If the way Hannah’s manuscript threads through Taylor’s present—revealing Narnie, Jude, Fitz, Tate, and Webb piece by piece—hooked you, you’ll love how I’ll Give You the Sun splits Noah and Jude’s perspectives across different years. As Taylor unravels the truth behind the Jellicoe crash and the Brigadier, Noah and Jude untangle their family’s secrets through art, love, and betrayal, with revelations that click into place as satisfyingly as when Taylor finally understands Hannah’s connection to her. It’s that same emotional jolt when past and present fuse.

If you were swept up by how the territory wars, Taylor’s leadership, and Hannah’s vanished past all braid together into one story, The Piper’s Son delivers that same layered construction. Following Thomas Mackee and his aunt Georgie, it weaves grief, fractured friendships, and complicated love into a mosaic that resolves with the kind of payoff you felt when Taylor connects Jonah, the town, and the five teens from Hannah’s pages. Different characters, same masterful tapestry of threads tightening into truth.

If Taylor’s hard-won growth—juggling the truce with Jonah and Chaz Santangelo, facing abandonment, and choosing who she’ll be—moved you, The Serpent King follows Dill, Lydia, and Travis as they push against a small town’s burdens and their families’ legacies. Like Taylor stepping into leadership at the Jellicoe School, these three must decide whether they’re defined by where they come from. It’s a raw, compassionate coming-of-age that lands with the same ache and hope.

If that final, heart-squeezing release in Jellicoe Road—when Taylor finally understands Hannah’s love, the accident, and what Jonah truly means to her—stayed with you, Aristotle and Dante offers a similarly luminous payoff. Ari and Dante’s bond deepens through miscommunications, near-misses, and family revelations, culminating in a confession that echoes the quiet, life-changing moments between Taylor and Jonah under Jellicoe’s sky.

If you connected with Taylor’s interior world—her guardedness after her mother leaves, the loneliness after Hannah disappears, and the way she slowly lets Jonah in—We Are Okay sinks into that same quiet psychological space. Marin holes up on a wintry college campus, and when Mabel visits, long-buried truths about her grandfather surface. The hush, the ache, the bravery it takes to speak—much like Taylor on the Jellicoe grounds—are rendered with piercing clarity.