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In Real Life by Cory Doctorow and Jen Wang + 3 Questions with Cory

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Cory Doctorow is known for exploring big social issues within his fiction for young adults, and his latest, the YA graphic novel In Real Life, is no different.

When Anda’s class has a female gamer come in and speak to them, Anda becomes fascinated with the idea of playing the game about which the guest spoke: Coarsegold Online. It’s a massive multiplayer roleplaying game, and it’s an opportunity for her to be a hero and it’s a place where she gets the opportunity to meet new people and make friends from around the world.

Gold farmers are exceptionally controversial in the game, as they are people who illegally collect valuable objects within the game, then sell them off to players in rich countries who can afford to purchase them. This, of course, gives those who are rich a mega advantage at the game. It’s an industry and an occupation, gold farming, but things get challenging when Anda befriends a gold farmer, who happens to be a poor boy from China. Suddenly, what seemed like a black-and-white/right-or-wrong situation with gold farming becomes a lot more complicated, as her friend’s life depends upon making money doing this job.

Doctorow’s story is complex and complicated, and while I think his introduction does a great job of offering an explanation for why what happens in the story isn’t just about the in-game world, I found myself needing to flip back more than once to better understand what was happening and what the gravity of the situation was. Part of this is being a non-gamer — and perhaps I’d have grasped some of these things better were this a world in which I was familiar — but part of it was that at times, the message overpowered the story and the development of Anda.

The story, being about how people buy and sell levels and powers in-world and how others want to rid the game world of the people who are in the business of helping others cheat for the right price, parallels the non-gaming world in terms of how people climb the ladder and how they can cheat social systems and structures in place for the right price. But beneath that, and what I think was harder to come across because of the graphic novel format, are the really human reasons and aspects behind why someone would want to work a job that’s purpose is to buck the system for others. We’re only ever privy to Anda’s perspective here, and, as noted, it’s one of privilege. That’s not a problem of her telling the story, but it’s a bigger problem of the overall impact of the story. She almost grew too quickly, and because of the privilege she has in her own life, she was able to pursue solutions that carried the story’s message almost too conveniently. There were other things that happened in the story that felt convenient or almost strange and difficult to believe, including small things like a gaming expert coming into a high school classroom and recruiting teens for her game, which includes a monthly fee.

That said, I still liked In Real Life, and a big reason for liking it was how wonderful Jen Wang’s art is throughout. This is a lushly illustrated work, and I give Wang major kudos for how Anda was rendered. This is a fat girl, and she was never once ashamed of being so. Her body is depicted realistically, and I can see so many girls seeing themselves in her. While there was one part of the story that made me cringe when it came to the dialog of body shaming, it was easy enough to let go because of how Anda carried herself. In many ways, that slip fit the bigger issues of this book being imperfect about how it depicted and explored social and political issues in the real, rather than virtual, world. This is a full-color graphic novel with an appealing color palate. I’m going to keep an eye on Wang because I hope to see a lot more from her.

In Real Life should appeal to teen graphic novel enthusiasts, and I especially think teen gamers will find a lot to enjoy here — and I think maybe more importantly, they’ll find a lot worth talking about and debating. This could make for a really solid book discussion title. This is a time-relevant title, but it doesn’t run the risk of becoming the kind of book that will become time-sensitive. What Doctorow did in Little Brother for the last generation of teens, he does here with In Real Life, serving up a meaty topic in a form that doesn’t talk down to its readers but encourages them to think, discuss, and act. This would be a great book to pair with Steve Brezenoff’s Guy In Real Life, which also delves into social issues through gaming — both virtual and real-world.

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In addition to talking about the book today, I was able to ask Cory a few questions about the book and some of the bigger issues broached in the story. Rather than talk about these within the review, I thought taking them straight to the source would be more interesting. I highly recommend checking out the other blogs who are taking part in asking Doctorow questions about In Real Life, and you can get the full list of other participants here. These might make discussing this book with teens even more interesting! 


What capacity do you believe gaming has for educating people about social/political challenges throughout the world? 

I think that games are
an art form, and that art does lots of stuff, including education. But
the primary thing that art does is make you feel irreducible, numinous
aesthetic effects.

Some games, like some art, can teach you just about anything, but that’s not what games are for.
It would be impossible to ignore the hostility that the gaming world has toward women. Yet, gaming has the capacity to be a tool of social mobility and change. How can girls and women navigate this disconnect? 
I wish I knew. My wife
is a retired professional gamer — she played Quake for England — and
through her I know a huge circle of hardcore, badass gamers and gaming
professionals.

Gender-based hatred
and harrassment in games is an epiphenomenon of wider social factors,
obviously. It’s not like women get a great deal everywhere *except*
games — and while ending games-based harassment
(by making it socially unacceptable to admit or evince misogyny as it
is in many other circles) would be a huge accomplishment, it would still
leave the underlying problem intact.
Your books, including IN REAL LIFE, focus on teens making a difference. Why teens? What is it about teenagers that you believe will cause social and political change? 
I
think we start out with well-developed senses of justice and fairness
— you see it in daycare classes — but circumstances cause us to
compromise a little
at a time. Each compromise resets your vision of a “normal” level of
fairness, so the next compromise is only perceived as a small variance
on normal, as opposed to a deeper cut into justice.

Teenagers exist at the intersection of
uncompromising justice and the capacity to act on it — old enough to do
stuff, young enough not to be convinced that nothing can be done.

Audio Review: Cleopatra’s Moon by Vicky Alvear Shecter

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Though the title may lead some readers to think it, Cleopatra’s Moon is not, in fact, about Cleopatra VII, the most well-known Cleopatra of history who was famously portrayed by Elizabeth Taylor. Instead, it’s about her daughter, Cleopatra Selene, whose name is not nearly as well-known. In fact, in her author interview at the end of the book, Shecter mentions that many people didn’t even realize Cleopatra had a daughter – the romanticized stories aren’t particularly interested in Cleopatra’s children.

“Selene” means “moon” in ancient Greek, hence the title. Cleopatra Selene had a twin brother named Alexandros Helios; the second part of his name comes from the ancient Greek word for sun. People with names like these cry out for a story.

Unlike most YA novels, this one starts off with Cleopatra Selene at a pretty young age and keeps her there for a big portion of the book. It opens with her parents crowning her queen of a few Egypt-controlled territories and I believe she’s around 4 or 5 at that point. The story then progresses a few years, through her parents’ deaths and her time in Rome in the household of Octavia, Octavianus’ (Caesar’s) sister. When she first goes to Rome, she’s a pre-teen, and much of her growth as a character happens during this time. It’s only during the last third that she is old enough to be called what we think of as a “young adult” (a teenager). Despite her various ages, this is a young adult novel throughout – its themes are more complex than a middle grade novel, and the narrative voice is more mature and reflective.

This is a treat for fans of ancient Egyptian history. Do you know a reader who would have loved Mara, Daughter of the Nile if this were 1985? This book is the 21st century’s Mara. It’s got romance, political intrigue, murder, thievery, and a fantastic setting – two of them, actually, since the first portion is set in Egypt and the second portion in Rome. The fact that Cleopatra’s Moon is about an actual person, who lived and breathed and interacted with these people who seem right out of legend, only adds to the book’s allure. By the end of the book, Cleopatra Selene seems like a legend herself.

In her author interview at the end of the audiobook, Shecter talks about historical fiction as an exercise in “filling in the gaps.” This is especially true for ancient historical fiction, where most readers can only find out very basic information from a casual perusal of Wikipedia or their public library. There are a lot of gaps for an author to work with and a lot of creative license she can take. Shecter sticks close to what historians know of Cleopatra Selene, including her siblings’ lives, her move to Rome as a captive of Octavianus, and her eventual marriage. But even if you read up on the history before diving into the book, meaning you know just where Cleopatra Selene ends up as an adult, there’s plenty of narrative tension – there’s a lot to explore in the gaps.

Shecter’s writing is strong. Cleopatra Selene has so much to handle at so young an age (her parents’ suicides, attempted assassinations in Rome, and her own desires to reclaim Egypt), but never do we believe she won’t be a match for it, even if it may take her a while to figure things out. Above all, Shecter writes her characters and their story with respect. This is especially evident in her treatment of Cleopatra Selene’s religious beliefs. This is Cleopatra Selene’s story and her faith is as true to the author as it is to her. The characters and their cultures never feel exoticized.

The audiobook is narrated by Kirsten Potter, who isn’t one of my favorite narrators for a first person YA novel. Her voice sounds very mature, not like a teen’s. She also narrates the Hattie Big Sky audiobook, and that’s one reason I didn’t much care for it. (This is a case of personal preference; I know many listeners who enjoy Potter’s narration.) It’s a credit to Shecter’s storytelling skills that I was completely entranced regardless. Chapter breaks include haunting music which I quite liked and definitely help create the appropriate mood.      

This is another frustrating audiobook which does not include the historical note. It does include an interview with Shecter, which is fine, but doesn’t answer the nagging questions any historical fiction reader will want to know: What really happened and what did the author create? For that, you’ll have to find the ebook or the print book. It’s especially important for books like these, which are set in a time most people don’t know much about. If you do listen to the audio, and I recommend it, do yourself a favor and hunt down the ebook or print book so you can read the historical note as well.

Audiobook borrowed from my local library.

Cybils – Thoughts & Considerations

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For the past three years, I’ve been a Round 2 judge for the Cybils, first for YA SFF, then graphic novels, then YA SFF again (renamed speculative fiction). This year, I decided to challenge myself by indicating in my application that while I’d prefer Round 2, I’d be open to Round 1 as well.

And the universe (well, Sheila Ruth, category chair extraordinaire) answered. This year, I’m a Round 1 judge for YA speculative fiction.

I certainly read more than your average person, but the number of books I read per year usually hovers around 100, and that includes graphic novels. This number pales in comparison to a lot of other bloggers. Round 1 judges will often read that amount of books just during the judging phase itself, a space of 2-3 months (this category received over 200 nominations last year). So I was a little nervous that I wouldn’t be able to keep up.

Now that I’ve passed my first weekend of intensive Cybils reading (nominations officially opened Oct. 1), I can say my fears were unfounded. I’ve read five books in five days and am partway through three others. While I could always read whenever I liked during my leisure time before, I’ve found that holing myself up in my reading room at home with the excuse that this reading is required gives me a special kind of pleasure. It’s also great fun to see how many books and pages I’ve read compared to other Round 1 judges across all categories, which the Cybils database tracks. It’s not a competition (I keep telling myself), but it does help give me the kick in the pants I might need.

As always, the Cybils awards get me reading books I never would have picked up otherwise (like Prince of Shadows by Rachel Caine, a re-telling of Romeo and Juliet from Benvolio’s point of view. I hadn’t even heard of this one, but it was cleverly done and well-written). Knowing this, I’m excited to give new things a try, even – gasp – paranormal romance. The nominations are rolling in and my to be read list grows daily (or perhaps hourly), but there are still many worthy books that haven’t been nominated yet. I’ve created a list of titles – some I have read, some I haven’t – that I think should be considered by us Round 1 judges. Perhaps you have read some of the books below and think they deserve a shot? If so, all you have to do is visit this page, read the instructions, and nominate! You can only nominate one book per category, so pick your favorite.

  • Mortal Danger by Ann Aguirre
  • Trial By Fire by Josephine Angelini
  • Avalon by Mindee Arnett
  • Independent Study by Joelle Charbonneau
  • Of Metal and Wishes by Sarah Fine
  • Circle of Stones by Catherine Fisher
  • Half Bad by Sally Green
  • The Klaatu Terminus by Pete Hautman
  • While We Run by Karen Healey
  • Vitro by Jessica Khoury
  • Defy by Sara B. Larson
  • Stitching Snow by R. C. Lewis
  • The Young Elites by Marie Lu
  • Firebug by Lish McBride
  • Infinite by Jodi Meadows
  • V is for Villain by Peter Moore
  • The Vault of Dreamers by Caragh O’Brien 
  • Snow Like Ashes by Sara Raasch
  • Sekret by Lindsay Smith
  • Stray by Elissa Sussman
  • The Perilous Sea by Sherry Thomas
  • Of Monsters and Madness by Jessica Verday
  • Lark Rising by Sandra Waugh
  • In the Shadows by Kiersten White and Jim Di Bartolo

The Crossover by Kwame Alexander

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Josh Bell, aka Filthy McNasty, is a solid basketball player. His brother, Jordan, isn’t too bad himself. The twin boys, both middle schoolers, have been playing for a long time. Their dad wasn’t too bad a ball player himself back in the day either — in fact, he played professionally and earned some good money and good jewelry. But he quit playing, and when Josh tries to broach the question about why his dad stopped and why his dad doesn’t take up coaching, dad dodges the questions.

On the surface, Kwame Alexander’s verse novel The Crossover looks simple. It’s about a boy and his brother who play basketball. But it’s a much deeper, more complex novel about the challenges that exceptionally “average” characters can have. Josh is a relatable character, with two parents who are happily married. He and his brother get along. They’re passionate about the game.

But things become more complex.

Josh and Jordan make a bet with one another relating to the game, and when Josh loses the bet, his brother has earned the privilege of cutting off one of his beloved locks. A misstep, though, leaves Josh with more than one lock cut, and the resulting look is something his mother isn’t too happy with. She tells him that he’ll have to cut them all off. He’s not thrilled about it, but he goes along with it, and when he’s sent to look for a box in which he can put those cut locks, he stumbles upon a box containing not just one of his father’s precious rings from his time as a ball player, but he uncovers why his father quit the game. This revelation about his father opens up a whole new world to Josh and Jordan about their father and his deep-seeded fears.

As the season progresses, Jordan becomes enamored with a new girl at school. She reciprocates, and the two of them become boyfriend and girlfriend (in the way that middle schoolers are boyfriend and girlfriend — there’s no physical action and nothing happens on page here at all if there is). When this relationship begins to bud, suddenly Josh feels left out. His best friend and twin brother has entered into a new phase of life and a new experience that Josh hasn’t. They spend less time together as a team and more time apart. It’s a huge change for Josh, and at times, it comes across as jealousy and at other times, it comes across as grieving how his relationship with his brother once was.

There’s more though. The little secret about their father’s future in basketball was just the tip of what Josh discovers. As he’s spending more time alone, he’s been keeping an eye on his parents and learns that his dad hasn’t been feeling well. In one instance, he fainted after not feeling well. While his mother keeps telling his dad to see a doctor, since his other father died young of heart disease, his father won’t listen.

He’s afraid of doctors.

Between explosive scenes on the court, rendered visually in the text, are the moments of quiet sadness and fear that linger in Josh’s mind about his dad and the condition his dad may or may not be in. Spoiler: it’s not good condition, and when the basketball season comes to its final game, one that’s tense and important, Josh’s dad’s heart doesn’t stay strong enough for him to witness it. The last few pages of this book are tough to read.

The Crossover makes exceptionally smart use of the verse format, without once feeling overdone or leaving the reader with the feeling a lot was lost because of the style. Alexander plays with the format visually in tense action scenes, and Josh’s voice comes through. He loves rap and he plays around with rap himself, so the poetry and the beat of this story are authentic, natural, and memorable. This is the kind of story you’d read out loud because it lends itself to that. The speed and intensity of the game pair with the rhythm of the text.

The little details of this book stand out because of the format, and those little details tell us so much about Josh and the rest of his family. His mom is the assistant principal at his school, and he feels more pressure for himself and on the court because of that. Of course, dad’s former role as a player doesn’t help that. Both mom and dad are supportive in his and his brother’s lives and in their passion for the game. Josh is also an average student, and even when things start getting tough for him, what’s sacrificed is his behavior, not his intellect or his capacity to do well. Those behavioral changes are done in a way that make you want to hug him and tell him it’s going to be all right. He’s a great kid, with a great head on his shoulders, and passions that are worth pursuing.

Being that this book is about 7th graders, this “it’s going to be all right” sentiment is important because it taps into what so many middle schoolers feel at that age. It’s a rough transition period for even the most “average” kid. People are growing and changing in ways that do and don’t make sense. What seems like a natural thing — Josh’s brother getting a girlfriend — is something much more than that. It’s a crisis of Josh’s identity since he’s no longer half of the Josh and Jordan pair. He’s an entirely independent being, and being jolted into that awareness is tough because it’s new.

Alexander’s book falls into a weird area, though. This book is perfectly appropriate for middle grade readers, and it’s also going to have appeal for both young YA readers and more reluctant YA readers. The challenge on that end, though, is that teens who read YA will likely be less willing to read about 7th graders than middle grade readers would be. I suspect The Crossover may fall between the cracks because of this, and I sure hope it doesn’t. Alexander’s book is about this “crossover” period, and it’s going to speak deeply to teens (especially boys and especially black boys who don’t see enough of themselves in realistic fiction) who are in that “crossover” period themselves. This is a book you sell to readers based on their maturity and interest, rather than on the grade or reading level they’re at. The Crossover will make a great bridge to books like Matthew Quick’s Boy21, too, both because of the content and the well-drawn, dynamic, and memorable characters.

You know exactly the kid who needs this book, who will fall in love with this book, and most important, who will see himself in this book. There is a gut punch at the end, but it’s not a story without hope to it.

Pass this book along to those readers.

The Crossover is available now. Review copy picked up from the library.