The Beginning of After, by Jennifer Castle

One fateful evening. Laurel has been dragged to a dinner party hosted by the Kaufmans, whose obnoxious son David has managed to slip out to hang with friends. After dinner, Laurel herself begs off from dessert to go home and study for her SATs. When she is home working, there is a knock on the door. A policeman tells her that her parents and brother are all dead. Mrs. Kaufman is dead too (and her husband is in a coma). A car accident has destroyed Laurel's world.

As Laurel quickly finds out, being the survivor means being an object of pity and/or curiousity for all those around her. In this world of after she finds it hard to confide in her friends and she distrusts the motives of the people who reach out to her. Ironically, only David really seems to understand what she is going through, and he's handling it much worse than she is.

The situation itself is of course quite sad, but you pretty much know what to expect with this novel. While the story could potentially pack quite a punch, Castle plays the story straight and low-key. That has its plusses and minuses. There are no amazing revelations about grieving, but also no melodrama. What we get instead is a realistic and authentic story. That doesn't make for much originality, but sometimes a story well-told is enough. At 420 pages, it's a bit long-ish, but it doesn't drag (the length is in fact due to some fine detail).

Castle's strength is in characterization. Both the children and the adults are well-drawn and easy answers are skirted around. The grieving process is well-documented, but avoids the stereotypical "stages of grief" approach that tends to predominate this subgenre (instead, Castle recognizes that not everyone follows the textbook). While Laurel does flirt with some romance, the relationships are complicated as one would expect them to be, given the circumstances. Laurel's feelings about David, in particular, develop in a plausible fashion. Overall, this is a very satisfying read.

Winter Town, by Stephen Emond

Ever since Lucy moved away with her mother, Evan and Lucy only get to see each other once a year, around Christmas. And while they started with similar passions, they've slowly become different people: Evan is a straight-A student who can't quite gain the confidence he needs to stand up to his father, while Lucy is the angry goth whose home life has gone to hell. But together again for another two-week visit, they try to recapture the magic of their childhoods, while exploring what the future could offer them. To liven things up, the novel features frequent graphic novel-like interludes from both Evan's comic drawings and some more realistic art from Emond.

Stylistically, this book makes a great foil to my just-completed review of Why We Broke Up. Unlike that book, Winter Town's artistic elements add to the story by creating several additional dimensions. And, while I'm not a graphic novel fan, I appreciated the intent of their addition. I was less taken by the story or the characters, which I found underdeveloped (Emond put so much effort into the design of this striking book, that the characters suffered). The writing (particular towards the end) grows stilted and the story unravels. It needed more work, but I appreciate its originality.

Why We Broke Up, by Daniel Handler

In an effort to purge herself of the bad memories, film fan Min assembles a collection of momentos from her relationship with Ed and explains the significance of each one of them to her ex-boyfriend.

That's basically the entire plot, which is one way of saying this is a pretty indulgent story (certainly, if I was on the receiving end of her diatribe, I'd probably just laugh it off -- after all, who needs to spend the effort worrying about such a drama queen?). But, thankfully there's a subtext here that is more interesting: the process of rehashing the relationship is ultimately cathartic for Min, as she realizes the mistakes she made and what led to them. Overall, it's a low-key variant of Jay Asher's Thirteen Reasons Why (with the obvious differences that Min doesn't kill herself and one doubts that boyfriend Ed would really give a shit about Min's letter).

Overall, it is exactly what it claims to be: the story of a break-up. And, as much as it has been critically acclaimed, it simply isn't that good. Yes, the illustrations by Maira Kalman are clever and the book has a thick literary quality to it, but it's also amazingly pretentious. From the faux film-buff references to the drawings themselves, it's the type of book that no one reads except to prove something. The story doesn't go anywhere, the characters do not elicit sympathy (heck, you might see yourself in Min's psycho-obsessive melodramatic personality, but that's not something to be proud of!), and in the end you're left with that thought of "what's the point of all this?" Books like this are the reason I distrust the distinction of being an ALA winner.

Notes from an Accidental Band Geek, by Erin Dionne

And so we continue with the music theme....

Elsie is determined to win a scholarship to Shining Birches (an exclusive music summer camp in Massachusetts that you might know by a different name), even though, as an incoming high school freshman, she'll be one of the youngest applicants. To fill out her resume, she enrolls in marching band. But when she starts, she absolutely hates it: the marching is boring and physically arduous, the other kids make fun of her, and they make her play a mellophone! It all seems like a worthless distraction from practicing for her audition.

To make matters worse, starting high school has its own challenges: there's boys and overly-protective parents to deal with. Friendships have grown much more complicated. There are times when Elsie simply can't cope! But as the Fall progresses, she slowly gains confidence and develops the skills necessary to figure it out.

A charming book. While it has lots of wonderful band details, it's the painfully realistic depictions of the melodrama of ninth-grade relationships that makes Dionne's writing so good. I liked Elsie's awkwardness with boys (and their's with her). The jealousies and suspicions had a familiar ring to them. I also found Elsie's relationship with her parents to be pretty authentic. I wish that she and her father had been less proud, but it felt true.

There are minor problems: some of the plot turns are a bit extreme and threaten the realism of the story, Elsie's own turnaround comes on a bit too suddenly, Dionne has a distracting pattern of disguising some real life things and places (Shining Birches, the Darcy Thanksgiving Day Parade, Dusk vampires, etc.)! But I'd give the book some leeway since Dionne does such a nice job with the storytelling. Younger teens will like the story. Old folks will be reminded of why we don't ever want to be fourteen again!

The Mozart Season, by Virginia Euwer Wolff

When Allegra gets offered the chance to compete in a youth violin contest, she accepts the opportunity without realizing at first how stressful it will be. But the competition and the challenges of mastering Mozart are not the only things on her mind. Allegra struggles with her identity as a half-Jew. In addition, there's the unrelated mystery of the strange man who comes to the local string concerts and dances while the ensembles play.

Coming so soon after reading the quicker-paced and more digestible Virtuosity, it's hard to avoid comparisons. This book is pitched at a younger audience (Allegra herself is younger and the stakes of her competition are less extreme), but there are bigger differences than simply the younger target demographic. I honestly found this to be a poorer read. The narrative is jumpy and seemingly random. I suspect that Allengra's scattered voice is supposed to be stylistic (to represent her random thoughts), but as we never learn that much about what she actually feels, it's hard to tell. Instead we get near train-of-consciousness rambling which quickly becomes numbing. None of which is helped by the action, which is hard to follow and oddly paced (the contest itself, which ought to be climactic, is a non-event).

The Girl of Fire and Thorns, by Rae Carson

Elisa is a second daughter and thus subject to being married off to the king of a neighboring kingdom. She also lacks the conniving skills of her older sister and is the object of disdain in court for her sweet tooth and her girth. But she is the "chosen one" -- the bearer of the godstone (a jewel that appeared on her stomach when she was christened) and thus prophesied to do great deeds.

And if ever there was a need for great deeds it is now, while a shared enemy is on the march, led by powerful sorcerers who have the power to generate fire out of the air. Elisa is no sooner married off to her new husband than she finds herself embroiled in intrigue and dangerous plans. She must find a way to fulfill her destiny and save her people, and it will call on her to unlock hidden strength and sort out friends and foes.

Here we have all of the lovely trappings of YA fantasy -- familiar adolescent figure (with sibling conflict, self-doubt, and a potential eating disorder) has extraordinary adventures and eventually saves the day through self-discovery. No surprises here! But this book has a lot more and this is where it stands out from the pack. Carson has done an outstanding job at freshening up the setting and the story. Hispanic names, placenames, titles, and an ancient language with a strong resemblance to Spanish shake off the traditional anglo focus of fantasy. A well-developed religion is another unusual element that integrates well with the story. While following a familiar formula, it manages to be original and rewarding.

See What I See, by Gloria Whelan

When Kate wins a scholarship at an art school in Detroit, she decides to take advantage of the fact that her father lives there and stay with him. The problem with this idea is that they are not exactly close. In fact, he's pretty much ignored her existence since he walked out on her and her mother, abandoning them to pursue his own artistic career. But, while she isn't expecting him to be thrilled to see her, she is surprised by how hostile he is.

With some effort, she convinces him to let her stay and an uneasy peace forms between them, which is shattered when she discovers that he's dying. Faced with a choice of looking out for her career (as he once did) and taking care of him, she makes a fateful decision to do the latter. In the process, she gains an opportunity to come to terms with what he did to their family.

This spare, but ultimately touching, portrait of a young woman learning to confront her hurt and heal gains its strength mostly from what it doesn't do. The tone is subdued and melodramatic outbursts are kept to a minimum. The characters don't compromise or even come together. One might thus complain that there isn't much evolution in the characters or development in the story, but Whelan likewise avoid unnatural changes and easy solutions. The result is ultimately satisfying.

Sign Language, by Amy Ackley

"I knew my dad was going to pass away....I didn't know he was going to be dead." In that poignant sentence, Abby describes to a friend the shock of having her father die of kidney cancer. And in spite of its logical contradiction, we glimpse the mind of a child suffering loss.

Told over a three-year period, Sign Language covers how Abby deals with the death of her father when she is thirteen, and carries the story through coming to terms at fifteen with that death. It's a harrowing tale, told frankly and realistically, by an author drawing on her own childhood. As such, it has the perverse appeal of a confession, with a decent pay-off at the end as Abby gradually works her way to acceptance.

The bare realism of the story could certainly teach Phyllis Naylor a few lessons about depicting children growing up. Following Abby on a month-by-month basis from twelve to fifteen allows us to watch her not only deal with her grief, but also mature in many other ways. There's a tremendous effort spent on continuity and evolving emotions and I felt like I really understood her by the end.

Unfortunately, the same cannot be said for the supporting characters. We learn very little about them and they mostly exist for Abby to interact with when it is convenient. It's obvious that Abby isn't a very good friend, but neglecting her loyal friends Liese and Spence as thoroughly as Ackley does seems criminal. And the decision to write the story in a passive third-person voice is off-putting. It feels more like a documentary about grieving: informative but clinical.

Virtuosity, by Jessica Martinez

In the world of violin virtuosos, there is only one person who comes close to Carmen's talent: Jeremy King. But when the two of them meet for the first time at the prestigious Guarneri competition, it is more than a match of skills. Instead, as one would expect in a story like this, there is a romantic story to tell as well, and it is very complicated. Are their feelings legitimate or simply the result of being locked in a tough competition? Is Jeremy's interest even real or just (as Carmen's mother warns her) a cynical ploy to gain an advantage in the contest? And can Carmen trust her heart when she is in such a vulnerable position?

It's a taut and suspenseful story with complicated characters and complex motives, all wrapped up in the tense environment of a brutal competition. In many ways, the story will seem like a enthralling but well-trod formula. However, there are some real twists at the end that will throw you off. And the ending itself (while perhaps a bit too clean), is satisfying in an unexpected way.

Without a doubt, the real draw of this book is the storytelling. The characters are interesting, but it's the plot itself and some excellent pacing that kept me hooked. Martinez knows how to tell a story and I look forward to reading more from her.

Small As An Elephant, by Jennifer Richard Jacobson

When Jack emerges from his tent, he discovers that he is all alone. During the night, his mother has disappeared, abandoning him in Acadia National Park. At first, he figures that she has just gone off on an errand, but when she doesn't return and days start to pass, he realizes that he is going to have to survive on his own. And, while he is only eleven years old, he turns out to have plenty of experience at getting by. So, he strikes out across Maine, trying to find his mother and avoid being picked up.

Ah! The ol' abandoned child motif! One of my least favorite genres (second only to the child-avoiding-being-helped subgenre)! By all rights, I should despise this book. But the story benefits from two things: a nice elephant theme throughout (facts about pachyderms preface each chapter and are coupled with Jack's obsession with the animals) and the amazing (but believable) resourcefulness of the kid himself. Still, this is a genre that can only end up one of two ways (and it isn't very hard to figure out which way it will go). In the end, a breezy read but unremarkable.

Incredibly Alice, by Phyllis Renolds Naylor

In this 26th installment of the Alice McKinley series, she's finally graduating from High School and turning eighteen. For her last months of school there are a fresh set of challenges: she emerges out of backstage to try acting in the school play, she gets accepted to college (but not the school of her choice), her friend Jill has gotten pregnant and married, and she laments the end of childhood.

As usual, Naylor keeps everything clean and upbeat. There's a few requisite Judy Blume moments with racier topics (genital plastic surgery being the most unusual), but it's mostly good clean fun. Alice continues to be a dream child (dutiful to a fault and wise beyond her years). Anyone who wants to ban these books is seriously out of touch: Alice's adventures hold nothing to the vampires and gladiator games. Rather, she provides a nice safe alternative read for early adolescents.

And while it's understandable that there's value in avoiding major traumas every installment and so there will be a fairly mundane quality to the books, the lack of any climactic moment makes each book now seem like an exercise in treading water (perhaps, this is why they are now bundling three books into one in the new "year" editions)! In my mind, Naylor has sacrificed a wonderful opportunity to give Alice depth by making her such a goody-goody granddaughter. Given the tremendous effort towards building the depth of her character, making her flawed would have been so much more interesting.

Dreams of Significant Girls, by Cristina Garcia

Over the space of three summers in the early 1970s, at a camp hosted at a private Swiss boarding school, three girls from different backgrounds get to know each other. There's Vivien (talented with food, but shy and awkward), Shirin (a Persian princess with the attitude to match and serious internal suffering), and Ingrid (the wild girl with a heart of gold). While they initially dislike and distrust each other, they develop a strong friendship as they come of age.

This is extremely well-written, but ultimately not really a YA book. It falls more into the category of adult books written about adolescent memories. There are wonderful details and the stories may appeal to older teens, but this is a book for grownups (and probably fairly old ones who remember the early 70s). Few of us will relate to lifestyles where our parents could simply ship us off to elite Swiss schools for the summer!

Mercy Lily, by Lisa Albert

Many years ago, when Lily's father died, it was a long and drawn out affair. In the years since, Lily has had lots of experience helping her mother (a veterinarian) care for dying animals. She understands dying. But as her mother's multiple sclerosis grows worse and Mom starts talking about ceasing her treatments, Lily finds that the reality of letting her last living relative go is too much to bear.

It's an interesting idea for a story and written in a realistic and believable way, but ultimately this is a difficult story to like. The material is depressing and the story largely preordained. Mom will die and the only thing left for Lily to do is accept it. Thus, showing Lily's process of acceptance becomes the only point of the story, but it simply isn't that interesting of a process. The various subplots (a sick calf, a boyfriend, a resistant doctor, and reconciliation with some old friends) are distracting and fail to enhance the story.

Beauty Queens, by Libba Bray

When a plane full of teen beauty queens crashlands on a tropical island, all manner of over-the-top melodrama breaks out. It's Miss Congenialty meets Lord of the Flies, with the satiric sensibilities of Soviet-era satirist Vladimir Voinovich thrown in!

Plot? Well, who can explain a plot that combines beauty contests, reality TV, mad evil geniuses, and Elvis-impersonating half-pint dictators (with uncanny resemblances to half-pint North Koreans)? Yes, there's exploding exfoliating cream, pirates, psychotropic flowers, giant snakes, meal trays embedded in heads, and quicksand. And never mind that saving the world requires mastery of PowerPoint!

In the end, this satire is absolutely brilliant! It skewers just about everything that deserves it (tellingly, teens seem to either love it or hate it!). Its complete irreverence and irrelevance is what reminds me so strongly of Voinovich (and his Ivankiad and Private Chonkin books). Like the great Russian master, the story is really secondary and exists merely to make much deeper points about the nature of the society in which we live. The only way to survive a book like this is to immerse yourself in Bray's crazy world and enjoy the absurdity. I laughed, I cried, and I recognized the truth in every word of this bitter and wonderful novel. Bravo!

Liar's Moon, by Elizabeth C. Bunce

Digger is an unusual thief. In addition to the usual skills of a pickpocket and a lock picker, she moves in unusually important circles. Her brother is the Grand Inquisitor and her friend Durrell is the son of Lord Decath.

When Digger learns that Durrell has been framed for the murder of his wife and thrown in jail, she feels bound to use her talents to exonerate him. That will be difficult because no one is who they appear and suspects turn into allies, while friends seem quick to betray her. While the circumstances of his wife's demise are murky, Digger does know that it all has to do with a smuggling operation (and one which is important enough to murder more than a few other people as well), but of what and by whom is unclear. Meanwhile, war is on the march, making everything just a bit more dangerous.

One very strong point of this novel is its unconventional approaches. The stereotype of the outcast thief is constantly subverted by the powerful friends that Digger has. People who should be her enemies are strangely not so. Events that should place her in danger don't matter, while minor things that seem unproblematic pose deep challenges. The story keeps you on your toes and subverts stereotypes. And Digger herself is a refreshing combination of feisty independence and anxious young woman -- comfortably self-sufficient but simultaneously needy.

I found myself handicapped in reading this story because I haven't read the first book in the series (and didn't even realize at first that it was a sequel). But even if I had read the predecessor, this is still a difficult novel to work through. There is a large cast of characters and multiple plots and subplots of which to keep track. The overall effect is numbing. On one hand, the detail presents a rich setting and the characters are complex and multifaceted, but it all gets to be too much (especially in a fantasy novel without a familiar setting). It's a lot of work to keep up with this story and at times, it didn't seem worthwhile.

Between, by Jessica Warman

When Liz wakes up on the morning after her eighteenth birthday, she discovers that she is dead, drowned after falling overboard from her family's boat. But she can't figure out how it happened and somehow that uncertainty has left her in limbo between life and afterlife. Now, aided by a geeky classmate who himself was the victim of a hit-and-run accident a few months before, she must put together the pieces and figure out the mystery of her death in order to move on.

What starts off as a bit like Ghost or maybe Gabrielle Zevin's Elsewhere gradually morphs into a decent mystery that jumps smartly between past and present. It's actually a fairly complicated story. Rather than clearly blaming any one party, it becomes pretty clear that just about everyone has some guilt, even the victim. The characters grow in a satisfying manner and the pacing is nearly perfect throughout the 450 pages of the novel. It's not deep stuff and the story is hardly original, but this is a pleasing and entertaining take on it.

Dreamland Social Club, by Tara Altebrando

When Jane's maternal grandfather dies, the family inherits his old house on Coney Island. Grandpa was some sort of well-known character at Coney, but she never met him. Her mother, who died when Jane was six years old, never felt any reason to bring her home to meet the family. So, the man and his whole Coney Island existence is a great unknown. But with Jane's father between jobs, they decide to live in the house for a year and this presents a unique opportunity to learn about her family roots.

The community, with its mix of classy and shabby surprises them. And the house is a mirror of the neighborhood's oddness. There's old movies of Coney Island's past, a wooden horse chained to the radiator, an attic full of rescued landmarks of the long-gone attractions, and a basement full of her grandmother's exotic "bird-woman" costumes. It's a world full of more questions than answers, which frustrates Jane's attempts to learn more about her mother through the people who grew up with her.

This wildly busy story is bursting with color and with subplots. The characters are vibrant and vivid. In short, there is never a dull moment. And, given the subject matter, the chaos of the plot is apropos for a story. However, I'm less of a fan of the dense writing style (and, in particular, of Altebrando's stylistic convention of putting two different voices of dialogue in the same paragraph). It's not an easy book to read at times, but it's certainly got depth and variety. Like the boardwalk, there's a little bit of everything here for most readers, but you'll enjoy the story most of all if if you like stories about carnivals and freak shows.

Addie on the Inside, by James Howe

If you've read The Misfits (and I'm glad that I did before I read this companion), you'll remember Addie. She's the bright, but slightly outspoken girl who's always protesting something, and ever so slightly out of step with her peers.

Here, we finally get to see what motivates her and why she is always standing up for causes, whether it is against homophobia, opposing domestic abuse, or just criticizing the inanity of her peers. We get to meet her supportive parents and her inspiring grandmother. But most of all, we get a direct view of her thoughts. Rather appropriately, these are expressed in verse.

While I was looking forward to reading this book, my first thought when I saw that it was mostly written in verse was to put it away. Middle school verse?! With a preachy anti-bullying message? I wasn't sure I could take it. I expected trite little pieces inspired by Kumbaya. But I was surprised with the strength of the writing and how quickly Addie's character won me over. With the help of some poignant verse on growing too old for childhood (and some absolutely devastating ones on her cats), I was totally hooked. I think that I'm going to have to go out and buy this one!

The Fox Inheritance, by Mary E. Pearson

Some 260 years have passed since Jenna Fox discovered that she was an android built by her parents to preserve her existence. By transferring her memories in a brain scan to an artificial body, they had tried to resuscitate their daughter from the coma she was in after a car accident that landed Jenna's two friends (Kara and Locke) in a similar position. At the end of that story (The Adoration of Jenna Fox), Jenna had destroyed the memory cubes holding the scans of her two friends, in order to prevent anyone from attempting such a thing again.

But no one counted on someone keeping a back-up.

Now, a power-hungry scientist has discovered the data and reanimated Kara and Locke in new super bodies. He's determined to use them as examples of his new technology and will stop at nothing to exploit his new resources. But Kara and Locke have their own ideas. Spending 260 years in a memory chip has impacted them differently, but they are both agreed on an objective: escape and find Jenna Fox. To do so, they must navigate a world that is very different from the one they knew, as well as come to understand what changes have occurred to them in all these years.

The original story was an introverted drama about parental love gone too far. Until the final pages, you didn't even realize how much the story was even veering into science fiction. The sequel shoots for a much grander scale: launching immediately into the science and the ethics questions that Adoration just hinted at. The scope is much greater as well, with action spanning the country and numerous characters. It's a night and day difference and Inheritance lacks the intimacy of its predecessor. For those who like a sequel to resemble the original, that may be a bit hard to take, but that doesn't mean that this is a bad read -- it just makes reading both books unnecessary.

I didn't care for the ending of the book, which seemed to wrap up everything a bit too neatly (and was awfully rushed to boot!), but I liked the story itself. The characters are interesting and the details are rich. I found it to be a satisfying sci fi escape novel.

The Near Witch, by Victoria Schwab

Children are disappearing from the town of Near. Each night, some sort of magic beguiles a child to leave their bed and vanish. Even Lexi, the daughter of town's tracker, cannot figure it out at first. The disappearances coincide with the arrival of a stranger to the town, and suspicions immediately fall upon him. Lexi, however, believes he is innocent and in fact may be the only person who can break the curse. A forgotten legend suggests that the nightly abductions might be the revenge of the Near Witch. But she must convince the other people of her village of this before they take out their anger on the stranger.

A vividly written, but awkwardly paced story. Action scenes drag interminably, yet key moments are played out abruptly (no more so than the climax itself). The story is very repetitious (for example, given the sheer number of times that Lexi escapes captivity, why do the villagers even try to restrain her?). With that uneven pacing, I lost track of the story lines and ended up pretty confused. Lots of great ideas here, but the writing needed some smoothing out and more revision.

Hound Dog True, by Linda Urban

During the week before fifth-grade starts, Mattie is helping her uncle clean up the school. He's the school's janitor and she's determined to be his "custodial apprentice." It would certainly beat having to start the year in a yet another new school, being forced to stand up in front of the class and announce your name. Or even worse, having to come up with something interesting to share about yourself with a bunch of strangers! Mattie is shy and would rather keep her thoughts within her journal instead.

However, that week of hers before school starts has adventures of its own and Mattie learns that when the moment of truth comes, she needs to be able to stand up and speak out. Actually doing so and putting her fears aside will be the tough part.

A deceptively simple book that grows on you. As I was reading it, the whole story seemed pretty insubstantial to me: a shy girl, her friend, and a bunch of adults. There were a few doubts and fears but nothing that seemed to spell out a definite conflict. Still, out of this mild and modest world, Urban tells some wonderful truths about finding your voice. It's the same magic that made A Crooked Kind of Perfect such a wonderful book. Like with that earlier work, this is certain to be underappreciated and ignored, but do yourself a favor and seek this out. It's a slender and fast read, and geared for a young audience, but full of so much!

Pregnant Pause, by Han Nolan

When 16-year-old Elly gets pregnant, she's convinced that she and her boyfriend can raise the baby. At least better than his parents (who want the baby for themselves) or her own older sister (who is determined to get it as well). But when she marries the father and spends the summer at a fat camp run by her in-laws, she gets an opportunity to explore her feelings about children, other men, and the choices that have ended her up where she is. And while just about everyone seems to be dead set against her, she fights every step of the way.

On its face, this mash of camp story, pregnancy morality tale, and teen romance ought to not work, but it actually does. Yes, there are plenty of random story twists that pop up and get smashed down like a whack-a-mole, but the story stays together (up until the end at least -- I'm not much of a fan of the final chapter!). I'll admit that I personally wasn't always so drawn into the story, but I think it was a good one. The special sauce in this mix is Elly herself. She's whiny and self-centered, but strong-willed and surprisingly centered for someone who screws up a lot. It's hard not to respect her, even if you can't quite imagine liking her. For me, that's enough to take the story to a higher level.

I did find the fighting with the adults to be awfully repetitive. Everyone pretty much says the same thing again and again. And hearing the grown-ups drone on and on about how Elly can't take care of herself (let alone a baby) started driving me as nuts as it was driving her. That sort of conflict is never resolved and it grew tiresome waiting for a breakthrough. And the ending (as I mentioned) is a bit of a cheap attempt to resolve it all at the end.

Alchemy and Meggy Swann, by Karen Cushman

In 16th century England, Meggy's defective gait is considered by many to be the mark of the devil. But for her, it has provided the motivation to try harder at everything. After the death of her grandmother, she is shipped off to London to her father, an alchemist. When he rejects her, she needs a lot of good fortune to survive. While she struggles to feed herself, she manages to acquire both friends and skills. While doing so, however, she uncovers a murder plot and must figure out a solution with her meagre resources.

Because medieval history is one of my passions, I was naturally interested in this book. Cushman's other books have been both educational and entertaining (and Catherine, Called Birdy remains one of my all-time favorites). Unfortunately, this story didn't work as well. It's partly due to the lack of a sympthetic character (both father and Meggy were hard to get attached to). The lack of a strong central plot doesn't help matters. But, in the end, it's ye olde awkward foresoothly grammar that sinks this into an unreadable morass. It's a difficult book to read and there simply isn't much pay off in return for the effort.

Paradise, by Jill S. Alexander

Paisley is the drummer in a band. She's good, but she would never be able to tell her parents about her passion. They wouldn't understand or allow her to do it. She only has to look at the way they have controlled her older sister Lacey to see what happens when you try to confront their parents.

But Paisley isn't her sister and with the encouragement of a new boy in town, who has the ability to instill confidence in just about anyone, she hopes to change things. It won't be easy to stand up for her dreams, but she'll find a way.

Alexander's novel maintains all of the smart writing of her first novel (The Sweetheart of Prosper County) but simply isn't as strong of a story. It suffers a bit from the tropes of the teen romance genre (new mysterious boy, brave and fearless, but gentle beyond his years). And it's uneven (the first few pages are amazingly well crafted, but latter pages fall into meaningless cliche). Finally, there's the ending (!) that takes a completely unnecessary melodramatic turn that serves little purpose. One wonders what on earth happened there! Still, I enjoyed it in spite of its flaws.

How To Save A Life, by Sara Zarr

After her father died, Jill isolated herself from her friends. She grew distant from her boyfriend Dylan and cut herself off from her friends. It was too hard to deal with their pity.

Her mother became a complete stranger to her. All the more so now, when Mom's got it in her head to adopt a baby -- one of the craziest ideas that Jill has ever heard of. But Mom is persistent and not only moves ahead with the adoption, but invites the birth mother to their home for the final weeks of her pregnancy.

Mandy (the birth mother) is on the run, escaping a hellish home life of being an unwanted child with an unwanted child of her own. She hopes that somehow she can make a new life for herself and also find the decent home for her child that she never had. All she needs to do is behave and live up to the expectations of Jill and her mother. As she has learned in the past, love is always conditional and it is only a matter of time before any good thing will run out.

In alternating chapters, Jill and Mandy describe how two people from very different backgrounds can come to understand each other. They discover along the way that they are not really all that dissimilar, once you strip away their different socioeconomic backgrounds and personal histories.

It's a complicated story (combining parental death, grief, teenage pregnancy, abuse, a romantic triangle, child-parent communication, and class conflict), but generally it works. Given so many themes, there's plenty of unfinished business here. The ending itself is entirely too convenient and pap, but the ride is smooth and generally worked. At times, the two narrators sound entirely too wise for their years, but they are interesting and sympathetic (although I found myself drawn much more strongly to Mandy as she is decidedly less whiny than Jill). I call it a mixed bag -- a decent story, but nothing outstanding.

Pearl, by Jo Knowles

There are a lot of mysteries in Pearl's life: why is she called Beanie? Why does her grandfather doesn't get along with her mother? Whatever happened to her father? Why does Mom's best friend Claire move in with them? These mysteries (secrets, really) weigh heavy over Pearl's life and her relationships with her mother and grandfather. The only place she finds comfort is with her best friend Henry and her mother Sally.

This is a slow-moving family melodrama, that is smart enough to know that it has elements of a soap opera, but happy to wallow in that muck. For me, it was dry and boring. The characters are authentic and memorable, but not terribly interesting. As a result, I found it hard to get involved. The basic theme (discovering that the world is more complex than you imagined it was as a child) isn't enough to keep me going and the book simply didn't engage me.

The Future of Us, by Jay Asher and Carolyn Mackler

It's 1996 and Emma has just gotten a new computer. Josh (the boy next door) has come over to install an AOL CD-ROM (remember those things? we used them as coasters in my house!). That's a bit awkward because Josh and Emma haven't hung out in six months, not since Josh misread Emma's signals and tried to kiss her. But the really weird part is what happens after Emma installs the program. Her Favorites box has come with a link...to Facebook!

Somehow, she's connecting to her Facebook account fifteen years in the future, seeing what and who she'll become. And, for so many reasons, neither she nor Josh are ready to see that future.

I approached this book with some trepidation. I really like the premise. How would children of the 90s feel about the bare-all instant communications of the 2010s? And, in this area, I wasn't let down. Emma and Josh are astounded by how cluttered the Facebook interface is. And they are mystified at why their grown-up selves are so willing to spill out so much personal information in public. That is good stuff to explore (how quickly our notions of the internet have changed in only fifteen years!), but the authors could have done so much more with it.

The part I was less thrilled with was the team-writing approach. I've recently trashed this trend, so you'll know that I'm not a fan, but in this case, I was actually pleasantly surprised. I really like Mackler's writing (although her recent stuff has dragged). Asher is a good writer too, although I didn't like the story behind his overly-hyped Thirteen Reasons Why. Given such a cool story though, both writers shined. But moreover, they worked together in a way I haven't seen in other "team" projects. Their styles are compatible, they didn't try to bash each other with nasty plot turns, and they focused on a consistent storyline. The end result was a readable and interesting story. All of which proves that when two writers team up and focus on producing a good story, instead of showing off, it can work out.

Ashes, by Ilsa J. Bick

Alex has given up on life. After struggling with an inoperable brain tumor and enduring experimental medications, she's given up and run away from home, making it to the woods in the Upper Peninsula of Michigan. It is there, that her life takes a serious turn for the worse.

A sudden intense electrical storm crosses through the sky, instantly killing some people, turning others into flesh-eating zombies, burning out any solid-state electronics, and giving Alex a super-strong sense of smell. Now, in the company of a frightened eight-year old orphan and a resourceful but enigmatic ex-soldier, she fights her way through the woods, pursued by the zombies and by scavengers. Together, they struggle to find a safe haven.

Grim, action-packed, and full of plenty of twists and turns, this thick novel (460 pages!) keeps your attention span. Given that intensity, the romantic subplots suffer a bit in comparison and it is a bit hard to take them very seriously, but the rest of the novel is well-paced. I was a bit disappointed to find that this is an un-marked first book in a trilogy (I've grown tired of those -- anyone else share my fatigue with having stories dragged out into literary marathons?) as I really wanted the story to wrap up. But if brainless zombies and kick-ass heroines who know how to handle a firearm are your thing, this is good reading!

You Against Me, by Jenny Downham

After Mikey's sister gets raped, he's angry and wants to do something about it. He and his friend Jacko decide to find the guy who did it and mess him up. Along the way, Mikey meets Ellie (the alleged rapist's sister). At first, it seems like the perfect opportunity -- get into Ellie's good graces to figure out a good time to get her brother -- but things get complicated when Mikey finds himself becoming attracted to Ellie for real. The relationship that develops is (naturally) pretty complicated and takes turns that surprise both of them. Eventually, it leads to some bold decisions that will change them and both of their families.

While predictable and at times suffering a lack of credibility, the story snags you quickly. Mikey and Ellie are well-developed and engaging, their feelings complex, and the dilemma they face is compelling. The story eschews an easy solution (and, in fact, any conclusion at all) in favor of laying out the problem for the reader to digest. It is clear that with so much at stake (and everyone from the parents to the younger siblings bearing agendas of their own) that no one will really come out of this happy.

I was lukewarm to Downham's first novel, Before I Die, but this is a good story with a lot of heart in it. Downham is a formidable writer.

Wisdom's Kiss, by Catherine Gilbert Murdock

Told through various memoirs, references, and even a play, Wisdom's Kiss is the story of how Princess Wisdom, her grandmother Ben, a servant named Trudy, Trudy's long-lost love Tips, and a cat managed to thwart an attempt to usurp the power of a kingdom. A small amount of magic (shh!) plays a part as well. It all ends happily ever after.

If that all sounds a bit sparse, that is because it is. Most of the events of note get retold multiple times from different perspectives and sources. This can be a useful way of revealing the story slowly, but it is far from efficient (not that this is a mark of a good story, but it explains the thinness of the plot). In the end, this story like others of this type, is more about how events are interpreted than what actually happens.

While her previous foray into YA fantasy, Princess Ben was largely a by-the-numbers genre novel, Murdock has much grander ambitions in this new work. The story bounces around, jumping forward and back as the multiple narrators and media reveal events. The result, while unique and original, is difficult to follow and takes some time to get used to. Exposition and detail suffer as we skip around chapter to chapter. I admired the attempt, but the results are disappointing.

Rival, by Sara Bennett Wealer

Brooke and Kathryn used to be friends. They have had every reason to be so: both of them are talented, beautiful, and ambitious singers. Their shared obsession with succeeding as professional musicians, largely not understood by others, was something they could confide to each other. However, in their junior year, they split up and became mortal enemies. Now, a year later, they are competing for a prestigious vocal scholarship that each one of them desperately needs to realize their dreams.

Whatever made these two young women hate each other so much? Through flashbacks and current events, the two girls tell their side of the story in alternating chapters. As they do so, it becomes apparent that their conflict can be blamed as much on themselves as on the other person. As with any tragedy, they are so wrapped up in themselves that they have deprived themselves of a wonderful friendship. Can they find a way to break through their egos and recognize what they have lost?

While it is a bit painful to read through the misunderstandings and petty jealousies, it felt very authentic. And, as much as I found myself disgusted by their selfishness, I remained enthralled by the power of their animosity. It also helps that the ending is sufficiently satisfying to make it worth while. I was a bit disappointed that several subplots were left open and untouched in the end and I found the plotting a bit uneven, but overall this was a good read. And it is also an instructive morality tale that illustrates that old piece of wisdom "Life is pain and most of it is self-inflicted."

Boyfriends With Girlfriends, by Alex Sanchez

Sergio knows he is bisexual but his best friend Kimiko is a convinced lesbian. Lance doesn't get bisexuals. In his experience they're just copping out from coming out of the closet. He doesn't see how anyone could be half and half. However, his best friend Allie isn't so sure. She's dating a guy, but she finds Kimiko interesting and wonders what it would be like to swing both ways. Together, they are four teens unsure of their sexuality, but tentatively reaching out to each other to try to figure things out together. Much boy meets boy, girl meets girl, and the expected falling out and coming back together ensues.

I have no illusions of being a great writer myself, but this is just plain sloppy work. The characters are realistic and the dialog sounds authentic. I get the sheer literary importance of writing novels that speak to the LGBT community, but I can't really accept that as an excuse for saying much in praise of this book. The writing is dreadful. In the end, I decided that Sanchez (who wins awards!) wrote it in a simple and clunky style to simulate how a teenager might have written the story themselves. But there's no getting around the sloppy construction, the sudden jumps of narrative perspective (quickly switching between the four characters), and the awkward tenses. Read Julie Anne Peters instead!

Taking Off, by Jenny Moss

In 1985, senior Annie is stuck. She's been in the same dead end relationship with Mark for the past two years. Everyone at school expects them to get married when they graduate. Her Mom wants her to go to college. But Annie can't figure out what she wants to do. Then, a chance encounter with astronaut and teacher Christa McAuliffe (on the eve of her ill-fated voyage to space) inspires Annie to reach for her own dreams. However, is she ready to deal with the ramifications of her own plans?

It's a strange story to tell in the end. While Christa McAuliffe is certainly an effective catalyst, it is a bit of an emotional sledgehammer and ultimately unnecessary to the story (maybe Sally Ride would have been sufficient?). Nothing is helped by how Moss struggles with expressing Christa's importance and far too much of the book is wasted telling us rather than showing it. Still, Moss does a considerably better job at depicting Annie as an interesting and multifaceted heroine trying to sort out her future. That said, the story moves very slowly and would have benefitted from some trimming down. Losing the astronauts would have been a good start!

Toys Come Home, by Emily Jenkins

Chronologically a prequel to the ever-delightful Toys Go Out, this installment ("being the early experiences of an intelligent stingray, a brave buffalo, and a brand-new someone called Plastic") gives us the back story to how Stingray, Lumphy, and Plastic came to live with the Girl, as well as how Sheep lost its ear, what caused Stingray to be afraid of the basement, and why we are all here. As before, a light comedic touch helps deliver wonderful stories about things which children worry about: fitting in, making new friends, and even a touching age-appropriate story of death and dealing with loss.

Emily Jenkins is one of the contemporary gems of children's literature. Whether writing for the 6-10 year old crowd here or the hilarious YA she writes for teens (under her special pseudonym) , she produces great books because she understands that children are not dumb and don't need to be talked down to. By taking the idea of talking toys and stripping out the commercialism and cynicism of Disney and Mattel, she captures the joy of play and sheer fun of being a child. For the target demographic, the result is a great story. For adults, there is the opportunity to experience the beauty of a finely crafted tale.

The original Toys Go Out is a classic in my mind, the type of book that I try to get into the hands of every six-year-old I know. Its sequel (Toy Dance Party) seemed very dark and less accessible, and I was less enthusiastic about supporting it. In this new book, Jenkins is back in high form and I heartily recommend it to the same crowd as before.

Ultraviolet, by R. J. Anderson

When Alison wakes up in a mental hospital, she doesn't understand at first why she is there. But as her memory comes back to her, it becomes clear that something has gone very wrong. She had a fight with popular girl Tori and somehow Tori seemed to disintegrate in front of her. It would be easy to assume it was an hallucination, but no one can find a trace of Tori and without a body, Alison's story is the only explanation that works. Not that Alison hasn't had issues with seeing things before: she sees sounds, tastes colors, and feels things she shouldn't be able to feel. But despite the recent trauma and her overall fragile state, she's convinced that she's really sane. However, it's not until a visiting researcher tells her about synesthesia that she starts to understand herself. That's when things go seriously weird.

I like the topic of synesthesia and particularly enjoyed Wendy Mass's A Mango-Shaped Space and her treatment of the condition. I also liked the first half of this book -- sort of a I Never Promised You a Rose Garden-One Flew Over the Cuckoo's Nest mash-up -- for its depiction of a young woman confronting a series of unsympathetic family and professionals. At times Alison seemed overly whiny, but she could kick it when she needs to and that made her interesting and a believable combination of strength and weakness. However, the ending is simply bizarre (quite literally deus ex machina). Until I was well past the 200th page, the book read like realistic fiction, but then a new story mugs and tackles the old one, taking us off into the stars in an extraordinarily flat and tedious ending. Worse than simply hijacking the plot, these last 80 pages completely change the characters, rewriting everything we've come to understand about Alison (and Tori) in the first part. In my mind, a decent book was basically ruined.

Wither, by Lauren DeStefano

In the near future, a generation has conquered cancer and most other terminal illnesses, providing themselves with incredible longevity as a result. But it comes at a terrible cost. In subsequent generations, all girls die at twenty and all boys at twenty-five. While the long-lived "first generation" searches for a cure, the world outside has unraveled. Global warming has wrecked havoc with the climate. Rich men kidnap girls and build polygamous communes to try to propagate as many times as they can before they die off. Endless orphans are cared for by younger and younger minders. Innovation has been stifled. Humanity risks its own extinction.

We are plunged into this world through the eyes of Rhine Ellery, a sixteen year-old who has been kidnapped and forced to marry one of these rich "governors," along with two other girls. Unwilling to accept her fate, Rhine resists and plots her escape. But the chances of getting away are slim and the temptations of living in her gilded cage are immense.

It's one of the more drearier dystopian novels yet. So, while this new Chemical Garden Trilogy is well fleshed out in a technical sense, it's a fairly claustrophobic story. The focus is on the three girls and takes place mostly on a single floor of the residence where they are imprisoned. There is plenty of action in the plot, but the story is mostly internalized. The themes (polygamy, teenage pregnancy, desecration of the dead, disease, and abuse) are all downer material. The plot never lets up. So, this is the literary equivalent of a bad trip. If you enjoy that sort of thing, the book is well written, paced appropriately, and has sufficient payoff. However, I'll pass on the sequels in search of a (relatively) happier story.

Breadcrumbs, by Anne Ursu

Hazel and Jack have been friends for ages. While Hazel's mother tries to convince her that it would be a really good thing for her to make some new friends and maybe even give other girls a try, Hazel remains committed to Jack. Together, Jack and Hazel use their lively imaginations to turn the surrounding woods into an enchanted forest and to convert an abandoned shack into a mansion. They fight aliens and wizards, and save the day as a team. Hazel knows that only Jack really understands her.

But as they start fifth grade, things change. Jack no longer is as interested in Hazel and their games. He wants to spend his time with the boys. Mom tells her that this is normal, but Hazel knows the truth: it's a curse caused by an evil mirror that distorts your vision and only she can save Jack from the evil Snow Queen!

A strikingly original piece that transcends its genre. The story can of course be read as an homage to the tales of Hans Christian Anderson (The Snow Queen and The Little Match Girl in particular). Alternately, it can be seen as an expansive meditation on change and growth (and the difficulties of adapting to both). Or, perhaps it is a combination of both? In much the same way that fairy tales sometimes serve as fables to guide us through the real world, perhaps the real world is returning the favor in this story.

The good part of this story is that no answer is every really given and interpretation is left up to the reader. That is the strength of the book but also the root of its problem. Being such a thematically complicated book, it is hard to imagine the proper audience for it. The ages of the protagonists and the book's subject suggests a Middle School reader, but that is not a group that will find this tale easy to digest. Instead, I fear that they would find it pretty boring. So, kudos for a sophisticated and beautiful book, but it is one that will have difficulty finding readers.

Notes From the Blender, by Trish Cook and Brendan Halpin

Neilly is having the worst day of her life. In one day, she gets dumped by her boyfriend, finds out that her best friend has betrayed her, catches her Mom in a state of undress with some guy in their kitchen, and learns that Mom is about to marry said guy because she's gotten pregnant. So, it's probably no big deal that the son of the guy who knocked up her mother is a scary heavy metalist with the hots for her.

Not that all is honky-dory with Declan (the aforementioned boy into Norwegian death metal). He's still in denial about the death of his mother and finding out his Dad is going to get remarried is totally not what he had in mind. But he has to admit that the chance to pick up a sexy step-sister would be pretty cool! (ew!)

And so, in alternating chapters (presumably alternatingly written by the two authors), we get the story of how two kids from very different social circles found that they had a lot more in common than they ever imagined. And just about everyone discovers that the world is full of amazing coincidences and that they all have a lot to learn from blended families.

Team-written books are the bastard step-children of YA literature. One imagines that they start in some sort of writer's workshop and just take off from there. Far too often they seem like an exercise in who-can-top-the-other? One writer tries to put the other into a corner and they must make larger and larger leaps of logic to move the story forward. Thankfully, this one manages to wrap things up, but there is a jarring difference of styles between the two writers. Declan's character is noticeably more interesting and authentic than the emotionally precocious and unrealistically mature Neilly. Neilly (and her chapters in particular) were less interesting, more hurried attempts to tie up the chaos stirred up in Declan's chapters. I found the unevenness distracting.

Additional note: when deciding to publish an endorsement of your book from a famous YA writer, make sure that they've read your book carefully first (Reinhardt's mention of Finnish Death Metal on the back cover is unintentionally hillarious)!

The Name of the Star, by Maureen Johnson

Spending a year in London studying at the Wexford School is a dream-come-true for Rory. Given her Cajun background from the swamps of Louisiana, it seems terribly exotic. But what could have been just a story of an unforgettable year abroad gets a twist of the supernatural when her stay is interrupted by a series of mysterious murders. Someone is replicating the notorious crimes of Jack the Ripper in modern-day London. And Rory appears to be one of the few people who knows who he is. That's when things start to get really weird!

Maureen Johnson doesn't write books with deep literary pretensions, but all of her books are original and interesting. Her heroines tend to be independent adventurers, unafraid of flying from the nest. They will have a romantic interest, but the boy never gets in the way of the story and is usually not terribly instrumental in its resolution. But beyond those broad requirements, each of her stories are unique. This one combines psychological thriller and ghost story, but sets the whole thing in the comfortable YA world of modern-day English boarding school. And unlike other recent YA books that deal with supernatural matters (like Fade, which I despised!), this one is lots of fun. The wisecrack about vampires and werewolves on page 214 is priceless.

Johnson crafts a good story. Excellent pacing, memorable characters, a heroine we root for, all in that familiar school setting. One might argue that the story would have worked just as well without the murders and the ghosts, but it wouldn't have been as much fun. In sum, nothing deep, but a great way to pass a few hours.

You Don't Know About Me, by Brian Meehl

Billy Albright has lived a sheltered life in a Christian cocoon. For sixteen years, his mother and he have traveled around, stirring up religious fervor and launching semi-terrorist attacks on the godless. While Billy suspects that his career as a "Jesus Throated Whac-A-Mole" is a bit out of touch with reality, it takes an unexpected package from his long lost father to pry him loose. But once pried, Billy embarks on an action-packed scavenger hunt across the country, following clues that his father has left him in partial copies of Mark Twain's controversial classic The Adventures of Huckleberry Finn. Joined by a professional ballplayer (with a closetful of secrets) named Ruah, Billy seeks the truth about the world and the meaning of faith.

The book, inspired and based loosely on Huck Finn's story, is an attempt to modernize and update Mark Twain. It does this without the controversial language of the original but introduces new controversies about sexual politics and mass culture. It's an ambitious work and frequently interesting, but overall very clumsy. The parallels to Huckleberry Finn are obvious and forced and the political agenda is simplistic and unoriginal. All of which is a shame because the story itself is fun and one wishes that Meehl had just let the story be itself without piling on all the Deep Meaning. I enjoyed the adventures and the interactions of the characters, but every time it felt like the book was trying to teach me something, I turned off. Unfortunately, by the end, that feeling became overwhelming.

All These Things I've Done, by Gabrielle Zevin

Some seventy years in the future, chocolate and coffee have become illegal and Anya's family is deep in the business of the illicit trade in the substances. It's cost most of the members of Anya's family their lives and now Anya tries alone to look out for her little sister, older and mentally-challenged brother, and her dying grandmother. That's hard to do when your ex-boyfriend tries to rape you and then mysteriously ends up poisoned. And life isn't any less complicated when she falls for the cute son of the assistant district attorney. But Anya takes her loyalty to her family seriously and she'll figure out a way to keep things together, even if the list of her sins continues to grow.

Zevin writes interesting and original books. And while she places this one in a New York City mob family and many of the usual organized crime tropes are present, they are faintly subverted. There are the usual meetings, kissing of cheeks, and big guys with funny names in suits. But Anya herself still hangs out in high school, hides from the popular kids, and dodges trouble with her teachers and principal.

But what has really become Zevin's trademark is her ADD writing style, which is to say that she spends large amounts of efforts setting up a scene and then runs through it quickly. She's excellent at exposition, but not at concluding a story. So, she can send her heroine to prison, filling many pages to set up a prison drama and then just suddenly spring her before any of it plays out. The ending of this book is particularly maddening in this regard as Zevin simply loses interest in the story and wraps up everything in a breathless fifteen pages. I'm not sure if this is intentional or simply a result of Zevin's lack of focus, but it is a bit maddening to be patiently building up the suspense and just toss everything out quickly in the end. And when so many carefully crafted details become superfluous or ignored, it also seems a shameful waste of good writing.

Moonglass, by Jessi Kirby

Ten years ago, Anna's mother died in the ocean. Now, she and her father have returned to live in the town where her parents first met. It's hard to be new in a small town and worse when the locals know more about your parents than you do! But it is also an opportunity to learn about her mother and, as she does so, Anna realizes that learning more means confronting her fears and repressed anger at the loss.

A beautifully-written book which combines the author's love for everything from beach combing, scuba diving, and surfing to cross-country running and how to talk to people who are grieving a loss. The plethora of subjects and the intensity with which Kirby writes about them are infectious.

The story is one attractively constructed package. The characters are strong, realistic, and memorable. The subplots are related and tied back in to the story (everything is addressed, but not necessarily resolved). In sum, the story was complete.

Kirby scored a strong endorsement from Sarah Dessen on the cover of this book. This is actually very appropriate as the style of the writing (wistful and introspective, intense yet quiet) is strongly reminiscent of Dessen's own earlier writing (particularly That Summer and Someone Like You). This is not a story where an awful lot happens and the tale is hardly fresh (grieving for a dead mother is about cliche YA as you can get!), but a good book is really much more about context and character. I loved the book and look forward to reading Kirby's next novel!

Clean, by Amy Reed

In an inpatient drug rehabilitation facility for teens, five kids talk about how they got hooked, why they stayed addicted, and why they finally came in for help. Along the way, they try to understand each other with mixed success. In this carefully-planned story, each major character represents an archetypal addict -- smothered Christopher, abandoned and neglected Eva, physically abused Jason, sexually abused Kelly, and hooked-up-by-her-own-mother Olivia. Through a series of assignments and interactions, we get to understand each of them.

It's well-written and well-researched, the characters say compelling things, and the whole thing is amazingly predictable. You know where this story is going. Everyone starts off obnoxious and gradually melts by the end of the book. The tears are jerked out at the correct moment. All contractual obligations are met. It is, in sum, very sufficient. If you've never read a book on teen substance abuse, this isn't a bad read, but if you're looking for something new and compelling, this isn't the book.

Paper Covers Rock, by Jenny Hubbard

In 1982, at a boy's boarding school in the South, a terrible accident occurs. A boy drowns in the river after a drunken diving stunt gone awry. One of his friends, Alex, spends the next weeks trying to come to grips with what he saw and what he admits to others about the incident. To cope, he confides to his journal, for which he liberally borrows from Herman ("Her-man") Melville's Moby Dick, calling himself "Is-male." Because of fears that a young English professor may have witnessed the accident and thus be a threat to its secrets, Alex gets embroiled in a plot to discredit her and destroy her reputation. But at the same time, he struggles with admiration and infatuation for her, leading to a great deal of confusion about what to do.

An eloquent and well-written novel about fear and self-loathing among teen males, with plenty more implied than actually said. The high style of the writing and the large quantity of unanswered questions will provide ample material for classroom debate. Furthermore, the plentiful classical allusions are guaranteed to bring High School English faculty to orgasm (never mind the tragic English professor!). I can see now the study guides and forced class discussions of "what the author intended" and "why she chose to use certain words." No one could say that it is a bad book (it's superbly executed and beautifully done), but it isn't written to appeal to young readers. In sum, the book reeks of assigned high school reading, more than YA pleasure read.

It isn't so much that I hate literary novels, but books like this are not written for anyone to enjoy and the author doesn't have anything to say to young readers. She's neither interested in entertaining nor enlightening them. She written a clever book that critics will love, but it is a lifeless and joyless thing.

Warp Speed, by Lisa Yee

Marley's the kind of boy who likes to maintain a low profile. Choosing the word to describe himself at the start of the school year, he picks "invisible." It's the best way to be, especially if you are a magnet for every bully in the school. Hardly a day goes by when kids aren't punching, kicking, or otherwise taunting Marley.

To cope, Marley has a Star Trek obsession, burying himself in trivia and trying to guide his life through the characters of the show (WWSD? -- what would Spock do?). His friends in the AV club seem to cope similarly: Ramen loves Star Wars and the new kid Max loves Batman. Yet, it's Marley who gets singled out for special attention in the halls and after school. And it's Marley who will surprise the others (and himself most of all) by revealing particular talents no one imagined he has.

It's cute, it's feel good, and it's a quick read, but it's terribly pedantic. Consider this the polar opposite of the book The Misfits that I reviewed earlier this week: The anti-bullying message here is muddled and confused, and in the end ultimately dictated by the author since the characters are too weak to figure it out on their own. Marley, we learn, is too dumb to figure this stuff out for 280 pages, despite the help he gets from several adults and from her current and former friends. Instead, the reader is led by the nose to the correct conclusion in the last 30 odd pages: bullying is best dealt with by confronting it. That's simply not very interesting.

One also wishes that Yee hadn't tried to make her characters fans of real science-fiction shows as it quickly reveals her own ignorance of the genre. Better to have made something up altogether. As is, we're faced with multiple references to Star Trek that sounded about as authentic as the history teacher's "rap" songs. And I found myself cringing as much as the students in that class.

Ten Miles Past Normal, by Frances O'Roark Dowell

When Janie was nine years old, she dreamed of living on a farm. To her surprise, her parents decided that it was just the thing they all needed and decided to take the plunge. But what seemed like so much fun as a young child becomes a major source of embarassment as a teen. Fourteen year-old Janie desperately wants to hide the fact that she's a farm girl. She'd like to be more "normal," but High School doesn't seem to be an easy place at which to do that. She can't find a clique or a club to join. She hides out in the library during lunch. It doesn't help that her schedule's separated her from her Middle School friends.

The only extracurricular activity that attracts her is band jam, where she discovers an affinity with the bass guitar. It is the patience and attentiveness of a boy with the unfortunate name of Monster who teaches her the intricacies of the instrument, but this isn't really a romance (although a few potential romances fizzle out). Instead, goats and civil rights activists play a significant role in the story.

O'Roark Dowell has a tendency to write about young teens in transition and she carries on the theme here. Some of the strongest passages deal with Janie and her best friend Sarah's changing relationship. There's also some nice realistic stuff about the awkwardness of romantic feelings at this age. And in general, the tone is authentic and age appropriate.

However, the story itself is so random and across the board that it's hard to know how to read it. Neither the Civil Rights stuff nor the references to the farm seem related (more of an add-on than an essential part of the story). It seemed like an attempt to dump in a lot of cool ideas and then try to form a story around them as an afterthought.