of the Republic
by Candice Millard
concise and revealing history. . . . A fresh narrative that
plumbs some of the most dramatic days in U.S. presidential
The Washington Post
spirited tale that intertwines murder, politics and medical
mystery. . . . Candice Millard leaves us feeling that Garfield's
assassination deprived the nation not only of a remarkably
humble and intellectually gifted man but one who perhaps bore
the seeds of greatness . . . splendidly drawn portraits. .
. . Alexander Graham Bell makes a bravura appearance.
The Wall Street Journal
. . . Gripping. . . . Stunning. . . . The haunting tale of
how a man who never meant to seek the presidency found himself
swept into the White House. . . . Millard shows the Garfield
legacy to be much more important than most of her readers
knew it to be."
The New York Times
of the Republic displays Millard's energetic writing and rare
ability to effortlessly educate the listener."
The Book Thief
by Markus Zusak
Review. Grade 9 UpZusak has created a work that deserves
the attention of sophisticated teen and adult readers. Death
himself narrates the World War II-era story of Liesel Meminger
from the time she is taken, at age nine, to live in Molching,
Germany, with a foster family in a working-class neighborhood
of tough kids, acid-tongued mothers, and loving fathers who
earn their living by the work of their hands. The child arrives
having just stolen her first bookalthough she has not
yet learned how to readand her foster father uses it,
The Gravediggers Handbook, to lull her to sleep when shes
roused by regular nightmares about her younger brothers death.
Across the ensuing years of the late 1930s and into the 1940s,
Liesel collects more stolen books as well as a peculiar set
of friends: the boy Rudy, the Jewish refugee Max, the mayors
reclusive wife (who has a whole library from which she allows
Liesel to steal), and especially her foster parents. Zusak
not only creates a mesmerizing and original story but also
writes with poetic syntax, causing readers to deliberate over
phrases and lines, even as the action impels them forward.
Death is not a sentimental storyteller, but he does attend
to an array of satisfying details, giving Liesels story all
the nuances of chance, folly, and fulfilled expectation that
it deserves. An extraordinary narrative.Francisca Goldsmith,
Berkeley Public Library, CA
Copyright © Reed Business Information, a division of
Reed Elsevier Inc. All rights reserved