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books

See You at Harry’s by Jo Knowles

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Fern is twelve years old and just entering middle school. But while other kids her age are dealing with issues like what to wear to school and which lunch table to sit at, Fern has to deal with the fact that her father, owner of Harry’s, the local ice cream parlor/restaurant, is suddenly obsessed with using his family’s image on all of the local advertising. I mean, what twelve-year-old would actually want her image splashed on a delivery truck or plastered on cartons of ice cream in the local markets? How embarrassing!

But Fern’s other concerns are much more difficult to handle. For one thing, she feels invisible in her family of five: in addition to her Mom and Dad, there’s Sara, who has graduated high school and is working at Harry’s; Holden, who is just entering high school; and Charlie, the four-year-old who is way too clingy, always wanting to play with “Ferny’ and dragging his dirty, tattered doll over to her. And then there’s her family’s reaction to Holden, who is in the process of coming out as gay. Fern sees no problem with Holden’s sexuality, but is immensely troubled at others’ reactions to him: from her father, who ignores the issue until a new, older boyfriend of Holden’s appears, to Sara, who teases Holden in a attempt to get him to come out of the closet, to the bullies on the bus, who torment Holden, and then, by extension, Fern. This may seem to be enough of a family issue for one fairly slim book to cover. But the most difficult challenge for Fern’s family is to come, one that will redefine who they are and lead Fern to grapple with guilt, loss, and growing up and moving forward despite that loss.

While I have read and enjoyed two of Jo Knowles’ previous books, she has outdone herself here, shining to new heights. See You at Harry’s is a stunning novel, utterly heartbreaking and remarkably real. While this book is not expansive in length, it is truly expansive in heart. In simple, straightforward prose, Knowles truly gets to the heart of both Fern and her family, and the characters live and breathe through her words. This novel covers some heavy themes: guilt, regret, responsibility, loss, one’s role within a family, and moving on, but nothing is dealt with using a heavy hand. Knowles weaves these issues within her story delicately and sensitively. This is one of the best young adult novels I have read in recent memory, and, while I was lucky enough to read an advanced copy from NetGalley, I will be purchasing copies both for myself and for my library.

Advanced copy received from NetGalley.

See You at Harry’s will be out on May 8. 2012.

The Girls of No Return by Erin Saldin

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The Alice Marshall School for Girls is set in a sprawling and remote area of wilderness in Idaho, and it’s where girls who need to escape their past are sent to discover themselves. It’s sort of a last-chance resort, but it’s not anything luxurious or enviable. The girls live in basic cabins, have virtually no rights, and have to endure countless hours of therapy (which in this case isn’t always traditional).

Lida arrives at the camp after something bad has happened in her life. That’s about as vague and as descriptive as it comes, of course, but for good reason. She’s rooming with Jules, a girl who Lida feels doesn’t belong because there’s no way she has a broken past, and she’s also rooming with Boone, a girl who has burned a building down and who Lida learns has earned quite the reputation around school. She’s experienced some of Boone’s terror herself when she wakes up after her first night in her room with a new hair cut. One Boone gave her.

Not much happens, aside from Lida’s settling in, until another new girl arrives at Alice Marshall. New girl Gia’s captured the attention of nearly everyone at camp, but she attaches herself to Lida quickly, and Lida couldn’t be happier. In fact, she’s so happy to have garnered Gia’s attention that she finds herself unable to avoid thinking about Gia. During one of their group therapy sessions, despite keeping the truth about what brought her to Alice Marshall locked up and kept only in her own notebook, Lida feels comfortable enough to let Gia in. To be fair, it’s less about comfort here and more about the fact their group leader forces girls to pair up and spill their Things. But it becomes more about comfort when Gia admits to not having her Thing written down and won’t be sharing it. Instead, she just reads and absorbs Lida’s, and Lida doesn’t question. She accepts.

Lida also finds herself telling Gia something she knows about Boone — something she shouldn’t have spilled — and it’s in this instance everything unravels.

The Girls of No Return can’t be summed up simply or easily because it’s a complex novel about friendship. I don’t really think the flap copy does much for describing it, either. It’s a twisted story, set up in a non-traditional format that is at once perplexing and straightforward. It comes down to the fact as readers, we know as little about Lida as anyone else does. From the beginning, we’re on the outside looking in, despite the story being told from her point of view. We know there’s something wrong with her because she’s at this camp, but we’re never sure what. She doesn’t tell us, and she doesn’t tell anyone else around her. See, even in the big reveal moment with Gia, we don’t get anything. Lida doesn’t tell us what’s wrong with her; we only get to know Gia knows.

But then Gia turns around and uses that knowledge against Lida. First, it’s in the bathhouse. Then, it’s during another group session as payback for an incident involving Boone. In both of these scenes, we finally see Lida’s bricks start to crumble. As she starts to fall apart and her Things start to fall out of her control, we witness Lida understanding why she’s at Alice Marshall and how attending this school for troubled girls is exactly what she needed.

Saldin’s debut is dark, but I found it took quite a while for the threads of the story to come together enough to buy into the premise — as I mentioned, the flap copy didn’t do much for me. It describes the book as dark, but I didn’t believe it for nearly 250 pages. There were elements of darkness, but they weren’t necessarily at the forefront because Lida didn’t want them to be. Whatever she suppressed from herself she also suppressed from the reader. It’s an interesting approach to the story, and I think it’s effective, but I found myself bored through a number of scenes because nothing really happens. Lida’s so removed from everything and she removes the reader, too. While it’s smart and makes the end work well, the book was a little too lengthy to pull it off as strongly as it could have.

Before I go on, I’m going to warn the next few things could potentially be spoilers. I don’t think they are, but I can’t be certain since this is the kind of book that will be read many different ways. The trick to the book is whether you believe Lida or not. She’s not the most reliable narrator, and we know this from the beginning. The book’s not a traditional narrative structure: the end comes first. Or what we think is the end comes first. And then it comes again. And again. And again. So the question becomes what’s really the beginning, what’s really the story, and what’s really the end.

I found my answers to everything in the chapter preceding the final one. I felt like I pulled together the resolutions and quite liked how I was able to connect them, but then the final chapter came along. While many who don’t pick up on the clues may find the last chapter to be the right conclusion, I thought it was too much. It over explained, and for how little we actually get spelled out throughout the book, I was a little let down. Does it fit Lida? Definitely. Did it work with everything she learned from Boone? Sure. But it was laid out a little too nicely for me. It almost detracted from the darkness of those final few scenes in the book. (This is the definite spoiler area, so skip down to the next paragraph if you’re sensitive to that) — it works out exactly as Boone laid out in her discussion with Lida about how she can always write her stories the way she wants to if she’s not accountable to anyone else. It’s all a game of possession, one between friends and one between stories. Boone would know a lot about that, seeing she’s one who has that same possessive magic as Lida but in a more physical, rather than mental, way. So by starting the book at the end, the reader is twisted and reconsiders everything and whether or not it was the real story or the story Lida simply wanted to tell. The faults are everywhere throughout the book in leading to that sort of reading and interpretation (including the changing relationships among all the girls, the changing relationship between Terri and Lida, the cutting in and of itself). Moreover, the idea of trust and betrayal work even more in that sense. My disappointment comes in not the actual conclusion but in the fact I felt tricked and strung along for a long time here. I almost feel like I was cheated out of story. Had the last chapter not happened, I’d have been more satisfied. Not because it’d resolve any more answers, but it would have maybe left more questions open.

What stood out to me throughout the book was Saldin’s writing — it’s strong, and she is able to paint a portrait of rural wilderness in a way I haven’t read in a long time. Setting plays a large role in the story, and Saldin offers it to us in the best way possible. Not only that, but she weaves in metaphors that, when you catch them, settle earlier, fragmented bits of story right into place. There are no shortcuts here.

Character development and the relationships among the girls rang true to me. It’s not outright cattiness, but it’s more subtle how they get to one another. The relationship between Lida and Gia reminded me a lot of Grace and Mandarin in Kirstin Hubbard’s Like Mandarin, though in Saldin’s book, there’s less a question about which side of the road either girl stands on when it comes to friendship vs. romantic interest. It’s not just hinted at; it’s laid out blatantly (there are a series of lines about how a place like Alice Marshall makes girls interested in other girls).

It’s not a short book nor a quick read, and though I think this will find a readership among girls who like stories about friendship, it’s not a mean girls story. Flap copy says this one would appeal to fans of Cut or Speak, and while I agree with that, I don’t think it’s going to appeal as broadly as those two books do. This is much more literary, much slower of a build, and much less conclusive than either McCormick or Anderson’s books. It reminded me a lot of Nina de Gramont’s Gossip of the Starlings, particularly in style, and of Jo Knowles’s Lessons from a Dead Girl. Hand The Girls of No Return to readers who like a challenge.

Review copy received from the publisher. The Girls of No Return is available now.

So You Want to Read YA?: Kimberly’s Picks

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When I think of the best fiction, my mind tends to group it into three categories: Theme (big ideas or important concepts), Writing (beautiful, experimental, or all-around outstanding), and Plot (twisty, heart-tugging, clever, or just plain fun). I think certain readers weigh certain categories more heavily than others when they pick up a novel for pleasure reading. So with that in mind, I’ve picked a few YA books that exemplify each of those categories – and two that are stellar examples of all three. I’ve placed an emphasis on genre fiction since that is, after all, my area of expertise.
Theme
The Disreputable History of Frankie Landau-Banks by E. Lockhart
For the budding (or already budded) feminist, you can’t go wrong with Frankie. It’s well-written and fun, too, but to me, it stands out as a book that matters. For readers who like their fiction with meaning, this is a good choice.
Chaos Walking by Patrick Ness
This could just as easily have been in the writing category due to its representation of Noise, but the way Ness addresses the Big Ideas of war, violence, and evil makes it best suited for this category. I don’t think I’ve ever read a novel that better tackles these thorny topics.
Feed by M. T. Anderson
A smart satire about a future world where everyone is plugged into their “feed” 24/7. Feed predates the dystopia glut by a few years, and it shows. Rather than throw together a hodgepodge future with no real basis in what’s going on in the current socio-political world, Anderson’s future is believable and thought-provoking.
Writing
Has there ever been more beautiful writing than that found in Daughter of Smoke and Bone? For those who may be worn out on plot-heavy books with mediocre writing, Laini Taylor is the perfect antidote.
Alice Hoffman’s YA
I love Alice Hoffman’s writing. Every single one of her novels is beautifully written, evocative, and completely captivating. I love how moody they are, and how she can infuse so much meaning into her novels with just a few words. Her YA books are short but pack a tremendous punch. I began with Incantation, a historical novel about the Spanish Inquisition, and moved on to The Foretelling and Green Angel in quick succession. More poetic in style than Taylor, Hoffman’s writing is consistently outstanding.
Smekday makes the list in the writing category despite the fact that it is very different in style from Taylor and Hoffman. Aliens taking over the Earth has never been funnier (truly – other authors have tried and failed). Funny writing can be just as difficult – and impressive – as beautiful writing. Rex’s inclusion of art (ok, technically not writing, but related) adds a lot to the novel too.
Plot
 
Heist Society by Ally Carter
So many readers crave a simple fun read, and Heist Society is a perfect example. The banter is funny, the heists are clever, and twists are legion. Really, what more do you need?
Mary Quinn mysteries by Y. S. Lee
Historical mysteries are perennially popular in the adult fiction world, so Lee’s stories about a teenaged girl detective in Victorian England are a perfect fit. The series provides just the right amount of female empowerment, twisty plots, and historical details to satisfy.
All Three

The Book Thief by Markus Zusak
When adults who don’t read YA ask me for a recommendation, this is nearly always the one I give them. It’s got lots of big ideas, some lovely experimental writing, and a fantastic plot – the trifecta of fiction excellence – plus it’s a pretty mature YA novel. Although the protagonist is on the younger end of the YA spectrum, the novel itself is a good bridge from adult to YA.   
His Dark Materials by Philip Pullman
I’m sure this is a surprise to no one. I’m always careful who I recommend this series to, since the concepts it addresses are such hot-button issues, but for the mature reader, there is no greater example of what YA fantasy (or fantasy in general…or fiction in general, for that matter) can do than The Golden Compass and its sequels.

A cheat sheet to critical reviews

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Back in January, I talked a bit about why being critical matters. I’m still thinking about the things in that post and I’m always going to be an advocate for being critical and being classy.

As you know, we’re critical reviewers here. We like to look at books in depth and talk about the things that do and don’t work in a story. Something I’ve been asked often — and even more so after posting about the topic of being critical — is how I approach reading and reviewing a book. More specifically, what elements do I think about and how do I think about them then take those considerations and write a review.

This was sort of what inspired the original KidLitCon presentation last year, and when we build our presentation, one of the elements was a cheat sheet to review writing. In all honesty, I sort of forgot about it until the other night, and I thought it would be worth sharing. This was a collaborative effort, with help and insight from Abby, Janssen, and Julia. You’re welcome to borrow it, share it, and any insights you may have you’re welcome to add, as well. I hope it’s helpful not only in giving insight into what goes into a critical review, but I hope it’s helpful in shedding insight into critical reading and critical blogging, as well.

Critical review cheat sheet
If you’re looking to freshen your content or are just getting started in blogging, here are some “big” things worth considering. These can assist in blog consistency or in helping establish your voice in the blogosphere, and they help when you fall into one of those sticky situations when it comes to comments or feedback you may get from readers.
– Summary vs. Publisher Copy: Do you want to write your own summary or rely on publisher copy? Your interpretation may differ from the publishers, and there is nothing wrong with that. It is essential, though, if you do borrow publisher copy that you cite your source (i.e., publisher’s copy, GoodReads summary, Amazon summary).
– Substance vs. length: How much you write in your review doesn’t matter. There are good short reviews and there are weak long reviews. It’s about substance, not length. Finding your own reviewing voice will guide you to this.
– Spoilers and content concerns: Do you write your review with acknowledgment to spoilers? Do you warn your readers when spoilers appear? What’s the length of time when spoiler warnings are not necessary? What about content – do you discuss issues of language or situations which may make readers uncomfortable?
– Your readership: Do you blog to be a resource for teachers/educators? For causal readers? To keep a record of what you read for yourself? For book publicity/as a means of PR for books and authors? Consider this when structuring your reviews. What’s your end goal? Write and review toward that. And remember: this can change. Nothing’s set in stone.
If you’re looking for some ideas of what to do when critically reviewing, here are a few suggestions. Not all reviews need all of these. In fact, you might find it worthwhile to talk in depth about only one of these issues or none of these issues. This is meant to be a helpful cheat sheet for those times when a book is simply a “meh” book — one you are struggling to review because it wasn’t great and it wasn’t terrible — and you need to find words to put to that feeling. The list below is certainly not exhaustive.
– Character Development: Do you find them fully-fleshed or lacking in development (is there an arc)? How does the main character interact with secondary characters? Are relationships believable? Does the dialog aid in their development?
– Story Pacing: Is the story consistent in pacing or uneven? Is it a quick read or a slow read? Did some parts become weak because of the pacing?
– Cohesion and Flow: Does the storyline work? Is it fluid? Is it rocky? Does it flow right, whether it’s meant to be a linear story or not? In short, does it make sense or does it leave the reader confused? Is that intentional within the story or a fault of the writing/characters/dialog?
– Language and Writing: Is it a literary masterpiece? Are the metaphors smooth like honey or are they distracting like flies? Is it poorly written? This is an opportunity to talk about things like length, too, as well as editing. Could it have been tightened or lengthened? Did the writing heighten the story or was it merely serviceable?
 – Authenticity (to the character, to the story, to the setting, to the time period, to the intended audience): Do you believe it? This is especially helpful in non-contemporary works. Did you believe the world building? The mystery? The characters? The situations? Was the setting developed or was it forgotten about? Are historical elements authentic? Is this book going to meet the expectations of the intended audience? Does the book feel real? Are the teenagers/middle schoolers/preschoolers depicted believable or are they inauthentic? This is trust in the story and trust in the writing and, over time, perhaps trust in the author him/her self.
– Voice: Does the story have a voice? A feeling to it? Does the character have a voice? It’s not an easy topic to talk about, especially with the “meh” book, because often, that’s the problem with the “meh” book: there’s NOT a voice. A voice is the tone of the book, the feeling underscoring the story, and the thing that can ultimately be what is most memorable about a story or a character.
– Reader Appeal: This one is dependent on your blog’s goals. Who will the book appeal to? Does it appeal to fans of other authors? To certain genre readers? This is a fun but challenging aspect of critical reviews because it requires removing your own biases about the critical elements listed above and thinking about big picture readership.

So there it is — I hope it’s helpful or insightful, and if there’s anything you consider in reading/writing critically, share away.

Audiosynced: March Edition

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Before diving into this month’s edition of AudioSynced, can we take a second and celebrate the fact Abby and I have been hosting this feature for two years now? Two years seems like such a long time in the blogging world, and I am so glad we’ve been able to “meet” so many new people through celebrating audiobooks. You can check out the Audiosynced archives here.

If you’ve reviewed or blogged about audiobooks this last month, drop a link into the comments and I’ll add it to our roundup! 

Reviews

  • Beth at Foodie Bibliophile has a review of Walter Isaacson’s biography Steve Jobs.
  • Michelle at Never Gonna Grow Up book reviews shares her thoughts on Anna Carey’s Eve. 

News & Other Audiobook fun

  • Every year the Audio Publishers Association honors the best of audiobooks with the Audie awards, and the 2012 Audies finalists have been announced. Each of the audiobooks nominated also has a sample included, so check them out.