Sometimes, my stubbornness pays off. This book is one of those times.
I got through one chapter of The Wednesday Wars– and I wanted to quit.
My passion is middle grades fiction. I adore it. And this book had a Newberry Honor Medal right on the cover. But I was bored. I didn’t take to Holling Hoodhood, the protagonist, right away. He kept prattling on about Treasure Island, which I’d never read & didn’t give a flying fig about. Plus, he seemed kind of whiny.
But I kept reading…
The Wednesday Wars turned out to be one of the most moving, gut-punch real feelings books I’ve read in a while. I will cop to being enamored that much of the book works its way around and through Shakespeare’s plays (the Shakespearian curses–and the big themes, too). It’s set in 1967-68, so the book also reckons with the Vietnam war and the tense political climate (A+.for being historical without feeling preachy or teachy).
I loved all those things… but most loved that Gary D. Schmidt creates a seventh grade protagonist who likes Shakespeare AND baseball, who says stupid things AND cares deeply that he said them, who is learning AND feeling AND making the reader laugh. (And maybe cry, too.) Schmidt’s artful turns of plot and his ability to narrate with stark honesty and beauty made this book a stand-out.
We need more protagonists like Holling: boys who are sensitive, kind, brave, and real. And seventh graders need more adults who take them seriously, who listen, and who remember how hard seventh grade can be.
Holy Hell Fire.
I haven’t read something that shook me to the core like this since I read The Handmaid’s Tale in college. I wish every person over 18 in the United States had to read this novel. Because it’s scary as fuck. And I wish I didn’t believe Octavia Butler had prophesied our future as a country–but it seems more and more plausible by the day.
I picked up the book simply because I was embarrassed to say I hadn’t ready any of Butler’s books. I picked Parable of the Sower for no other reason than the cover made it clear the protagonist would be a young black woman–she kinda looked like she was going to kick some ass.
By the end of the first page, I forgot I was reading a book. No time necessary to settle into the story or to adjust to the narrator/protagonist. There was just the story. And, Good GOD, what a story.
It’s a futuristic, dystopian novel. Don’t expect to be spared blood, gore, or pain. If you are too fragile–or jaded–to be horrified, look somewhere else. But, if you want what feels like an objective view of our future if we don’t halt civil rights infringements, the ever-evolving militarization of our police forces, rampant racism, and escalating climate change–read on.
Do not read this right before bed. And find someone who will listen as you sort your feelings about this novel. Because you’ll have feelings. Big ones. Necessary ones, I believe.
I had so many feels about this book, it’s hard to even get them into words. I love LGBTQ Young Adult novels. For real. They’re a gut-punch reminder of what it’s like to be young, falling in love, and figuring out your sexuality… while trying to navigate the impeding (and inevitable) doom of folks finding out you’re gay. Add into the mix that There Goes Sunday School is set in Atlanta… Totally swoon-worthy.
What I didn’t expect was for this YA novel to unearth so many feelings for me. I mean, I didn’t just relate to the protagonist… at one point I WAS the protagonist. Anti-gay upbringing? Check. Conservative Evangelical church? Check. Being told I was for sure gonna burn in hell? Check. But, perhaps especially when it’s rooted in pain, it turns out that representation is just as important at 43 as it is at 13. Watching my own story play out (with some significant plot deviations, of course) was cathartic.
Eberhart wrote believable characters with realistic responses to their surroundings and upbringings. He managed to create a tender novel that didn’t read as over-dramatized or simplistic. And he got in some wins for his characters that, for me at least, are incredibly important to see in print.
Being gay isn’t a tragedy. In fact, coming out and living into your truth is a victory. Even when it’s hard. Being who you are is worth risking everything for. And that’s a truth that everyone needs to hear more of.
I didn’t immediately get swept away in Grant Park’s narrative. The cover promised a lot: a thriller that critically examines race in America. The thriller part never quite delivered for me. But the nuanced look at race in America, that rang a lot truer. I’m glad I hung in for it.
Leonard Pitts, Jr. wrote columns for the Miami Herald for years. And it shows. He’s able to write characters that grapple with racial issues (internally & externally)–as well as expose the less noble parts of folks exasperated by the national conversation about race (or lack thereof). He lets you inside the heads of a successful black journalist and a kind-of-successful, white newspaper editor–both of whom are fed up with the racial tableau in America. But, because this is a good piece of writing, nothing about the two men is quite as straight forward as it seems.
As a white reader, I never felt preached at. But I also didn’t feel pandered to. Pitts showed dogged determination in giving his readers an honest look at what it’s like to be black in America. Pitts creates a narrative that demonstrates that no group exists as a monolith–not black folks, not white folks–and that we can still be redeemed. But redemption means wrestling with our own selves first, conquering our own demons. And then listening to each other. One by one. Redemption isn’t wholesale. According to Pitts, the fight might be won one soul at a time.
I was simultaneously repelled and sucked in. I couldn’t stop thinking about it. And I hid from my family to read it over Thanksgiving vacation. So, yeah, it was a pretty good read.
Dark Places, by Gillian Flynn (of Gone Girl fame), scared the ever-loving shit out of me.
And there you have it.
The story both sucked me in and repelled me. I wanted to know more, to solve the puzzle, to KNOW what happened. Simultaneously, I just wanted to get it out of my head.
It’s grizzly y’all. The scene that plays over and over again is horrific. It gave me nightmares. And I couldn’t shake it, couldn’t stop it from running on a loop in the back of my mind.
But what’s really compelling about the book is that there are no heroes. Everyone (save perhaps one character) is multi-faceted, complex, and far from perfect. The points of view vary, which adds a texture that builds suspense and draws out the mystery. And it relies on the one principle that shoots abject fear through my heart: everything can rest on one decision. One decision can end life as you know it.
But can it really?
Or is there something bigger at play, beneath the surface, in our subconscious, in events that other people set in motion?
I’m not sure this book will answer that question. But it sure as hell will make you ponder it. And isn’t that what horror is supposed to do: make us wrangle with the light & darkness within ourselves and question what really separates the good from evil?
And maybe that line is much thinner than we think.
I, Robot. It’s about adverbs & adjectives. I mean, it’s about robots. It’s sci-fi with interesting ethical dilemmas. After you get through the adjectives.
Recently, a friendly stranger proffered boxes of sci-fi and fantasy books to fuel my used bookstore dreams. I know enough to admit what I don’t know. And I don’t, at all, know sci-fi. I told my super-rad benefactor this. “No experience with sci-fi at all?” he asked, quizzically. “Well, I did love Battlestar Gallactica… the TV series,” I offered sheepishly. “Oh,” he responded with relief. “You’ll be fine then. Start with Asimov.”
So I did.
I picked I, Robot for the most basic of reasons: it sounded familiar. My copy (a 1983 edition) features a little girl & a pretty dang benign looking robot on the cover. Cool. I’m fascinated by the concept of robots actually developing feelings—evolving into them. Because can they be feelings, if they’re programmed “experiences”? And how the hell is the robot supposed to know what’s up?
I’m sure there are technical, sci-fi-y ways to describe this conundrum. Of course, I don’t know them.
But I do knowthat I could barely FIND the robots in the book for all the adjectives and adverbs Asimov through at me continuously. So many, many words to describe, well, not too much.
The book took me weeks to complete. Weeeeeeeks. But I learned the 3 Laws of Robotics, which tie the stories about nanny robots, mind reading robots, self-righteous robots, playful & clever robots, and machines together. And, ultimately, I was left with some weighty ethical & philosophical questions about free-will versus the greater good.
But it took so very many adjectives to get there.
The Darker the Night, The Brighter the Stars is a mash-up of sorts. He loosely chronicles his wife’s end of life journey & his own grief, which he views thought the lens of neuropsychology, philosophy, myth, and atheism.