Wednesday Roundup: Novels In Verse Newbery Contenders
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Steven: Today’s Wednesday Roundup is “novels in verse.” It’s kind of a loose term, and it’s not always clear what fits into the category. How would you describe these, Emily?
Emily: In “novels in verse,” the structure/individuality of single “poems” is not what we’re looking at but more how the “poetry/ verse”…rather, the “verse” format fits for the structure of the work as a whole.
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Steven: That’s a good way to look at it. It’s easy to get caught up in analyzing the poetry, poem by poem or line by line. But I try to focus on how the style choice fits in a novel and how it’s utilized to develop characters, plot, and the rest. At the same time, individual poems within a novel in verse can stand out as highlights.
Emily: So Steven, you named some previous winners for me and didn’t mention OUT OF THE DUST! Is there a reason for that? I remember reading that book as a child and that is what convinced me it was OK to read books in verse, that they weren’t “boring poetry.” I still find myself remembering Billie Jo and relating with her. And the book is almost 30 years old!!
Steven: I was thinking of more recent titles…I count six Medal or Honor books just in the past decade. But you’re right, we can’t forget that book. I have no evidence at all to support this, but I think OUT OF THE DUST’s Newbery Medal must have had a tangible influence on writers and on publishing. It gave this amazing example of what can be done with this format, and it was popular and an award winner. Authors have been exploring that form in all kinds of ways in the decades since then.
Emily: To me, CROSSOVER was a big Newbery gamechanger. Having a “boy” verse novel win and a book about sports… that really meant something and hopefully helped normalize reading these types of books. I am consistently impressed with the narrative voice and plot development in Crossover, it amazes me on every reread.
Steven: I’m looking forward to Kwame A’s new novel in verse, BLACK STAR, which I just started. Kwame Alexander is also great at talking about writing. Here’s what he said in an interview about writing in verse:
…I love all the white space. I love the rhythm, the rhyme and figurative language and I like how you can say so much in so few words. I like to tell stories that are powerful and emotional in a few lines.
Emily: I think narrative voice is really what you gain most in verse. I think that’s why FORCE OF NATURE speaks to me so much. I really feel like we are getting Rachel Carson’s perspective and “feeling” what is happening while the various events unfold. DEEP WATER is one that spans a much shorter amount of time, but I feel like the verse draws it out so it’s not over dramatic but instead quite realistic.
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Steven: I liked the verse choice in DEEP WATER too. It’s kind of a streamlined plot, taking place just during the long swim, and verse is a good way to capture Tully’s thoughts and memories as she swims. MID-AIR is one standout for me, and I think it’s also the narrative voice you mention, Emily. Isaiah’s voice is just right. It often feels like he’s casually conversing with us; other times the verse is used precisely to capture a moment or an emotion. And it never disrupts the flow of what is a pretty full story. ULTRAVIOLET is another where the narrator’s voice is so distinct, right from the beginning.
Emily: Now that I’m thinking about it, I’d say verse is the strongest category this year. LOUDER THAN HUNGER is one I’ve been thinking about all year, but it didn’t jump out to me for this post. ONE BIG OPEN SKY was a historical book that I thought established a really strong development of plot and setting on their journey.
Steven: Agree about ONE BIG OPEN SKY. She alternates between three narrators and while free verse is used for all of them, their voices are distinct from each other and each plays a big role in the plot and themes. AND THEN, BOOM! is another strong one. The author uses the ending lines of many of the chapters/poems very effectively, often providing an insightful reflection from Joe about the events he’s just described.
So is Emily right? Is this form the strongest category of 2024? Please share your thoughts on any or all of the novels in verse above, or bring other titles into the conversation…
Filed under: Book Discussion
About Steven Engelfried
Steven Engelfried retired from full-time library work a couple years ago and now works as a part-time Youth Librarian at the West Linn Public Library in Oregon. He served on the 2010 Newbery committee, chaired the 2013 Newbery Committee, and also served on the 2002 Caldecott committee. You can reach him at sengelfried@yahoo.com.
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KAREEM BETWEEN by Shifa Saltagi Safadi, which is a finalist for Young People’s National Book Award, is another novel in verse. Reminiscent of Crossover, with a boy wanting to play football. It is also timely because of the family roots in Syria, one of the countries involved in the Middle East conflict.
I personally could not read ONE BIG OPEN SKY because of the lack of punctuation. Considering “excellence of presentation for a child audience,” I just don’t think this works. I’d love to hear from someone who liked and appreciated this book and what it was like for you.
I still have to read AND THEN, BOOM! but for now my strongest verse novel is KAREEM BETWEEN. I think it takes advantage of the verse format very well and has a well-developed plot and characters.
I didn’t like ONE BIG OPEN SKY myself for similar reasons. I couldn’t feel the poetry in it without the punctuation and with line breaks as they were.
I think about the “child audience” question for ONE BIG OPEN SKY too. I hadn’t considered the punctuation choice, which I agree tips it towards a more sophisticated reading audience. I was thinking more about the three characters, because I felt that Essie, and especially Philomena, who enters the story later, were more interesting than Lettie, the child character. It all worked for me as a a a reader: starting with the child POV, then balancing that with the impressions and experiences of two very different grown women. But it made me think that its most distinctive qualities, especially related to characterizations and themes, might resonate most with teens or even adults.
Oh, another one I’d love to hear opinions on is DEER RUN HOME by Ann Clare Lezotte. It just came out yesterday, and I read it in one day, but I wasn’t blown away by it. It did make the Anderson’s Mock Newbery list though.
Agreed. Found it very readable, and I know my novel in verse readers will eat it up, but it didn’t feel Newbery to me. Not sure if I can pin down why. I can see it in heavy contention for the Schneider, though.
I wasn’t bothered my the lack of punctuation in ONE BIG OPEN SKY, I hate using punctuation if you can’t tell by my blogs and comments. i felt like I was more inside her head with the lack of it, however I understand how that can make it difficult for emerging readers to understand
I know that historically, poetry has not beaten prose for the Newbery. But 2024-25 IS THE YEAR for free verse poetry! The committee has some influential books that arguably hit all of the rubrics and will likely be a hit with young readers. These books have the potential to shape young minds and inspire a love for literature. So many great books pushed the format in 2024, and I like bringing them into the light.
I believe that LOUDER THAN HUNGER will receive a Newbery Honor in 2025 and will be a top contender for the medal. Language choices create a narrative that captures the complexities of dealing with complicated mental health issues while still being appropriate for middle-grade readers. The creative use of space with line breaks and indentations makes the book weighty but visually engaging, giving meaning beyond words. The authentic characterization is distinct, and supporting characters give the book important history and context, furthering the plot. The subject is timely: most mental health conditions begin by age 14, and the stigma of eating disorders (and all mental health issues) can prevent kids from getting the help they need. Books like this can change lives and normalize hard conversations. Its ability to address the topic of anorexia with sensitivity and hope makes it an influential piece of children’s literature. John Schu writes this story of an outsider- but in my mind, he is a librarian, reading ambassador, and teacher who has written a story that combines his truth and his vast experience with books. He is very much an insider in the book community. Schu-in for a Newbery nod in 2025.
AND THEN, BOOM! by Lisa Fipps is a book that has truly captivated me. The literary devices (onomatopoeia, metaphors) are used with such skill and creativity that I find myself constantly revisiting the book. The tie to pop culture comics is both innovative and brilliant. The book’s exploration of tough topics is exceptionally well written, and I believe it deserves serious consideration from the Newbery committee.
BLACK STAR by Kwame Alexander. This just hit shelves last week. I read the ARC in July before THE DOOR OF NO RETURN. It is part of a trilogy but stands alone as a contender. Alexander takes words and makes them art. His thoughtful perspective on the history of the Great Migration and Harlem Renaissance is paired with a sports story with big multigenerational characters and vocabulary that is age-appropriate but has a literary quality that is so KWAME ALEXANDER AWESOME. And it’s about baseball. Winner.
Other Poetry titles that I added to the discussion for 2025 awards on the HMAC discussion posts:
March: Black Girl You Are Atlas by Renée Watson
April: Louder Than Hunger by John Schu *
May: Force of Nature: A Novel of Rachel Carson by Ann E. Burg*
July: And Then, Boom! by Lisa Fipps *
July: Deep Water by Jamie Sumner
July: Mid-Air by Alicia D. Williams (National Book Award Long list)
August: Ultraviolet by Aida Salazar
September: Black Star by Kwame Alexander*
Other:
-Big Open Sky by Lesa Cline-Ransome
I read this in March. It’s excellent but has a slow start. By page 50 though, I was hooked. I see why it was added to many lists. I think will be favored by adults over kids.
– Kareem Between by Shifa Saltagi Safadi (National Book finalist. Have not read yet but next on my list. )
I’m curious what others thought about the comic book ties in AND THEN, BOOM! I can see how they give us a point of reference, but at times they took me out of the story. Like when Joe learns about his Grandmum’s death, it’s “When Gotham’s in trouble / You activate the Bat-Signal. / You don’t call Thanos, / the destroyer of worlds.” (82) I had to stop and kind of stretch my brain to see his mom as the “destroyer of worlds” he’s talking about, and then I guess Joe would be Batman?
A few pages later he sees her and rattles off three more comic book references: “Captain America hugs,” Raven (because Grandmum’s skin is blue), and Kryptonians losing their sun. I guess it can all make sense if you think of Joe reflecting on this experience and using references that mean something to him to explain it. But it made those crucial, highly emotional moments a little less immediate and vivid to me.
Hey Ms. Engelfried, your comments always get my mental gears turning! After processing your super strong argument, I’m further convinced that the Newbery Committee would benefit from a youth panel to weigh in. Think about it: while adults have all this epic life experience, middle graders are just beginning their journeys. Their brains process books differently.
The comic book references you mentioned? Nailed it for me! Blending metaphors with Joe’s storyline succeeded in making the story come alive movie in my mind. This made me think about bias and experience. I mean, I’ve been a Kid Reporter for San Diego Comic Con in 2022 and 2023, chatting with authors and even decision makers like C.B. Cebulski, editor at Marvel Comics, and Brian Crosby, Executive of Marvel Experiences Development. Those interviews gave me a front-row seat to understand the real differences between comics and graphic novels. The way comics shape popular culture today? Mind-blowing. The potential of graphic novels to move into the literary conversations is huge. Through that lens, I gotta say, “AND THEN, BOOM!” is spot-on brilliance.
For young readers, especially in the typical 8-12 Newbery target range, the hero’s journey, character arc and plot can begin often begins with comic originated characters. Comic books have been around as long as the Newbery Medal. I loved how the literary connections were drawn in this book. But even more than the metaphors, the onomatopoeia with its “tick, tick, BOOM!” rhythm—this idea of gearing up for something big and bracing yourself—was sheer genius. In my eyes, those key emotional moments resonated because of these ties.
Fascinating.
Thanks for the thoughtful response Quade. I don’t question the impact of comics on popular culture. And I like your point about character arc. My question was more about how the choice to build Joe’s character around comic book references in part was effective in the novel. Those references felt more like an author making connections that readers will get, rather than a direct representation of what the grieving boy would be feeling at the time.
I compare it to the musical descriptions and metaphors used in THE COLOR OF SOUND. Those seemed more natural, and exactly how Rosie would see herself and the world. We don’t know as much about Joe, partly because of the verse novel form, so those super hero references become a big portion of his character development. I get the references, and I see how they could fit in the story. But I feel that they don’t really add to the impact of those “key emotional moments,” and could even reduce it. Especially when compared some of the other examples of character development in this year’s books.
Confession: “AND THEN, BOOM!” didn’t grab me as a favorite right away, but there’s something about it that drives my curiosity. The writing has this unique pattern and rhythm that stands out. I get what you mean about the structure—it helps readers connect, but it doesn’t quite pull you in emotionally. With “LOUDER THAN HUNGER,” it was the opposite; I felt completely immersed in the story, and in annotating it I saw how carefully the language was chosen. That book took me on a real emotional journey.
I am so glad that you highlighted some of the strengths of “THE COLOR OF SOUND.” I threw that gem into the HM Book discussion back in March, and it’s easily one of my top reads of 2024. Her creativity in intertwining multiple themes were excellent. I would be excited to see it land on the 2024 HMAC list.
I love your persistence on the youth panel idea, Quade….even though I’m totally against it. Committee members are not flawless, of course, but most have decades’ worth of experience in reading children’s books and using them with kids. Most have worked with children and interacted with them around books in all kinds of ways. During their Newbery terms, most will seek input from all kinds of readers, including kids, and take that into account as they wrestle with their decisions.
I like your statement that “middle graders are just beginning their journeys.” It’s important for Newbery folks to remember that as we think about books that “respect for children’s understandings, abilities, and appreciations.” But being at the beginning of their journeys also means those young readers have not read as widely or for as long and have, for the most part, been experiencing books directly, as readers should, rather than analyzing and evaluating them in terms of distinguished writing. It’s good to hear which books kids love, and, if possible, which books kids evaluate as excellent. But I still want the final discussion, analysis, and decision making to be in the hands of Newbery Committee members who are immersed in the field as professionals and committed to spending a full year rigorously devoted to the process.
Okay, I’ll admit, having a teen on the Newbery panel is unlikely—mostly because there are some really incredible librarians that totally deserve that honor. But the hardest part? Keeping it under wraps for 50 years! Like, how do you even do that?!
Thank you HMAC! I have learned so much about book analysis, get to read great books and I don’t have to keep it secret!
Has anyone read ARE YOU NOBODY TOO? by Tina Cane? I am curious what others thought. It was shelved in the middle grade section of my local library, it looks middle grade, the premise is middle grade (making friends at a new school), and there’s no “mature” content. On the other hand, the protagonist is in 8th grade, and the first person verse is on the edge of YA navel gazing. It also feels older in that it really doesn’t do anything more than give a quiet slice-of-life of a normal, but specific kid in a specific setting and specific time. Maybe that’s unexciting, and I don’t know who the readership is, but it actually felt fresh to me as well as well-written and authentic. I think it might do well in a sober Newbery analysis the way something like, say, Criss Cross does. (I liked Criss Cross, but I get the sense that not everybody was enthusiastic about its win.)
I’m with you on Criss Cross, Leonard. I never thought it would win the Newbery. That Medal announcement, plus Whittington as an Honor, made for a couple of nice (and deserved) surprises that year.
I’m currently reading LOUDER THAN HUNGER where the protagonist Jake chants “I’m Nobody! Who are you?” over and over. What a coincidence that there are 2 novels in verse this year about a middle schooler identifying with the same 19th-century poem.
AND THEN BOOM didn’t work for me. The narrative voice felt inauthentic because it was so preachy. Reading it felt like the author was trying to teach lessons rather than tell a story, and I think children will pick up on that.
In contrast, LOUDER THAN HUNGER allows the narrator to be wrong and say deeply troubling things while respecting the (older) reader’s ability to discern that the narrator is troubled and confused. There are still lessons, but they’re taught more subtly.
Adding I’M FROM HERE TOO by Kashmira Sheth to this discussion. Great characterization and unique story.