MURDERED, MY SWEET
Joan Lowery Nixon
An overweening mother who's meant to be scatterbrained and a murder that never matters are at the center of this clichÇ-filled mystery from Nixon (Search for the Shadowman, 1996, etc.). Jenny Jakes and her mother, the famous mystery writer Madeline Jakes, are in San Antonio for a visit: A distant cousin, billionaire Arnold Harmony, plans to celebrate his birthday by having his will read aloud to the beneficiaries. His plans are interrupted when his son, Porter, is murdered at the hotel. Madeline's fans believe she can crack the case, but Jenny knows better: Her dithery mother considers herself an expert on the criminal mind, but can't figure out a mystery she didn't create. Instead, Jenny solves the murder, always careful to credit Madeline as the sleuth. The premise of Jenny's covering for her mother is funny, but it goes so smoothly that it becomes boring; when the murder is reported in the newspaper, Jenny's bell-hop romantic interest, Carlos, also ensures that the story spins Madeline's way. Nixon treats the San Antonio setting as a place readers know, dropping names without describing the place; meanwhile, the characters simply chase around inside the hotel. For savvy mystery-lovers, the detective work is sloppy: The murder scene isn't sealed off, the real detective puts up with contemptuous witnesses, and he allows Madeline (and Jenny and Carlos) in on his investigation. That no one thinks to protect Logan, a character who announces that he knows all and is then murdered, is irresponsible. (Fiction. 12+)
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Kirkus Reviews
An overweening mother who's meant to be scatterbrained and a murder that never matters are at the center of this clichÇ-filled mystery from Nixon (Search for the Shadowman, 1996, etc.). Jenny Jakes and her mother, the famous mystery writer Madeline Jakes, are in San Antonio for a visit: A distant cousin, billionaire Arnold Harmony, plans to celebrate his birthday by having his will read aloud to the beneficiaries. His plans are interrupted when his son, Porter, is murdered at the hotel. Madeline's fans believe she can crack the case, but Jenny knows better: Her dithery mother considers herself an expert on the criminal mind, but can't figure out a mystery she didn't create. Instead, Jenny solves the murder, always careful to credit Madeline as the sleuth. The premise of Jenny's covering for her mother is funny, but it goes so smoothly that it becomes boring; when the murder is reported in the newspaper, Jenny's bell-hop romantic interest, Carlos, also ensures that the story spins Madeline's way. Nixon treats the San Antonio setting as a place readers know, dropping names without describing the place; meanwhile, the characters simply chase around inside the hotel. For savvy mystery-lovers, the detective work is sloppy: The murder scene isn't sealed off, the real detective puts up with contemptuous witnesses, and he allows Madeline (and Jenny and Carlos) in on his investigation. That no one thinks to protect Logan, a character who announces that he knows all and is then murdered, is irresponsible. (Fiction. 12+)

After a Nigerian British girl goes off to an exclusive boarding school that seems to prey on less-privileged students, she discovers there might be some truth behind an urban legend.

Ife Adebola joins the Urban Achievers scholarship program at pricey, high-pressure Nithercott School, arriving shortly after a student called Leon mysteriously disappeared. Gossip says he’s a victim of the glowing-eyed Changing Man who targets the lonely, leaving them changed. Ife doesn’t believe in the myth, but amid the stresses of Nithercott’s competitive, privileged, majority-white environment, where she is constantly reminded of her state school background, she does miss her friends and family. When Malika, a fellow Black scholarship student, disappears and then returns, acting strangely devoid of personality, Ife worries the Changing Man is real—and that she’s next. Ife joins forces with classmate Bijal and Benny, Leon’s younger brother, to uncover the truth about who the Changing Man is and what he wants. Culminating in a detailed, gory, and extended climactic battle, this verbose thriller tempts readers with a nefarious mystery involving racial and class-based violence but never quite lives up to its potential and peters out thematically by its explosive finale. However, this debut offers highly visually evocative and eerie descriptions of characters and events and will appeal to fans of creature horror, social commentary, and dark academia.

A descriptive and atmospheric paranormal social thriller that could be a bit tighter. (Thriller. 14-18)

When Death tells a story, you pay attention. Liesel Meminger is a young girl growing up outside of Munich in Nazi Germany, and Death tells her story as “an attempt—a flying jump of an attempt—to prove to me that you, and your human existence, are worth it.” When her foster father helps her learn to read and she discovers the power of words, Liesel begins stealing books from Nazi book burnings and the mayor’s wife’s library. As she becomes a better reader, she becomes a writer, writing a book about her life in such a miserable time. Liesel’s experiences move Death to say, “I am haunted by humans.” How could the human race be “so ugly and so glorious” at the same time? This big, expansive novel is a leisurely working out of fate, of seemingly chance encounters and events that ultimately touch, like dominoes as they collide. The writing is elegant, philosophical and moving. Even at its length, it’s a work to read slowly and savor. Beautiful and important. (Fiction. 12+)