Fairy Tale, by Cyn Balog

Morgan and Cam are as close as a pair of nearly-16 year-olds can be. They've been friends since birth and are something of a star couple at school. But when Cam finds out that he is actually a changeling (a fairy prince swapped at birth with his human brother) and that he must now return to the world of the fairies forever, everything threatens to come apart. Morgan wants to fight to keep him, but as the day approaches even she begins to doubt her efforts. First of all, there is her uncanny ability to explain the future (which tells her that she will fail) and then there are her growing feelings for Cam's human brother Pip.

Morgan's ability to foretell the future is a bit of a red herring in this story (while an integral part of the introduction, it never really factors in to the rest of the story), but otherwise this is an interesting novel. It doesn't read so well on a literal plane (I've read some pretty scathing reviews of the lame characters and plot from teen reviewers), but it has an endearing theme: how much does a 16 year-old really know about finding the man of her dreams? While Morgan starts off the story utterly committed to Cam, even she has to admit that she can't see him in her future. And when Pip starts to tempt her, at first she blames evil magic and spells, but she quickly realizes that there are no spells. Rather, this is all her own doing. I found that a far more interesting storyline, but maybe not the sort of thing that teen readers will appreciate as much as I.

One Lonely Degree, by C K Kelly Martin

Finn is a fifteen year-old girl living in Ontario with a whole series of problems and issues including:

1) A childhood friend Jersy who reappears;
2) A best friend Audrey who falls in love with Jersy and then is forced to spend a Summer away, during which the inevitable happens between Jersy and Finn;
3) The memories of a sexual assault at a party the previous Fall;
4) Parents who are separating and a mother who can't cope with the stress of the breakup.

Whew! It's hard just keeping track of it all.

And that's really the crux of my problem with this book. It's not that Martin isn't a good writer (she definitely is!). She's got a decent ear for dialog and throws in the right amount of chick-friendly stuff to help this qualify as decent consumer-grade YA, but the story has a terribly busy plot (or plots). Any one of these story lines would have made a good book (and many good books have been written using just one of these plot lines), but trying to do it all inevitably means not doing any of them well. The romantic triangle never develops any tension, the parental separation hangs out there, and the sexual assault plot remains underdeveloped.

I came away with the impression that in fact Martin didn't know what to do with any of these stories, which is why she kept piling them in and then jumping between them. That's a shame since a good book about cheating with your best friend's boyfriend or recovering from a sexual assault would have been fantastic in the right hands. A disappointment.

And then there is my ongoing criticism of bad book covers. This one really annoyed me. Finn makes a big point of telling us that she has no figure (even noting how flat her hips are). So, why does the model on the cover of this book have to be Ms Shapely 2009? It's bad enough when they have to put some sort of pencil-thin waif with a big butt on the cover of a book to sell it, but when the author has clearly indicated that the character is not like that? Shame on Random House for stooping to the lowest common denominator! And why don't they get an art editor on staff who actually bothers read the book!

Aurelia, by Anne Osterlund

After a third attempt to murder Crown Princess Aurelia, the king asks for help from his old friend to help uncover the killer. Instead, the friend sends his son Robert. Robert and Aurelia are old friends of a sort (having attended the same school) and they have an odd chemistry (more on that later). While Robert is supposed to hide the purpose of his presence, Aurelia quickly figures it out and (no shrinking daisy) she becomes his partner in uncovering the source of the threat. Told in a vaguely 18th century setting, but with thoroughly modern teenagers, this book combines princess romance, whodunit, and bitchy High School dramatics into one cooly calculated book.

The book appears to be quite popular (based on the large number of library holds and positive reviews posted on book selling websites), but I'm at an honest loss to explain why. The romance seemed weak to me, the characters flat, the setting implausible, and the plot simplistic. This is historical romance for people who don't care about history and have fairly limited demands for a romance (the characters apparently kissed, but the heat didn't exactly radiate off the page). The author makes a point of reminding us repeatedly that the young people all went to school together, but I never could quite fathom the nature of Aurelia's and Robert's relationship. No attempt was ever made to get inside their heads or explain their motivations. And the far more important relationship betweem Aurelia and her step sister is largely neglected until it suddenly becomes crucial to the story at the end. There are so many decent historical novels out there (and even so many better written exploitative teen romances) that I think you can safely give this one a miss.

Breathing, by Cheryl Renee Herbsman

Savannah was named by her mother after the destination of a hurricane, but she hardly feels that powerful. Instead, coping with her strict Mom, her obnoxious little brother Dog, and her asthma, she struggles to get through her 15th summer in her rural Carolina home. While abandoned by her friends who have gone to see family or attend sleepover camp, Savannah figures that her days are going to be pretty long. But then (as is inevitable in books like these) she meets the Boy who sweeps her off her feet (and who happens to be a real gentleman). That happiness is short-lived though when the boy moves away and Savannah doesn't know if their long distance relationship can last. While no one else believes that her young love is worth such a struggle, she knows in her heart that it is.

On the face of it, this is a light summer romance read (much like the types of books that Savannah herself dives into), but Herbsman has crafted an above-average version of it. I can single out several things I really like about this book.

First of all, there is the setting. I'm not a huge fan of Southern fiction (the cliches wear thin) and I tend to prefer the Southern-light of Dessen or the over-the-top folksy charm of a Because of Winn Dixie. I initially cringed when I read all the "ain'ts" and "ruthers." But Herbsman originally is from these parts and she has a good ear for how people really talk. And so I began to appreciate the dialogue as I got into it. By the end, you began to realize that the community represented in the story wasn't just flavor, but an essential ingredient to the story. And I definitely had a chuckle over some of the sayings in the book (my personal favorite was "feeling as disappointed as a raccoon after the trash truck comes").

Savannah herself is a winner. Never too good nor too horrible, she has a big heart and an irrational stubborness to drive you nuts, but every move seemed true. She is the teen that teens might try to deny they resemble, but she had the right mix of responsibility and carelessness for me.

And finally, there is the mother (this is where I show my age, I suppose, appreciating the parents) who is no saint, but is as far away from the clueless parents of most YA books as you can be. I didn't always like her and she could be hard on Savannah, but she gave good advice and was one of the more successful single parents I've seen in literature. And it was great that the reward for being such a good parent was that she had a good realtionship with her daughter. Adolescence is dramatic enough without always having to pump up the parents as the bad guys.

Kudos to Herbsman for avoiding so many trite stereotypes!

The Princess and the Bear, by Mette Ivie Harrison

Not so much a sequel of The Princess and the Hound as a story inspired from the myth of King Richon first told in that earlier book. This novel takes Richon's story of involuntary transformation into a bear and expands upon it, telling how the bear and his companion hound encounter the evil phenomenon of "unmagic" and fight to defeat it. The struggle takes them to find the Wild Man, who in turn sends them back in time to set all things right (which involves not just defeating unmagic but also saving Richon's kingdom from both internal and external enemies). Themes of compassion for animals and animals' rights are interspersed throughout to add some moral gravity to this fantasy.

I really enjoyed The Princess and the Hound a lot and I was really looking forward to this book for more of the same. So, it was shocking to find not only a very different story, but such a poorly written one. In her first book, Harrison showed an immense talent for writing deep and richly textured fairy tale, but here the narrative utterly drags. In part, the story is hubbled by characters that cannot communicate verbally for a bulk of the book (not a single word of dialogue is exchanged between them for the first fifty pages). The prose is written past passive and is lethargic and boring. The characters, their actions, and what motivates them are difficult to follow. In sum, I found the whole thing a chore to get through. Everything I loved about the first book (originality, engrossing characters, beautiful story) is missing here. It is as if unmagic has sucked everything good out of Harrison's writing and left behind a gray mass.

Beautiful Americans, by Lucy Silag

Four teenagers (Alex, Olivia, Zack, and PJ) get to spend a year at the Lycee de Monceau in Paris. As you would expect, there will be joy and tears, mischief and love. But in this story, there is also scandal, sex, drugs, and a shockingly askew moral compass. If that works for you (or doesn't bother you), then there is plenty to enjoy here.

Alex is the spoiled and narcissistic one, who thinks mostly of herself and freely spends her mother's money until her Mom shuts off the Amex and stops sending money. Then Alex resorts to stealing and exploiting the other kids. Surprisingly, she is surprised when this all comes back and bites her on the derriere.

Olivia wants to dance in the ballet and has a real talent for doing so. But when her family comes for a visit, she has to face up to the fact that she doesn't want to pursue her dreams the same way that her parents do. No major breakthrough here, but a little ol' standard Afterschool Special scenario...with a little ol' R-rated twist.

Zack is the closet gay boy. Running to Gay Paree to explore his other side (and to get away from his stereotypical Southern conservative upbringing), he proves reluctant to actually make the moves. It's sweet, but again never moves far away from the second dimension of character building.

And finally, we have PJ, who has barely escaped from the United States before her parents are arrested. She tries to get herself into the graces of her host family so she doesn't have to go home to the US and have folks know what happened to her parents. What she doesn't expect is that her French host family have much darker secrets to hide...and what she also doesn't seem to realize is that there is a US Embassy in Paris to which in-danger Americans can turn (but since Silag is more interested in creating drama than realistically addressing problems, I'm sure THAT small important detail was judged to be too boring!).

It's not a badly written story. The characters are a bit flat and more than a little repellent, but the setting in gorgeous and there's enough action to keep the story moving. What is lacking though is plausibility. This is, without a doubt, the most poorly supervised group of teens in France. Authority figures never play much of a role in YA, but the extremes to which these kids go suggest outright child neglect (and not even the French would tolerate this sort of situation). I'm OK with a little fantasy here and there, but when it's stretched this far (and when it borders into child abuse, neglect, and endangerment) then I have to put my foot down. This is a trashy book -- a well-written, but ultimately trashy book. You may like it, but don't take it too seriously.

Sea Change, by Aimee Friedman

Miranda hasn't had a lot of luck or experience with boys, but when she joins her mother on Selkie Island to help clean up her grandmother's house so it can be sold, that looks set to change. Most of the boys on the Island are rich trust fund types, but Leo is different: intelligent, sensitive, local townie...and maybe something else. As Miranda gets to know him better, she becomes convinced that he is actually a merman.

For the most part, this book is fairly standard teen romance material, but the hint of the supernatural spices things up nicely. Is Leo just different because he's the right sort of boy for Miranda? Or is he actually a merman? For that matter, what of Miranda's bloodline? Does it make her susceptible to the charms of the sea? In the end, most of these questions turn out to be unimportant, but they add a nice metaphorical layer to the budding romance.

I was a bit annoyed by the ending, though, which not only wrapped things up too conveniently but resorted to adding information that should have been added (or hinted at) earlier in the story. My sense was that the ending was rushed. Aside from that, this is an above-average romance.

When the Whistle Blows, by Fran Cannon Slayton

Seven Halloweens over seven consecutive years told in seven chapters. Each one reveals a different aspect of Jimmy Cannon's life and that of his friends and town. But most of all, each one tells a part of Jimmy's relationship with his father -- a railroad worker in their town in West Virginia in the 1940s. The stories are boys' stories (spying on a secret meeting, vandalizing a car, winning a championship football game, etc.) and told with a nice folksy warmth that evokes the spirit of Mark Twain.

Given the timelessness of the stories, the individual independent strength of each chapter, and the literary flavor of the entire endeavor, this book has "instant classic" written all over it. I'm sure it will be quickly picked up on by school teachers and other book-report assigners. So act fast if you want to enjoy the book on its own innocent merits. As for me, I can recognize the greatness, but it wasn't the type of book I really like. Historicals don't tend to appeal to me and nothing makes me glaze over faster than male bonding (and football). Still, I'm sure others will like this.

Shift, by Charlotte Agell

In a dystopian future, state religion has replaced the world we know with a fear-driven society. The only alternative to the HomeState world are the nuclear wastelands of the Deadlands and the wilds of the north (current day Maine) beyond them where the crazies live.

When 15 year-old Adrian's best friend is seized by the police because he is Jewish, Adrian sets off on a trip into the North. The disappearance of his mother (right after she has been found babbling about a coming "shift" that will change the world) is just one more motivator. Terrorists, crazy computers, and a penguin figure in as well.

The overall result is a seemingly random story. It all starts off well enough as a road trip tale, but as soon as the characters cross over into Maine, that storyline gets abandoned. And what it gets replaced with simply doesn't make sense. After a while, I simply gave up trying to follow the story. I'd like to suspect that the earlier drafts did make sense but somehow it all got mangled in revisions and editing. What I did get out of it was that the author was trying to merge some of the wonder of life in Maine (and witnessing the Aurora Borealis in particular) with a diatribe against religious fanaticism, but what a frustrating mess!

Nobody's Princess, by Esther Friesner

Helen of Sparta is your typical modern fantasy heroine -- terrible at needlework, bored by feminine duties. She'd rather take up the sword, learn how to ride a horse, and set out on a grand adventure. Along with her older brothers, she gets her wish as they travel through the Hellenic Empire.

The adventure itself is surprisingly mundane and mostly serves to illustrate Grecian beliefs and culture -- the most noteworthy part of which for Friesner is the rampant misogyny of the period and the struggles that a woman who wanted to question them had to face. But as is usual in this genre, nothing is really beyond a young woman if she is wily enough to attempt it.

In other words, there is no new ground being broken here. The warrior princess archetype has now become as well worn as the helpless princess type of yore. And Helen is not the most interesting manifestation of the character. Her assertiveness, unbalanced by any humility, comes across as selfishness more than virtue (although I thought the beginning of the novel started out promisingly enough when she started challenging the gods) and overall just seemed like stubbornness. There are some interesting possibilities raised by the grown woman warrior Atalanta, who serves well as a mentor and inspiration to Helen, but she is sent away before the storyline can develop fully (perhaps to return in a sequel?). This is functional historical fantasy, but it doesn't go any where new.

It seems to me that what the genre really needs is a heroine who straddles the gender barriers more convincingly. A young woman who masters needlepoint, poise, and ALSO kicks serious butt with a sword would be interesting. Or one that struggles between not wanting to be perceived as weak and feminine yet also doesn't want to prove otherwise by killing things? So many possibilities to make deeper characters. And I think readers are hungry for female characters who get to be both interesting and introspective at the same time. After all, (to choose an off-topic example) Bella doesn't become the most interesting denizen of the undead world by being either kick-ass or wimpy all of the time (she is interesting precisely because she can do both).

Nothing But Ghosts, by Beth Kephart

In the days since her mother has died, Katie and her father have found their own patterns of living in a house that feels too big. He works away at restoring art and she takes a job gardening at the estate of a reclusive old woman. By chance, she also gets the opportunity to sort through several boxes of ephemera donated to public library. All three plot lines come together in the form of a mystery from long ago and Katie uncovers the truth about the reclusive woman.

I liked Kephart's previous book Undercover because it was an ambitiously-written YA novel, but this one may push things a bit too far. Her intent is to invoke a mood and once it is there, the story/dialogue/characters really don't matter as much (I call this the Curse of the Modern Novel). It might work for high brow adult fiction, but it makes for deadly uninteresting YA. It is a beautiful book, but without the blurb and the author's notes at the end, I really couldn't tell where this was going or why. Disappointing!

Princess Ben, by Catherine Gilbert Murdock

Told in the form of a memoir, by the aging Queen Ben(evolence), this is the story of her youth, beginning with the murder of her parents and her tutelage under Queen Sophia. Ben at this age is hardly an aspiring royal. She despises her dancing, embroidery, and poise lessons, stuffs herself with sweets, and generally causes havoc where she goes. By accident one day, she discovers a secret portal in the castle that leads her to a book of spells. Events then fall into place for her to become a much better person and to truly bloom into a princess.

The story is all good fun, full of the requisite fairy tale elements (magic, dragons, battles, fancy dresses, etc.) but with a good dose of modern sensibility thrown in (Ben's rebelliousness, the narrator's advice to young readers, etc.). It never really takes off though. As with any adventure story, you turn the pages waiting for the next surprise and this one delivers, but the characters are remarkably flat and uninspiring. The romance, such as it is, never really takes off. Ben's coming of age (so crucial for this narrative) is never believable. Worst of all, the passive narration throughout (and some unnecessarily "forsooth" language) serves mostly to distance the reader from the story and the characters. It isn't a boring book, but there are so many better recent examples of this genre to try out.

Raggedy Chan, by Camille Picott

This is a pretty hard-to-find book, so you'll have to put some effort into locating it. Is it worth the effort? That depends on what you are looking for. Let's start with the story...

When her mother returns to work, half-Chinese and half-Irish Emma gets babysat by her Aunt Gracie. The aunt, who comes from the Chinese side of the family, is a fount of Chinese culture and obviously disapproves of how Americanized (and Westernized) her niece is becoming. To rectify this situation, she devotes the day to exposing Emma to her Chinese roots. This begins with Aunt Gracie giving Emma a rag doll with black hair and almond eyes to replace the rather more traditional rag doll given her by the Irish side of the family. During the day introduces Emma to the joys of chopsticks (useful for eating the marshmallows in Lucky Charms!), making wontons, and playing mahjong. This part of the story follows fairly traditional ground of introducing an initially reluctant child to new things and simultaneously exposing the reader to some cultural diversity.

However, the story has much broader ambitions. Auntie Gracie also shares a story with Emma about Raggedy Chan (her new doll), who is actually a Chinese princess named Yao-chi. When the benevolent and rain-making Winged Dragon is stolen from her lands by the demon Drought Fury, the princess must cross the ocean to the land of the Jung-wu (America) where she befriends Paul Bunyun and Babe, who help her with the rescue.

At this point, the story probably sounds a bit like a merger of Princess Bride with The Joy-Luck Club, but Picott's ambitions go further still as the fairy tale (and even Aunt Gracie's culture lessons) become an overall story about the Chinese-immigrant experience, racism, and the pain of leaving home.

The result is an unusual book that is hard to categorize into a convenient niche. The story is complex and multi-layered. At times, it is a bit hard to follow and young readers might get distracted. The mixtures of culture and themes struck me as a particularly Californian viewpoint of the world and readers in other regions might have trouble understanding how it all fits together.

I found myself admiring the ambition of the work more than the actual result. There really are at least two (if not three) separate stories in this book and I wanted more focus, especially in a book which is probably intended for younger readers. As an unrealted issue, more sensitive younger readers might find some of the scenes (eyes being gouged out, skin being flayed) a bit too intense, or at the very least confusing.

I haven't yet mentioned the illustrations by Joey Manfre, but they deserve special note. The styles are a bit diverse (sometimes Disneyesque, sometimes quite abstract) but the artwork is consistently vibrant and interesting. Given the story's iconoclast nature, the drawings are quite appropriate and added greatly to the experience of reading the book.

After, by Amy Efaw

OK, so I'm prejudiced on this one, as it is placed in Tacoma WA and the author has definitely done her homework (the geographic details are superb). When you spend your day working at Tacoma General and then you find that your nightly read is situated there as well, it's pretty cool. And hey, the last time Tacoma featured in any part of YA culture it was as a stand-in for Seattle in Ten Things I Hate About You, but I digress....

As our story opens, Devon finds herself lying on the couch under a blanket and feeling sick to her stomach. But within a dozen pages, we learn that she's just given birth and abandoned her baby to die in a trash can out back. The problem is that Devon has no idea that it has happened. She can't even remember being pregnant in the first place.

It takes the rest of the story to help us understand how that could happen and what Devon has gone through. It's not a terribly pleasant trip (neither the subject matter nor the heroine are easy to deal with), but ultimately Efaw has a lot to teach us about teenage pregnancy, juvenile justice, mental states, and the lengths to which people will go to deny reality.

Devon is a difficult character to like, and my more regular readers know that I'm not a big fan of the unlikeable character. However, I found Devon fascinating and thus irresistible. She does some amazingly stupid things throughout most of the book (some would say all of the way through the book!), but I could understand her motives and even sometimes sympathize with them. And, far more importantly, she didn't do anything out of meanness or viciousness. Teen stupidity I can tolerate. Most significantly, Devon's cluelessness had a purpose and was part of the story. In sum, it worked.

The story suffers a bit more. Efaw is so interested in downloading information to us (about the juvenile justice system, dumpster babies, etc.) that the book has to resort to lecture mode (usually done through the mouths of an expert -- the lawyer, the psychiatrist, etc.). It gets old and it gets boring. I call this the Judy Blume curse -- the writer wants so badly to teach us something that she doesn't care what it does to the pacing of the story. The only solution to this literarry misfortune is the editorial axe: if the information cannot be revealed as part of the story, then it doesn't belong in the story.

The Miles Between, by Mary E. Pearson

There are amazing coincidences in the world, days when everything goes completely right or, as Destiny Faraday puts it, "one fair day" to counter all of the terrible ones in life. And Destiny has plenty of things to deal with: being abandoned by her parents at the age of seven and shuttled from one private school to another, never visited, and afraid to grow attached to anyone because she will inevitably be sent away when things go bad. But on this magical day, a mysterious stranger accosts her in the school's garden while she is playing hooky and challenges her to make a wish for a perfect day. This is quickly followed by her stumbling across an abandoned car which she takes with the help of three of her fellow students. Before they know it, one piece of good luck will lead to another and another and another....

A bit more like her Adoration of Jenna Fox (in the sense of being a fantasy about children with rich parents) and less like the creepy and desolate Room on Lorelei Street (of which I was in a minority of critics), this is a very lighthearted and harmless story about a day when things go right. As a story about endless good luck, there is not a lot of suspense in this story (one or two big surprises though). Instead, the story is anchored in the premise that four kids getting to know each other on a very strange road trip is enough of a story to keep us hooked. For the most part, it really does work, although the twists of luck vary widely in believability and I was less credulous about some of the more bizarre turns that the story takes. It is decent escapism, but not as thought-provoking as her earlier works. There simply isn't that much profound to say about good things, except the way that they help us to understand the bad.

The Princess and the Hound, by Mette Ivie Harrison

Prince George may be heir to the throne, but he bears a terrible secret: he possesses "animal magic" which allows him to communicate with the animals. This is such an evil thing that anyone found to have such powers is usually burned alive. And so it must remain a secret. Princess Beatrice is shy and private, preferring the company of her loyal hound Marit over the company of any human. And she too bears secrets that may be even more horrible than George's magic. When their fathers ordain that the two should be married, their match seems unfathomable. But George and Beatrice are both dutiful and will obey the will of the kings.

A strikingly beautifully written fairy tale, told in an unusually fairy-tale like voice (avoiding the typical first-person action novel approach used in most fantasy). Harrison's PhD in Germanic Lit is put to good use as this story, while bearing no resemblance to any one legend, bears the style of the best of them -- part Brothers Grimm, part Parsifal. You can read the story literally and enjoy it heartily, but there are numerous additional layers to entertain you: from the "magic" that dare not speak its name to the struggle that Beatrice and Marit have to define their identity to the troubled relationship that both of the children have with their parents. There is an awful lot here to be explored.

Some of the most memorable scenes in the story creep up on you unexpected (the confrontation between Marit and the pack of wild dogs, the duel in the Game of Kings, Lord Peter daring George to plunge into the moat). Others are much longer to develop and grow with the dramatic arc (the bear, the demise of the kings, George's coming of age). What is so marvelous is that they all flow so well together.

The funny thing is that the "animal magic" stuff, so central to the story, is the part that worked least well for me. Perhaps because it is always being suppressed and concealed, it seems underdeveloped, even non-essential for the story. Its purpose (for me anyway) seemed more to illustrate a nice symmetry between human and animal world that makes this story stand out.

And yes, I will turn to the sequel in a few weeks. Stay tuned!

Rapunzel's Revenge, by Shannon and Dean Hale

I'm not a big fan of graphic novels (see below), but Shannon Hale is one of my favorite authors, so I couldn't pass this one up.

It's the story of Rapunzel, but with a bit of a twist. Exiled to a tower in the woods by her evil witch stepmother, Rapunzel (named after the lettuce) manages to break free in the nick of time (before she starves to death or gets "rescued" by a pig-headed prince) through some fancy lassoing with her abundant hair. Those braids make a mighty fine weapon as she teams up with a boy named Jack and the two of them hunt down the witch. This isn't like any fairy tale you or I know -- Rapunzel kicks some serious cowboy butt in this rowdy Westernized variant of more than a couple familiar stories.

The story is cute, but undeveloped, as I often find graphic novels to be. The irony is, of course, that I was a huge fan of the genre as a kid (Tin Tin, Raymond Briggs' Father Christmas, and a good number of adult graphic novels when I became a teen). This stuff reminds me of them. But they are still glorified comic books. The stories tend to be heavy on action and light on character development. The plotting is all-important, the narrative secondary. So, they are fun to read, but not very filling. And most of them are not what I would consider literature.

Take this example. Hale writes some pretty good and original fantasy fiction (Princess Academy is a wonderful book, as are the Books of Bayern), but this current story is terribly thin. It's original and contains a healthy amount of modernization (Rapunzel is pretty good at taking acre of herself). There's some humor and plenty of frenetic action, but no moments that I want to go back and read. Rapunzel is an amusing heroine, but not anyone I really care about. And if one were to translate this story into straight fiction, it would have a hard time running beyond short story length.

Red Glass, by Laura Resau

Growing up with her Mom and Stepfather in Tucson, Sophie has been exposed fairly often to migrant workers and while friendly to them she has stayed largely detached. When a young boy comes to live with them (after his parents are killed while crossing the border), Sophie abandons her usual fears and opens up to him, dubbing him her Principito (little prince) after the title character of her favorite book. And when the family discovers the little boys living relatives in southern Mexico, Sophie agrees to accompany the boy on the trip back. Going with her are her eccentric aunt Dika (a Bosnian refugee), Dika's boyfriend Mr. Lorenzo, and Lorenzo's son Angel. For Sophie, who's been afraid of nearly everything around her, it is the trip of a lifetime, exposing her to strange and scary new worlds.

A beautifully written journey through Central America. The multicultural flavor of the book (Bosnians, indigenous Mexican, and Guatemala) will appeal to the folks who worry about such stuff, but like the very best books that straddle multiple cultures, none of it really matters in the end. Instead, Resau has written a book about human beings, showing how we are all creatures of circumstance. Sophie's transformation from "weakling" to fuerto is as wonderful as it is expected, but she don't neglect the others. Almost every character in the story undergoes some sort of transformation, which draws us to them (even to the bad guys).

There's a fair amount of adventure and action in here to keep restless readers occupied, but more than anything else there is good dramatic payoff in the end that makes you feel like you have been more than entertained.

Catching Fire, by Suzanne Collins

OK, it's only the most hyped YA book of the year and it's been out for two months already and I haven't read it (nor did I score an ARC like the real reviewers), but I would be very remiss if I didn't get around to reading the sequel to The Hunger Games and posting my thoughts.

At the end of Book I, Katniss and Peeta have both won the Games through some nice manipulation of the rules, but things will hardly get quiet. Their little trick has unwittingly made them symbols of a rebellion -- a notion which doesn't even occur to Katniss until she is visited personally by the President. To stave off the movement and save their families from the leader's wrath, they must convince the world of their loyalty to the Capitol and to each other. But even that won't be enough when the next year's Games are announced -- a special round called the Quell -- and the results of the reaping are known.

It's not really worth talking about liking or disliking this book (there have been 100s of reviews -- most of them favorable) and the general consensus seems to be: if you liked The Hunger Games and want to read more of the same, this is a good read. If you're expecting much that is new, then you're probably in for a bit of a let down. But either way, this is quick, got-you-at-the-jugular reading. It is suspenseful, powerful, and good reading.

So, instead, let me talk about the tone of this book and its predecessor. These are gory books, to say the least, with more than a fair share of suffering and bloodshed (one might even argue that they are inappropriately violent for younger readers, but that isn't a topic that interests me). Rather, it is the message of this set up. What inspires the creation of a world that is this bloody? Does Collins believe that there are places like this? Or that we need to envision such worlds? What purpose does it serve? Most dystopian novels create their worlds as instruction to the reader (warnings, if you will, of what to avoid). It's hard to tell what this world's purpose serves except as a horror. And I find that a bit unnerving.

Yes, we have the eventual triumph of good over evil to look forward to, but at such a terrible cost that it's hard to really enjoy it. And what would feeling good about such a triumph say about us the readers? I'm really not sure what to say about all this yet, but it's the feeling I'm coming away from right now.

(Oh yeah, I may like the book, but I absoluteley hate the fact that Book II doesn't stand on its own -- having neither a beginning nor an end, but rather being an installment to get us to Book III -- like Back to the Future II)

Jumping Off Swings, by Jo Knowles

Teen pregnancy is one of those subjects that's been done quite a bit in YA and so it really wouldn't seem that there would be much new that could be done with it. The story itself is predictable and always follows the same basic pattern (girl has sex, girl misses period, girl can't believe this is happening, tears, crying, etc.). However, never get so jaded in the reading business that you underestimate the ability of a writer to totally surprise you.

Told in the alternating voices of Ellie (the pregnant girl), Josh (the guy), Corinne (Ellie's best friend) and Caleb (Josh's friend, previous admirer of Ellie, and blossoming lover of Corinne), we have a typical writer's challenge: how do you fit enough character-building narrative into 230 pages to effectively develop not just one teen, but four? Much to my astonishment, it actually works. Ellie gets to play the typical regretful and fretful expectant mother, but she's far from sympathetic. Instead, she make a series of errors along the way that have you wringing your hands, but you can't help but understand why it is happening (her distant mother, on the other hand, you will completely want to throttle, but even that minor side character is understandable). Corinne and Caleb have the interesting role to play as the shining example of what love should be all about. But of the four main characters, Josh was the one that caught my interest the most.

I've read some BLOGs claim that Josh's struggles with his feelings seems unrealistic, but I'd rack their inability to accept that boys have deep feelings as well up to the reviewers' age (young) and sex (female). (Hey! for all the years of abuse I've taken for being an old guy and not understanding teen girls, I think I'm entitled to my dig here!) If you ever have been in Josh's shoes (and yes, I have actually been in his position) then you totally know how hard it is to be the guy in this situation. Josh's balance of anger, frustration, and grief was utterly on the mark. And Knowles gives it just the right amount of balance -- neither playing him up as a saint nor claiming any greater rights than he gets (he's never portrayed as the victim). I'd have been pleased enough that Knowles wanted him to be something more than a sperm donor, but she goes much farther towards trying to explain him.

Ellie is the one who pays the greatest price, of course, but her story is less interesting because it is so well known. The strength of this novel is that Knowles wants to show how the pregnancy affects all four of the characters. It's a more nuanced read of the events. It doesn't change one thing about the facts portrayed or the shock you will feel, but it fills out the story.