All American Boys from Kirkus Reviews

"Two boys, one black and one white, act out an all-too-familiar drama when the former is brutally beaten during an arrest and the latter witnesses it. Rashad wasn't trying to steal that bag of chips, but Officer Paul Galuzzo beats him to a pulp rather than hear him out. Quinn doesn't know that, but he does know that no one should be treated the way he sees family friend and surrogate father Paul whaling on that black kid. Day by day over the next week, each boy tells his story, Rashad in the hospital, where he watches endless replays of the incident, and Quinn at school, where he tries to avoid it. Soon Rashad's a trending hashtag, as his brother and friends organize a protest he's not sure he wants. Meanwhile, Quinn negotiates basketball practice with his best friend—Galuzzo's little brother, who expects loyalty—and Rashad's, who tells him bluntly, "White boy like you can just walk away whenever you want." In a series of set pieces, Rashad contemplates his unwanted role as the latest statistic, and Quinn decides whether he'll walk away or stand. Reynolds and Kiely supply their protagonists with a supporting cast that prods them in all the right ways; Rashad's strict, ex-cop dad provides unexpected complexity."

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 Long Way Down from Kirkus Reviews

 "After 15-year-old Will sees his older brother, Shawn, gunned down on the streets, he sets out to do the expected: the rules dictate no crying, no snitching, and revenge. Though the African-American teen has never held one, Will leaves his apartment with his brother’s gun tucked in his waistband. As he travels down on the elevator, the door opens on certain floors, and Will is confronted with a different figure from his past, each a victim of gun violence, each important in his life. They also force Will to face the questions he has about his plan. As each “ghost” speaks, Will realizes how much of his own story has been unknown to him and how intricately woven they are. Told in free-verse poems, this is a raw, powerful, and emotional depiction of urban violence. The structure of the novel heightens the tension, as each stop of the elevator brings a new challenge until the narrative arrives at its taut, ambiguous ending. There is considerable symbolism, including the 15 bullets in the gun and the way the elevator rules parallel street rules. Reynolds masterfully weaves in textured glimpses of the supporting characters. Throughout, readers get a vivid picture of Will and the people in his life, all trying to cope with the circumstances of their environment while expressing the love, uncertainty, and hope that all humans share."