Stepsister, by Jennifer Donnelly

How much thought have you ever given to Cinderella’s ugly stepsisters?  The ones who (in the original version of the story) chopped up their feet in a failed attempt to fit into the glass slipper?  And after poor Ella went to live happily ever after, what happened to them and their equally odious mother?  “Good riddance!” was probably the lesson we were all supposed to take from their example.  There was nothing to like in them.  Rather, we were taught that Ella’s humility and her beauty made her the victor.  And the great prize at the end of the day was to be the prince’s trophy wife.

Rewriting Ella’s fate (or how she achieved it) has been done many times before, usually with a focus on empowering Ella as even more virtuous and strong (often at the expense of the vain fashion-conscious stepsisters).  But this novel takes a different path, positioning the stepsisters as victims of societal pressure and an overly ambitious mother, and suggesting that Ella’s passive acceptance of Chance or Fate (take your pick!) is not really the path to living happily ever after.  In this retelling, the stepsisters never did have a chance, twisted as they were by jealousy and the expectation that they should do whatever it took to score a husband.  The story goes further, providing a backstory that the three girls, before any of these expectations had been imposed, lived together in innocent friendship.

Much like Damsel (a novel I reviewed a few weeks ago), I was intrigued by the novel direction of the story and dove into the book with high expectations.  Unfortunately, after introducing her critical ideas, Donnelly runs out of steam and turns her heroine (the elder stepsister Isabelle) into a sort of fairy-tale Katniss.  There’s an entirely unnecessary diversion into Herstory to lay out the fact that female warriors are so often written off and then it goes full-blown silly as the three sisters reconcile and defeat evil.

But if one ignores the heavy handed implementation of the premise and the action-packed and vapid finale, there’s a great story here about the heroine Isabelle, who grows from a vain girl (desperate to be pretty) to a mature decision maker.  In doing so, she finds a balance between bravery/strength and compassion/kindness that even Cinderella has not mastered (or, for that matter, most human beings).  Ironically, this conclusion forces an uncomfortable new dilemma on the reader:  might these similarly unrealistic measures of success just be replacing one misery with another?  Perhaps this could be material for a sequel?

[Disclaimer:  I received an Advanced Reader’s Copy (and some nifty swag) in exchange for an unbiased review.  The book was originally scheduled for release on May 28^th but is already out]

The Truth About Leaving, by Natalie Blitt

With her mother working in California this year, Lucy and her father have their hands full taking care of her little brothers back in Chicago.  It's her senior year and Lucy needs to make plans for her future.  It's always been assumed that she would go to Northwestern, but now she isn't sure.  Having her boyfriend dump her before the start of the year had made her her realize the pitfalls of always trying to please others (as well as making her initially swear off boys for a while).

Then, a new student shows up in her poetry class.  Dov is an exchange student from Israel, with a soft demeanor and a reticence that suggests some dark history.  As this is a romance, Lucy naturally tries to break through his shell.  When she finally succeeds, the two of them develop a very intense relationship, haunted by the reality that Dov is going back home in a few months and start his three years' of military service.  But while the relationship is overshadowed by this grim reality, Dov's devotion is an inspiration and helps Lucy figure out what she should do with herself.

It's mostly by-the-numbers YA romance: the sulking, but polite and responsible boy; the spats, falling outs, and eventual reconciliation; and of course the doubting grownups who are proven wrong by the true lovers.  The differences lie in the characters, and Dov in particular.  Lucy is far too perfect to be interesting but Dov's serious demeanor, grim backstory, and maturity makes for a fascinating protagonist.  Haunted by the death of his brother and an ugly way he handled his grief, he is obsessed with serving his country in a way that seems selfless, but which he comes to understand is selfish.  The story is actually well served by sweet chaste romance.  There's a surprising lack of sex in an otherwise very intense relationship, which serves mostly to underscore a rather sober and mature approach to the challenges of their relationship.

Dream Within a Dream, by Patricia MacLachlan

Louisa and her little brother Theo get dropped off on a remote island to stay with their grandparents while Mom and Dad go off on a birdwatching tour.  Twelve year-old Louisa doesn't like change, but it seems that the summer will be full of them.  Her grandfather is losing his vision and has to adjust to the growing list of things he can no longer do.  Her brother will fall in love with the island and want to stay.  And Louisa will meet George who will be her friend and teach her words in Swahili.

MacLachlan's typical sparse style shines out in this simple setting.  As with her other books, the leanness means that there is very little going on on the surface.  But that is deceiving as the book reveals more with repeated reads.  The style was beautiful in Sarah, Plain and Tall because the subject matter was so angsty.  Whether this book is enticing enough to make a reader come back is a different matter.  I found it nice and kind, but ultimately dull.

Come Find Me, by Megan Miranda

A year ago, Kennedy saw her brother Elliott fleeing their house.  Inside, her mother and her boyfriend were dead.  The evidence against him was overwhelming:  gunpowder residue on his body, his fingerprints on the gun, the lack of an alibi, and Kennedy's witness statement; but something doesn't feel right and Kennedy can't get her testimony straight.  The trial is coming up soon.

In a county next door, Nolan and his family are still grieving the disappearance of his older brother, who simply vanished during a family picnic.  His parents have dedicated themselves to finding lost children.  Nolan has turned to ghost hunting, convinced that his brother is sending him messages from some hidden place.

Two young people with mysteries that haunt their lives, but very little else in common.  They get brought together by a series of supernatural events -- someone or something is reaching out to them.  But who/what is it?  And why have they been drawn together?  Soon the messages and the mystery are sending them on a search that, while for different things, seems to follow the same path.

At times a bit hard to piece together, this is a nice suspense novel that works best while giving it less deep thought. The events that tie it together are presented in such a way that there may be something supernatural going on, but it is not required.  That turns out to be the best way to tell this story that's big on action and fairly short on character.  That's a missed opportunity as a deeper and more interesting novel would have explored the guilt that Nolan and Kennedy are going through (instead, it is stated, but never really shown). There's a little romance of course, but it mostly seems driven for the obligation that boy and girl have to kiss at some point, and not from any particular bond between the characters.  There really isn't much room in this novel for much of an emotional connection between the characters.

On a Scale of One to Ten, by Ceylan Scott

Fictional, but based heavily on the author's own experience being institutionalized at the age of sixteen, this novel traces Tamar's arrival in a residential mental health facility for adolescents and the days spent. It's a story that's been done before plenty of times, but this book stands out for its immediacy -- the author started writing it shortly after being discharged.

Unlike almost every other example of this genre, it isn't really about the healing.  After all, usually the protagonist is in denial for the bulk of the story. The great breakthrough -- usually at the end -- is her recognition of her special issue and the confrontation with her delusion.  Obviously, there is a small bit of that here, but it secondary to Scott's interest in the experience itself: how people interact, what it is like to be medicated, and the relationships with the staff.  It's not terribly dramatic.  It's even a bit hard to follow; as one would expect from a mildly psychotic narrator.

Does that make it a good book?  It doesn't have a big emotional payoff or provide any startling revelations about mental health,  but it does give a good slice of life and exposure to the world.


[Disclosure:  I received an Advance Reviewer's Copy of this book from the publisher in return for an unbiased review.  The book is scheduled to be released on May 14th.]

Even If I Fall, by Abigail Johnson

A year ago Brooke’s brother killed his best friend.  In their small town, whoever didn’t judge the family by that heinous act was eventually convinced to avoid them by the trial and the publicity.  Brooke’s little sister won’t talk, Mom can’t stop crying, and Dad has retreated to the basement to work on projects. Only Brooke and her mother are willing to visit her brother in jail (Dad and little sister outright refuse).

Brooke subjects herself to daily humiliation from her boss at the skating rink.  She does so out of guilt and because it gives her an opportunity to continue to skate (even if she has pretty much given up her life dream of skating professionally).  The only friend she has these days is a new girl in town who doesn't (yet) know of Brooke's notoriety.

But then Brooke finds a confidant, someone who understands what she and her family is going through – Heath, the younger brother of the guy that Brooke’s brother killed.  It’s an awkward friendship that has to be kept secret, a friendship that would tear their families apart if it came out into the open, and one which can never be allowed to become more serious.  And then it does.

Surprisingly low-key for such a melodramatic premise, the story has a number of tracks to it (family recovery, most importantly, but also Brooke’s search for the truth about the murder, and finally her parents’ unresolved past) that make the story complex and rewarding.  Similarly, Johnson avoids any sort of drastic resolution, settling for an ending that, while modest, feels realistic and plausible.  Characters are less developed as the pace is fast and emotions tend to run so high that we don’t get reflective moments, but I enjoyed it.

Picture Us in the Light, by Kelly Loy Gilbert

There’s always been something odd about the way Danny's parents behave.  From the way they abruptly moved from Texas to California to all the rules they have about socializing to the secrets they jealously keep. They are hiding something, but what?

When Danny’s father loses his job and the family is forced to relocate, the fabric that keeps the secrets in place starts to unravel.  Danny, who realizes that his ignorance endangers his own future, pushes back and starts demanding to know what is going on.  The more he learns, the worse everything becomes.

A startling story of the cost to a family of parents who have secrets too dark to share even with their son.  It starts very slowly and the writing is so dense that I almost gave up, but I’m glad I persisted.  As I acclimated to the writing style, I found it more and more rewarding.  There’s a lot going on in the story.  Thankfully,  it mostly comes together in the end.

I particularly like the complex relationships, whether between Danny and his best friend Harry (whose affection for each other is probably one of the most underplayed gay relationships in YA) or between Danny and his parents (much more tragic).  While following some of the stereotypes of Asian families, it bends those stereotypes.  What appears stock up front (like the parents' obsession over Danny's future) proves to be complex as the story unfolds.  The ending, while overly rosy, is immensely satisfying and well-earned.

Sadie, by Courtney Summers

Shortly after her younger sister Mattie is murdered, Sadie skips out of town.  She's looking for a man, one of the ex-boyfriends of her mother. And she intends to hurt him.

An investigative reporter researching the murder becomes interested in Sadie's own story and tries to track her down.  Told in chapter alternating between Sadie's trip and the reporter's chase, the mystery of Mattie's death and Sadie's obsessive quest unfolds.

The story ends in just about as much of a mystery as it started.  In between it's an interesting ride, but certainly not an uplifting tale.  The settings are dreary and gritty and almost no one is all that appealing.  I found the reporter particularly annoying and whiny.  For more interesting was Sadie herself, who comes across as hardened and even a bit cruel.  It's immersive, but didn't find much of a purpose to the story.

The Me I Meant to Be, by Sophie Jordan

After Flor and Zach broke up, Flor's friend Willa took it on herself to make sure that the Girl Code was upheld, warning their friends not to date Zach in deference to Flor.  But when finds Willa herself in Zach's arms at a party, she's forced to question her own loyalties.  How will she ever explain what happened to Flor?  As usually happens in these sorts of novels, she doesn't run off to Flor and confess.  Instead, she procrastinates and waits until it is too late.

While Willa is off being a bad friend, Flor is rebounding and developed a crush on her math tutor Grayson.  Grayson seems to be all business and resistant to Flor's charms.  But when Flor makes a shocking discovery about Grayson's secret life, they bound over the fact that there is more to Grayson than meets the eye.

In other words, it's a basic teen romance full of a lot of cliches.  There may not be much in the way of new ground, but Jordan provides decent delivery.  I started getting optimistic when the novel questioned the idea of a Girl Code, suggesting that it was too rigid.  I was hoping for more development of the idea that there was value in girls being able to date whomever they choose (and maybe also seeing partners as something more meaningful than property).  The ideas are in fact suggested, but it's a halfhearted effort and this book remains safely by the numbers.

No One Here Is Lonely, by Sarah Everett

At a party, Eden and Will almost kissed.  A short time afterwards, he was dead.  Will’s grieving mother, misunderstanding the seriousness of the relationship, confides to Eden that there is way for her to still be with Will – a service called “In Good Service” that provides an AI program that emulates Will’s mannerisms.  Whenever she wants, Eden can call it and be with him again.

The idea seems weird, but Eden is going through a rough patch: her best friend Lacey no longer wants to hang out and is distancing herself, wrecking all the plans that they made together.  Meanwhile, Eden has discovered that her mother is having an affair with her little sister’s skating instructor.  With Lacey out of the picture, Eden finds herself confiding to Will over the phone.  As she gets more involved and starts using the program more heavily, her behavior becomes obsessive.  Eden has more and more trouble separating his miserable reality from this virtual fantasy.

A frankly creepy and disturbing premise that takes everyday smartphone obsession and kicks it up a notch. But beyond that element, the story is actually a nice exploration of finding the strength to be happy with yourself and expanding horizons.  At the start, Eden can’t imagine making new friends (Lacey has always provided whatever she needs).  Her growth towards opening up and exploring the world is richly rewarding and the true point of the story.  Predictably, she will shake off her obsession and outgrow her need for this AI program, but that character growth is what makes up the story.

Damsel, by Elana K. Arnold

Everyone knows that the prince must find and slay the dragon and rescue the damsel.  Everyone knows that then the prince will become the king and the damsel his queen.  She will have a child and the cycle will repeat.  This is the way things are and how they will always be.  It works out well for the prince, but what of the dragon?  What of the damsel?  Does anyone ever ask the damsel what she wants?  Does anyone even care?

The eponymous damsel of this story has no memory of how she came to be rescued, simply that she was.  Even her name (Ama) is supplied by the prince (she cannot recall one of her own).  And when she asks for help in reconstructing her past, no one seems interested in helping her. The queen mother tells her to forget the path backwards and think only of the future (being a wife and a mother).  That the only happiness lies in thinking forward.

In fact, the question makes the prince angry.  Her role is the marry him and have a son.  Nothing else matters.  When she has the audacity to create a great work of art at the end of the story, he challenges her:

"You see, Ama, it is for men to create.  It is for men to decide.  It is for men to speak.  It is your place to listen, and follow, and gestate.  And those are no small things!  For without women to listen, how would the men's words be heard?  Without your fertile womb, how could my son hope to grow?  You are important, Ama.  Desperately important.  But do not overreach."

The novel is deeply disturbing: a very dark fairy tale that asks probing questions about the dragon quest archetype.  But this is much more than some fractured fairy tale. Arnold is exploring the intersect of consent and agency, often in very surprising ways.  As we settle down to domesticity, what are the costs to our selves?  One subplot involves Ama's attempt to domesticate a baby lynx.  Needless to say, it ends badly, but not before illustrating the damage being done to Ama herself.

The themes are quite mature. The language is harsh and frank.  The prince routinely brutalizes his damsel physically and emotionally.  In sum, this is not a children's book.  But while danger is ever present in this world, it is not actually explicit and it serves a purpose:  driving home the extreme stakes of Ama's search for self.

This is not a book for everyone but to me it seemed extraordinary.  Beautifully written, it's easily the most powerful and memorable book I've read this year so far.  Its a novel that will get you thinking not just about fairy tale stories, but about much broader issues of consent and acquiescence.