Review by Jonathan Wilkins of "The Cry of the Icemark" series by Stuart Hill

It is now twenty years ago that Leicester born-and-bred author Stuart Hill won the first ever Waterstones Children's Book Award with his epic novel Cry of the Ice Mark, the first of a series that has captivated readers since 2005 and has been reissued this year.

Stuart Hill’s Cry of the Icemark series, beginning with The Cry of the Icemark (2005), followed by Blade of Fire (2006) and Last Battle of the Icemark (2008), stands as one of the more distinctive contributions to early 2000s young adult fantasy. It blends high-stakes warfare, mythic alliances, and coming-of-age drama with an exuberant, almost folkloric energy. Across the trilogy, Hill crafts a world that feels both familiar in its medieval fantasy scaffolding and refreshingly idiosyncratic in its cultural detail, humour, and emotional sincerity.

The first novel introduces readers to Thirrin Freer Strong in the Arm Lindenshield, a teenage warrior princess thrust into leadership after the death of her father in battle. This is the novel’s core dramatic engine: Thirrin’s struggle to transform her small northern kingdom into a coalition strong enough to resist the technologically advanced Polypontian Empire. The premise is archetypal, but Hill’s execution is unusually lively. He populates the world with werewolves, vampires, giant snow leopards, warlocks, and forest elementals, creatures who are not merely decorative but woven into the political and emotional fabric of the story.

One of the series’ greatest strengths is its sense of cultural texture. The Icemark itself evokes a Scandinavian-influenced warrior society, while the Hypollitan people, Thirrin’s maternal lineage, draw inspiration from Amazonian myth. These influences are not subtle, but Hill uses them with affection rather than derivation, creating a patchwork world that feels mythic rather than derivative. The alliances Thirrin forges are not simple plot devices; they are opportunities for Hill to explore how societies with radically different values negotiate trust, honour, and survival.

The first book’s pacing is brisk, sometimes breathless. Hill’s background as a bookseller and archaeologist seems to inform his interest in mythic structures and heroic archetypes, but he writes with a modern sensibility. He occasionally uses contemporary language, calling Thirrin's father "Dad," for instance, which adds a slightly anachronistic charm to the otherwise medieval setting. Some readers may find this jarring; others can see it as part of the series’ playful tone. What is undeniable is Hill’s commitment to making Thirrin accessible. She is fierce, stubborn, and occasionally reckless, but her emotional arc, grief, responsibility, self doubt, and determination ground the fantasy in something recognisably human.

The battle scenes are a highlight. Hill’s prose is clear, energetic, and cinematic, military fantasy elements surprisingly robust for a younger audience: strategy, logistics, morale, and political negotiation all play meaningful roles. The Polypontian Empire, led by the formidable General Scipio Bellorum, is not a faceless evil but a disciplined, rational, expansionist force. This gives the conflict a sense of weight and complexity, elevating it above the typical good-versus-evil binary.

The second book, Blade of Fire, expands the world significantly. While the first novel is tightly focused on Thirrin’s coming of age and the defence of the Icemark, the sequel broadens the narrative to include her children and the long-term consequences of the alliances forged in the first book. The stakes grow more global, and Hill leans further into the series’ blend of mythic fantasy and military epic. The emotional tone deepens as well: themes of legacy, sacrifice, and generational responsibility come to the fore. 

The final book, Last Battle of the Icemark, brings the trilogy to a dramatic conclusion. Hill’s interest in large-scale conflict reaches its peak here, and the narrative becomes darker and more complex. The alliances that once seemed unshakeable are tested, and the characters, now older, more seasoned, and more burdened, face moral dilemmas that go beyond battlefield heroics. The trilogy’s ending is bold, emotional, and thematically coherent, reinforcing Hill’s commitment to portraying war not as a romantic adventure but as a crucible for identity, loyalty, and loss.

Across the series, Hill’s character work is earnest and often charming. Thirrin remains one of fantasy’s more memorable heroines: fierce without being one note, proud without being arrogant, and vulnerable without losing her edge. Her relationship with Oskan, the young warlock who becomes her closest friend and advisor, is particularly well drawn. Their dynamic, half banter, half philosophical tension, adds warmth and humour to the otherwise martial narrative. The supporting cast, from the dignified Snow Leopards to the decadent Vampires, is colourful and distinctive. Hill’s vampires, in particular, are a delightful departure from the brooding romantic archetype: they are aristocratic, sardonic, and bored, joining the war largely for entertainment.

Thematically, the series explores unity through diversity. Thirrin’s alliances are not merely strategic; they are symbolic of a world in which survival depends on cooperation across cultural, species, and ideological boundaries. This message feels especially resonant given the series’ publication era, and it remains relevant today. Hill also engages with themes of grief and remembrance. The first book is dedicated to his sister Kathleen, "the real Thirrin," whom he lost to leukaemia as a teenager. This personal connection infuses the narrative with emotional sincerity, particularly in moments where Thirrin confronts loss or fear.

Hill writes with exuberance, sincerity, and a clear love for mythic storytelling. The result is a trilogy that feels less like a polished corporate fantasy product and more like a heartfelt, imaginative saga told by someone who genuinely delights in the act of creation.

In the broader landscape of fantasy, The Cry of the Icemark series occupies a unique niche. It is less romantic than many contemporaries, more militaristic, and more rooted in mythic archetypes. It appeals to readers who enjoy epic battles, political alliances, and richly imagined cultures. It also offers something increasingly rare: a heroine whose strength is defined not by destiny or magical power but by courage, leadership, and the willingness to learn.

Ultimately, Stuart Hill’s trilogy is a vibrant, emotionally resonant, and culturally textured work of fantasy. It remains beloved by readers who appreciate its blend of myth, warfare, humour, and heart. For those seeking a fantasy series that balances epic scale with genuine warmth, and that celebrates the power of unlikely alliances, it is well worth reading.

About the reviewer
Jonathan Wilkins is 69. He is married to the gorgeous Annie with two wonderful sons. He was a teacher for twenty years, a Waterstones’ bookseller and coached women’s basketball for over thirty years before taking up writing seriously. Nowadays he takes notes for students with Special Needs at Leicester and Warwick Universities. He has had a work commissioned by the UK Arts Council and several pieces published traditionally as well as on-line. He has had poems in magazines and anthologies, art galleries, studios, museums and at Huddersfield Railway Station. He loves writing poetry. For his MA, he wrote a crime novel, Utrecht Snow. He followed it up with Utrecht Rain, and is now writing a third part. He is currently writing a crime series, Poppy Knows Best, set at the end of the Great War and into the early 1920s.

Review by Mellissa Flowerdew-Clarke of "Wilder Girls" by Rory Power

It’s been eighteen months since Raxter School for Girls was put under quarantine after its residents began dying from a mysterious illness. The Tox affects everyone differently: the headmistress’s lips constantly ooze blood; Byatt grows a second spine that protrudes from her back; Reese’s arm becomes covered in silver, reptilian scales; Hetty’s eye fuses shut, and she sometimes feels a strange sensation beneath the closed lid.

Secluded on a small island, Raxter’s remaining inhabitants rely on the navy to drop off limited food and supplies. There is never enough. Venturing beyond the school’s fence to retrieve resources is dangerous, as The Tox continues to spread through both wildlife and landscape. All the while, the girls wait for the cure they were promised.

When Byatt goes missing, Hetty and Reese venture into the infected wilderness to find her, uncovering unsettling truths about Raxter.

In this young adult novel by Rory Power, body horror is constant and vivid but rarely feels gratuitous. Instead, it reflects the girls’ loss of control over both their bodies and their environment. At the same time, there is a strong undercurrent of female resilience. The girls are not passive victims; they adapt, endure, and make difficult decisions in a world that continues to shrink around them.

The core premise of an isolated, single-gender group has drawn comparisons to Lord of the Flies. However, where Lord of the Flies suggests that human beings are inherently savage, Wilder Girls does the opposite. Here, the true monstrosity lies not within the girls themselves, but in the forces acting upon them: The Tox, the isolation, and the institutions willing to abandon them. When violence does occur, it emerges from desperation rather than cruelty, making their relationships feel both fragile and deeply human.

The novel echoes real-world histories of isolation, from leper colonies such as Spinalonga and Kalaupapa to plague quarantine islands like Lazzaretto Vecchio. It also invites comparison with the COVID-19 pandemic, when global quarantine measures sparked debates over civil liberties and collective responsibility. The ethical tension between sacrificing a few for the many is a subtle undercurrent, though the novel resists offering simple answers.

Ultimately, Wilder Girls is not just about infection or survival, but about friendship, endurance, and the struggle to remain human even as the body becomes irrevocably altered. Beneath its horror lies the fragile hope of a world beyond containment.

About the reviewer 
Mellissa Flowerdew-Clarke is an author and dramatist with a penchant for the macabre and a fascination with literary explorations of libertinism, psychopathy, narcissism, and coercive control. She is currently undertaking a PhD in Creative Writing at the University of Leicester, exploring Terror Management Theory in relation to representations of cultism and mass suicide.

This review is the winner of our 2026 Book Review Competition, held in conjunction with the Centre for New Writing at the University of Leicester. 

Review by Kimaya Tushar Patil of "The Cruel Prince" by Holly Black

"If I cannot be better than them, I will become so much worse": The Cruel Prince by Holly Black drags the readers into the twisted realm of Faerie, where smiles equal danger and beauty hides ruthlessness. And for a mortal, most days, survival means walking a knife's edge between wit and wavering morals. The narrative follows Jude Duarte, a mortal girl who was abducted along with her twin and half-sister, and whisked to the realm of Faerie after the brutal massacre of her biological parents by the Grand General of Elfhame. 

Growing up in the realm of Faerie, Jude learned early on to tread with caution even when being protected by the General's reputation. The only way to rise above her oppressors was to gain power over them. 

Black's narrative revolves around Jude's metamorphosis from a victim to a cunning strategist fuelled by political ambition. She twists the familiar, captivating beauty of Faerie with moral ambiguity, exposing the cruelty hiding beneath. Her prose is succinct and adds deeper layers of emotions to the atmosphere of the world. And while the political intrigue is multifaceted, the pacing sometimes stutters as scenes of intimidation and violence recur. Her worldbuilding is extensive, but it sometimes focuses solely on ambiguous emotion, rather than information for the reader.

The subtle romantic tension between Prince Cardan and Jude lays a foundation for the character arc to progress emotionally in the later books. Unlike most Young Adult leads, Jude's desire for power, along with her readiness to deceive, exploit, and accept cruelty for it, adds a twist to the traditional "moral heroine."   

The Cruel Prince excels in its incisive rendering of its characters and political intricacy. Black presents us with a dark and cunning fantasy that instead of appealing to sentiments, appeals to readers who crave a morally multifaceted heroine and worlds where survival hangs between the right choice or the necessary choice.  

About the reviewer
Kimaya Tushar Patil is a graduate of the University of Leicester’s MA in Creative Writing programme. A lifelong reader, writer and poet, she is particularly interested in fiction, narrative voice, and literary craft. She enjoys engaging critically with books that leave a lasting impression. You can read more about Kimaya's work on Creative Writing at Leicester here. 

Review by Amirah Mohiddin of Joanna Nadin’s "Birdy Arbuthnot’s Year of 'Yes'"

Joanna Nadin’s Birdy Arbuthnot’s Year of 'Yes' is an evocation of coming-of-age in the 1960, following Margaret (later known as Birdy) Arbuthnot on her journey to the secret of living with a capital L. It is a novel filled with vividly rendered, eccentric and true-to-life characters.  

Birdy has always rued her fate of living in Surbiton, a suburb in the Southwest of London, far from the excitement of Soho. She knows there must be so much more to life than retaking the Cambridge entrance exams and being an unpaid receptionist to her father’s dental surgery. Determined to make her life more novel-like, Birdy vows to say 'Yes' to every opportunity and chance that comes her way in the new year. So, when given the chance to move to the heart of London, Birdy ventures forth on a new adventure meeting fantastic and fascinating characters each more vibrant than the last. 

Some of my favourite sentences include: '… I’ll never see Charlie again. And oh! I do so want to see her, to be in her orbit. What a girl— no, a woman, she is! A walking, talking exclamation mark! I am not sure what that makes me. Something innocuous, like a comma, perhaps. At best, a semicolon or rogue apostrophe.' 'And I know, too, that I am an exclamation mark. And that this, all of it, is Life with that capital L.'

The pages of Birdy Arbuthnot’s Year of 'Yes' are filled with Birdy’s distinct narrative voice. Nadin captures the voice of a young woman in search of her place in the world in the first few sentences. This voice leaps off the page, almost as if coming to life. Across the novel, we see Birdy going from perceiving herself as 'something innocuous, like a comma' to realising that she, too, is capable of being an exclamation mark. Her journey of striving for independence, growing in confidence and recognising her own worth is beautifully poignant. Birdy’s arc across the novel follows her interactions with the new people she meets: Charlie (later known as Charity), Cal, Rollo, Ted, Val, Aster. Together, they form a found family of sorts, each going through their own transformations thanks to Birdy’s actions as 'Little Miss Fixer.' 

Overall, I really loved the wit, humour and heart packed in the pages of Joanna Nadin’s Birdy Arbuthnot’s Year of 'Yes'. It’s a true masterclass in writing a strong, distinctive narrative voice. 

About the reviewer
Amirah Mohiddin is a published short story writer and an educator of Creative Writing. She has recently passed her practice-based PhD reconstructing female storytellers from Arabic Literature in a young adult fantasy novel. Her short stories have been published in magazines, ebooks and physical books, including Dancing Bear Books, Litro Magazine, Post-mortem Press, The New Luciad and Sanroo Publishing. Her novel, Devoured by Stories, is currently represented by agent Leah Pierre of Ladderbird Agency. 

You can read more about Joanna Nadin's Birdy Arbuthnot's Year of 'Yes' on Creative Writing at Leicester here. 

Review by Saskia Kabongo of "Loveless" by Alice Oseman

 

Alice Oseman has once again created a deeply moving and relatable story in Loveless, a book that made me feel truly seen and understood. Having already fallen in love with Oseman’s writing through Heartstopper and her other works, I knew I had to read Loveless, and it turned out to be the best book I have ever read. 

The novel follows Georgia, a university student navigating her first year while coming to terms with her asexual and aromantic identity. Oseman’s writing captures the raw and emotional journey of self-discovery with honesty and depth, making Georgia’s experience feel incredibly real. As someone who is British and currently in my first year of university, I found the depiction of university life, its social dynamics, accommodation struggles, and the pressure to fit in was strikingly accurate. 

One of the most beautiful aspects of Loveless is how it explores identity beyond the conventional labels of gay, bi, or straight. It highlights the importance of self-discovery and reassures readers that there is no single way to experience love. Georgia’s story is filled with moments of doubt, frustration, and sadness as she struggles with feeling "different," but Oseman shows us that different does not mean broken. Through her journey, she finds a supportive and diverse group of friends who not only accept her but help her understand that she is valid exactly as she is. 

The friendships in this book are particularly powerful. Georgia’s bond with her best friends Pip and Jason, as well as her growing connection with her roommate Rooney, felt so real and heartfelt. Oseman beautifully portrays how friendships can be just as meaningful and transformative as romantic relationships. One quote that stood out to me was: "We were a whole messy group of people who had found each other, who loved each other. That was our thing. Friendship. That was the grand love story." 

This book spreads awareness about the LGBTQ+ community and the spectrum of identities within it, emphasizing that love and identity are deeply personal and unique to everyone. It also challenges societal expectations, particularly the idea that romance is the ultimate goal in life, reminding readers that self-love and friendship can be just as fulfilling. 

The slow-burn relationship between Georgia and Rooney was another highlight of the book. They started as friends, helping each other grow and face the challenges of university life, and by the end, their connection had evolved into something deeper. The way Oseman writes about their relationship is full of support, understanding, and mutual encouragement that felt incredibly genuine. 

Ultimately, Loveless is a powerful and necessary book that reassures readers, especially young adults, that they are not alone in their experiences. It encourages embracing who you are, no matter how different you may feel, and reminds us all that love comes in many forms. Thank you, Alice Oseman, for writing such realistic and heartfelt characters. 

About the reviewer
Saskia Kabongo is a first-year journalism student at the University of Leicester with aspirations of becoming an author and publisher. A passionate reader, she consumes around 200 books a year, constantly seeking stories that inspire and challenge her. Growing up in London, she draws endless inspiration from the city's people and narratives. Her favorite authors, Krista and Becca Ritchie, are known for their deeply authentic characters and unique storytelling, which she believes make every book feel like a reality TV show come to life.

Review by Rosalind Taylor of "Heaven Official's Blessing" by Mo Xiang Tong Xiu

Heaven Official's Blessing by Mo Xiang Tong Xiu is a series of historical Chinese fantasy novels about the once-prosperous crown prince of Xianle, Xie Lian. He is banished from the heavens and becomes a "scrap-collecting God," only to ascend to the heavens again to a  laughing-stock. The novels also follow Xie Lian's most devoted believer, Hua Cheng, also known as "The Crimson Rain Sought Flower," who is the most feared of the Four Ghost Calamities. Set 800 years after the fall of the kingdom of Xianle, the now-unlucky Xie Lian meets up with the mysterious Hua Cheng at a "ghost marriage."

I really like these novels and especially the main characters Xie Lian and Hua Cheng. I really enjoy that Mo Xiang Tong Xiu uses Hua Cheng to show respect to Xie Lian even though no one else does. Xie Lian is shown as a character who cares for both the heavens and normal people whoever they are, and yet never gets anything in return for it, apart from the love and care of Hua Cheng: "If your dream is to save the common people, then my dream is only you." Hua Cheng waits 800 years just to speak to Xie Lian, and I find the novels really heart-warming in their representation of love. 

Some of my favourite scenes include "The Gamblers Den" story arc, which follows Xie Lian meeting Hua Cheng in the Ghost City. It shows how much Hua Cheng cares and that he would make any sacrifice for Xie Lian. Another favourite scene is one in which Hua Cheng gives Xie Lian 3,000 lanterns in the "Battle of the Lanterns" arc, again which demonstrates to the reader how fond Hua Cheng is of Xie Lian. I really like Xie Lian and Hua Cheng interacting across the story and how they communicate with each other.

About the reviewer

Rosalind Taylor is fifteen years-old and likes cats and webcomics. 

Review by Asma Ali of "As Long as the Lemon Trees Grow" by Zoulfa Katouh

“Three shrivelled lemons and a plastic bag of pita bread that’s more dry than mouldy sit next to one another. That’s all this supermarket has to offer.”

Set amidst the Syrian revolution, Zoulfa Katouh’s YA novel plunges the reader straight into the bleak world of eighteen-year-old Salama. No food, bombed neighbourhoods and smashed dreams; Salama has lost everything. With her mother gone and father and brother imprisoned, she alone is left to look after her heavily pregnant sister-in-law, Layla, whilst volunteering at the hospital. Her days are filled with treating the wounded with little or no anaesthetic and she increasingly becomes torn between two choices: continue to stay and risk her life or take a chance at survival for herself, Layla and the unborn baby via a boat. But then she meets Kenan, the boy with vivid green eyes who firmly believes in fighting for his country, and the decision gets harder. 

Katouh’s writing is simple, expressive and engaging. She creates characters that stay with you long after the turning of the final page and their dilemmas throughout the novel lead readers to ponder on the complexities of human character. Her treatment of difficult themes such as guilt and refugee trauma is sensitive and well-researched. It also offers readers a brave insight into PTSD and it’s lived consequences.

Against the backdrop of pain and loss, the blossoming romance between Salama and Kenan brings an innocent and optimistic tone to the plot; their relationship is a simple reminder that life and love endures in spite of war. They also both turn to their faith for strength and guidance, which is another nod to authentic Muslim representation (one that I particularly enjoyed and found relatable as a Muslim reader) in a novel rich with culture. 

As long as the Lemon Trees Grow may be a devastating portrayal of life in Homs, but Zoulfa weaves a narrative of fierce hope and determination for a better life, which makes the book a truly beautiful read.  

About the reviewer
Asma Ali is a mum of four and current MA Creative Writing student at the University of Leicester. She has a healthy addiction to all things literary and coffee and can be found sharing her eclectic reading journey on Instagram @asma_scribendi 

Review by Jon Wilkins of "The Cry of the Icemark" by Stuart Hill

 

This is a thrilling fantasy novel from Stuart Hill's acclaimed Icemark series. Written mainly at the tills of Waterstones in Leicester during the stores quiet times, this is an epic contribution to the fantasy world. The book was reissued mid-Covid and is well worth a read. 

When her beloved father dies in battle, the fourteen-year-old Thirrin becomes Queen of the Icemark, a tiny kingdom situated between dangerous neighbours. Thirrin needs to raise an army to protect her people from the seemingly invincible Imperial invaders. She searches for allies far beyond her kingdoms borders, and meets former enemies in the Land-of-the-Ghosts and the frozen Hub of the World. But the one question that haunts her is: can she save her kingdom?

Thirrin is a true Warrior Queen and a major force in Hill’s fantasy world.

The book and others in the Icemark Trilogy deserves a new audience, a new generation of readers who will delight in the battles in the Icemark.

It is beautifully written, a true page turner that rampages across the pages, drawing the reader into the story, delighting them as they enter the vivid imagination of Stuart Hill.

About the reviewer

Jon Wilkins is 66. He is married to the gorgeous Annie with two wonderful sons. He was a teacher for twenty years, a Waterstones bookseller and coached women’s basketball for over thirty years before taking up writing seriously. Nowadays he takes notes for students with Special Needs at Leicester University. He has had a work commissioned by the UK Arts Council and several pieces published traditionally as well as on-line. He has had poems in magazines and anthologies, art galleries, studios, museums and at Huddersfield Railway Station. He loves writing poetry. For his MA, he wrote a crime novel, Utrecht Snow. He followed it up with Utrecht Rain, and is now writing a third part. He is currently writing a crime series, Poppy Knows Best, set at the end of the Great War and into the early 1920s.

Review by Cathi Rae of "Killing a Dead Man" by Siobhian R. Hodges

I wish this book had existed five years ago, when I spent my working days in a classroom with no windows and with a collection of teenage boys who were deemed, and in some cases actually were, too chaotic or troubled to manage in mainstream lessons.

On Friday afternoons, we generally abandoned any pretence of formal learning once I discovered that, if I could find the right book, my class would sit quietly and happily listen to me reading aloud to them. Story time for young men who generally towered above me.

Our criteria was uncomplicated, successful books needed to be about the lives of other young men, these lives needed to be recognisable, a lack of romance was definitely a plus and the more violence, gore, mayhem and horror the better.

Killing a Dead Man would have been an absolute hit. The story of Jordan, a very ordinary teenager except of course for the fact that he is still in ghostly contact with his twin brother, Danny, abducted and murdered when they are both ten, is a narrative that many young men will understand.

The core of the novel is the journey that Jordan undertakes when his brother tells him that he now knows who murdered him and that he expects Jordan to take revenge, hunt down and punish his killer.

Accompanied by the slightly enigmatic and menacing Mr Butch, the taxi driver, and with limited money, knowledge or even the ability to convince anyone that he is not mad, but really can communicate with the ghost of Danny, Jordan is not heroic, he is not a teen superhero, but understands that it is up to him to do the right thing.

This novel is pacy, exciting and has enough gore and violence to satisfy the reader. The language is straightforward and focuses on moving the plot forward, but is powerful enough to raise the hairs on your arms as the supernatural elements ramp up and they do.

The level of peril is well judged, spine chilling rather than disturbing and the descriptions of the sad ghosts trapped in the their own past’s is poignant.

A well-put-together addition to the Young Adult fiction genre but with enough oomph to also satisfy an adult reader.


About the reviewer
Cathi Rae is currently completing her MA in creative at Leicester University. She is a performance poet and spoken word artist and a multiple slam poetry winner and is allegedly working on her second poetry collection. Books about serial killers, unlikely heroes and blood are amongst her secret reading pleasures.

Review by Siobhian R. Hodges of "Blood Red Road" by Moira Young

2011 winner of the Costa book awards, Moira Young’s Blood Red Road is a highly-rated dystopian novel – and I can see why. 

Young’s debut book is filled with action, heart, and moments of comedy. I read this book a few years ago – as a teenager, the intended YA audience – and remember fully enjoying it. Now, as an adult, I have recently had the time to revisit the dustlands that main characters Saba, Emmi, Jack, and Lugh travel through. And you know what … I still love it. Probably more than I did before.

While the story is as gripping as I remembered it, I can now fully appreciate the author’s style. The twangy accents are consistent throughout, and the unique names for certain commonplace objects (such as the “long-looker,” which is a pair of binoculars) is a satisfying aspect which adds even more depth to the world Saba lives in. What stands out the most to me, however, is that there are no speech marks (I know!). I’ll admit it was slightly confusing to read at the start, but with its being written in first person, from protagonist Saba’s perspective, the dialogue soon became easy to differentiate from narration, thoughts, and description.

I tip my hat to Young, for opening my eyes as both a reader and writer. With a compelling storyline and memorable style that adds to the already strong characterisation, Blood Red Road is a novel you will not want to put down. I am looking forward to reading the sequel, Rebel Heart (2012), and have just ordered the third instalment to The Dustlands Trilogy, Raging Star (2014).  


About the reviewer
Siobhian R. Hodges is a writer and author of the supernatural thriller, Killing a Dead Man (2019). She has a BA in Creative Writing and Film Studies, and an MA in Creative Writing. When she’s not writing, she enjoys long walks in the countryside and raiding the biscuit cupboard. Her favourite authors are Kevin Brooks and Patrick Ness.

Review by Charis Buckingham of "928 Miles From Home" by Kim Slater

Kim Slater, author of the award-winning Smart, never fails to tackle difficult issues in her novels. Her third Young Adult novel, 928 Miles from Home, is another deeply resonant story that doesn’t shy away from subjects such as immigration, poverty, and bullying. 

Fourteen-year-old Calum Brooks dreams of being a screenplay writer but believes his background will impede his success. Trapped in the cycle of poverty and neglect, he absorbs and repeats the ignorant opinions of his bully friends and abuses those different from him. However, when his dad’s Polish girlfriend and son move in, Calum is forced to re-evaluate his mindset. He realises everyone has something to offer, and diversity is beneficial.

Told through Calum’s eyes, the story can at times seem frustrating, as the reader watches him struggle to overcome his prejudices. His angst, anger and, at times, helplessness is authentic, genuine, and hard-hitting. The grim reality of life on the estate is never disguised; this contributes to the gritty realism of the novel, but could prove too heavy for some younger readers. Slater’s approach is blunt and direct, and her messages of acceptance and tolerance come through loud and clear.

For anyone wanting a reflective and moving novel that delves unflinchingly into societal issues, it’s a must-read. 


About the reviewer
Charis Buckingham predominately writes Young Adult and historical fiction, and loves to sing and read. She lives in Leicester, having recently graduated from the University of Leicester with an MA in Creative Writing.

Review by Siobhian R. Hodges of "The Road of the Dead" by Kevin Brooks

Kevin Brooks, author of the 2014 Carnegie Medal winner The Bunker Diary, is best known for writing gritty young adult novels with a strong sense of realism, and he does not fall short with The Road of the Dead. 

The Road of the Dead is a 2006 young adult crime fiction novel about two teenage brothers trying to find their sister’s killer. Fourteen-year-old Ruben Ford and his older brother Cole both set out with little money and a lot of drive to the deserted moorland in Lychombe where her battered body was found. What’s done is done. Now they just want to bring closure to their family by finding out who raped and murdered their sister, Rachel. Only then can the police wrap up the investigation and finally give them back her body, so they can bury and mourn her properly.

The story is told in first person, focusing on Ruben’s thoughts and feelings towards the situation and how it has affected his family. It also allows us to see the bond he has with his brother on a personal level. The fraternal relationship between Ruben and Cole makes the events that unfold more impactful – because if something bad happens to one of them, you know it will affect the other. However, the two could not be more different: while Cole is streetwise, sometimes putting himself in the line of fire if it means protecting Ruben, our narrator is academic-smart, making up a brain-and-brawn unity.

Ruben is also, in a sense, telepathic. Not only do we read the story from Ruben’s point of view, but he is sometimes able to see events happen outside his body to people he is close with (like Cole and Rachel). He feels Rachel’s pain the night she is murdered and sees parts of the event unfold through her eyes. It allows the reader other perspectives without the narrator physically needing to be there and sets the tone for the rest of the novel, showing the story is something more than a simple first-person narrative.

The graphic events Brooks describes keep readers hooked: the situation is bleak and the antagonists are brutal. It made me root for Ruben and Cole. Ruben does not belong in the danger-zone he finds himself entering and because his voice is so believable, so relatable, you cannot help sympathising with him. You want to follow him on this hazardous journey and you don’t want anything bad to happen … But bad things do happen. However, while the graphic detail in Brooks’ novel reels in readers, it could also deter some parents. Not everyone will want their teenagers exposed to the grittiness of rape, murder, swearing and violent attacks. Although the book is for young adults, I feel it depends on the individual’s maturity.

In 2007, the novel was shortlisted for the Carnegie Medal and it is clear why. The Road of the Dead is a powerful read that will have you gripped until the last page. Not only is it action-packed and fast-paced but it creates suspense in all the right places. I struggled to put it down. It is a book that will stay with you for a long time.


About the reviewer
Siobhian R. Hodges is a Creative Writing MA graduate of Loughborough University. She currently runs a monthly two-hour Creative Writing workshop at the Hive in Worcester and is a script writer/editor at Gatling Gun Productions – a non-for-profit film company based in Leicestershire. She is also currently writing a Young Adult trilogy.

Interview with Kim Slater

Kim Slater is a full-time Nottingham author, writing in two genres. 

Her first Young Adult book, Smart, won ten regional prizes and has been shortlisted for twenty-five regional and national awards, including the Waterstones Children’s Book Prize, the Federation of Children’s Book Groups Prize and her first two novels, Smart and A Seven-Letter Word, have both been nominated/longlisted for the Carnegie Medal. Her third YA novel, 928 Miles from Home has just been published in hardback by Macmillan Children’s Books (May 2017).

Writing also as KL Slater for digital imprint, Bookouture (Hachette), Kim’s first two adult psychological thrillers, Safe with Me and Blink, reached the top five in the Amazon UK chart and top ten in the Amazon US chart. Her third thriller, Liar, is published June 2017. To date, she has sold over 300,000 digital copies of her adult crime books.

Kim holds a first-class honours degree in English & Creative Writing and an MA in Creative Writing from Nottingham Trent University. She lives in Nottingham with her husband. Her website is http://kimslater.com/.

Interview with Jonathan Taylor

JT: What originally drew you to the genre of Young Adult fiction?

KS: I chose Writing for Children and Young Adults as one of the modules on my MA in Creative Writing at Nottingham Trent University as I thought it would be interesting. Up until this point I never really fancied writing for younger readers as I thought it would feel limiting and ultimately be censured by gatekeepers. In actual fact, I found it to be quite the opposite. I wrote a short story called Smart for my assignment piece and fell in love with writing strong, young voices. And I have always found librarians, teachers and my publisher, to be embracing of the difficult and diverse subjects I often choose to tackle in my books.

JT: You write in two genres: crime fiction and YA fiction. In your YA novels, there is a kind of detective work, where the young narrators try to understand a complex and mysterious adult world. What do you feel are the differences and overlaps between the two genres?

KS: Adult crime was always my first love, it’s what I wrote (unpublished) almost exclusively up until embarking on my MA course in 2010. So, it felt natural for me to thread a bit of a mystery through my YA novels. It serves to keep the reader (both adult and young readers) turning the pages which is particularly important in writing successful adult commercial crime. 

For me, the similarity between all genres, not just these two, is in writing complex, believable characters. My characters are often flawed and it’s a challenge to get the reader to empathise with them but I enjoy revealing all their different facets when writing both YA and adult crime. Young readers and commercial crime fans all like a good story, so crafting a compelling narrative is a definite similarity, too.

A difference I find when I’m writing is being able to explore interesting issues more thoroughly in my YA fiction whereas in commercial crime, I can’t afford to dwell too much on anything that slows down the pace. That might sound a bit prescriptive and it’s easy to be sniffy about it but I love writing in this genre. I feel I have a good handle on what my adult readers are looking for - in what they deem to be a good book - and I enjoy crafting the characters and stories.

JT: Both Smart and Seven Letter Word are written from the perspective of teenage boys. I found the voices both compelling and convincing. How do you inhabit a teenage boy’s voice and, indeed, psychology like this?

KS: …and now a third teenage boy’s perspective in my latest novel, 928 Miles from Home. 
In the beginning, I never set out to ‘write boys’ but the character always comes first for me, even before I know what the full story will be and all the main character voices – in my YA fiction – have thus far been boys.

This has had an unexpected and welcome outcome in that schools inform me the books are very popular with their boys. I get asked by lots of girls in schools if I’ll write a YA female protagonist and my answer is that yes, of course I will . . . if she presents herself!

I inhabit a teenage boy’s voice in exactly the same way as I approach any voice I write: male, female, young, old . . . I put myself inside that person’s head. For some time before I start to write, actually. I get to know the character, listen to the little quirks and personality traits that make them the person they are. At the same time, I think about their world and the sorts of things that might happen. 

I don’t like to put labels on people, psychologically or otherwise and this allows me to write characters on a human level, from the perspective of their own experiences and how it feels to be them . . . regardless of what the experts might say. Within reason. I call it ‘simmering’ and it’s a very important part of the process for me. When I get a feel for that character and the world he or she lives in, then the words begin to flow.

JT: What would you like younger readers to take from your novels? What’s your aim in writing for them?

KS: When they’ve read a Kim Slater novel, I would like young readers to feel that they have walked in someone else’s shoes for a short time. Often my main characters are young people who feel excluded and who feel different to their peers in some way. By the end of the book I’d like to think that the reader identifies with them, that despite apparent differences, people are essentially all the same. 

I enjoy exploring issues when I’m writing YA and my aim is to get young people talking about difficult and often contentious subjects. I try and avoid being too political, I like to show both sides like a debate and for them to think about how they might form their own opinions. Happily, my books are popular in schools for this very reason.

JT: What do you enjoy most about writing, and being a writer? What do you enjoy least?

KS:The thing I enjoy the most is reminding myself that my passion is now also my career. Now I’m writing in two genres, the financial rewards are excellent but if I wasn’t a professional writer I’d be working a day job and writing for no money at all – indeed, as I did for many years!

The thing I enjoy the least is also, ironically, I believe the secret to success; getting so utterly wrapped up in a fictional world and its characters that one forgets real life and real people are just outside the door. Writing draws me in every day like a powerful magnet and it’s not until I physically get out into the fresh air it releases its insatiable grip!

JT: What are you working on at the moment?

KS: I’m currently ‘simmering’ my fourth YA novel for Macmillan Children’s Books which is again set in Nottingham and explores issues such as poverty and the affects that crime can have on a family. And I am working on my fourth adult psychological crime novel, writing as KL Slater.

About the interviewer
Jonathan Taylor is an author, editor, critic and lecturer. His books include the novel Melissa (Salt, 2015), and the memoir Take Me Home (Granta, 2007). He directs the MA in Creative Writing at the University of Leicester. His website is www.jonathanptaylor.co.uk 

Review by Ruhme of "Graceling" by Kristin Cashore

Graceling is a highly addictive, thought provoking Young Adult fantasy-adventure novel. I read this book a few years ago but to this day the story, the fascinating world and the illustrious characters still resonate with me.

Set in a world where some can be born with special gifts (those that are Graced), we have our main protagonist, Lady Katsa. Graced with the ability to kill, she is used by her uncle, the King, for his own political and personal agendas. In order to search for her kidnapped grandfather, Lady Katsa sets off on a quest in search of answers with Prince Po (royalty from a foreign land with his own secrets). Her adventure takes her to lands she thought never existed and faces challenges which test her abilities and endurance to levels she had never imagined.

Targeted at the young adult demographic, it should appeal to all groups, with themes of identity, equality, and political governance running throughout against a backdrop of well thought out world-building, intrigue and fantastical elements. It is fast-paced, gripping and full of unexpected twists and turns that keep readers invested in turning those pages. Cashore has the ability to draw in readers, experiencing the Lady Katsa’s adventures with her writing, descriptive atmosphere and most importantly its complex, raw characters that one cannot help feel drawn to. This is a brilliant debut novel from Cashore and most important a thoroughly worthy and enjoyable read.

About the reviewer
Ruhme works as a Library Assistant to feed her love of reading. She believes books are 99% of the time better than the movies and refuses to watch one unless she has read the book first. She continues to buy books and add to her extensive library, even if space is becoming a challenging issue to contend with.

Review by Jo Westwood of “Only Ever Yours” by Louise O'Neill

This review was first published here.

When I was eighteen, I read Margaret Atwood’s The Handmaid’s Tale, and it blew the bloody doors off my intellectual and emotional prison and opened up a whole new world of feminist consciousness. It changed my life. Only Ever Yours is the only book since that has repeated that moment in time in my personal history – and I think every young woman should read it. It’s searing, brutal and undeniably honest, and whilst set in a future dystopia, just like Atwood’s novel, it’s so woven from real events and behaviours it lays all society’s current failings bare for all to see.

frieda is sixteen, and has spent her entire life in the School, run by the chastities. All the girls are obsessed by their appearance – but in this future, the School enforces that obsession, by daily weigh-ins, a ranking system and lessons where the girls’ bodies are ruthlessly compared to those of their peers. Brainwashed since birth, the girls face a future either as companions – wives to rich men – or concubines. As the day of the Ceremony inexorably draws near, the day when their future role will be assigned to them, their competitiveness reaches fever pitch. But frieda is slowly failing, knocked out of orbit as one of the most highly ranked girls, by her former best friend isabel. Formerly #1, or queen bee, isabel seems to be on self-destruct, and as frieda tries to both help isabel and simultaneously distance herself from her, she’s making mistakes and getting noticed in the wrong ways. The consequences will be shattering.

This novel is brutal from the first page, and while the true horrors of their adult lives are only suggested, never fully revealed, O’Neill creates a very visceral sense of a claustrophobic community where there is truly no way out. Chickens get a taste of your meat girl… Atwood’s heroines were often passively complicit in their oppression, and in O’Neill’s novel, the ways in which women betray each other on a daily basis, thus enabling the power of the patriarchy to be maintained, are searingly dissected. frieda is not your average heroine either, not always sympathetic, not always likeable. And where other novels may have taken the romantic option (i.e. your knight in shining armour will rescue you), O’Neill plays it true to the end, in a truly haunting, terrible climax.

There is so much texture to this book, so much to devour and debate, so many clever allusions, all within a compelling plot populated by vivid characters. Having spent most of my career reading and critiquing Young Adult Fiction, I know that it's a very rich genre that pulls no punches and where nothing is out of bounds - yet this book really shocked me. It’s one of the most challenging Young Adult books I’ve read and certainly has the power to awaken feminist consciousness in teenage girls (and women), changing lives in the process. The cleverness is that despite the futuristic, dystopian setting, so many aspects of it are rooted in the realities of our world - from the celeb culture that makes girls focus on their weight, to the sexual slavery and brainwashing (and if you think that's far-fetched, well, it's happening all over the world right this minute). This is dystopian fiction at its best - taking reality and twisting the context so you actually see what is hidden all around you. I actually think it’s better than The Handmaid’s Tale – more cutting, more graphic, and more unflinching in its exposure of female relationships. Terrifying, haunting and compulsive, Only Ever Yours takes its place on my shelf of books that change your life. Superb.

About the reviewer

Jo Westwood is a librarian, editor, writer, gardener and geek who loves curling up with a good book. As her job as a specialist children's librarian means she reads at least one novel per day, that's rather fortunate, and her obsession with the novels of Phil Rickman in particular is praise indeed. She's currently working on creating a time travel device that will allow her to fit in even more reading, as there are far too many good books and rather less time in which to read them than she would like. Jo's blogs at aniseed.com.

Review by Mary Mayfield of "The Lie Tree" by Frances Hardinge

(This review was first published on Our Book Reviews Online here). 

When Faith Sunderly's father moves his family to the island of Vane, he gives out that the reason is to help in some ongoing excavations - he is after all a renowned natural scientist and an expert on fossils - but he's actually running from a scandal about to break over his faking of finds. The island feels dark and sinister to begin with and Faith's father's strange behaviour adds to the air of secrecy and menace. 

Among his collection of prized specimens, all carefully transported to their new home, is a very curious plant which he's taking extra care of - it feeds on lies and having grown bears a fruit that imparts special knowledge and understanding on its eater. Within a few days of the family's arrival, the whole island is aware of the allegations against Faith's father, so when his dead body is found in strange circumstances the obvious assumption is that he committed suicide to avoid disgrace - Faith though believes he was murdered and sets out to prove it and track down the murderer. To this end she begins to feed the Lie Tree with untruths, but to get more information out of it she must invent bigger, more preposterous lies and spread them far and wide throughout the island community....

How to start to describe The Lie Tree? It's a murder mystery, with gothic horror overtones, a morality tale, historical fiction..  it's very difficult to pin down! The important thing is that it's an excellent read. It's darkly atmospheric, filled with quietly brooding menace, with the lie tree itself oozing evil and corrupting those who engage with it; it captures the feel of Victorian times when Darwin's new theories about evolution were altering how people saw the world and man's place in it, scientific concepts were being proved false, and religious beliefs challenged; and the murder mystery has red herrings and plot twists galore. In addition, it has a 14 year old heroine not happy to take the quiet role assigned to her by Victorian standards. Faith has inherited all her father's curiosity about the natural world but finding her interest in science blocked, has turned her inquisitiveness to more personal matters - eaves-dropping on others' conversations, riffling through private papers. Not the behaviour of a nice Victorian young lady! This willingness to snoop on others proves useful though, as she tries to discover motive and culprit for her father's death.

All in all, a book that should appeal across a wide range of ages and tastes, and one that I'd personally be tempted to re-read.


About the reviewer
Mary Mayfield is an avid reader and blogger from Notts, now living in Derby. She loves everything from War and Peace to the Shopaholic series, by way of Virginia Woolf. Claim to fame? Grandma grew up next door to DH Lawrence! See Our Book Reviews Online. 

Review by Kershia Field of "Just a Girl Standing in Front of a Boy" by Lucy-Anne Holmes

One of the things I love as a reader is finding small pieces of my own life amongst the pages of someone else's. Being relatable and connecting to the audience is for me the most important thing that you can do as an author. In Lucy-Anne Holmes' Just a Girl, Standing in Front of a Boy I found the most accurate descriptions of so many personal aspects of my life I had to go back and read chapters again, just to be sure I wasn't reading my own diary.

The story follows Jenny Taylor, a 27-year-old quirky, pink haired girl in her attempt to restart her life after a childhood full of sad memories and heartbreak. When her self-confidence plummets to a new low, her best friend Phillipa invents a manifesto of things for Jenny to do every day to help her recover. Just as Jenny begins to feel comfortable with her new life, her mother appears on her doorstep with the revelation that she has left Jenny's father, her comfortable boyfriend Matt pops the question, and she meets Joe King, aspiring musician set to change Jenny's life as she knows it.

Jenny is a hysterically funny young woman and from the first page had me in stitches. As a self depreciating woman she finds humour in the darker moments in our lives and this really resonated with me. Her life is entirely ordinary in a lot of ways, she has normal friends, a normal job and an ordinary boyfriend. When she meets the loveable and rugged Joe (whom I absolutely fell in love with!) her life does a complete 180 degree turn.

This is a modern love story full of laughs, tears and sometimes anger (I threw the book down at one point!). It's witty, charming and Holmes perfectly captures how even the most ordinary person can have an extraordinary life with music, laughter and a lot of Jagerbombs.

About the reviewer 
Kershia Field is a twenteen year old English student based in Leicester, with an unhealthy love for Game of Thrones and video games. She publishes her work on her poetry blog http://kershiadoespoems.blogspot.co.uk/