SATA

• I Hated You in High School - 2025 Andrews McMeel Publishing, Kansas City, MO
• Carousel Summer - 2025 Quill Tree Books, New York, NY
• Anne: An Adaptation of Anne of Green Gables (Sort Of) - 2022 Quill Tree Books, New York, NY
• Jo: An Adaptation of Little women (Sort Of) - 2020 Quill Tree Books, New York, NY

• Kathleen Gros website - https://www.kagcomix.com/

  Kathleen Gros is a cartoonist living in Vancouver, BC.

  Her most recent graphic novels are Carousel Summer (HarperCollins 2025), and I Hated You in High School (Andrews McMeel Publishing 2025). She is currently working on her next middle grade graphic novel for HarperCollins, slated for release in 2027.

  Her other works include Anne: An Adaptation of Anne of Green Gables (Sort Of) (HarperCollins 2022), Jo: An Adaptation of Little Women (Sort Of) (HarperCollins 2020), Last Night at Wyrmwood High (Cloudscape Comics, 2015), and the webcomic Lunar Maladies (lunarmaladies.com, 2016-2020). She has contributed stories to several Cloudscape anthologies including Fantastic Frights, The Witching Hours, and Waterlogged: Tales of the Seventh Sea.

  In 2021 she was selected to participate in the Blind Date Project, facilitated by TCAF and the French Embassy in Canada.

  She graduated with a BFA in Illustration from Emily Carr University of Art and Design in 2015. She taught in the Graphic Novels and Comix program at Langara College until its closure in 2023. She currently teaches students of all ages at Place des Arts in Coquitlam, and teen students at Emily Carr University of Art and Design.

• Cloud Space Comics - https://www.cloudscapecomics.com/2021/10/26/fantastic-frights-creator-spotlight-kathleen-gros/?srsltid=AfmBOoqBeCugjTgJyREoDtKfRvAMvHY7oOVvGocxluA4OEQ9SmsHA_25

  Fantastic Frights Creator Spotlight: Kathleen Gros
  October 26, 2021 in Anthology / Cloudscape Books / Fantastic Frights / News by Evan Waterman

  This creator spotlight is a part of a series of interviews featuring artists from Cloudscape’s latest comic anthology, Fantastic Frights. Click here to check out the Kickstarter campaign for the book.

  Kathleen Gros is a cartoonist from Toronto living in Vancouver, BC. She is the creator behind the graphic novels Jo: An Adaptation of Little Women (Sort Of) (HarperCollins 2020), Last Night at Wyrmwood High (Cloudscape Comics, 2015), and Lunar Maladies (lunarmaladies.com).

  What were you scared of as a kid?

  Kathleen: Literally everything! I had to be taken out of so many movie theatres as a kid because I would get scared and overwhelmed. Things that seem pretty insignificant to adults could terrorize me for years. I once caught a glimpse of the cover of an “It” adaptation in a Blockbuster and I didn’t even know what the film was about but that image haunted me every time I saw a dark space under a bed. I was particularly freaked out by the Goosebumps book “Say Cheese and Die AGAIN” about a camera that took pictures of horrific future events. There’s a scene where a kid steps on a nail, and it goes through his foot. I’m still kind of scared of that! Even now, I’m a big baby. I watched “The Blair Witch Project” a few years ago and I barely slept for the next week.

  What’s your favourite aspect of the horror genre as it applies to comics?

  Kathleen: I love when horror comics play with what happens in the gutters. Emily Carroll is obviously a master of this. In “Through the Woods” there’s a page where a character is hacking into a wallpapered wall with a hatchet and the way the panels are arranged is genius. Similarly in “When I Arrived at the Castle” there’s a sequence where a character peeps through a key hole and it is *chef’s kiss*. You have to get your hands on these books to check out what I mean.

  What was the most interesting/challenging thing you experienced when working with the book’s two-tone colour scheme?

  Kathleen: I love limited pallet comics! It’s my favourite way to colour. I’ve been doing it basically since I started posting comics online. On a practical level, I love it because it’s fast (and I’m always looking for ways to streamline the process of cartooning). On an aesthetic and theoretical level, I love how it looks, and it’s a great way to add metaphor and symbolism to a story.

  I was so pleased when I found out that the colour scheme for Fantastic Frights was going to be blue/pink because I’ve been drawing vampires drinking hot pink blood (instead of red) for years. I’m a sucker for the colour pink. I like using it in creepy scenes instead of red to make things feel a little strange and not quite right—it’s not what you expect in those situations!

  A page from Kathleen’s story, There’s Something Strange About Mr. Shaughnessy
  What was the inspiration behind your story for this anthology?

  Kathleen: My comic is based on a true story. This building manager really exists! That’s all I’ll say about that.

  Where can people find out more about your work?

  Kathleen: You can find me on instagram and twitter at @kagcomix, or check out my website for more of my comics at kagcomix.com.

• SGN. - https://www.sgn.org/story/323184

  Adapting Anne: A graphic novelist takes on classic feminist literature
  By Lindsey Anderson
  Friday, February 24, 2023
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  Classic literature is often hailed as some of the greatest works of all time. While many Queer bibliophiles enjoy iconic feminist works like Anne of Green Gables and Little Women, the only LGBTQ+ representation in them can be found in subtle subtext.

  While scholars have spent decades arguing about whether or not the authors intended for characters like Little Women's Jo to be Queer or not, one author has taken the story into her own hands.

  Kathleen Gros – Courtesy photo
  Make it modern and make it Gay
  Kathleen Gros is the writer and artist behind Jo: An Adaptation of "Little Women" and, most recently, Anne: An Adaptation of "Anne of Green Gables." The books take the beloved characters and plotlines of some of Gros's childhood favorites and modernize them. Unlike the originals, they are also undeniably Queer.

  "I love Anne of Green Gables. It is one of my absolute favorite books of all time," Gros said. "I read it over and over again when I was a kid. Two years ago... Jo: An Adaptation of "Little Women" [came] out, which again, came from a love of that classic. My agent and I finished talking about potential other adaptations we could do. Anne of Green Gables came up immediately – it's a book that I love."

  Gros, who also identifies as Queer, retells these classic stories through a Queer theory lens. She only adapts books that scholars have theorized have an LGBTQ+ subtext, which is often pretty obvious to her.

  "The adaptations I do are through a Queer lens," she said. "I look at classic literature that has been able to be interpreted through a Queer lens. Queer folks can kind of see themselves in the story, even if it's not explicitly Queer in the text or the intention of the original author."

  Gros said she sees literature as a work of art, one that can be interpreted by the reader. "I think one of the joys of being in the audience is that you get to interpret the work however you like, and adaptations are kind of an avenue of reframing an original work or getting to have a dialogue with it in a way, and getting to bring in different ideas. For me, it was about getting to bring in more personal experiences and women I know who have sort of seen themselves and maybe their first crushes in the relationship between Anne and Diana. Bringing that energy into the work and bringing that experience of the reader into the text felt important to me."

  A drawn-out process
  What sets Gros's adaptations apart is that she not only reimagines the classic stories as modern and Queer, but she also recreates them into graphic novels. The process of writing and illustrating a full-length novel is long and difficult, but very worth it for Gros.

  "Writing a graphic novel is interesting. Everyone does it ...differently, and I'll do it differently with each project," she explained.

  "If I'm working with a big publisher, an editor, and an art director, my project is a lot more streamlined. There are very specific steps we have to hit. There are way more people looking at the work, trying to make it the best it can be.

  "When I'm working on a personal project, that's very loosey-goosey. I just do whatever I feel like."

  Gros' adaptations add even more work, as she has to do her research to make sure her version of the story aligns with the original.

  "Writing an adaptation is a lot different than doing any other kind of work," she explained. "Even though I've read Anne of Green Gables several times, I read through it about three times [more] before I started writing the book. I wanted to have it fresh in my mind.

  "I was thinking about what elements of the work resonated with me as a kid reading it, and what themes and scenes resonated with me as an adult reading it. I made a list of key themes that are important for the work and then key themes ...for characters, like what's the journey of the character in the broadest sense over the work."

  Modernizing a classic
  Gros had the challenge of imagining settings for her modern adaptations that keep the same feelings and challenges of the original work but still encompass realistic parts of today.

  "For Anne, her biggest arc is feeling out of place and finding a home," she said. "I wanted to make sure that came into the new work, because it is integral to the original story. From there, once I get ...the idea for key scenes and arcs, I have to figure out how to translate these into the 2020s. How do I think of these in a modern setting?"

  For historical novels, like Anne of Green Gables and Little Women, the setting, clothing, and even transportation methods change the story immensely.

  "A big one for me was thinking about insular communities," Gros said. "Anne of Green Gables is set in Prince Edward Island in the original work, which is all small communities, like the small town of Avonlea. My personal experience is living in big cities. I grew up in Toronto, which is actually where L.M. Montgomery [author of Anne of Green Gables] spent a lot of her life. ...So I was thinking about apartment buildings within the city and reimagined Avonlea the town as the Avonlea apartment building. It's not super obvious in the art, but I was basing it off certain areas of Toronto a little bit.

  "I also had to figure out how I was going to translate past stuff to today. One of my favorite elements of the original work is the story club that Anne makes with her friends, where they just get together and write these stories together. I kind of skewed that a bit in my retelling, just because I have a big love of zines and that ...DIY mode of communicating and sharing thoughts and art. It feels very like Anne Shirley in a way, so I had her join a zine club... I believe L.M. Montgomery was also a huge scrapbooker, so it was just tying in little elements of different themes surrounding the work."

  Rewriting the classics
  Once Gros established what changes she'd be making in her adaptation, she plotted out what events from the original books she would include in her graphic novel.

  "I will write a synopsis. Essentially just looking at what the different beats are going to be in the story. This happens, then this happens, and it's a couple of thousand words," she explained. "From there I go and write a full script for the book. I write down all the actions, and all the dialogue, and break it down into pages and panels. That goes to my editor, and we do a couple of back-and-forths on it. Once my editor approves it, I go and start the work."

  The actual work of creating the novels is the most tedious part.

  "I just sit down and knock out a bunch of pages every day for a couple of months," Gros said. "Once we get the rough pages that go back and forth between the editor and the art director, then it comes back to me, and then I go into the final art. Front to back, it's about two years of a process."

  And that process is also taxing in physical sense.

  "Art is the process that is more challenging on my body, physically," Gros said. "Cartoonists have to be careful about repetitive strain injuries and taking care of our bodies, because you can hurt yourself just sitting and drawing, which sounds goofy but it's true. Drawing is really hard on the body."

  Not only is drawing physically exhausting, but it takes a lot more time than writing, she added. "With drawing I know I can sit down... and get a certain amount of work done [in a day]. I know I can just sit down and do it. Writing is challenging differently: you can't necessarily sit down and write for eight hours in a day – at least I've found that I can't. I have to take little detours, putter around the house a bit, let the brain work, and then sit down and get out about two or three good hours of writing.

  "Writing takes a lot less time [than drawing]. I write the script for a graphic novel in about two to three months, and it takes twice that to draw it. Just to get the rough draft it takes me five or six months, and then that again to do the final art. It is a much more labor-intensive to draw. You can write, 'They walked into a crowded room' – and then that's a full day...just to draw a crowded room. They're both challenging in different ways, and gratifying in different ways."

  Unlike many modern graphic novel artists, Gros prefers to start all her artwork by hand.

  "The first part of the process is I draw everything out on paper," she explained. "I just like the way that pencil feels on paper. I find that on the computer, the ability to zoom in and out while you're drawing messes with my sense of proportion. Other people are great at that, but for whatever reason, it just doesn't work with my brain. So I just do it on paper with pencil, and then I scan those in to do the final art."

  She used to ink all her work by hand, too, but found that with multiple edits, the computer was a quicker way to get the job done.

  Image courtesy of Quill Tree Books
  Weren't they always a little Gay?
  The least challenging work for Gros is finding the Queer subtext in her favorite pieces of literature.

  "I don't think the queerness of it was difficult at all," she said. "It's so incredibly easy to look at the original text and interpret it through a Queer lens, whether or not that was the original intent of the author, which I don't think it was."

  Her latest novel, Anne, centers around the very romantic friendship between Anne and Diana. "There's a certain kind of very intense friendship that a lot of Queer folks have when they're very young that is reflected in Anne and Diana," Gros said. "They exchange locks of hair and profess their love for each other. Anne has a full emotional tantrum accidentally imagining Diana growing up and marrying a man. I think a lot of Queer readers can relate to that sense of 'oh, I love this person so much, and I don't know if they feel the same way. I don't even fully understand what these feelings are, because they haven't been explained to me or presented in a way that I could recognize.' So I don't think that was the difficult part at all."

  Finding content is the easy part, but cutting things out is what Gros finds the most challenging. "The hardest part about an adaptation, going from a novel to a graphic novel, is everything you have to cut out. You just can't fit everything in, and there are a couple of things where it's too bad I couldn't get it in," she said.

  Some of Gros' favorite scenes from the original Anne of Green Gables that couldn't make it in include the amethyst brooch and Anne and Diana's tea party, the latter of which provides mountains of Queer subtext for the iconic character.

  Despite having to cut out several great scenes, Gros is proud to say that all the major characters from Anne of Green Gables make appearances in the book. However, if readers are hoping to see nods to L.M. Montgomery's other Anne books, they won't find them in Gros's adaptation. She admits she could never get through the sequels.

  "I feel like Anne of Green Gables itself is just a complete work [such] that ...going beyond that didn't ever really resonate with me as much as the first book," she said.

  However, Gros hopes readers not only make it through her adaptation of Anne but also enjoy the direction she's taken the iconic character.

  "I hope they have a good time reading it; that's always what I hope. When I'm making something, I always want to create a little world where someone can go away in it for a little bit and enjoy just existing somewhere else for a moment. That's the main thing that I hope readers take away from it.

  "I've also snuck in a lot about zine making and telling your own story, so it would be cool if people could step away from that, too, and get inspired to create their own stories and art."

  Louisa May Alcott's biggest fan
  Gros first got the idea to adapt classic literature into graphic novels in high school.

  "I've always had this idea in the back of my mind that it would be really fun to do a modern-day adaptation," she recalled. "Back when I was a teenager, I thought this would be fun, because it has so many themes that could be transposed to any time and any person, really."

  Gros describes herself as a Little Women superfan. Even as a teenager, she knew she wanted to adapt the story someday.

  "At its core, it's about four sisters growing up and their different personalities," she said. "Just by chance, I wound up connecting with an agent – who is now my agent – who had an interest in pitching a modern-day Little Women graphic novel, and I was like, 'Oh, I've always wanted to do that. I have ideas about that. Let's talk.' We sort of hit it off, and she's been my agent ever since."

  The idea of making LGBTQ+-specific adaptations came to her after Gros analyzed the main protagonist of Little Women, Jo.

  "So many Queer women can see themselves in Jo. So many people in general can see themselves in Jo," Gros said. "She has this friction in her life – with the expectations set for her as a woman in 1800s society – and they're so not in line with the things that she wants from her life. She plays the role of the son or the boy within her family, and I think a lot of Queer women can see that in themselves when they're young.

  "I think you can also see it through a Trans lens if you want, for sure. That whole way of being. Not to say this is every Queer girl's experience, but it was my own and some of my friends' – that friction of the expectations around you of how you have to act as a woman, and feeling real outside of that. ...The doting brother role that she plays feels so Queer in so many ways."

  Rewriting Jo to be an explicitly Queer character gave Gros the space to add more dimensions to some of the character's actions, including her iconic rejection of her love interest.

  "[It's] one of my absolute favorite scenes in Little Women," she said, "and this is so controversial, because so many feel that Jo and Laurie should have been together, and it's messed up that they're not together at the end of the book, which is fine.

  "[But] I love that they do not get together. One of my absolute favorite scenes in the original book is when Laurie professes his love to Jo and she says, 'I cannot love you like that. I do not love you like that. I love you, but I do not love you like that.' That very much can be [interpreted] through a Queer lens. I also think it's a very powerful scene in general, especially for young girls.

  "I think we get a lot of narratives that are 'Oh, if someone likes you, you probably like them back,' but there's a lot of power in being like, 'Just because someone likes you or has feelings for you, you don't have to reciprocate that, and that's okay.' You don't have to step into a romantic relationship with them. You can stay really good friends if that's how you feel."

  As far as other adaptations of her favorite books go, Gros doesn't have plans to revisit classic literature anytime soon. Instead, she is content to rewatch Greta Gerwig's Little Women, which she believes is one of the best adaptations of the novel yet.

  "I think it is the best Little Women adaptation. It is very smart, I think it's very fun. Just being a huge Louisa May Alcott fan, I know they did a bunch of stuff that nodded to [her] as a person."

  Writing an original story
  While she won't be adapting anything, Gros will be spending the next year focusing on an entirely new story she's creating.

  "I am working on another book right now," she said. "I just finished the script... It is an original work, so it is not an adaptation. It's called Carousel Summer, and it should be out in 2024.

  "The story is about this girl who is stuck in the summer between grades 7 and 8 in this small town in rural Ontario. Her best friend has abandoned her for the summer by going away to ...camp. They're writing letters back and forth to each other to keep in contact and tell each other everything that's happening. She's ready for the summer to be super boring, the worst summer ever.

  "Then this artist comes to town with her daughter who is about the same age as our protagonist. The artist has a grant from the Canadian government to reimagine and rebuild this historic carousel that used to stand by the harbor in town. Her daughter and the protagonist become friends, and a crush develops... which tells the story of their summer together. There's [also] a subplot about developers coming to the town and gentrification and housing insecurity."

  While Carousel Summer still won't be out for another year, fans of Gros's works can always check out Jo and Anne, as well as her many self-published short comics at https://www.kagcomix.com/.

• Emily Carr University of Art + Design website - https://www.ecuad.ca/news/2023/kathleen-gros-gives-new-life-anne-green-gables-graphic-novel

  Kathleen Gros Gives New Life to ‘Anne of Green Gables’ in Graphic Novel
  Photo credit belongs to Darren Anderson
  Artist Kathleen Gros knew she could “bring passion to this retelling” of the beloved story of a red-haired orphan. (Photo by Darren Anderson / courtesy Kathleen Gros)

  This post is 2 years old and may be out of date.
  By Sára Molčan

  Posted on February 16, 2023 | Updated February 16, 2023, 2:29pm

  Retold as a modern graphic novel, the story follows foster kid Anne Shirley through her discovery of identity, sexuality, and relationships with friends.

  You might wonder how someone can give a beloved story a fresh take while still doing justice to the original. But giving a classic novel a modern twist is nothing new for artist Kathleen Gros (BFA 2015).

  In 2020, Kathleen tackled Louisa May Alcott’s seminal coming-of-age novel in an adaptation called ‘Jo: An Adaptation of Little Women (Sort Of).’ Kathleen’s version brought the interpersonal drama of the famous four sisters squarely into the 21st century. Spoiler: Beth lives.

  When given the opportunity to do another modern-day adaptation, Kathleen chose a book that was influential to her as a child.

  “It was definitely one of my favourite books growing up,” Kathleen says of ‘Anne of Green Gables.’ “I read it so many times. When my agent asked if I would be open to doing another adaptation, I knew that I could bring passion to this retelling.”

  Readers familiar with the original tale will still recognize the characters in the story. But this is not L. M. Montgomery’s Anne Shirley.

  Anne hc c
  “It was definitely one of my favourite books growing up,” Kathleen says of ‘Anne of Green Gables.’ “I read it so many times.” (Image courtesy Kathleen Gros)

  To craft a story that resonates with a new generation of readers, Kathleen wove modernity into the details. The domestic duties and other late-19th century conceits are gone. Instead, we see contemporary situations such as a classroom experience and introductions including pronouns. Meanwhile, the fictional town of Avonlea on Prince Edward Island has been transformed into the Avon-Lea apartment complex where Marilla and Matthew live, along with Anne’s soon-to-be best friend, Diana. These subtle shifts allow young readers to place themselves in the story.

  “When I was thinking of ways to adapt the town of Avonlea into that small, insular community, I thought about the ecosystems of apartment buildings,” shared Kathleen. “We don’t fully take advantage of what cool communities they can be, especially in Vancouver, and I wanted to highlight that.”

  Anne remains just as memorable, although the trouble she gets into is slightly different.

  Another huge pivot for the graphic novel is that Anne grapples with her sexuality. She hides her feelings and struggles to understand her own identity.

  “A lot of people read queerness into Anne and Diana’s relationship,” said Kathleen. “It’s not explicit in the text, but it is there if you want to take it that way. They profess their love for each other in one part, and later exchange locks of each other’s hair because they can’t be friends at another point.”

  Theories about the true nature of Anne and Diana’s friendship have been floating around for ages, both in academia and online.

  “Young girls can have very intense platonic friendships,” continues Kathleen. “On the other hand, a lot of queer women can recognize those intense friendships as an insight into learning about their own queerness or realizing those intense feelings are more than friendship.”

  Anne Pages2
  In Kathleen’s adaptation, the fictional town of Avonlea on Prince Edward Island has been transformed into the Avon-Lea apartment complex where Marilla and Matthew live. (Image courtesy Kathleen Gros)

  Turning subtext into text gives life to this part of the teenage experience. Doing so ultimately provides greater representation for young readers who may feel the same – or have friends going through that experience.

  The illustrations and the nods to the original text add up to far more than heartwarming homage. Both new readers and lifelong fans of the original will enjoy meeting Anne’s new family and friends while following along with her adventures. 


  It’s Anne, with an upgrade.

• The Tyee - https://thetyee.ca/Culture/2025/05/09/Comics-Positive-Dream-For-World/

  How Comics Can Be ‘A Positive Dream for the World’
  Vancouver cartoonist Kathleen Gros brings gentrification and personal growth to life in her two new books.
  A comics panel depicts a person with long blonde hair and a blue dress standing over a bathroom sink before a mirror in a room with blue walls. In the mirror is a version of the same person with shorter hair and a collared shirt.
  Vancouver graphic novelist Kathleen Gros explores queer identity, self-discovery and gentrification in two new books out this spring. Excerpt from Carousel Summer republished with permission from HarperCollins Canada.

  Mel Woods 9 May 2025The Tyee
  Mel Woods is an award-winning Vancouver-based writer, editor and content creator. They are a senior editor at Xtra Magazine.

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  Carousel Summer
  Kathleen Gros
  HarperCollins Canada (2025)

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  I Hated You in High School
  Kathleen Gross
  Andrews McMeel Publishing (2025)

  Kathleen Gros really didn’t plan to release two full-length graphic novels in one season. But sometimes, the publishing calendar works in mysterious ways.

  The Vancouver-based cartoonist launched two books in April. Carousel Summer, published by HarperCollins Canada, is a middle-grade graphic novel about a young girl in a small Ontario town who faces questions of identity after an artist and her daughter arrive to help redevelop the local carousel. And I Hated You In High School, published by Andrews McMeel Publishing, is a rom-com friends-to-lovers story about a struggling Vancouver artist who falls for her high school nemesis.

  Both books deal with themes of queer identity, gentrification and self-discovery, albeit for very different audiences. Carousel Summer joins Gros’s earlier works as a tender introduction to queer identity for younger readers, while I Hated You In High School moves beyond the usual coming-out story into the messy, dramatic, real-life realm of actual queer lives.

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  At the core of both books are themes of change and identity, paralleled smartly by something familiar to Vancouver residents: real estate development. For a story about queer adults partially set in present-day Vancouver, it’s a no-brainer. And while it might seem like a surprising topic for a middle-grade graphic novel, Carousel Summer uses development and change in a small Ontario town to draw parallels to how all big life changes — from figuring out your identity to your town’s main street changing — can be big, messy and complicated for everyone involved.

  Two book cover images for Kathleen Gros’s new books. Left: Carousel Summer features purple title text atop a mural against which two young people are standing together in summer clothes, talking. Right: I Hated You in High School features smaller title text in dark brown and a busy background in the style of notes passed between students in high school. Two cartoon characters stand in the middle of the frame in front of a pink heart.
  A former president of the Vancouver-based comics non-profit Cloudscape Comics Society, Gros has been a staple of the Vancouver comics scene for a decade, not only publishing and exhibiting at festivals, but teaching the next generation of artists at Langara College, Emily Carr University and Place des Arts, a non-profit arts education centre in Coquitlam.

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  I’ve known Gros since I moved to Vancouver eight years ago. We were introduced by a mutual friend in the Vancouver comics scene, and have subsequently orbited similar queer and comics spaces in the years since. She used to co-table with my partner at comics conventions like the Vancouver Comics Arts Festival, and as a fellow respecter of the wooden roller coaster, she has become my go-to fair ride buddy at the PNE midway in the summer (I even snapped the carousel author photo at the back of Carousel Summer).

  Ahead of her dual book launch at Lucky’s Books and Comics on May 16, I grabbed a bubble tea with Gros to chat about her dual releases, cricket-filled Vancouver apartments and the best part about Pride in Vancouver. This interview has been edited for brevity and clarity.

  The Tyee: Carousel Summer is targeted at middle grade readers, while I Hated You In High School is decidedly for adults. How did you find the difference in writing for each group?

  Kathleen Gros: I mean, there’s certain things that [are] just a lot harder to talk about when you’re writing for children. Both books deal with the topic of gentrification in certain ways, and the tension of new developments. And in a kid’s book you kind of have to set up certain concepts a little bit more because, you know, an eight-year-old is going to kind of understand what’s going on just by living in Canada, but maybe doesn’t have all of the vocabulary.

  Whereas in an adult book, I can just have that humming along in the background and not need to set it up quite as much. I really try not to talk down to children when I write to them because they’re smart and funny, and will see through you.

  image atom
  Vancouver cartoonist Kathleen Gros.
  Both books are very gay, and your previous middle grade books — adaptations of Anne of Green Gables and Little Women — also heavily feature queer themes. I think a lot of bad actors would suggest those are topics not for kids, or that need to be explained to kids. But your work feels very intentional in its casual queerness with scenes at Pride and side characters being openly queer.

  My intention with my work for younger readers is to both provide a little bit of a lens for people who might see themselves and might need to see themselves, and find that vocabulary they need [to reflect their experiences], but also for people who maybe aren’t queer or don’t know they’re queer yet, and need the vocabulary to know how to react when somebody shares these things with them.

  Because there’s still such an element of taboo I even see sometimes in the classes that I teach with younger kids where there’s like a, “gasp! We can’t say the gay word!” Even though gay marriage has been legal in Canada for 20 years.

  Parents, we need to be doing a little bit better on educating our kids. But it’s, I think, trying to show a positive dream for the world, or a positive dream for the experience of a kid.

  A comics panel depicts a character with long blonde hair and a blue dress looking in the mirror, imagining another version of themself with shorter hair and a collared shirt. Someone knocks on the door and they reply, “Occupied!”
  Excerpt from Carousel Summer by Kathleen Gros, 2025, republished with permission from HarperCollins Canada.
  Your books have faced bannings in libraries for their queer content, right?

  I know Jo: An Adaptation of Little Women (Sort Of) was targeted in Victoria once, and I’m sure they’ve been just quietly removed from other places, and it feels really bad. But I also think it’s worthwhile work.

  You know, it feels very vulnerable sometimes, in a way that I don’t like. As a cartoonist, you get this wonderful separation between you and the people who receive your work, which is really nice.

  But now the “themes” that I work with, normal everyday occurrences in lives, are highly politicized. It feels more like critical eyes can turn back towards me in ways that are very exposing and don’t wish to see you as a human being. I’ve become like a symbol of the devil instead of just some person drawing stories in their apartment.

  851px version of GoSayHiPanel.jpg
  Excerpt from Carousel Summer by Kathleen Gros, 2025, republished with permission from HarperCollins Canada.
  Both books deal with themes of gentrification. You lived for a long time on the Broadway corridor, and have watched the SkyTrain development happen in that time. Can you speak to how you integrated that into both books?

  Maybe my own frustration with my own writing is that the politics of Carousel Summer are a lot less strong than my own personal, personally held convictions. Sometimes in the process of framing a narrative, certain edges have to be sanded down, or changed a little bit for the set narrative.

  But yeah, I’m angry every single day living in Vancouver with the way that housing is approached here. And both of these books were created from very specific frustrations and angers.

  I remember being so angry when I was coming up with the Carousel Summer idea. I had this idea of the artist coming to town, but I hadn’t fully figured out the B plot yet. And then the old building that Little Mountain Gallery used to be in was up for redevelopment. I think [the] Cloudscape [Comics Society] at the time was having some issues with thinking about the future and what spaces they would be in.

  I was just really, really angry about all the important community spaces disappearing in Vancouver. I mean, Little Mountain Gallery found a new place, but it just feels like every art space is disappearing because the rents are too high and the city doesn’t want to invest in the goodness that can come from having easily accessible art spaces.

  So that doesn’t really come through as much in the book, but that is the spark for, “Oh, I’m really mad about this. How can I write something that helps let kids know what’s going on?”

  I also added a housing B plot to I Hated You in High School because we needed to expand it from the bare bones of a romance thing, and I wanted it to be very Vancouver, because that’s true to my own 20s. But I was like, “what is the truest thing that every single person who is a young adult in Vancouver feels?”

  And that is the fear that you are going to lose your home because the rents are too high, and the rents are only getting higher, and you live in a shit-hole building, a terrible building that’s never being fixed, because they know that the moment you leave they can raise that rent so high. Also it’s full of crickets.

  A black and white two-panel comic from a graphic novel depicts two characters discussing one person’s high school nemesis across two rooms, the bedroom and kitchen, of their apartment.
  Excerpt from I Hated You in High School by Kathleen Gros, 2025, republished with permission from Andrews McMeel Publishing.
  That sounds familiar.

  Sometimes, as a writer, you borrow certain details to sprinkle through. But yes, I did live in a building infested with crickets for five years, and it was horrible. And I did move out because the building was up for redevelopment. I had the opportunity to move in with my partner, so we had housing secured, but I didn’t see it being particularly great to wait out to see if the Broadway Plan protections would be enacted, because I don’t believe that they will be enacted properly.

  I think anybody in Vancouver would be very familiar with those little housing development signs that appear in the book.

  When you get that notice of redevelopment and you see that one of the contact numbers is for, like, homelessness services. Yeah, pretty bad vibes. The city is not going to protect us, no matter how much they say.

  960px version of HatesMePanel.jpg
  Excerpt from I Hated You in High School by Kathleen Gros, 2025, republished with permission from Andrews McMeel Publishing.
  I know that you travelled to Toronto to draw specific locations for I Hated You in High School. There are also a lot of very familiar Vancouver locations. Did you have a favourite place to draw?

  I just had such a fun time with the specificity of location, because something I’m always thinking about when I’m creating work is how I really want you to feel, like you could step into that world and turn in a full circle and know what’s around you.

  Trying to draw Vancouver, and the Vancouver that I was spending time in, was really, really fun. I think drawing the pool is one of my favorites. The Kitsilano Pool scene is one of my favorite scenes.

  I was drawing in the winter, so I couldn’t have access to Kits Pool. So I enlisted all of my friends who I know go to Kits Pool during the summer and take a million photos. They sent me all their photos, and I pieced together all the backgrounds around that. So that was definitely one of my favorite scenes.

  I did really enjoy drawing the PNE and the wooden roller coaster. Again, I was drawing this in the winter when I didn’t have access to the PNE. I watched a lot of walk-throughs on YouTube — amusement park people are weird in the best way.

  Another big part of I Hated You in High School is Vancouver Pride. Do you have a favorite part of Pride season in Vancouver that you wanted to communicate the energy of in the book?

  I’m not not a huge crowds person, and I like being inside, but I do really love the HappyLand events [at the PNE]. I think they’re so fun. It’s the best way to experience the PNE, because they get great acts that are really fun, and then you get to ride all the rides. I also love the Dyke March and stuff like that. Going out, seeing everybody getting all dressed up, having fun.

  image atom
  In a Trip Through Two Zinefests, I Saw the World Changing
  read more
  You’ve been a mainstay in the Vancouver comics community as long as I’ve known you, exhibiting at the Vancouver Comic Arts festival and being heavily involved with the Cloudscape Comics Society. I think a lot of people don’t know the full breadth of that community here. Could you speak to it a bit?

  I think we’re really spoiled in Vancouver — a lot of cartoonists live here and have for ages.

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  In ‘Why Don’t You Love Me?,’ Heartache and Redemption
  read more
  When I first moved to Vancouver, like I was just leaving my teens, and I did not know how to make friends, really, because I went to Emily Carr and there’s no dorm, so you’re not forced to spend time with your classmates. I was doing the occasional zine show because I’d been doing them in Toronto, and I wound up meeting some folks from Cloudscape, which is an arts organization in Vancouver that has sort of two halves to it. One half is a publishing half, where they focus on publishing comics by B.C.-based artists and writers, and then the other half is sort of a community space, where on Wednesday nights, anyone who is interested in drawing comics or interested in writing comics, is welcome to come to their meeting space, which currently is in the Roundhouse Community Centre.

  That was really instrumental in me finding like-minded people, because I didn’t really know anyone who drew comics. And I found some really great friends that way, and Cloudscape published my first book, Last Night at Wyrmwood High.

  So I think we’re very lucky in that there’s a lot of people making comics in Vancouver, and a lot of people who want to share their knowledge making comics in Vancouver.

  What are your pie-in-the sky projects next, now that you’ve come out of “two-book month”?

  I would love to make more adult work. The market is a lot smaller for adult work, so it’s a bit trickier to get your foot in the door there. I would love to write a couple more romance novels. They’re really fun. I have more ideas about one set in Vancouver.

  But I’ll always love writing for kids. It’s so fun. And I’m currently working on a new kids book with HarperCollins, again, that is focusing on a fictional town on Vancouver Island, and a mini-golf course, and maybe a mystery around that. I’m really looking forward to drawing all the twisty, windy Island roads.

  Kathleen Gros celebrates the launch of Carousel Summer and I Hated You In High School at Lucky’s Books and Comics in Vancouver on May 16. [Tyee]

• Kat Read That - https://www.katreadthat.com/post/interview-with-cartoonist-kathleen-gros-author-of-jo-an-adaptation-of-little-women-sort-of

  Interview with cartoonist Kathleen Gros, author of Jo: An Adaptation of Little Women (Sort Of).
  katkresse321
  Aug 24, 2024
  2 min read
  Updated: Nov 12, 2024

  ree

  Where is your favorite place to write?

  My favourite place to write is at my desk. It's a giant beast of heavy wood, and its huge surface lets me

  spread out all my notes and sketches. My second favourite place to write (when I'm feeling too distracted to write at my desk) is lying down on the couch with a fresh cup of tea

  .

  How old were you when you first started writing stories?

  I've been writing stories and making little books since I learned to write (and had access to a stapler).

  What was your first book?

  My first published book was Last Night at Wyrmwood High. It's an all ages monster story about friendship, forgiveness and curse breaking. It was published by a very small publisher in Vancouver, so most readers haven't heard of it.

  What is your favorite genre to write?

  I like to write stories that feel real. I like to write about everyday problems and emotions.

  What is your favorite genre to read?

  My favourite stories to read are ones with monsters and magic. If there are werewolves and vampires, I'm in!

  What has been your favorite book to write so far?

  This answer changes every time I write a book! My most recent book is Carousel Summer (which will be out in April 2025). I had so much fun writing this one. The characters are all very special to me, and I hope readers enjoy meeting them as much as I enjoyed writing them.

  Do you have any places to go or things to do when you need ideas?

  My number one thing to do when I need ideas is to hang out with my friends! The best way to make meaningful art is to live a meaningful life. I like to hang out with my friends, go for walks, check out different events in my city, and visit local art galleries.

  What are your other hobbies?

  When I'm not drawing, writing or reading I'm sewing! I make all of my own clothes, and I love to embroider.

  Do you have any pets?

  I don't have any pets but I would love to have a cat. My current apartment doesn't allow pets, so in the meantime I get my cat time by cat sitting for all my friends!

  Do you plan on writing any more books?

  Absolutely. I'll be writing books for as long as I can!

  You can visit her website at https://www.kagcomix.com/ .

Gros, Kathleen JO Quill Tree Books/HarperCollins (Children's None) $12.99 9, 22 ISBN: 978-0-06-287596-9

A graphic-novel version of Little Women, with a few modern twists.

The story begins with eighth grader Jo introducing the family via her blog: Oldest sister Meg is starting high school; precocious Amy, the youngest, loves to draw; Marmee works as a nurse; and Dad’s overseas doing top-secret work for the army. Readers later learn that Beth, 11, is in remission for leukemia. On the first day of school, confident Freddie, editor of the school paper, invites Jo to join the newspaper club. Near Halloween, a boy named Laurie moves next door, and soon he and Jo are close friends. Valentine’s Day sees Laurie admitting to a crush on Jo, which causes Jo to realize that she also has a crush—on Freddie. With help from wise, unconditionally accepting Marmee, Jo comes out, by the end of the school year writing about being gay and her fear of facing homophobia and rejection in a school newspaper article. The characterization and much of the setup come directly from Alcott’s novel, and, as in that book, the loving, supportive family relationships are the strongest feature. This book deals with attraction in a way that will be comforting to readers. The clean, simple, full-color artwork suits the story well, and the layout of the panels is easy to follow. The March family is White; Freddie is Black.

Louisa May Alcott would approve. (Graphic fiction. 9-13)

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"Gros, Kathleen: JO." Kirkus Reviews, 1 Aug. 2020. Gale General OneFile, link.gale.com/apps/doc/A630892208/ITOF?u=schlager&sid=bookmark-ITOF&xid=212b8255. Accessed 15 Aug. 2025.

Jo: An Adaptation of 'Little Women' (Sort Of)

Kathleen Gros. Quill Tree, $22.99 (272p) ISBN 978-0-06287-597-6; $12.99 paper ISBN 978-0-06-287596-9

While repackaging Jo's story for a contemporary readership, this gentle, warm graphic novel adaptation will remind readers why the March family is long beloved. In Gros's update, the heroine is a white 13-year-old blogger who faces mild challenges with the support of her sisters and Marmee; chats via video with their deployed father; and harbors a crush on classmate Freddie, a bespectacled Black girl. Beth's recovery from leukemia and Jo's coming out--first to instantly accepting Marmee, next via a school newspaper essay--add a contemporary optimism not present in the more bittersweet original, in which familial closeness was an antidote to a harsher reality. Jo declares in her article, "What scared me most about coming out was how people would react. I was scared my parents would be disappointed," but Gros doesn't really hint at this fear beyond a bit of blushing. Friendly illustrations have an Archie-and-Veronica quality that, alongside a lack of chicken pox vaccines and a presence of introductions using pronouns, makes for a hazy temporal setting, but it's impossible not to root for Jo and family, and to celebrate their victories, however easily won. Ages 8-12. Agent: Jill Corcoran. Jill Corcoran Literary. (Sept.)

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"Jo: An Adaptation of 'Little Women' (Sort Of)." Publishers Weekly, vol. 267, no. 32, 10 Aug. 2020, pp. 54+. Gale General OneFile, link.gale.com/apps/doc/A632758428/ITOF?u=schlager&sid=bookmark-ITOF&xid=d95cf8d7. Accessed 15 Aug. 2025.

GROS, Kathleen. Jo: An Adaptation of Little Women (Sort of). illus. by Kathleen Gros. 272p. HarperCollins/Quill Tree. Sept. 2020. Tr $22.99. ISBN 9780062875976; pap. $12.99. ISBN 9780062875969.

Gr 5-8--A middle grade graphic novelization on the tail end of Little Women's latest resurgence. As aspiring writer Jo March begins eighth grade, she maintains an anonymous blog and, despite initial trepidation, joins the school newspaper while supporting her sisters--Meg, Beth, and Amy--and mother Marmee, who's balancing work, family, and her husband's deployment. When best friend Laurie confesses unrequited romantic interest, it only makes things more complicated--especially since Jo's smitten with Freddie Bhaer, the paper s female editor. Whether fitting in, coming out, or taking care, Jo leads a life that's at once conventional and convoluted, but the March women always get by with a little effort and a whole lot of love. Over 150 years, Little Women has been reimagined for every conceivable medium and succeeding generation. Gross version, told through Jo's introspective blog posts and dialogue, pops with clean, bright digital illustrations. Generally, characters map one to one with source material. All named characters except for Freddie, who is brown-skinned, are white; numerous characters of color are featured in the background. Superfans may spot a few Easter eggs: Meg's high school, for instance, is named after Little Women's original publisher, and the middle school is named after the editor who helped shape the book. And since some readers must know in advance, Beth doesn't die. VERDICT A super-cute, heartstring-strumming, accessible rendition.--Steven Thompson, Bound Brook Memorial P.L., NJ

Copyright: COPYRIGHT 2020 A wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
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Thompson, Steven. "GROS, Kathleen. Jo: An Adaptation of Little Women (Sort of)." School Library Journal, vol. 66, no. 9, Sept. 2020, p. 84. Gale General OneFile, link.gale.com/apps/doc/A634532058/ITOF?u=schlager&sid=bookmark-ITOF&xid=f787ad52. Accessed 15 Aug. 2025.

Gros, Kathleen ANNE Quill Tree Books/HarperCollins (Children's None) $13.99 10, 25 ISBN: 978-0-06-305765-4

Anne Shirley's life changes forever when she is taken in by brother and sister Matthew and Marilla Cuthbert, residents of the bustling Avon-Lea apartment complex.

While the staid Cuthberts expected a younger foster child, they slowly warm to 12-year-old Anne. She settles in and quickly discovers friends, passions, and a crush. Anne experiences true belonging for the first time and comes into her own even as her impulsive and imaginative nature gets her into trouble. Including the titular heroine's most infamous hijinks--feuding with classmate Gilbert Blythe, dyeing her hair green, and longing for a dress with puffed sleeves, among others--Gros takes a greatest-hits approach, which results in the story's lacking much of the complexity that makes these adventures work in Montgomery's classic. Anne, as presented here, lacks some of the spark and quirk that made her character so appealing, although certain updates work successfully, such as her traumatizing experiences in the foster care system and a low-key exploration of her feelings of same-sex attraction. The art is simple and boldly colored, with expressions and actions that at times add humor and emotion and at others look stiff. The medium of comics is utilized within the story itself: Anne is a zine-maker, and instructions for how to make zines are integrated into the text. The main characters read White; the supporting cast is racially diverse.

A sweet but too pat adaptation. (Graphic fiction. 8-12)

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"Gros, Kathleen: ANNE." Kirkus Reviews, 15 Sept. 2022. Gale General OneFile, link.gale.com/apps/doc/A717107260/ITOF?u=schlager&sid=bookmark-ITOF&xid=468730b8. Accessed 15 Aug. 2025.

GROS, Kathleen. Anne: An Adaptation of Anne of Green Gables (Sort Of). illus. by Kathleen Gros. 304p. HarperCollins/Quill Tree. Oct. 2022. Tr $22.99. ISBN 9780063057661. pap. pap. $13.99. ISBN 9780063057654.

Gr 6-8--The "Sort Of" in the subtitle is an important clarification for readers expecting a graphic novel of Anne's adventures in Avonlea, who might be startled at the modern take on the beloved novel. In Gros's version, Anne Shirley is a foster kid living with the Cuthbert siblings, who are surprised at the teenaged girl who arrives at their door. The Cuthberts live in an apartment building named Avon-Lea, where Anne Shirley fans will find many recognizable characters. Similar to Montgomery's telling, Anne is headstrong and difficult to get along with, and she has her characteristically recognizable run-ins with the neighbors and classmates. Diana is introduced to Anne as a possible friend, and the girls do form a quick bond, spending lots of time together. Readers will begin to see the graphic novel and original novel diverge when Anne and Diana attend the neighborhood middle school and interact with other seventh graders who have modern-day issues. This is especially showcased when Anne and Diana develop crushes on each other and attend a dance together. As a standalone story rather than an adaptation, this graphic novel succeeds on its own, with plenty of realistic plot points for middle grade readers to find compelling and fun. VERDICT A fun story for middle grade readers who enjoy coming-of-age graphic novels and modern adaptations of classics. --Kim Gardner

Copyright: COPYRIGHT 2022 A wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
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Gardner, Kim. "GROS, Kathleen. Anne: An Adaptation of Anne of Green Gables (Sort Of)." School Library Journal, vol. 68, no. 12, Dec. 2022, pp. 86+. Gale General OneFile, link.gale.com/apps/doc/A729548044/ITOF?u=schlager&sid=bookmark-ITOF&xid=8cb3c057. Accessed 15 Aug. 2025.

Carousel Summer

Kathleen Gros. Quill Tree, $24.99 hardcover (304p); $15.99 paper

ISBN 978-0-06-305769-2; ISBN 978-0-0630-5768-5

*| When her best friend heads to summer camp, 12-year-old Lucy is left to her own devices in a small town called Milford. As the season progresses, she navigates a budding romance with confident bisexual visitor Ana'is and comes to understand more about who she is and who she wants to be. Lucy's acts of self-assertion become points of tension in her relationship with her single father, who is facing his own alienation by the community. Digital illustrations feature clean linework and a warm palette that evokes a nostalgic summer atmosphere; colors shift to more muted tones during Lucy's private moments of self-reflection. Expressive character designs and clever visual metaphors--such as Milford's carousel restoration symbolizing renewal--enhance the story's emotional resonance, and quiet, intimate moments, as when Lucy bikes with Anais or reads on the beach, balance the narrative's weightier themes with heartfelt authenticity. By blending queer j oy with thoughtful ruminations on change and tradition, and interweaving classic coming-of-age angst with broader social themes, Gros (I Hated You in High School, for adults) celebrates self-discovery and resilience, making for a richly textured graphic novel. Ages 8-12. (Apr.)

Copyright: COPYRIGHT 2025 PWxyz, LLC
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"Carousel Summer." Publishers Weekly, vol. 272, no. 6, 10 Feb. 2025, p. 50. Gale General OneFile, link.gale.com/apps/doc/A828300599/ITOF?u=schlager&sid=bookmark-ITOF&xid=9ca49a81. Accessed 15 Aug. 2025.

Gros, Kathleen CAROUSEL SUMMER Quill Tree Books/HarperCollins (Children's None) $15.99 4, 8 ISBN: 9780063057685

Lucy's small-town Ontario summer is rocked by newcomers and a town conflict.

With her best friend, Katia, away at camp, Lucy thinks summer will be boring. But then Toronto artist Ray arrives to rebuild the town's old carousel, along with her daughter, Anaïs. Lucy, who's not the girly girl her single dad hopes for, is drawn to the new arrivals, especially after she confirms that butch Ray is a lesbian. Soon, Lucy and Anaïs' friendship develops into something more, and a radical haircut tears a serious rift between Lucy and her dad. Meanwhile, disputes rage among townspeople over selling land to a condo developer. Lucy's grocer father needs the money from selling his store, but others worry that locals will be priced out. What will the town council decide? Lucy's growth into her true self is sensitively portrayed, and kids in Lucy's position sorely need Ray's eloquent and comforting words and explanations. Lucy also finds support in her big brother, and she hopes that Katia--whose delightful letters paint a fun picture of camp--will accept her, too. The developer plot feels overtly educational, with teacherly dialogue explaining different sides of the controversy. Despite some thoughtful points, young readers might find the conflict's presentation of limited interest. Main characters appear white; there's some racial diversity in secondary and background characters. The colorful, blocky, and somewhat static illustrations feature expressive faces.

A thoughtful coming-out story interwoven with a town's gentrification worries. (author's note)(Graphic fiction. 9-13)

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"Gros, Kathleen: CAROUSEL SUMMER." Kirkus Reviews, 1 Mar. 2025. Gale General OneFile, link.gale.com/apps/doc/A828785170/ITOF?u=schlager&sid=bookmark-ITOF&xid=9dafc374. Accessed 15 Aug. 2025.

GROS, Kathleen. Carousel Summer. illus. by Kathleen Gros. 304p. HarperCollins/ Quill Tree. Apr. 2025. Tr $24.99. ISBN 9780063057692.

Or 5-8-Twelve-year-old Lucy faces a long, uneventful summer in her small town. Her best and only friend is away at camp, and tensions simmer between her dad and brother over a new development threatening her dad's store unless he agrees to sell. Lucy's dull routine shifts when artist Ray, who is openly gay, and her effortlessly cool daughter Anais, arrive to restore an old carousel for the town's 150th anniversary. Lucy and Anais form an instant bond. Anais helps Lucy break out of her shell, while Lucy shows Anai's the beauty of rural life. As their friendship deepens, the girls explore whether their connection is more than platonic. This heartwarming graphic novel delves into themes of identity, belonging, and courage. Lucy's transformation from a shy, aimless girl to a determined, self-assured advocate will inspire readers. Her relationship with her single father, Richard, is particularly well-developed, balancing love, misunderstanding, and eventual growth. Richard remains a sympathetic figure as he grapples with Lucy's budding identity, making his redemption feel genuine. Gros's illustrations capture the story's timeless charm, with characters, who are primarily white, depicted in realistic body shapes. VERDICT Perfect for fans of Kayla Miller, this thoughtful graphic novel is a must-have for libraries serving upper elementary and middle school readers.--Amy Ribakove

Copyright: COPYRIGHT 2025 A wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
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Ribakove, Amy. "GROS, Kathleen. Carousel Summer." School Library Journal, vol. 71, no. 4, Apr. 2025, pp. 123+. Gale General OneFile, link.gale.com/apps/doc/A836879623/ITOF?u=schlager&sid=bookmark-ITOF&xid=1a984386. Accessed 15 Aug. 2025.

Kathleen Gros. Andrews McMeel, $18.99 trade paper (264p)

ISBN 978-1-5248-8953-1

Gros, best known for her "Sort Of" series of YA adaptations of classics such as Little Women and Anne of Green Gables, offers up an LGBTQ+ romance for adults with much of the same cozy charm. Tessa, an underemployed art school grad in Vancouver, is ready to give up on dating when she learns that her high school nemesis, Olive, is back in her hometown and renting the basement apartment in her parents' house. Having repressed the specifics of her awkward teenage memories, Tessa can't recall exactly why she hates Olive, "but I do remember that she sucked." When the two are thrown together to help plan Tessa's parents' anniversary, Tessa is forced to dig into the past and face the fact that, in the present, she and Olive are falling for each other. Gross simple, pleasantly rounded artwork has the feel of casual sketches, an effect that works well in the high school flashbacks, which are presented as doodles on notebook paper. Though the story dips into dark subjects like teen bullying and homophobia, for the most part it's as sweet as the wedding cake the leads sample in one cute vignette. Romance readers looking for an enemies-to-lovers story without much dysfunction will root for this couple. Agent: Elizabeth Bennett, Transatlantic Agency. (Apr.)

Copyright: COPYRIGHT 2025 PWxyz, LLC
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"I Hated You in High School." Publishers Weekly, vol. 272, no. 15, 14 Apr. 2025, p. 40. Gale General OneFile, link.gale.com/apps/doc/A836572485/ITOF?u=schlager&sid=bookmark-ITOF&xid=cad76a7a. Accessed 15 Aug. 2025.

"Gros, Kathleen: JO." Kirkus Reviews, 1 Aug. 2020. Gale General OneFile, link.gale.com/apps/doc/A630892208/ITOF?u=schlager&sid=bookmark-ITOF&xid=212b8255. Accessed 15 Aug. 2025. "Jo: An Adaptation of 'Little Women' (Sort Of)." Publishers Weekly, vol. 267, no. 32, 10 Aug. 2020, pp. 54+. Gale General OneFile, link.gale.com/apps/doc/A632758428/ITOF?u=schlager&sid=bookmark-ITOF&xid=d95cf8d7. Accessed 15 Aug. 2025. Thompson, Steven. "GROS, Kathleen. Jo: An Adaptation of Little Women (Sort of)." School Library Journal, vol. 66, no. 9, Sept. 2020, p. 84. Gale General OneFile, link.gale.com/apps/doc/A634532058/ITOF?u=schlager&sid=bookmark-ITOF&xid=f787ad52. Accessed 15 Aug. 2025. Thompson, Steven. "GROS, Kathleen. Jo: An Adaptation of Little Women (Sort of)." School Library Journal, vol. 66, no. 9, Sept. 2020, p. 84. Gale General OneFile, link.gale.com/apps/doc/A634532058/ITOF?u=schlager&sid=bookmark-ITOF&xid=f787ad52. Accessed 15 Aug. 2025. "Gros, Kathleen: ANNE." Kirkus Reviews, 15 Sept. 2022. Gale General OneFile, link.gale.com/apps/doc/A717107260/ITOF?u=schlager&sid=bookmark-ITOF&xid=468730b8. Accessed 15 Aug. 2025. Gardner, Kim. "GROS, Kathleen. Anne: An Adaptation of Anne of Green Gables (Sort Of)." School Library Journal, vol. 68, no. 12, Dec. 2022, pp. 86+. Gale General OneFile, link.gale.com/apps/doc/A729548044/ITOF?u=schlager&sid=bookmark-ITOF&xid=8cb3c057. Accessed 15 Aug. 2025. "Carousel Summer." Publishers Weekly, vol. 272, no. 6, 10 Feb. 2025, p. 50. Gale General OneFile, link.gale.com/apps/doc/A828300599/ITOF?u=schlager&sid=bookmark-ITOF&xid=9ca49a81. Accessed 15 Aug. 2025. "Gros, Kathleen: CAROUSEL SUMMER." Kirkus Reviews, 1 Mar. 2025. Gale General OneFile, link.gale.com/apps/doc/A828785170/ITOF?u=schlager&sid=bookmark-ITOF&xid=9dafc374. Accessed 15 Aug. 2025. Ribakove, Amy. "GROS, Kathleen. Carousel Summer." School Library Journal, vol. 71, no. 4, Apr. 2025, pp. 123+. Gale General OneFile, link.gale.com/apps/doc/A836879623/ITOF?u=schlager&sid=bookmark-ITOF&xid=1a984386. Accessed 15 Aug. 2025. "I Hated You in High School." Publishers Weekly, vol. 272, no. 15, 14 Apr. 2025, p. 40. Gale General OneFile, link.gale.com/apps/doc/A836572485/ITOF?u=schlager&sid=bookmark-ITOF&xid=cad76a7a. Accessed 15 Aug. 2025.

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