big Game gets their own chance to shine, teaching kids about the different plays, strategies, and unforgettable moments that make baseball so special. By personifying the baseballs, Kim LeBlanc cleverly shows that every role—big or small—matters on the field. And who knows? Maybe your kid will find their own “Saul” moment the next time they step up to the plate! Anyway, we enjoyed this book overall. We will say that there were a few things about it that were a bit wonky. First of all, we were somewhat bothered by the expressions and reactions of some of these baseball characters, especially upon being hit with the bat or impacting something else. They're wincing and even appear to be in pain at times. We especially noticed this with Lynn and Ted, who really appear to take a pounding! We're also a bit torn about the rhyming. Most of the time, we really like children's' books (and poetry) that rhyme, but a lot of the rhymes in this book seem a bit contrived (forced). For example: “Wham! Our Lynn is hit for a triple rip. Fast around the bases—runner, please don’t trip! Sliding into the base, feetfirst in the dirt. The runner was safe and didn’t get hurt." "...didn't get hurt" seems like a contrivance. And it's also ironic considering that it really appears like Lynn got hurt in this scene, which we mentioned earlier. But again, we're just being nitpicky at this point. But we digress. We actually learned quite a bit from this book! Maybe your kids will too! For example, did you know that baseballs were once made from old shoes? Neither did we! The book also taught us that baseballs used to have hard rubber cores, and that nowadays they’re filled with cork and wrapped in yarn and string. Even the way the balls are prepared for the game is interesting—before each game, the balls are rubbed with special muddy river clay to give the pitcher a better grip. (Who knew?) We also discovered that there are exactly 216 red stitches on a professional baseball, all arranged in a figure eight. On top of that, the glossary at the end breaks down key terms like “splitter,” “changeup,” “turn the horn,” and even “walk-off win,” so kids (and adults) can sound like true fans by the time they’re done reading. In short, whether it’s baseball history, quirky fun facts, or simply the rhythm and excitement of the game, there’s something here for every curious kid—and maybe even for their parents, too! Check it out on Amazon!  Score: 93+/100 (9.3+ out of 10)
The Unlife of Lisa Cooper is one of the most entertaining and fun vampire novels we've read in a long time! This JM Celi novel is split into "Episodes" rather than chapters, implying that the author may have aspirations of turning this into a supernatural or paranormal TV series like Buffy the Vampire Slayer or Grimm. The book shares a lot of similarities with these shows—blurring the lines between darker genres like paranormal romance, magical realism, and Gothic fantasy in conjunction with lighter genres like comedy, self-referential humor, and urban slice-of-life drama. The result is a narrative that’s as emotionally grounded as it is supernatural, inviting readers to connect with Lisa as both an immortal and a deeply human protagonist. And, let's face it... vampires and werewolves are pretty darn silly. They've been done to death in fiction, and no matter how hard authors try to make their struggles and experiences gritty and realistic, there's always a part of us that finds them hard to take seriously. What's incredible is that the author seems to acknowledge and realize this, crafting characters and a book that seem aware that they're pretty ridiculous and that they're in some pretty silly situations! So, even though this book is a bit violent, it's also comically so. It's a lot more like Looney Tunes than Saving Private Ryan. The author may not like hearing that, but we mean that in the most positive and flattering possible way. Let's put it this way: most of these Gothic fantasy-type novels tend to be dark and dreary affairs—depressing ones. They really get your mood down. This book, on the other hand, is FUN, HUMOROUS, and—dare we say—ENTERTAINING and ENJOYABLE TO READ! Who would've thought that a book can be entertaining and enjoyable? Geez, it's like authors forget that books primarily exist to express, educate, and entertain. Some authors seem to want to go out of their way to make the reading experience as miserable for the reader as possible. That's no fun! Well, JM Celi, the author of The Unlife of Lisa Cooper, doesn't go that route. And we applaud the author for it. So, what makes this book so fun, entertaining, and enjoyable? Well, as we alluded to before, it doesn't take itself too seriously. Yes, there are stakes. Yes, there is some wear and tear. Yes, there is bloodshed. But it never seems like this book is celebrating or glorifying the violence. It more so offers explanations for why it's happening. Because the book doesn't take itself too seriously, we're free to immerse ourselves in it without fear of permanent consequence or something irreversibly disastrous happening to beloved characters or plotlines. It frees and liberates us just to grab our pop corn, relax, and enjoy the ride that JM Celi is taking us on. You know what? It's almost like a video game. It's almost like a session of Grand Theft Auto. Yes, your character might do all these terrible things and all these terrible things might happen to your character, but it's all fine and dandy. You can just load up your last save point or respawn outside the police station. It's kind of a surreal feeling. So, let's actually talk about the nitty gritties of the book itself and try to uncover what made us feel this way about it. The book follows the titular Lisa Cooper, who is cursed as a vampire and forced to periodically feed on people, all the while experiencing the guilt and despair of doing so. Apparently, she's about 100 or 150 years old—which actually lends to some of the humor in the book. One of the funniest scenes we can recall is when she bemoans having trouble driving even after doing it for over a hundred years. For some reason, we thought Lisa Cooper was going to be the main villain of the book. We thought this book was going to be about a bunch of vampire hunters all trying to get her like she's Han Solo in Empire Strikes Back. We thought that the opening—in which she seduces and feeds on a man—was trying to establish that she's a dangerous killer/murderer and that she needs to be stopped. Well, we were thankfully wrong. Lisa Cooper, in fact, is the protagonist and heroine of the novel despite the terrible and tragic things she must periodically engage in. She isn't evil, she's just hangry (hungry-angry). Aren't you sometimes? That makes her surprisingly relatable. The book does an awesome job at describing and demonstrating what happens when Lisa doesn't feed. They're like the worst withdrawal symptoms imaginable. It's hard not to feel for her and empathize with her. We're actually told that—in this lore—vampires can die if they lose all of their blood. They don't have to eat the foods we humans normally eat or breathe air like humans do, but they do so to fit in and out of instinct. That's interesting. There is a funny scene in which Lisa is so hungry and blood-starved that she resorts to eating hamburgers and strawberries her boyfriend bought for her, all the while essentially fantasizing and feeling bad about wanting to eat him. Gosh, that whole dynamic between her and Neil is the funniest thing about this whole book! We'll get back to that later. Anyway, she gets incredibly dizzy and shaky when she hasn't fed on human blood in a while. We get these incredible descriptions of the way that Lisa feels throughout the book, not just when she hasn't fed but when she's being attack, assaulted, or when she's fighting off the various enemies in the book. The author did a great job at showing the character's wear and tear: "...my anxiety weighed on me like an anvil on my chest." "I was awash with fury and fear, and it was a cocktail ripe for my curse to pull on. It almost begged me, dangling all the power I needed. All I had to do was take it, to drift down that dark spiral, and eviscerate every last one..." “My complexion was definitely pale. My fingers felt cold. Granted, I didn’t look as pale as Tracy or some of the others who regularly draw on their curse, but I was noticeably less rosy." "My hunger pulled on me like a tug-of-war. It would be so easy. We’d been so friendly with each other. The charming gaze would be effortless. My fangs elongated in my mouth. I held my lips tight... The curse compelled a vampire to do terrible things, but ultimately, it was our choices that made us what we were. And I chose not to let my curse control me." "I was pushing the bullets out, slowly. Everything inside me was knitting itself back together. Pain still coursed through me, but the telltale pull of flesh mending to flesh put relief on the horizon. Pierce put pressure on my wounds. I knew he was trying to control the bleeding, but I wanted him to knock it off. The added pressure just exasperated the entire ordeal." "There was a bonfire in my abdomen. Scorching, pulsing waves of pain stabbed through me. I gritted my teeth. I could feel my body working to heal itself, but there was a lot of damage." Lisa Cooper is such a cool character! Such a bad@#$ who is so hard to kill and yet... so vulnerable at the same time. The fact that she's constantly at war with her curse and her conscience gives her depth. The fact that she's constantly in mental and physical anguish and pain makes us really sympathize and feel for her. Also, despite having a vampiric curse and some enhanced abilities—especially her enchanting glance (which is somewhat Medusa-like/Jedi-mind-trick-like)--she feels the need to come armed with both a Remington and her shillelagh, which she feels the need to use to avoid alerting people by firing her gun. She also occasionally uses stakes, but usually just to contain or suppress the threats posed by other vampires, usually not to kill. On that note: Lisa is rather merciful. She has opportunities to outright kill a bunch of her enemies and just doesn't, feeling content to send a message not to screw with her again. You know what else makes us love Lisa? It's that she's good to other people (well, aside from the leachers she has to feed on) and especially to animals! In fact, one of her key relationships is with her dog, Chewie. Chewie is a humongous, lovable, and loyal Neapolitan Mastiff. Her relationship with Chewie is adorable and comical at times. Some of our favorite scenes in the book are just when he breaks the silence or awkwardness and "woofs" at things. Lisa also demonstrates her kindness toward animals when she refuses to look at one of them being killed, even for food. Another really funny and entertaining relationship in this book is her relationship with Neil. In fact, it's probably our favorite thing about this book. Lisa has somehow kept her vampirism a secret from Neil, all the while all these crazy things are happening involving her that imply she's caught up in some supernatural/paranormal stuff. So, what do Lisa and Neil do? Well, Lisa creates white lies and Neil either buys into them or jumps to conclusions of his own. Lisa somehow convinces Neil that Chewie is a magical dog that has sporatic invisibility powers. Neil jumps to the conclusion that Lisa is a witch, and that's the story she decides to run with for most of the book. It's hilarious! It's extra funny when Neil seems to have it all figured out. He's so sure that she's a witch and that all of these enemy covens are after her. Ironically, despite Lisa not being a witch, she has to employ the assistance of witches in this book. Actually, her meeting with the witches was another of our favorite parts. It's cool how all the different witches was their own unique character with own unique perks and sets of skills. Lisa also befriends Coyotita, a were-coywolf whose partner was killed by a mysterious and powerful assailant/force. The fact that she's a were-coywolf (of all things) sorta pokes fun at the genre as a whole. It also seems to poke fun at the fact that every vampire book just needs an obligatory werewolf character in it, whether it's relevant to the plot or not. It's just one of those tiresome tropes that just won't die. Now, to be perfectly honest, this is around when the book seemed to lose focus and go a bit downhill. It's not that Coyotita wasn't cute and somewhat compelling, it's just that we thought the book was heading a certain direction, then got distracted with Coyotita's side-quest and the fire demon arc. Like, Neil pretty much disappears in this section of the book. We liked him! Why take him away from us? Now, you could argue that the fire demon in this section somewhat intersects with the main story as it becomes entangled with the witches and Amy Wagner's murder mystery. Yes, this book joins the plethora of novels (as we joked about online) that arbitrarily devolved into a murder mystery. However, it seemed like a side-tangent. Hey, at least the fight with the fire demon is pretty cool and we get a huge dilemma with Coyotita. Oh, and Brian is in this book, but we didn't care enough about him to remember who the heck he was or what he was doing in this book. Anyway, getting back on track... the seeress among the witches, Andrea, tells Lisa that there are actually five different people/parties trying to kill her. By the way, it's really cool how even the seeress has rules she has to follow. She can only be asked three questions, so Lisa has to be economical with them. Also, by the way, it's not like the other witches are just useless and don't do anything. Not only do they take part in battling the fire demon later, but they also have different functions in helping Andrea convey her prophecies (if you want to call her answers that). For example, Alice shuffles the tarot deck and Sophie translates. Ok, we've yapped way too much about these doggone witches. One last thing that's impressive about this book is the world-building. In this world, there are territories run by different vampires. These territories are called "Bleeds." You don't want to breach the territorial rights of these different Bleeds, but that's what naturally happens. Disputes emerge, and—as you'd expect—Lisa is caught up in the middle of them. Also, there's the concept of "Thralls." From what we gather, Thralls are basically humans who become partnered with paranormal or supernatural creatures like vampires. We're assuming this probably extends to were-creatures too. There are rules that vampires have to follow and rules that witches have to follow. It's actually pretty interesting. This has to be one of our favorite vampire novels ever because of how self-aware it seems to be. It knows what it is and doesn't try to force us to take it seriously. It's plain fun. Check it out on Amazon! |
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