The Moth Keeper

Anya lives in a nocturnal desert village, a close-knit community where all kinds of people work together to survive. Every aspect of life here depends on the magical pollen of the Night-Flower tree, and the tree depends on the pollination of the Moon-Moths. These creatures are fragile, needing the protection and care of a Moth Keeper. The Moth Keeper spends every night—when the village is awake – out in the desert with the Moths. The position is a lonely one, but vital to the community. That’s why Anya, who wishes desperately to be useful and valued, has pledged to become the next Moth Keeper.

The nights are long and cold, and spending so much time alone beneath the endless desert sky has Anya questioning everything, from her own abilities and worth to whether she even wants to live in the night-village. Are things better in the neighboring sun-village, which sleeps at night and wakes during the day?

Anya’s best friend worries about her, and her mentor encourages her to transition into the job more slowly, but Anya is determined to prove herself. Refusing help and insisting she is fine, Anya pushes herself until she makes a dire mistake. The Moths are lost, and the Night-Flower tree is dying. Can Anya get the Moths back in time to save her village? And even if she does, is there a future for her as a Moth Keeper?

Fans of K. O’Neill’s award-winning Tea Dragon Society books will find in this story a new fantasy world with some familiar touches. Like those books, this has a cozy setting full of kind, well-intentioned characters (who also, incidentally, seem to drink a lot of tea). Both include characters with animal-inspired design elements, like Anya’s fox ears and tail, which are taken for granted as part of the world.

O’Neill’s bio says that they “strive to make books with themes of kindness, inclusiveness, and well-being”. These ideas permeate this story, in which we see what can happen when Anya fails to recognize her own limits, but also see her learn to depend on others and find strength in her community. The editor’s note at the beginning of this book describes this story as being about burnout, which is an extremely timely topic. Here, burnout is treated not just as something that Anya must overcome, but also as something her community must remedy by recognizing that the Moth Keeper job might be asking too much of any one person, and that Anya needs their support.

The artwork is softly colorful, its palette full of twilight blues and the earth tones of the desert. Both inside the village and out in the desert, the settings are full of interesting details and curving, organic shapes. The character designs are whimsical and varied: there are humans, centaurs, and people with wings and feathers or animal tails and ears, and they wear thoughtfully designed clothes and accessories. The lineart is loose and relaxed, drawn with fine lines, so that even the detailed settings feel spacious and spare, not dense or crowded.

There are touches of sadness in this story – Anya comes from an unhappy family situation, another character has not seen his parents in the sun-village for a long time, and Anya meets a wandering spirit with a lonely tale. Ultimately, though, this is a hopeful story of kind people helping and supporting each other. Hand it to fans of the Tea Dragon Society books and other gentle, positive fantasy.

The Moth Keeper
By K. O’Neill
Penguin Random House Graphic, 2023
ISBN: 9780593182260

Publisher Age Rating: 8-12

NFNT Age Recommendation: Middle Grade (7-11), Tween (10-13)
Creator Representation:  Nonbinary ,

Getting Dizzy

Fifteen year-old Desideria “Dizzy” Olsen just knows she’s destined for greatness. One day, anyway. But so far, it seems like everything she tries—from ballet to trumpet—just ends in total disaster. So when a portal opens up right in front of her when she’s about to toss her roller skates into the donation bin along with the rest of the accouterments from her abandoned hobby attempts, it suddenly seems like everything is falling into place after all!

It turns out that fate (and new mentor Chipper) has a new mission for her: take on the mantle of ‘Burb Defender and use her newfound powers (plus super cool gadgets like the Helmet of Helping and the Blaster Bracelet) to save her hometown from evil monsters known as Negatrixes and their bad vibes. 

As the pressure mounts and Negatrixes multiply, Dizzy starts to realize that there might be more to being a Chosen One than potential fame and cool superpowers. With her own personal Negatrix looming, will the ‘Burb Defender and her new friends the Rollers be enough to defend Ruseberg from the biggest threat yet?

A sweet, silly, and action-packed romp that touches on Chosen One tropes, new friendships, and figuring out who you are, Getting Dizzy is a delightful and enjoyable read for teens and tweens. Refreshingly, the core cast of characters is diverse without being didactic about it: Dizzy is Latine-coded, Scarlett seems to be East Asian (unspecified), Payton is disabled (born without a left hand), and Av is Black and non-binary. This cast is a reflection of the world teens are currently living in, and it’s nice to see them just exist, and not have their identities pointed out in any specific way. Specific traits of each member of the friend group come into play in a vital way later on, and are things unrelated to their race, gender identity, or ability. Instead, what’s important about each friend are qualities like always seeing the beauty in everyone or being incredibly smart. 

With the story opening on a younger Dizzy’s dream of ballet stardom clashing with the reality of name-calling at school, the tone is set right from the start. Fiercely independent (just like her mom), Dizzy isn’t afraid to rise to a new challenge. At least, not at first. Like many young people, she’s a big dreamer who probably wishes life was more like a movie montage, especially when learning to fight the Negatrixes means re-learning how to roller skate (and falling. A LOT — an experience writer Shea Fontana is quite familiar with as a former roller derby player).

No stranger to the superhero genre herself thanks to her experience writing for the DC Super Hero Girls series, Fontana infuses the graphic novel with a solid mix of one-liners, goofy idioms, and moments of seriousness. From quick-witted dialogue like Payton’s quip about leaving the rest of her left arm behind when she moved from Seattle to Chipper’s speech about participation trophies and why sometimes it’s the people who aren’t good at something who get chosen, the dialogue helps Dizzy and her friends feel grounded in reality, even when they’re blasting Negatrixes back into portals with colorful magic. While the superhero antics are fun, teens and tweens will likely find themselves drawn to the themes of friendship, perseverance, and figuring out how to fight against our own anxiety and negative emotions, even when it feels easier to just give in.

Illustrator Celia Moscote, known for their gorgeous work on the graphic adaptation of Gabby Rivera’s Juliet Takes a Breath, succeeds again here in bringing Fontana’s cast and this imaginative setting to brilliant life on the page. The Negatrixes feel scary in a Pokémon-esque, cartoonish sort of way, keeping the terror lower stakes and accessible for both younger and older readers. Emotions are rendered in great facial expressions, and the visual pratfalls are hilarious. The colors are bold and vivid, especially the magic: that sparkles and swirls give off a magical girl element perfect for our resident ‘Burb Defender. 

A welcome addition to tween and teen collections, Getting Dizzy is a lighthearted but meaningful compilation of an initial run of four comic issues that leaves readers on a cliffhanger and hoping for a potential sequel. Hand it to fans of graphic novels like Sebastian Kadlecik’s Quince, Sam Humphries’ Jonesy, and anyone who enjoys stories featuring magical girls, superheroes, and the power of friendship.

Getting Dizzy
By Shea Fontana
Art by Celia Moscote
BOOM! Box, 2022
ISBN: 9781684158386

Publisher Age Rating: 12+

NFNT Age Recommendation: Teen (13-16), Tween (10-13)
Creator Representation:  Latine,  Nonbinary ,  Character Representation: Assumed Hispanic or Latine,


The boroughs of New York City are filled with the stylish moves of breakdancing teens and tweens. But what happens when they add a twist to their routine?  Breakdancing and yo-yo tricks are an unstoppable pair in Gale Galligan’s newest graphic novel Freestyle. The author and illustrator use their skills to create a story with relatable characters having fun expressing their style and flair on and off the dance floor.

The breakdance crew Eight Bitz need to practice every weekend if they want to win the upcoming dance competition. Their team captain is pushing their limits, causing rifts between members. However, things get a bit more chaotic when team member Cory is grounded until his grades improve. Not only that, he is stuck with quiet studious Sunna as his tutor. At first the two have trouble getting along, but things soon change when Cory watches Sunna perform some expert yo-yo tricks. As she flicks her wrist and lets the plastic bauble fly to and fro, Cory becomes mesmerized and wants to learn all the techniques. As the two become closer, however, members of Eight Bitz take note. With tensions in the dance team rising, a few members confront Cory and question his loyalty to the team and their friendship.

Gale Galligan’s artwork and storytelling go very well together. Not only are readers introduced to the world of breakdancing and yo-yo competitions, they are treated to a story of middle schoolers foraging and maintaining friendships while preparing themselves for that next level in their academic careers, high school. Each character has their own recognizable strengths which they use to achieve their goals and weaknesses that they combat in their own way. The cast is very much diverse, with characters of different gender identities and nationalities. There are also pressures of perfectionism and meeting parents’ standards within the story, common occurrences in the lives of most middle schoolers.

What really brings this story to life is Galligan’s artwork and panels packed with slick dance moves and yo-yo throwing action. In double page spreads, tweens are jumping and moving to a hip hop beat while spinning yo-yos fly in all different directions. The artist’s choice of using a bright color scheme adds to the excitement of the pages, giving readers a chance to pore over every single detail. Their research into both activities is prominently shown throughout the story, with characters using different lingos and names to describe routines, movements, and positions.

Illustrator and author Gale Galligan combines the quick moves of breakdancing and yo-yo tricks to create an exciting, heartfelt story of friendship and expression. Public and school libraries should consider this graphic novel in their collections, especially those who cater to devoted readers of Raina Telgemeier and Kayla Miller. Middle school readers and fans of Galligan’s work on The Baby-Sitters Club graphic novels will definitely want to give this book a try and perhaps look into the exciting world of yo-yo tricks and dance crews.

By Gale Galligan
Scholastic GRAPHIX, 2022
ISBN: 9781338045802

Publisher Age Rating: 8-12

NFNT Age Recommendation: Middle Grade (7-11), Tween (10-13)
Creator Representation:  Taiwanese-American,  Genderqueer, Nonbinary
Character Representation: Chinese-American

Made in Korea

Made in KoreaWhat does it mean to live? How do we define our identity? Where do we call home? Many of these questions permeate the lived experiences of an artificial intelligence (A.I.) being in Made in Korea, a science fiction thriller replete with philosophical questions, written by Jeremy Holt and illustrated by George Schall.

The story begins when a married couple, Bill and Suelynn Evans, order a nine-year-old female “proxy” they name Jesse, to adopt as their very own daughter. No sooner does she arrive than she starts to observe the world around her, dowloading and digesting all sorts of data—absorbing every book in the house, playing with stuffed animals, and interacting with classmates in school. But pretty soon, her creator, a programmer of artificial intelligence systems from Korea, comes tracking her down. As events escalate so do the stakes when a group of social misfits coax her into partaking in a series of daring, violent, anti-establishment stunts. What intention does this stranger have in store for Jesse? What secrets lie within this adopted proxy? What makes her so uniquely special?

This science fiction thriller explores the unique curiosities and wonders of life through the lens of an adolescent A.I. as she navigates the rocky terrain of adolescence. She attempts to understand who she is and how she fits into society and the rest of the world. Carefully arranged panels capture Jesse’s role as the quintessential stranger in a strange land. Most striking are the emotional nuances of her mannerisms and facial expressions as she learns to navigate multiple dimensions of intersectionality of race, ethnicity, gender, and identity.

While the conclusion addresses some questions, others remain ambiguous and somewhat rushed. Six standalone short slice-of-life stories by various creators fill the back matter of a world populated by proxies and humans, touching upon themes of family ties. Overall, Made in Korea presents a rapidly unfolding plot between the worlds of the ordinary and the extraordinary while injecting philosophical musings and social issues that include exploring the theme of nature vs. nurture, meddling with the natural order of life, and negotiating the complicated notions of home, self-identity, and self-perception. A drama thriller with substantive ideas revolving around life and humanity makes this graphic novel a thought-provoking addition to science fiction collections.

Made in Korea
By Jeremy Holt
Art by George Schall
Image, 2022
ISBN: 9781534320116

Publisher Age Rating: 18+

NFNT Age Recommendation: Adult (18+)
Creator Representation: Korean-American, Nonbinary

Eat the Rich

Authors who insert a social message into their books might do so subtly, said message coming across as an “aha” moment once the reader finishes the book. Authors might also insert the message into the book with little to no subtlety whatsoever; the social message of the book is evident in the plot summary. While that has the danger of being didactic, sometimes the results can be fun. Eat the Rich, written by Sarah Gailey and illustrated by Pius Bak, is one such book.

The story begins with Joey meeting her boyfriend Astor’s family for the first time. Astor is from the exclusive and affluent neighborhood of Crestfall Bluffs, and Joey is very anxious about saying the wrong thing, not knowing how to sit, and just not belonging. There are traditions in Crestfall Bluffs, and there is a clear social divide that Joey does not want to get on the wrong side of. Joey must learn to survive among the cutthroat one percent and that includes accepting their unusual and rarefied tastes.

Hugo-Award winning author Gailey weaves a very straightforward story, one that rockets toward the gore and bloodshed promised by the book’s cover; there is no dancing around the fact that people in this story die and die horribly. This jump to brutality, however, doesn’t make the book feel rushed, not when the story’s also a character study of Joey’s motivations and her desire to fit in with Astor’s family. There are times where Joey appears to be the victim and others where she is the victimizer. Indeed, there are plenty of red splotches in Eat the Rich’s universe, but there are also many different shades of gray.

Bak’s artstyle does paint a grim yet vivid picture of Crestfall Bluff’s rapacious-yet-well-fed underbelly. Bak shows a knack for capturing the faces of these characters as their smiling veneers fall into the expressions of tortured souls and even hungry devils. And Bak also displays a knack for displaying their physical insides, which are spread open, bleeding, and repurposed into delicacies that are to (let someone else) die for.

Eat the Rich relishes its depictions of violence with ghoulish glee, and that could draw the gorehounds who can watch most horror movie violence without batting an eye. But the book is more than just heavy-handed, though macabre, symbolism drenched in a visceral gravy. The characters go beyond just rich and hungry. Everyone in this universe benefits from this disturbing arrangement, which means the horrors committed can be rationalized away, at least for a little while. If this book did have a message, it’s that the descent into darkness isn’t always an express elevator; sometimes it’s a slow walk down a gilded staircase. The downward spiral can start with just a few compromises.

Eat the Rich
By Sarah Gailey
Art by Pius Bak
BOOM! Studios, 2022
ISBN: 9781684158324

NFNT Age Recommendation: Adult (18+)
Creator Representation:  Nonbinary

Gender Queer: A Memoir

Gender Queer Deluxe EditionGender Queer: A Memoir begins with an arresting image. As a student, Maia Kobabe, who uses e/em/eir pronouns, taped over two pages of eir sketchbook with blank pieces of paper. The pages concealed an autobiographical comic about gender created for a school assignment, a topic that filled Kobabe with discomfort. In the opening of Gender Queer, we’re shown the censored pages—then, with an immensely satisfying “RIPPP!”, Kobabe tears away the paper, revealing the title page of Gender Queer itself.

Gender Queer is the self-portrait of a queer artist developing the confidence to tell eir story, in eir own words and on eir own terms. Narrating Kobabe’s gender journey from early childhood to the present, this graphic memoir chronicles eir efforts to build a life that affirms every piece of eir identity. There isn’t a single pivotal coming-out scene; instead, Kobabe embarks on a slow, continuous project of self-expression and self-knowledge, with results as precise and dazzling as the constellations that decorate the cover of this deluxe edition.

Maia Kobabe’s story begins with a California childhood spent catching snakes, making art, and feeling completely out of step with eir peers. A series of early crushes helps Maia to realize e’s bisexual, but this doesn’t explain the deeper discomfort e feels with eir body and assigned gender. Confused and discouraged, Maia catches hold of a pair of lifelines—coming to books as a late reader, and joining a Queer Straight Alliance at eir high school. Discovering stories that reflect eir own experiences, e begins to feel less alone.

Entering adulthood, Maia finds a word—genderqueer—that reflects the complexity of eir experiences. Just as important, e continues to collect touchstones that affirm eir sense of self instead of eroding it. There’s the first time e listens to David Bowie; the male figure skating costume that fills em with gender euphoria; the queer fan fiction that sparks eir sense of the erotic, yet ultimately makes em realize that e prefers reading about romance to experiencing it firsthand. Kobabe’s sophisticated artwork explodes to life in these moments, expressive full-color panels featuring inventive imagery such as Maia’s gender leafing out like a young seedling, or Bowie’s music as a full-body, cosmic experience (complete with rocketship). 

Yet as Maia pieces together identity labels—nonbinary, mostly asexual, queer—and builds a network of supportive friends and family, the obstacles grow. Maia knows that as long as e minimizes eir gender, eir relationships and sense of self will suffer. But loved ones offer pushback when e tries to explain nonbinary identities; Pap smears are a source of trauma that medical professionals rarely take seriously; and everyday interactions come with a cost: Maia must stand up for emself, over and over, just to feel comfortable in eir own skin. This is the Maia who censored eir own sketchbook, and at the close of the memoir, this self-effacement is still palpable. Now a working artist, e hesitates over whether to share eir pronouns with students. “I think I’m carrying more fear than I need,” e realizes.

If Gender Queer is an act of bravery, it’s also a funny, sophisticated, deeply relatable coming-of-age story about charting your way alongside books and best friends into adulthood. Accessible but never didactic, Kobabe’s deft storytelling and polished, appealing artwork excels at communicating with a broad readership. For a queer and trans audience that has rarely encountered nonfiction centering nonbinary experiences, Kobabe’s memoir delivers affirmation, while for readers who are new to learning about queer identities, it educates and invites empathy. Gender Queer is also smart about the way it presents sexual material; this book doesn’t shy from frank discussions of sexuality, masturbation, and sexual health, but the content is contextualized in a way that is sensitive to the needs of younger readers, and Kobabe takes care to avoid explicit sexual depictions of underage characters.

The 2022 deluxe edition collects process pieces and select issues of the original Genderqueer comic strips, providing a snapshot of Kobabe’s creative process. An introduction by She-Ra and the Princesses of Power creator ND Stevenson reflects on the impact of Gender Queer since its initial publication in 2019. Stevenson writes about the book’s significance to himself and queer loved ones, as well as, briefly, those who have sought to remove it from public schools and libraries in “a last, desperate attempt to hammer an infinitely complex world into a small, unthreatening shape.”

Maia Kobabe’s introspective, joyful memoir is an important contribution to comics literature. It is highly recommended for any library collection serving adult and older teen readers.

Gender Queer: A Memoir, Deluxe Edition
By Maia Kobabe
Oni Press, 2022
ISBN: 9781637150726

Publisher Age Rating: 18+

NFNT Age Recommendation: Adult (18+), Older Teen (16-18)
Creator Representation:  Asexual, Bisexual, Queer, Genderqueer, Nonbinary

Cautionary Fables & Fairy Tales, vol. 5: The Woman in the Woods and Other North American Stories

The Woman in the Woods and other North American Stories marks the fifth volume in the series of cautionary fables and fairy tales. The eight tales in this volume are from Indigenous nations, told and illustrated by Indigenous artists, and highlighting tales from Odawa, Chickasaw, Métis/Cree, Métis, Ojibwe, Tania, Navajo, and S’Kallam societies. The editors asked each of the authors to ask for permission from the Elders and/or nations to retell and rework the stories for inclusion in this anthology as they recognized and respected the protocol inherent in the gathering of the stories from the people. Unfortunately, there are no source notes included in the collection, making it of less value to educators, librarians, and storytellers than I had hoped. True, the intended audience is middle school readers, not scholars, but the authenticity of each of the tales should be paramount for them as well. I do appreciate the fact that each of the tribal affiliations has been identified for the tales.

While the tales are rendered in black and white with various hues of grey, the cover itself jumps with colour. Ironically, the story alluded to on the cover is not included in the collection. Editor and cover artist Alina Pete remarked that she had hoped to include the creation story of Sky Woman and Turtle Island, but she could not find anyone that had permission to tell this story. Sky Woman fell to the water-covered world and fell on the back of Turtle. One by one, the animals dive into the water to try and find land until Muskrat is successful in bringing back soil. Sky woman spreads the soil on Turtle’s back to create the world as we know it. She shows Sky Woman dancing for joy and two constellations on the back cover featuring two of the characters from the tales within the covers.

Most of the illustrations in the book itself have simple backgrounds, focusing on the characters of each tale. The different styles of illustrations make each of the stories individual in a collection continuous from tale to tale without any commentary. Most of the illustrations are rendered realistically, although one or two stories have manga-like characteristics and vary between historical and contemporary settings. They also vary in length.

The anthology begins with the Odawa creation story, “As it was told to Me,” retold and illustrated by Elijah Forbes, which demonstrates that the world needs the balance of good and bad to exist. It is followed by a trickster rabbit story about the cost of vanity from the Chickasaw people. “Chokfi” is written by Jordaan Arledge and illustrated by Mekala Nava. The next two stories are located closer to this reviewer. “White Horse Plains,” from the Métis settlement St. Francois Xavier, relates the tale of the dangers of greed and conflict. It is written and illustrated by Rhael McGregor. The second Métis tale is possibly the most familiar character in the collection for me. Written by Maija Ambrose Plamondon and illustrated by Milo Applejohn, “The Rougarou” tells the story of a werewolf like monster and a young boy who befriends the Rougarou. I must admit that while I am familiar with many Rougarou tales, this is the first time I have encountered this one. Alice RL’s Ojibwe tale of “Agonjin in the Water” relates a tale of another story of friendship between a human and a mythical creature: the mythical, Mishipeshu the Great Water Guardian of the lakes and rivers.

The Taino story that follows gave its title to the anthology. It is written and illustrated by Mercedes Acosta and also focuses on the relationship between a woman and a spirit of a young girl who sees the mysterious “Woman in the Woods.” The penultimate tale, “Into the Darkness,” is a Navaho shapeshifter tale about a character so frightful that no one dares to speak its name. It is written by Izzy Roberts and illustrated by Aubrie Warner. The final tale, written by Jeffrey Veregge and illustrated by Alina Pete, is a romantic tale from the S’Kallam people. The Moon in “By the Light of the Moon” falls in love with Octopus Woman, the Queen of the Salish Sea in Puget Sound. The bright light of the Moon makes it possible for the Moon to watch her dance and to send her kisses. The power of the kisses has a surprising repercussion.

The stories are followed by two pages of concise biographies of the creators including their tribal affiliations and, in most cases, their sexual orientations.

Recommended for middle school and public library collections. Because the book is part of the cautionary fables and fairy tales series, most of the stories have strong lessons imparted in the story line, but they are not dogmatic and do allow the power of the storytelling to shine through. I just wish there were adequate source notes—did I say that already?

Cautionary Fables & Fairy Tales, vol. 5: The Woman in the Woods and Other North American Stories
Edited by Kate Ashwin, Kel McDonald, Alina Pete
Iron Circus, 2022
ISBN: 9781945820977

Publisher Age Rating: 10-12
Series ISBNs and Order

NFNT Age Recommendation: Middle Grade (7-11)
Creator Representation:  Cree, Metis, Navajo, Bisexual, Queer, Genderqueer, Nonbinary, Trans, Two Spirit
Character Representation: Cree, First Nations or Indigenous, Metis, Navajo