Saturday, August 11, 2018
Elena has found she has the ability to heal, but it comes with a trade-off. Each time she uses the power, people disappear from the Earth. If it's any comfort, the voices assure her that this is what she is supposed to do. In fact, it is the only way to save the human race as end times approach.
She isn't so sure and doubts that the voices are really telling the whole story. Letting people suffer seems cruel, but causing unsuspecting people to be swept away to an unknown fate is no better. The dilemma dominates the story as Elena and her friends grapple with the events occurring around them.
A bizarre but certainly original premise with a lot of clever banter. It's a fast read and overall entertaining as long as you don't try to make much sense of the story. A lot of time is expended in discussing the ethics and ramifications of the situation. At times these can be profound but they go on entirely too long and there's a degree of repetition. The premise may be bizarre, but the characters are quite normal, which makes the most interesting part simply watching a smart and witty heroine deal with patently surreal circumstances. And, unlike so many male YA authors, Hutchinson doesn't make the whole story about hormones and profanity.
Julia can’t hear but she lives to express herself through street art, throwing up her spray-painted creations wherever she finds an inviting wall. When she gets caught and expelled from her school for the deaf, she is placed in a mainstream school in the suburbs. Stuck in such an alien surrounding, she figures that her graffiti will be pretty much on its own. And so she is surprised when her tags are attacked by another street artist. While tagging her tags is an act of aggression, even Julia has to admit that the mysterious artist’s contributions actually improve her work, which just makes her madder.
I have a problem with getting past the fact that Julia’s actually an unrepentant vandal and, while plenty of adults try to instill this message, she and the author never grow savvy to it. Instead, I’m supposed to see this property damage as something good.
But that said, I liked the idea of Julia’s character. Having her be deaf is an interesting choice. It’s certainly integral to the story, but never really becomes the story. In much the same way, the fact that she's a girl is notable but never made a point in the story. This is a story about an artist trying to express herself and come to terms with others (which is a struggle for her -- being deaf and also a non-traditional artist). The book is illustrated with some great artwork created by the author that goes a long way towards capturing the ethos of Julia's art.
Friday, August 03, 2018
If that is your sort of thing, Mills is a decent writer and has some creative outlets for it within her book, ranging from boy band worship to online gaming. But I found the lack of a story and dramatic arc to be rather dull and the huge number of characters dizzying. They kids were generally distinctive but with not much dramatic purpose to the interactions, it just seemed that I was being pulled one way and then another -- realistic, perhaps, but not terribly meaningful.
The story is beautifully written and it is an excellent novel, but it is mis-classified as YA. Certainly, young people will find the story interesting, but there is little here about youth or growing up. Instead, this is more of a protest piece against sexual double standards and the sexual dangers of being female.
Sunday, July 29, 2018
Rutledge is a rarity: a female writer who gets boys down tone perfect. Because even if Miles's sexuality is all over the map and the other male lead is gay, young men regardless of gender identity talk and act in a certain way that the vast majority of female writers just don't get. That in itself would impress me, but Rutledge is also a very adventuresome writer (who else has created a character like Miles -- floating aimlessly across the Kinsey spectrum -- so matter-of-factly and so humorously?) who so effortlessly finds the humor in sadness and the sad in fun. There were moments when things could drag and I didn't find the story particularly "heartbreaking" (as promised in the back cover quotes from heavy hitters Russo and Wittlinger), but this quirky Icelandic romp was well worth the read.
Saturday, July 28, 2018
The novel is a mix of family drama and Taiwanese mysticism that sounds messy but actually gels nicely. Pan writes beautifully and expressively and this lyrical story has a lot packed inside of it. Surprisingly, the fraught and melodramatic themes of grief and regret are not so pronounced, instead the author focuses on discovering one's legacy and history (and the healing role that such a journey plays in coming to terms with loss). The result is a transcendent novel about rebirth.
Katherine and Matthew have a way of finding each other through history. From their first incarnation in Carlisle in 1745, and again in 1854 in Sebastopol, and then again in 2019, and finally in 2039. Each time, they end up trying to prevent an imminent catastrophe (and incidentally falling in love). Sometimes they succeed, sometimes they fail, but each time one or both of them dies. And the cycle repeats again.
Told out of sequence, the novel jumps around time periods fluidly and, towards the end, the characters do as well. This leads to some pretty fast paced storytelling and a good deal of suspense. A blurb on the cover promises “heartbreak” but there isn’t much of that, although a fairly breezy post script does provide a satisfactory conclusion.
The novel is rough in spots. There’s apparently an additional timeline in WW II era that was cut out of the story, but a few stray references remain (which seems like sloppy editing). And while the 2019-era Katherine and Matthew are cute and adorable, we don’t get much heat out of the rest of them. I think this is a great entertainment and I enjoyed the set-up (what’s not to like about an adventure that transcends multiple epochs?), but it's not terribly deep and my emotional involvement in the characters was minimal.
Saturday, July 14, 2018
Chen's latest novel is a story of losses and how to deal with them. The characters are vivid, memorable, and fun -- Chen has a good sense for how to craft memorable features and idiosyncracies. Towards the end, Chen does a great job of showing how all of these diverse characters actually are similarly unable to face breaking out of their safe zones. And while Viola has the most to lose (i.e., her life) by trying to live her life large, she seems to appreciate the most about what is to be gained. Chen's book has moments like this when it transcends the story and makes a great Deep Point.
But the story is a bit of a mess, which has generally been my issue with Chen's writing in the past. So many different characters and (ending summary notwithstanding) not much to really bring them together, and nothing to say in the end. In the last fifty pages, any of the given chapters could have made just as useful of a conclusion as the one that we actually end on. And the fact that no issues are actually resolved and the only serious character growth is Viola's little sister (a bit part at most) leaves the reader wondering what the point really was.
[I received an ARC from the publisher in exchange for an unbiased pre-publication review. The book is scheduled to be released on July 31st]
Friday, July 13, 2018
Fifteen short stories about young women in American history, providing a fictionalized herstory of the country. Spotswood picks up a diverse collection of authors who delve into some fairly creative places. The most interesting stories pick up unusual locales (Coat’s story of survival in the arctic) or rarely treated eras (Tulley’s account of the 1968 Chicago Democratic Convention riots). Mitchell’s spin on Bonnie and Clyde is amusing and ends on a high note. Many of the stories are quite clever.
But short story collections tend to be uneven and some of the stories work better than others. The good ones can be frustrating as they leave you longing for more (in counterpoint, at least the shorter ones don't last too long!). For me, there were entirely too many supernatural stories and not enough serious history. A greater diversity of time periods would have helped as well -- while the Civil War and WWII are each represented by a story, there’s nothing from the Revolutionary War or even the Gilded Age.
Saturday, June 30, 2018
A story as beautifully written and as lyrically sweet as this probably doesn't need to have its story dissected. I've not been a huge fan of Forman's previous novels (I gave her bestseller If I Stay only a single star), but in this deceptively simple story about strangers who become friends, she has produced something quite profound. She's explored the way that individual losses and betrayals pile up and carve paths that send us to self-destruction, and shown how friendships can break and subvert that sense of predestination. The novel transcends its narrative, producing a story of hope and redemption that I think all of us (with our own losses and failures) ache for.
Because I felt let down by the ending which seemed so predictable and trite compared with the overall strength of the rest of the story, I hesitate to call it a perfect book, but Forman has at last produced a novel of substance that deserves the accolades usually laid on her bestsellers.
Friday, June 29, 2018
Sent away to live with her Aunt for a year while her father was in an alcohol recovery program, Kira is finally coming back home. Dad has been discharged and as Kira comes back, she hopes to recover the way things used to be (without the drinking of course).
But so much has changed. Her friends have grown distant and moved on. Her former boyfriend is now dating one of her former friends. And Dad, while no longer drinking, surrounds himself with his fellow recoverees, and Kira feels shut out. He’s even invited them to come live with him, which Kira resents. All of this is aggravated by Kira's unresolved hurt and anger at her father. To articulate her problems, Kira drafts up her own “twelve steps,” which list out the changes that she feels will help her recover the (normal) past. Of course, it is not that simple.
Entertaining read but generally predictable and formulaic. There are some nice characters like her father’s friends, but most of the roles are overly familiar tropes (the not-so-nice ex-, the sweet boy she always should have loved, the ineffectual Dad, etc.). It was a pleasant read but didn’t add much to the genre. That said, what it did do well is address the issue of the impact of addiction on family. Not just through Kira and her Dad, but also through the other recoverees, Penn effectively discusses the anger and grief of losing a family member to addiction.
Vivian and her pack have survived among humans by keeping a low profile. Werewolves, they live together in a pack, moving on when they sense that the group is in danger. The pack however is being torn apart because one of their members is killing humans and bringing unwanted attention their way. Viv meanwhile has broken rules on her own: dating a human and then – in a fit of poor judgment – revealing herself to him. Worse, as the body count starts to rise, the evidence suggests that it might be Viv who is actually the murderer.
I’ve never had much interest in supernatural YA, but I was given this book by an acquaintance in order to introduce me to the genre. I was particularly struck by one key difference from more realistic YA: werewolves are much more carnal creatures and Viv gets to exhibit a lot more sexual agency than a typical human teenager would be allowed. I wonder if that is in fact a big part of the appeal (be a werewolf and you get to lustily attack your boyfriend)?
I enjoyed the introduction to the rituals of pack culture. I particularly liked all the references to wolf behavior (having observed wild wolves, I could picture a lot of what they were doing). And this particular novel seemed a good introduction to the idea.
Storywise, there were way too many characters and the ending fizzled out. And a minor pet peeve was the title: there was plenty of blood, but no chocolate! But even if the novel was flawed, what an interesting diversion!