Kit Grindstaff (THE FLAME IN THE MIST) and I enjoying ourselves on a panel at the Collingswood Book Festival. We discussed being debut authors with a wonderful audience. A great time!
Sunday, September 29, 2013
Canary by Rachele Alpine
My rating: 4 of 5 stars
I finished this back in August, but for some reason my review never materialized. Still, it's never to late to review a great book, and CANARY is certainly wonderful and fascinating.
While comparisons to SPEAK are certainly apt, Alpine easily carves her own path in a story about family as much as its about the fragile choices her protagonist makes in order to forge an identity in a new school. Further, the focus of this novel, despite what title and hook might suggest, is not sexual assault, though it certainly plays a huge role. The story focuses more successfully on the social realities of a high school and weaves in the broken family trauma so that the ultimately climax ends up being quite satisfying. Basically, this book does not rely on easy solutions to the problems offered.
Also worth noting are the poetry inter-chapters, some of which demand to be read multiple times and none of which feel forced. These are organic expressions from the narrator, not adornments added by the author.
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Sunday, June 30, 2013
Speak by Laurie Halse Anderson
My rating: 5 of 5 stars
After meeting with a class of 7th and 8th graders who had been energetically debating Speak by Laurie Halse Anderson, I decided I needed to try and find a way to read it sooner rather than later.
This novel seems like a standard recommendation for anyone who wishes to read YA or write it. I believe it's an important book not only for women (teens and adults alike), but also for boys and men as it shows the difficulty of being the object of sexual abuse and the damage that occurs over the long term. Considering the high-profile events of the past year involving rape and the battle for women's legal rights, a book like this can broaden a male reader's understanding of how male behavior and aggression, as well as female silence, need to be discussed rather than dismissed.
Anderson's style and thus Melinda's voice make this a great example of how one can pace a serious novel without losing the dramatic elements. Short paragraphs allow for a satisfying momentum but also frame a number of key emotions and scenes rather than allowing them to be lost in the shuffle. Melinda has moments to analyze her situation, her feelings, her disappointing friend Heather, her parents -- but none of these moments extends for pages on end, so the reader is never caught wondering if Melinda is a whiner, even if she can be excused for being one.
In fact, by the end of the novel I realized that many of her comments and thoughts about people around her -- her parents, for instance -- were not simply facts but thoughts from an embattled, depressed mind. Put simply, we can't take her comments at face value, because they are warped by her mental state. For instance, she refers to her father as Rambo, one who constantly berates her for her grades. This is factually true, but how aggressive was he "for real"? I believe that she felt he was uncaring, but when his caring side reappears one has to wonder if she's forgiven him or if she saw a version of him that was more angry than he truly was.
Her mother, perhaps unforgivably, says that people who commit suicide are cowards. By the end, I'm not sure whether to hate her mother (personally I find dismissal of suicidal thoughts and depression to be repugnant) or to wonder how the conversation between Melinda and her mother truly went.
The key here is not to doubt Melinda's honesty. If anything, readers are the only one she speaks to until the end, so we are clearly trusted enough to get information from her. But I believe Anderson has given a stellar example of how difficult it can be for a depressed person, also a victim of assault, to effectively process the world around them and effectively communicate facts when feelings, difficult feelings, have taken over.
While some might suggest the ending and the lack of exploration of the villain might devalue the impact or complexity of the novel's exploration of sexual assault, I suggest that not one text can encompass the variety of responses to such a serious issue. Further, the villain has been defined by his actions and unlike other villains, there's nothing about his behavior that can be interpreted in multiple ways. Consider that many villains can be called the hero of their own story, that he or she believes they are doing something right even if the actual hero and the audience know it to be wrong. (Easiest example: Darth Vader thinks he's doing something right by wiping out the rebels; because we root for Luke Skywalker, we don't believe it).
In this case, the villain can't be understood as anything other than a purely bad person. And I don't think that's a flaw in the narrative because Melinda would not see him as anything other than evil because of what he does. The key to the novel is who Melinda trusts, how people respond to her when she acts and speaks, and who supports her no matter what.
(I'd suggest A.S. King's novel on bullying EVERYONE SEES THE ANTS and Matthew Quick's forthcoming FORGIVE ME, LEONARD PEACOCK as complementary texts for readers wishing to understand the internal damage caused by abuse/assault involving male victims.)
The structure relies easily on the high school 4 marking period system, with holidays and the associated school events helping to carry the load of momentum. Basically, I love how Anderson allows for time to PASS in this novel without feeling the need to baste her character in day-after-day of silent misery. What ends up happening is that the weight of Melinda's silence, the very burden of her experience, is drawn out over the course of the entire school year so that, by the time we get to the climax, you truly feel her hopelessness. Plus, you really have no idea what she could do to combat her vocal paralysis.
The use of art in this text is also an excellent trope that many YA novels use (Anderson predating them all here). This is not a complaint or a criticism. In fact, I am never surprised when wounded characters use art to find some kind of strength (the more recent SYMPTOMS OF MY INSANITY shows how overwhelming art can be, not simply because it shakes loose mucky, difficult feelings, but because the labor of art is intense and can be just as difficult to deal with as the problems that cause one to flee to the art room).
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Where Things Come Back by John Corey Whaley
My rating: 5 of 5 stars
Tried to read this on my Nook last year and, well, my Nook and I didn't really like reading together. So, I picked up a paperback copy at an indie bookstore and read it over the course of 24 hours. What works here? For me: everything. A story about a sixteen year old kid named Cullen, Whaley boldly and successfully branches the narrative out, weaving it all back together in the final twenty-five pages or so.
To try and explain, I'd have to spoil everything, even some things that happen early enough. Let me try it this way: Cullen's town seems cursed and the parallel between a missing person and the potential return of a long-extinct woodpecker travel along a fascinating path until the conclusion begs you to make an interpretive choice that made me think of stories as random as Kafka's "Metamorphosis" and Tim O'Brien's best works. Basically, it's not that Whaley leaves you without an answer as to what everything meant and what Cullen's faced with going forward. In fact, it's more satisfying than a neatly tied up ending.
In some ways I'm sorry I waited so long to get back to this book, but maybe we read books at certain times for certain reasons. Who cares -- check this one out and prepare yourself for some excellent friendship between Cullen & Lucas, amazing exploration of loss and uncertainty, and the tricky nature of a small town groping for its big moment.
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The Symptoms of My Insanity by Mindy Raf
My rating: 4 of 5 stars
A strong story that manages to smartly tie together body image, parental illness, the power of art, and the frustration (and downright villainy of young men in a digital world), Mindy Raf's first novel offers plenty to both teen and adult readers. For teens, there's a funny narrator who's self-image issues don't snub out the personalities of those around her (ie, she's not self-absorbed to the point of isolation). For adults, we can see how overwhelming day-to-day life can be even without the perils of "real world" problems like sick parents and sexually aggressive teenage boys.
One sequence in particular that I loved because it felt so real was when Izzy ends up going to a college party (with great hesitation) only to end up at a diner with her friends because the party is lame. This, despite the fact that a party a year prior has caused Izzy's closest friend some serious issues.
A definite winner that can be easily recommended.
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Tuesday, May 28, 2013
Tuesday, May 21, 2013
Questions you'll likely be asked by your audience:
What's your definition of success?
Who reads your work first?
How did you get an agent?
How long did it take you to write this book?
Two related examples: Do you write personal stuff about yourself? AND Do you ever worry about offending people, family, friends?
Are they going to make your book into a movie? / Are you going to get on Oprah's book club?
How many copies have you sold? / How much money do you make? / Can you just give me a ballpark?
Are you on Facebook/Twitter/Pinterest/Tumblr?
Can you read some of my work? / Why not? / Seriously? / Why are you walking away from me?
What are you working on next? / When does your next book come out? / What is your next book about?
At a talk I did recently, I got asked about my favorite music, favorite authors, authors that inspired my writing, authors I disliked, books I'd recommend (according to genre), if I think writers need to outline, if I ever get writers block and questions 1-11.
First: WHERE TO BEGIN?
- Writers, (unpublished and/or teens) will often ask about how you got published, revision, outlining, rough drafts and whether you need to be "inspired" to write.
- You determine how much to reveal here, obviously. Cite one thing you do that's unique to your writing process, which will solidify your awesomeness and professionalism (this is not a joke -- your audience wants to celebrate you, so let them!). We all love to know that Hemingway wrote while riding bulls, for example. (This is not true, but you get the point.)
Lastly, some advice I've gathered from other writers, my time at an MFA, my own professional career in academic and corporate settings, and from other posts and twitter conversations.
- Define success for yourself in a way that is authentically you. Tayari Jones once told our class that she had a moment of success for her first two novels. She did not cite prizes or reviews or blurbs, but readers who wrote to her or spoke to her. This always, always will stick with me because it was true and it was so much more healthy and under her control as a writer. When people ask you about your notion of success, be honest. If it's money, prizes, reviews then say so. Be authentic. Don't apologize. For me, I'll always consider the fact that Dr. Bird made it to the world as a success. My reviews are successes. But I also have emails from readers that are the successes I'll hold onto forever.
- The world is small, especially online, so don't badmouth publishing, booksellers, other authors (no matter how famous and abhorrent they are to you) when you answer questions or tweet. Seems obvious, but I see this all the time. I've seen people trash book reviewers, journals, other authors, editors, agents, their MFA programs. At readings, in interviews, or on social media. I've done it myself. People love to hear gossip, but you only risk your reputation if you give in to questions like "Do you hate Twilight?" by saying "Yes. It's ruined everything." While you might feel good being honest, you only insult Twilight fans in the audience and the people who like you for saying that are likely to go online and say "Evan Roskos said he hated Twilight!" Will anyone online care what I say about a massively successful author/series? Probably not. But you never know what other authors think of you, what they might have a chance to do for you, or what they might refuse to do for you because of that one tweet or interview response.
Second: HOW LONG DO I READ FOR?