 De La Peña, Matt. The Living. New York: Delacorte, 2013.
Matt De La Peña’s The Living follows Shy Espinoza through his new summer job, working on a luxury cruise line. On Shy’s first voyage, he experiences a passenger’s suicide; in fact, Shy grabs the passenger as he falls, but Shy cannot hold on to him well enough to save his life. Shy’s second voyage is not only haunted by the suicide from his first but also by the recent death of his grandmother to Romero Disease. As the cruise ship embarks for Hawaii, readers are struck by differences in social hierarchies between the rich passengers and the lower classes of the crew. Additionally, readers become interested in a potential romance between Shy and Carmen, as well as being won over by the support of Shy’s friends, such as Rodney, Kevin and Carmen. However, any hope for a happy ending is dissolved when “the Big One” hits the west coast, sending tsunamis toward the boat. Most passengers die in the waves that hit the cruise ship; however, some survivors manage to escape on lifeboats and rafts. Unfortunately, Shy and two other passengers are stranded at sea, at the point of death, for five days until they are rescued. However, survival and help are not as straightforward as hoped, and Shy is transferred to yet another dangerous environment, involving an engineered disease that has become an epidemic on the west coast. Through the thoughts and actions of Shy, De La Peña does a fantastic job of realizing perspective and psychology. Shy has the worries of one from a low-socioeconomic background – he worries about his family’s money and welfare – additionally, he is traumatized by the suicide he witnessed first hand, but on a lighter note, he is also interested in checking out girls in bikinis and desires a romantic relationship with Carmen. Daniel Kraus states The Living can withstand the blending of so many genres because of “Peña’s narrative restraint and commitment to his unusually believable protagonist. Shy is no superhero, and that’s a relief” (115). Shy does his best to do what is right, but he also acknowledges his weaknesses. For example, he admits that he would rather Kevin have survived the tsunamis than Bill, a man that he saved. These admissions do not necessarily reflect his guilt, but his humanity. De La Peña captures Shy’s psychology and his humanity in a passage before Shy is rescued, when he believes he is going to die. Shy realizes, “the world itself was alive, too. It swirled around you and sped past your eyes and ears, so fast you could never see it, but slow at the same time, like a tree growing taller in a park. And all the sounds you heard – the wind whipping past your ears and the ocean’s whispering and the trickle of whitecaps against your boat – that was the earth’s blood pumping through imperceptible veins, and some of those veins were nothing more than people like Shy or Carmen or Addie” (231). Shy’s epiphany is remarkably insightful in its paradoxical nature and the imagery of what gives the world life. Shy considers and questions the world, which is characteristic of young adults who are coming to terms with a more adult world. The Living also does a wonderful job of representing the Mexican-American experience, as well as that of the lower classes. Moreover, The Living received the 2014 Pura Belpré Honor Award for an outstanding work of literature, representing the Latino cultural experience. School Library Journal states, “while this story features characters who just happen to be Latino, the book is infused with Spanish phrases and references to the culture… [also, Shy] ends up on a life raft with a girl who couldn’t be more different than him: a rich, spoiled white kid” (62). Culture and class are both important aspects of the novel. Hispanic culture is represented through Shy and Carmen, who are both Mexican American and live near the Mexico border in California. Yet, class differences are most apparent between Shy and Addie, a passenger, whose father plays a key role in the epidemic that hits the west coast. Though, after being stranded in the ocean with Addie, Shy considers, “It all came down to this. The darkness. The loneliness. The mystery. The fact that everyone’s days were numbered, and it didn’t matter if you were in premier class or worked in housekeeping. Those were only costumes people wore. And once you stripped them away you saw the truth” (196). De La Peña illustrates that essentially all humans are the same, regardless of culture or background or wealth. Though it is difficult to realize the sameness among people in different classes, when materialism is stripped away, as it is in the novel, it becomes clear. Lastly, this novel is fast-paced, contains narrative hooks, surprises and tension. Readers are ensnared from the first chapter when Shy tries to save a passenger from committing suicide. The pace just grows from there. Kraus declares, “the tsunami sequence is a straight-up tour de force, a breathless, horrifying dash into the void” (115). The novel does not slow down from there either; readers will be anticipating the sequel that will be released in the fall. Nilsen states that “we crave all sorts of excitement by reading about people who live the adventure and the thrills and chills we have denied ourselves by living in our comfortable and safe world” (228). Though Shay is catapulted into an adventure he did not ask for, the story still appeals to readers’ desires to experience and overcome disaster, without actually having to live it. In the end, Shy perseveres, and readers will want to know how he will resolve the epidemic plaguing the west coast in The Hunted, when the “fight for survival continues” (Peña 309). Works Cited Kraus, Daniel. "The Living." Booklist 110.1 (2013): 114-115. Library, Information Science & Technology Abstracts with Full Text. Web. 15 July 2014. Nilsen, Alleen Pace, James Blasingame, Kenneth L. Donelson, and Don L. F. Nilsen. Literature for Today's Young Adults. New York: Pearson, 2013. Print. Wadham, Tim. "Prize Fights." School Library Journal 60.3 (2014): 62. Library, Information Science & Technology Abstracts with Full Text. Web. 15 July 2014.
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 Whaley, John Corey. Where Things Come Back. New York: Atheneum, 2011.
Where Things Come Back is set in the small town of Lily, Arkansas, which is like “living in the land that time forgot” (9). Lily is a place where people become stuck; most residents do not leave, and those who do usually return. The novel begins forebodingly with the protagonist, Cullen Witter, identifying the body of his cousin Oslo, who has died of a drug overdose. This scene segues quickly into a deeper understanding of Cullen, who is intelligent, cynical, and wants to be a writer; he also idolizes his brother Gabriel, who “is perhaps the most interesting person [he’s] ever known” (8), relies on his best friend Lucas, who is unlike him but “who was not in the habit of making others feel anything but comforted” (13), and in love with “Lily’s own black widow” Ava Taylor” (6). In between chapters of Cullen’s life are chapters about Benton Sage and his failed time as a missionary in Ethiopia and his eventual suicide in college, at which point his roommate Cabot Searcy endeavors to find the meaning of life. The chapters about Benton and Cabot appear disjointed from the main narrative, until, finally, in the end, the two stories merge. Furthermore, in the midst of the summer before Cullen’s senior year, John Barling supposedly spots the extinct Lazarus woodpecker, which prompts media coverage, and Lily turns itself into a tourist attraction. Around the same time, Cullen’s brother disappears, traumatizing Cullen, his family, and Lucas, who may as well be part of the family. Publisher’s Weekly states, “the maelstrom of media attention lavished on the woodpecker offers an element of the absurd, especially when juxtaposed against the mystery of Gabriel’s disappearance” (55). Whaley explores the ways in which individuals and communities handle loss and notoriety; the novel is darkly humorous, somber, and allows for the possibility of hope at the conclusion. In Literature for Today’s Young Adults, Nilsen states, “an important aspect of [characterization] is that the emotions being explored are important to young people… [a] long-lasting book treats experiences that are psychologically important to young people” (29). Whaley delves into the psyches of various young adults’ – Cullen, whose brother has disappeared and family falls apart; Lucas, whose older brother died in a car wreck; Benton, who can never live up to his father’s expectations; Cabot, who becomes obsessed with the meaning of life after his roommate’s suicide; Ada, whose lovers die; Alma, who engages in and retreats from an unsettling relationship. Young adults are living in the real world, and they have experienced or know someone who has experienced the same suffering and tragedies explored in the novel. According to VOYA, Whaley “has managed to capture his characters’ feelings of loss and despair with both compassion and empathy. The plot is extremely well thought out and encompasses the tangle of teenage relationships, friendships, and life experiences using humor and thoughtful language… the main protagonist, Cullen, is well-developed and convincing” (196). For example, Whaley demonstrates the humor of first-times; at sixteen, Cullen and Laura went down to the river, and “once [their] clothes were back on and [they] were back in Laura’s car, [Cullen] began to laugh,” and not understanding, Laura begins crying (86). Cullen explains, “Laura, I’m not laughing at you. I’m laughing at the fact that we just went through all of that to lay beside each other naked in the mud for an hour and then go home” (87). Whaley aptly illustrates the awkwardness of teen love, as well as the misunderstood perceptions of those involved. He underscores the humor by sending Laura’s brother to defend her honor, but who drives Cullen home, laughing about how his sister overreacts. On the other hand, Cullen’s grief is palpable when he states that he was "trying to figure out why [he] said and did the things [he] said and did. Trying to understand why [he] cried ten minutes after Lucas told [him] Ada was at Russell’s but never shed a tear when [his] cousin dropped dead. Wondering why [he] had written nearly ninety titles, but not one single book. Questioning why [he] couldn’t do a damn thing to bring [his[ brother back, no matter how often [he] sat and tried to think of ways to do so (154)." The range of teen emotions and states of mind are well portrayed in Where Things Come Back. Teens constantly question themselves and evaluate their lives, and Cullen embodies those actions perfectly. This novel embraces secrecy, surprises, and tension; however, it is not particularly fast-paced, which I believe is a drawback for young adult readers. One review on Goodreads states, “this book started out so great. I was seventeen when I saw my first dead body. For me, it just didn’t sustain that initial pull. The format flip-flops between two stories, culminating in their inevitable collision” (n.p.). This novel is not popular on my campus, and I think the Goodreads review encapsulates why. The stories of Cullen are more engaging that those of Benton and Cabot, so the interjecting chapters slow the pace. The novel is also more intellectual, than action-packed, and various Biblical allusions may be unfamiliar to readers. However, the pace does pick up toward the end of the novel, when the two stories intersect, and the reader learns what happened to Gabriel. In addition, Nilsen states that young adult books are basically optimistic; Publishers Weekly states that “Whaley gradually brings the story’s many threads together in a disturbing, heartbreaking finale that retains a touch of hope (55),” and School Library Journal declares the “ending is worth the wait” (110). However, I’m not convinced. The last line of the novel is “Book Title #89: Where Things Come Back,” which implies that Cullen is the “author” of the novel, and at the beginning of the novel, when discussing zombies with Gabriel, Cullen states that he “had no intention of ever letting him die in any book” (25). In conjunction with Cullen’s vivid daydreams, it is more conceivable that Gabriel never really does return to Lily. The novel became a way for Cullen to save his brother; however, young adults have the option of believing in an optimistic ending. In the end, Whaley wrote Where Things Come Back with a high level of sophistication, which explains why it won the Printz Award, which is based entirely on literary merit. In the last chapter of the novel, based on discussions with his doctor, Cullen gives a philosophical monologue on the meaning of life: "Life, [Dr. Webb], says doesn’t have to be so bad all the time. We don’t have to be so anxious about everything. We can just be. We can get up, anticipate that the day will probably have a few good moments and a few bad ones, and then just deal with it. Take it all in and deal as best we can… I’ll tell you now that I still don’t know the meaning of [my life]… But I’ll tell you the meaning of all this. The meaning of some bird showing up and some boy disappearing and you knowing all about it. The meaning of this was not to save you, but to warn you instead. To warn you of confusion and delusion and assumption. To warn you of psychics and zombies and ghosts of your lost brother. To warn you of Ada Taylor and her sympathy and mothers who wake you up with vacuums. To warn you of two-foot-tall birds that say they can help but never do” (227). Life is what you make it; there will always be positive and negative experiences, but you have to learn to keep going. We cannot save ourselves from our lives and paths, but the novel warns us about becoming too pre-occupied or obsessed with ideas and the meaning of life. When given too much thought, the world can become overwhelming and end in disaster. Yet, everyone will choose to live their life in their own way. Works Cited Alexander, Karen. "Where Things Come Back." School Library Journal 57.7 (2011): 110. MAS Ultra - School Edition. Web. 23 June 2014. Kwoomac. "Community Reviews." Rev. of Where Things Come Back. n. pag. Goodreads. Goodreads Inc., 18 Mar. 2012. Web. 22 June 2014. <http://www.goodreads.com/book/show/8563789-where-things-come-back>. McFadden, Amanda. "Where Things Come Back." Voice Of Youth Advocates 34.2 (2011): 196. Library, Information Science & Technology Abstracts with Full Text. Web. 23 June 2014. Nilsen, Alleen Pace, James Blasingame, Kenneth L. Donelson, and Don L. F. Nilsen. Literature for Today's Young Adults. New York: Pearson, 2013. Print. "Where Things Come Back." Publishers Weekly 258.15 (2011): 55. Literary Reference Center. Web. 23 June 2014.  Alexie, Sherman. The Absolutely True Diary of a Part-Time Indian. Illus. Ellen Forney. New York: Little, Brown and Company, 2007.
In The Absolutely True Diary of a Part-Time Indian, Alexie delves into Native American culture, stereotypes, and the struggles of adolescence. The main character Junior lives on an Indian Reservation and was born with health problems; his glasses, small stature, and smarts make him an easy target for bullies, even amongst his own tribe. Many families on the reservations deal with alcoholism and abuse, and all live in poverty. Junior is not growing up in an environment in which opportunities are handed out or easily available; most individuals on the reservations lead the same lives year after year and generation after generation. However, recognizing Junior’s potential, Mr. P, Junior’s teacher, encourages him to attend the white school, Reardan, where he would have better prospects for making it in the world. As the only Native American student, Junior feels alienated from his new peers; however, they eventually accept him, and he forms bonds, especially strong, with the basketball team and Penelope, who is struggling with her own identity issues. Alexie shows that people, regardless of ethnicity or circumstances, are essentially the same and boundaries can be transcended. Despite the serious subject matter, Alexie’s humor allows the reader to laugh and be entertained, while also grasping more serious concepts. Alexie does a fabulous job of capturing the viewpoints of young adults. Alexie’s use of humor and language is both realistic and appealing to teenage audiences. In fact, the inclusion of controversial topics, such as masturbation, makes the novel all the more realistic; Alexie writes how a teenage boy would talk, capturing the essence of the young adult. Marlinda White-Kaulaity relates how she would read segments of the novel to her teenage son; she says, “[she] would enter [his room] every now and then and say, ‘Listen to this part’ and then [she] would read a humorous segment of the book to him. He smiled. With each different part [she] read, his reactions became more animated” (Nilsen 90). Her son was obviously able to relate to the language and situations in the text. Additionally, Ellen Forney’s cartoons play an equally important role in establishing a believable character. Junior likes to illustrate people and situations, which display the exaggerated thoughts of young adults, especially boys. In addition to the humorous wordplay, Alexie also evokes the angst and uncertainty that teenagers experience. Upon realizing that he has his mother’s old textbook, which must be at least thirty years old, Junior declares, “let me tell you, that old, old, old, decrepit geometry book hit my heart with the force of a nuclear bomb. My hopes and dreams floated up in a mushroom cloud. What do you do when the world has declared nuclear war on you?” (31). The passion and disappointment that Junior experiences over the realization that his future is bleak, based on the lack of current school materials, is heartbreaking. Through Junior’s perspective, the reader experiences his humor, fear, disappointment, uncertainty, and hope. The Absolutely True Diary of a Part-Time Indian is optimistic, and Junior, in particular, makes worthy accomplishments, showing that, despite dire circumstances, there is always a way out. On pages 13-14, Junior acknowledges what is parents “would have been if somebody had paid attention to their dreams.” Junior continues to state, “we reservation Indians don’t get to realize our dreams. We don’t get those chances. Or choices, We’re just poor. That’s all we are… it’s an ugly circle and there’s nothing you can do about it” (13). As pessimistic as this statement is, many teenagers would agree. I work in a low socio-economic district, and students become stuck in their lives and don’t contemplate finding a way out. Junior, however, does just that – giving himself and the reader hope for a better future. Mr. P explains to Junior that, when he first started teaching, teachers were “were trying to kill Indian culture” (35), and, now, “the only thing kids are being taught is how to give up… all these kids have given up… all your friends. All the bullies. And their mothers and fathers have given up, too. And their grandparents gave up and their grandparent before them” (42). This ideology extends beyond the Indian reservation to any one who lives in poverty. It becomes a vicious cycle of complacency. Finally, Mr P tells Junior that he’ll find hope “the farther and farther [he] walk[s] away from [that] sad, sad, sad reservation” (43). Thus, Junior overcomes his fears and attends the white school, Reardan, which is the rival of his current school. Junior perseveres and turns potential bullies into friends. Eventually, all of the “girls in the school decided that [Junior] was cute,” and “all the other boys in school decided that [he] was a major stud” (110). As school and basketball takes off for Junior, he still worries about the ruined friendship with his best friend Rowdy from the reservation; however, at the end of the novel, the two play basketball and “didn’t deep score” (230). Alexie concludes his novel with hope for Junior both on and off the reservation. Lastly, this novel includes narrative hooks, surprise and tension to keep the plot interesting. Several deaths sober the mood and are distressingly expressed through Junior, who struggles to keep his composure at school while struggling internally. Alexie also underscores the similarities between people of different backgrounds. Penelope is bulimic, and when Junior asks her about it, she replies, “Anorexics are anorexics all the time… I’m only bulimic when I’m throwing up,” at which, Junior exclaims, “she sounds just like my dad: ‘I’m only an alcoholic when I get drunk’” (107). All people struggle with vices and self-image, regardless of background or wealth. However, the most exciting part of the novel is probably when Reardan takes on the reservation’s basketball team. The first round, Rowdy gives Junior a concussion during the game, and they lose; however, in the second game, Junior is ready to go head to head with Rowdy on the court. Before the game, in an interview, Junior states, “I feel like this is the most important night of my life… I have to prove that I am stronger than everybody else. I have to prove that I will never give up. I will never quit playing hard. And I don’t just mean basketball. I’m never going to quit living life this hard, you know? I’m never going to surrender to anybody. Never, ever, ever” (186). At a point when there is so much tension, Alexie demonstrates how an individual can find the ambition to “never, ever, ever,” give up hope (186). Works Cited Nilsen, Alleen Pace, James Blasingame, Kenneth L. Donelson, and Don L. F. Nilsen. Literature for Today's Young Adults. New York: Pearson, 2013. Print.  Sáenz, Benjamin Alire. Aristotle and Dante Discover the Secrets of the Universe. New York: Simon & Schuster, 2012. Print.
Benjamin Alire Sáenz’s Aristotle and Dante Discover the Secrets of the Universe is a coming-of-age tale of two unlikely friends. Aristotle, Ari, is a fifteen-year-old, Hispanic, loner. In our first meeting of him, he states, “As far as I was concerned, the sun could have melted the blue right off the sky. Then the sky could be as miserable as I was” (5). Ari is not outgoing or outwardly optimistic. Ari’s mom is a teacher and involved in his life, Ari’s father is plagued by his time in Vietnam, and Ari cannot stop thinking about his imprisoned brother, who is no longer discussed in the household. Dante, on the other hand, is extremely personable and outgoing. He is the one who approaches Ari at the pool and begins teaching him to swim, engaging their friendship. However, Dante does struggle with his Hispanic identity, since he is so fair-skinned, and he later worries about disclosing his homosexuality to his father, who would never be disappointed. Together, Aristotle and Dante overcome suffering, such as violence and death, and they search for love and the meaning of life, as they grow into men. Ari’s struggle to come to terms with his feelings and sexual identity, as well as with his relationship with his family, is, at times heartbreaking, but, in the end, uplifting. Sáenz perfectly captures an unconventional quest of two friends, who learn to love and live. Aristotle and Dante Discover the Secretes of the Universe explores difficult subject matter, but Sáenz is able to keep the novel optimistic. Ari is constantly troubled by his brother; he wrote in his journal, “There are no picture of my brother. Because he’s in prison. No one in my house talks about him. It’s like being dead. It’s worse than being dead. At least the dead get talked about and you get to hear stories about them” (96). In addition to his brother’s absence and wondering if he will turn out like him, Ari is also always figuratively looking for his father. After one of his fevered dreams, Ari’s father says, “In your dream. You were looking for me,” and Ari whispers, “I’m always looking for you” (65). Though familial relationships are tense for Ari, by the end of the novel, his family comes through for him and helps him realize what he cannot see about himself. His father opens up about his time in Vietnam, both his mom and father begin talking about his brother again, and, in the end it’s Ari’s father who says, “All of your instincts, Ari, all of them, tell me something. You love that boy (Dante)” (349). Ari’s father is the one that gives Ari the strength to come to terms with himself. On the other hand, Dante realizes that he loves Ari and feels slighted by Ari’s inability to reciprocate. He also struggles with sharing his homosexuality with his father. When his mom is pregnant, he hopes that the baby will be a straight boy to make up for himself. Dante also experiences the violence of homophobes, who beat him to the point of hospitalization. However, throughout all of this, Ari and Dante end up together, and both teens’ parents are supportive, which may be a highly optimistic, possibly unrealistic, portrayal of support for homosexual teens, but it provides hope. This novel, which is also a Printz honor book, offers a high degree of sophistication for young adult readers. Booklist actually states “this novel is a bit too literary at times for some readers” (134). However, I think that the sophistication is appropriate for teen audiences, though it will appeal to a smaller audience due to its GLBT content. At the end of the novel, Ari has the following epiphany: "This was what was wrong with me. All this time I had been trying to figure out the secrets of the universe, the secrets of my own body, of my own heart. All of the answers had always been so close and yet I had always fought them without even knowing it. From the minute I’d met Dante, I had fallen in love with him. I just didn’t let myself know it, think it, feel it. My father was right. And it was true what my mother said. We all fight our own private battles." Sáenz adeptly illustrates the ways in which teens and adults fight to know themselves. Denial, naivety, and experience force individuals to search hard to find themselves. The novel does a brilliant job of expressing the turmoil of teens that are finding their sexualities as well as their individualities. Lastly, this novel focuses on Hispanic culture. The reader gets pieces of Spanish thrown in with the English, and it, as Booklist states, utilizes “authentic teen and Latino dialogue” (134). Nilsen states “writers [are] freed to set their stories in realistic, rather than romanticized, neighborhoods and to explore the experiences of characters whose stories had not been told before” (35). The portrayal of gang culture among teens in the book represents a culture not typically highlighted. When the reader learns that Ari’s brother was imprisoned for beating a transvestite to death, the reader begins to understand the discomfort that Ari must feel at being a gay, Hispanic youth. Ari also struggles with the temper that his brother embodied, when he beats the teenager responsible for the hate crimes against Dante. Sáenz gives an excellent play between Hispanic and homosexual cultures. The reader’s heart breaks for Ari and Dante, when he is beaten, but in the end, hearts rejoice for them. They are able to break the boundaries that kept them apart. Horn Book Magazine explains it perfectly - "Ari’s first-person narrative—poetic, philosophical, honest—skillfully develops the relationship between the two boys from friendship to romance, leading to the inevitable conclusion: 'How could I have ever been ashamed of loving Dante Quintana?’" (120). Sáenz skillfully portrays an inspiring tale of teens living in the margins. Works Cited Evans, Betty S. "Aristotle And Dante Discover The Secrets Of The Universe." School Library Journal 58.2 (2012): 134. Library, Information Science & Technology Abstracts with Full Text. Web. 25 June 2014. Hunt, Jonathan. "Aristotle And Dante Discover The Secrets Of The Universe." Horn Book Magazine 88.2 (2012): 120. Library, Information Science & Technology Abstracts with Full Text. Web. 25 June 2014. Nilsen, Alleen Pace, James Blasingame, Kenneth L. Donelson, and Don L. F. Nilsen. Literature for Today's Young Adults. New York: Pearson, 2013. Print.  Stiefvater, Maggie. The Scorpio Races. New York: Scholastic, 2011.
The Scorpio Races draws on Celtic myths of the water horse, capaill uisce, which are bloodthirsty horses that emerge from the ocean on Stiefvater’s island of Thisby. Each November, racers catch the deadly capaill uisce and train them to race in the Scorpio Races, which always leaves some horses and men lifeless. Sean Kendrick grew up with his father racing the capaill uisce, until his father was trampled and killed during the races. After that night, Sean has grown up catching, training, and racing the water horses. He is attached to Corr, the red capaill uisce that was his father’s; Sean is fearless, the island’s expert in handling the capaill uisce, and he is the four-time winner of the Scorpio Races. On another part of the island, Kate “Puck” Connolly and her two brothers have lost both of the their parents to the water horses, who attacked them at sea. Upon learning that the Connolly house is to be repossessed and that her brother Gabe is leaving to go to the mainland, Puck decides to enter the races in the hopes of winning enough money to keep the house and convince her brother to stay with them on the island. However, Puck refuses to ride the capaill uisce, and, instead, rides her mare, Dove, who is dwarfed by the huge and fast water horses. Despite the derision she faces for being female and for riding an ordinary horse, with an alliance with Sean, Puck defies everyone’s expectations by successfully riding in the races. The Scorpio Races is an excellent example of how young adult literature includes a variety of genres, subjects, and levels of sophistication (Nilson 34). Stiefvater’s novel is an example of myth-based fantasy, since it is based on Celtic myths of the water horse. I was unaware of these myths before I read this novel, and I agree with Nilson that “teachers might want to have on hand some informative books telling the original stories” (161). I probably would have appreciated the novel more if I had the background knowledge of the original myths; however, even without knowledge of the myths, it is a captivating novel. The subject matter is unique and easily captures the reader’s interests. Additionally, it is a Printz honor book, which demonstrates its literary value. The writing is sophisticated, but does not drag. It addresses universal truths of finding what makes people who they are – how we define ourselves. It shows that our pasts and experiences shape us but do not define us. Puck, especially, provides an example of courage and perseverance; she fights sexism and stays true to herself. When Puck argues for her place in the races as she is being derided by the men who do not want her to race, Sean speaks up and says “I’ll speak for her… this island runs on courage, not blood” (198). All readers can learn from Puck’s bravery; she is not afraid to look opposition in the face and keep standing. Additionally, Sean and Puck are well-written characters and portray the viewpoints of young adults. Booklist states, “While there is plenty of action, conflict, excitement, and a heart-stopping climax, it is the slowly developing relationship between Kate and Sean that makes the book remarkable. Though different, they are both products of the island and have an intense love for Thisby that is not shared by all of the residents. Stiefvater makes readers care deeply for them, their desolate island, and even the monstrous water horses” (140). Sean and Puck’s relationship grows out of their respect for one another. They can both find elements of themselves in the other, and both feel tied to the island. The scene on the cliffs when Sean says, “Other people have never been important to me, Kate Connolly. Puck Connolly,” and Puck replies, “And now?” shows the slow evolution of their relationship (213). Even then, he does not respond to her, but the reader knows that they care for one another. The reader wants Sean and Puck to be together, work together, and win the races together. Puck is feisty, while Sean is more serious and concentrated, but neither of them ever gives up, which young adults can appreciate. Lastly, Stiefvater orphans both main characters, so that they are “free to take credit for [their] own accomplishments” (Nilsen 30). Sean struggles to buy Corr and earn his freedom from Malvern, while Puck has to provide for herself and her brother Finn, when she finds out that the eldest Connolly, Gabe, is leaving them. The adults in the novel are peripheral and serve mostly to motivate Sean and Puck to stay true to their paths. However, the “the large cast of supporting characters springs to life, particularly Puck's brothers, Finn and Gabe, and Thisby feels like a place you can see and smell. The water horses are breathtakingly well-imagined, glorious and untamably violent. The final race, with Sean and Puck each protecting each other but both determined to win, comes to a pitch-perfect conclusion” (“The Scorpio Races” 1607). Young adults are the main stars in this novel, and Sean and Puck shine. Works Cited Doyle, Anthony C. "The Scorpio Races." School Library Journal 57.11 (2011): 140. Library, Information Science & Technology Abstracts with Full Text. Web. 8 July 2014. Nilsen, Alleen Pace, James Blasingame, Kenneth L. Donelson, and Don L. F. Nilsen. Literature for Today's Young Adults. New York: Pearson, 2013. Print. "The Scorpio Races." Kirkus Reviews 79.17 (2011): 1607. Library, Information Science & Technology Abstracts with Full Text. Web. 8 July 2014.  Rennison, Louise. Angus, Thongs and Full-Frontal Snogging: Confessions of Georgia Nicolson. New York: HarperTempest, 1999.
Louise Rennison’s Angus, Thongs and Full-Frontal Snogging presents the diary of 14-year-old, British Georgia Nicolson. Georgia documents her day to day life – attending a private school, which she refers to as “Stalag 14” with a “bunch of sadistic teachers” (4), criticizing her appearance, “I am very ugly and need to go into an ugly home” (4), obsessing over boys, complaining about her parents, and babysitting her little sister. Horn Book Magazine states, “Sincerest flattery was surely Louise Rennison's intention with this unabashed imitation of Helen Fielding's adult bestseller, Bridget Jones's Diary” (320-321). Georgia’s diary is “just like Bridget's: improbable but undeniably funny, with our comic British heroine forever finding herself in embarrassing predicaments. Like Bridget, Georgia is obsessed with her appearance (here it's her nose, not her thighs) [and] has the worst luck with the opposite sex” (320-321). Georgia chronicles every ridiculous and humiliating occurrence that befalls her in her pursuit of the “Sex God,” Robbie. The appeal of this novel is “personality rather than plot” (Branbander 320-321). Though the novel’s storyline may be lacking, Georgia’s musings and experiences engage and entertain the reader. According to Nilsen, 14 and 15-year-olds’ humor encompasses “more and more lewd jokes; humor aimed at schools, parents, and other adults in authority… and grossness piled on even greater grossness. Young adults may still prefer their own humor to their parents’ humor, but they are increasingly catching on to adult humor and may prefer it to their own” (205). In her diary, Georgia definitely hits the points indicated to be humorous to her age group; her humor often focuses on school, teachers, parents and (lack of) sexual experiences. Rennison utilizes elements of exaggeration, sarcasm and/or hostility, and surprise in her novel (Nilsen 216, 218). For example, Georgia’s cat Angus is half domestic tabby and half Scottish wildcat, and it grew to the “size of small Labrador, only mad” and stalks the neighbor’s poodle; “sometimes he hears the call of the Scottish Highlands” and attacks his prey, such as Georgia’s tights (7). The hyperbolic descriptions of Angus as large and fierce make him an amusing character within the novel. In addition, Horn Book describes Georgia as “mean-spirited” and her “derogatory comments about lesbians are excessive – and only occasionally funny” (320-321). At times, Georgia’s hostility can be off-putting, but at others, it can also be hilarious. For instance, when Georgia finds a special apron in her father’s drawer, she remarks, “I hope against hope that my dad is not a transvestite. It would be more than flesh and blood could stand if I had to ‘understand’ his feminine side. And me and Mum and Libby have to watch while he clatters around in one of Mum’s nighties and fluffy mules… We’ll probably have to start calling him Daphne” (19). Georgia’s cutting sarcasm in conjunction with the imagery of her dad parading around in her mother’s nightgown is comical. Lastly, Rennison incorporates surprise into the conversations and events within the novel. For instance, Georgia is taking her 3-year-old sister for a walk, when she runs into Robbie, the boy she has a crush on. After a brief conversation, Georgia’s little sister tells the boy, “Yes, I am the Queen and Georgia did a big poo this morning” (p. 64). The disbelief that Georgia, Robbie and the reader experience at Libby’s comment is humorous, especially when the reader can relate to the main character’s being humiliated by a younger sibling. Branbander asserts, “while Georgia isn't quite as hilarious as Bridget, she's a close second” (p. 320-321). Angus, Thongs and Full-Frontal Snogging also does an excellent job of portraying the female, young adult’s perspective. Horn Book states, “An often-angry adolescent (rather than a somewhat-mellowed thirty-something), Georgia is, [realistic] enough… [her comments are] perfectly believable coming from a less-than-confident, somewhat naïve teen” (320-321). Rennison depicts Georgia with all of the insecurities of a teenage girl – she is concerned about her appearance and whether she’ll ever have a boyfriend. For example, Georgia wants Robbie to think that she is “mature and sophisticated beyond [her] years” (233), so she dyes a platinum streak in her hair with peroxide. Yet, comically, the hair breaks off in her hand as she tries to dramatically flip her hair like a movie star. Georgia perfectly demonstrates the extremes to which teen girls will go to impress others, as well as the obstacles that pop up in the process. As School Library Journal indicates, “In typical teen manner, Georgia lives in her own world; she thinks she is ugly, is convinced that her parents are weird, positively abhors schoolwork, and has a deep desire to be beautiful and older” (109). At some point, most teenage girls will also be living in their own worlds and will be experiencing the same emotions and thoughts as Georgia. Nilsen highlights that “series books are an increasingly important part of teenagers’ reading” (37). Rennison continues the humor in On the Brightside, I’m Now the Girlfriend of a Sex God, “further confessions of Georgia Nicolson” (249). Horn Book states, “This teenage Bridget Jones will appeal to young readers more interested in the concerns of their own age group, and Rennison's fans, like Helen Fielding's, will be glad to know there's a sequel forthcoming” (320-321). Young adults will enjoy continuing Georgia’s journey in the second installment; they will be especially interested in seeing how Georgia’s relationship with Robbie progresses, since the first novel led to their dating. In the end, “those who relish humor will be satisfied. Fresh, lively, and engaging” (109). Works Cited Branbander, Jennifer M. "Angus, Thongs And Full-Frontal Snogging; Confessions Of Georgia Nicholson." Horn Book Magazine 76.3 (2000): 320-321. Library, Information Science & Technology Abstracts with Full Text. Web. 31 July 2014. Nilsen, Alleen Pace., James Blasingame, Kenneth L. Donelson, and Don L.F. Nilsen. Literature for Today's Young Adults: Study Guide. 9th ed. New York: Pearson, 2012. Print. Reynolds, Angela J. "Angus, Thongs And Full-Frontal Snogging: Confessions Of Georgia Nicolson." School Library Journal 46.7 (2000): 109. Library, Information Science & Technology Abstracts with Full Text. Web. 31 July 2014.  Hinton, S. E. The Outsiders. New York: Viking, 1967. S.E. Hinton’s novel explores social hierarchies and human nature through the opposing worlds of Socs and greasers. Society labels Ponyboy and his buddies “greasers” because they are poor and present tough, James Dean-esque demeanors, embodied in their clothing and hair. Their lives are in a constant state of struggle to get by – they fight, drink, and steal; however, Ponyboy is more complicated. He is intelligent and a dreamer, yet, he cannot escape involvement in a murder and the death of friends. In Literature for Today’s Young Adults, an excerpt from Hinton’s article in the 1967 New York Time Book Review states: "Teenagers know a lot today. Not just things out of a textbook, but about living. They know their parents aren’t superhuman, they know that justice doesn’t always win out, and that sometimes the bad guys win. They know that persons in high places aren’t safe from corruption… and that some people sell out… But give [teens] something to hang onto. Show that some people don’t sell out, and that everyone can’t be bought. Do it realistically. Earn respect by giving it" (7). Hinton is accurate in her depiction of young adults; they do know about living and do not buy into poetic justice, and YA literature should respect the evolving teenager. Hinton brilliantly exhibits these sentiments in The Outsiders. She presents a story in which teens can relate; one that explores the ups and downs of adolescence without allowing the reader to lose hope. Teenagers often and easily categorize one another – for example, Socs vs. greasers; however, Hinton illustrates that stereotypes are often superficial and that all people experience turmoil, even if in different forms. For example, Cherry Valance tells Ponyboy, “I’ll bet you think the Socs have it made. The rich kids, the West-side Socs. I’ll tell you something, Ponyboy, and it may come as a surprise. We have troubles you’ve never even heard of. You want to know something?... Things are rough all over” (43). All of humanity suffers in one form or another, and Hinton allows teenagers to understand that people and circumstances are not always as black and white as preconceived notions may be. Cherry also states that teens are in a constant “rat race,” in which teens are “always going and going and going, and never asking where… It seems like [they’re] always searching for something to satisfy [them], and never finding it” (46). Hinton encourages teenagers to reevaluate their goals and actions and to find something they actually believe in. In the novel, both the Socs and greasers fall into the roles society expects of them; yet, through characters like Ponyboy, Johnny, Darry, (greasers), Cherry, and Randy (Socs), the reader learns that wants and fears are universal and that one can, if not easily, transcend labels. At the end of the novel, hope for both groups is expressed through Ponyboy and Cherry. Ponyboy asks, “can you see the sunset real good from the West Side?,” in which Cherry replies, “Real Good.” Ponyboy follows with “You can see it good from the East Side, too” (138). The Outsiders demonstrates that people can dream from anywhere, regardless of their upbringings or circumstances. Ultimately, The Outsiders depicts the harsh realities that some low socio-economic teens face; despite the crime and deaths, Hinton shows teens that they do not have to be victims of their fates. At the end of the novel, Ponyboy finds a letter from Johnny, who explains Robert Frost’s poem. He explicates that Frost “meant you’re gold when you’re a kid, like green. When you’re a kid everything’s new, dawn. It’s just when you get used to everything that it’s day. Like the way you dig sunsets, Pony. That’s gold. Keep that way, it’s a good way to be… You still have a lot of time to make yourself be what you want. There’s still lots of good in the world” (187). Though teenagers may not be innocent or naïve, they can still be good, and they can still pursue their dreams. Hinton expresses that teens should never lose sight of themselves or their futures, whether they are well off or not. Though this novel will probably appeal more to boys and possibly more to lower socio-economic teens, the exploration of human nature and the optimism ultimately evoked should appeal to all audiences. Works Cited Nilsen, Alleen Pace, James Blasingame, Kenneth L. Donelson, and Don L. F. Nilsen. Literature for Today's Young Adults. New York: Pearson, 2013. Print.Hinton, S. E. The Outsiders. New York: Viking, 1967. S.E. Hinton’s novel explores social hierarchies and human nature through the opposing worlds of Socs and greasers. Society labels Ponyboy and his buddies “greasers” because they are poor and present tough, James Dean-esque demeanors, embodied in their clothing and hair. Their lives are in a constant state of struggle to get by – they fight, drink, and steal; however, Ponyboy is more complicated. He is intelligent and a dreamer, yet, he cannot escape involvement in a murder and the death of friends. In Literature for Today’s Young Adults, an excerpt from Hinton’s article in the 1967 New York Time Book Review states: "Teenagers know a lot today. Not just things out of a textbook, but about living. They know their parents aren’t superhuman, they know that justice doesn’t always win out, and that sometimes the bad guys win. They know that persons in high places aren’t safe from corruption… and that some people sell out… But give [teens] something to hang onto. Show that some people don’t sell out, and that everyone can’t be bought. Do it realistically. Earn respect by giving it" (7). Hinton is accurate in her depiction of young adults; they do know about living and do not buy into poetic justice, and YA literature should respect the evolving teenager. Hinton brilliantly exhibits these sentiments in The Outsiders. She presents a story in which teens can relate; one that explores the ups and downs of adolescence without allowing the reader to lose hope. Teenagers often and easily categorize one another – for example, Socs vs. greasers; however, Hinton illustrates that stereotypes are often superficial and that all people experience turmoil, even if in different forms. For example, Cherry Valance tells Ponyboy, “I’ll bet you think the Socs have it made. The rich kids, the West-side Socs. I’ll tell you something, Ponyboy, and it may come as a surprise. We have troubles you’ve never even heard of. You want to know something?... Things are rough all over” (43). All of humanity suffers in one form or another, and Hinton allows teenagers to understand that people and circumstances are not always as black and white as preconceived notions may be. Cherry also states that teens are in a constant “rat race,” in which teens are “always going and going and going, and never asking where… It seems like [they’re] always searching for something to satisfy [them], and never finding it” (46). Hinton encourages teenagers to reevaluate their goals and actions and to find something they actually believe in. In the novel, both the Socs and greasers fall into the roles society expects of them; yet, through characters like Ponyboy, Johnny, Darry, (greasers), Cherry, and Randy (Socs), the reader learns that wants and fears are universal and that one can, if not easily, transcend labels. At the end of the novel, hope for both groups is expressed through Ponyboy and Cherry. Ponyboy asks, “can you see the sunset real good from the West Side?,” in which Cherry replies, “Real Good.” Ponyboy follows with “You can see it good from the East Side, too” (138). The Outsiders demonstrates that people can dream from anywhere, regardless of their upbringings or circumstances. Ultimately, The Outsiders depicts the harsh realities that some low socio-economic teens face; despite the crime and deaths, Hinton shows teens that they do not have to be victims of their fates. At the end of the novel, Ponyboy finds a letter from Johnny, who explains Robert Frost’s poem. He explicates that Frost “meant you’re gold when you’re a kid, like green. When you’re a kid everything’s new, dawn. It’s just when you get used to everything that it’s day. Like the way you dig sunsets, Pony. That’s gold. Keep that way, it’s a good way to be… You still have a lot of time to make yourself be what you want. There’s still lots of good in the world” (187). Though teenagers may not be innocent or naïve, they can still be good, and they can still pursue their dreams. Hinton expresses that teens should never lose sight of themselves or their futures, whether they are well off or not. Though this novel will probably appeal more to boys and possibly more to lower socio-economic teens, the exploration of human nature and the optimism ultimately evoked should appeal to all audiences. Works Cited Nilsen, Alleen Pace, James Blasingame, Kenneth L. Donelson, and Don L. F. Nilsen. Literature for Today's Young Adults. New York: Pearson, 2013. Print.Hinton, S. E. The Outsiders. New York: Viking, 1967. S.E. Hinton’s novel explores social hierarchies and human nature through the opposing worlds of Socs and greasers. Society labels Ponyboy and his buddies “greasers” because they are poor and present tough, James Dean-esque demeanors, embodied in their clothing and hair. Their lives are in a constant state of struggle to get by – they fight, drink, and steal; however, Ponyboy is more complicated. He is intelligent and a dreamer, yet, he cannot escape involvement in a murder and the death of friends. In Literature for Today’s Young Adults, an excerpt from Hinton’s article in the 1967 New York Time Book Review states: "Teenagers know a lot today. Not just things out of a textbook, but about living. They know their parents aren’t superhuman, they know that justice doesn’t always win out, and that sometimes the bad guys win. They know that persons in high places aren’t safe from corruption… and that some people sell out… But give [teens] something to hang onto. Show that some people don’t sell out, and that everyone can’t be bought. Do it realistically. Earn respect by giving it" (7). Hinton is accurate in her depiction of young adults; they do know about living and do not buy into poetic justice, and YA literature should respect the evolving teenager. Hinton brilliantly exhibits these sentiments in The Outsiders. She presents a story in which teens can relate; one that explores the ups and downs of adolescence without allowing the reader to lose hope. Teenagers often and easily categorize one another – for example, Socs vs. greasers; however, Hinton illustrates that stereotypes are often superficial and that all people experience turmoil, even if in different forms. For example, Cherry Valance tells Ponyboy, “I’ll bet you think the Socs have it made. The rich kids, the West-side Socs. I’ll tell you something, Ponyboy, and it may come as a surprise. We have troubles you’ve never even heard of. You want to know something?... Things are rough all over” (43). All of humanity suffers in one form or another, and Hinton allows teenagers to understand that people and circumstances are not always as black and white as preconceived notions may be. Cherry also states that teens are in a constant “rat race,” in which teens are “always going and going and going, and never asking where… It seems like [they’re] always searching for something to satisfy [them], and never finding it” (46). Hinton encourages teenagers to reevaluate their goals and actions and to find something they actually believe in. In the novel, both the Socs and greasers fall into the roles society expects of them; yet, through characters like Ponyboy, Johnny, Darry, (greasers), Cherry, and Randy (Socs), the reader learns that wants and fears are universal and that one can, if not easily, transcend labels. At the end of the novel, hope for both groups is expressed through Ponyboy and Cherry. Ponyboy asks, “can you see the sunset real good from the West Side?,” in which Cherry replies, “Real Good.” Ponyboy follows with “You can see it good from the East Side, too” (138). The Outsiders demonstrates that people can dream from anywhere, regardless of their upbringings or circumstances. Ultimately, The Outsiders depicts the harsh realities that some low socio-economic teens face; despite the crime and deaths, Hinton shows teens that they do not have to be victims of their fates. At the end of the novel, Ponyboy finds a letter from Johnny, who explains Robert Frost’s poem. He explicates that Frost “meant you’re gold when you’re a kid, like green. When you’re a kid everything’s new, dawn. It’s just when you get used to everything that it’s day. Like the way you dig sunsets, Pony. That’s gold. Keep that way, it’s a good way to be… You still have a lot of time to make yourself be what you want. There’s still lots of good in the world” (187). Though teenagers may not be innocent or naïve, they can still be good, and they can still pursue their dreams. Hinton expresses that teens should never lose sight of themselves or their futures, whether they are well off or not. Though this novel will probably appeal more to boys and possibly more to lower socio-economic teens, the exploration of human nature and the optimism ultimately evoked should appeal to all audiences. Works Cited Nilsen, Alleen Pace, James Blasingame, Kenneth L. Donelson, and Don L. F. Nilsen. Literature for Today's Young Adults. New York: Pearson, 2013. Print.  Bartoletti, Susan Campbell. They Called Themselves the K.K.K.: The Birth of an American Terrorist Group. New York: Houghton Mifflin, 2010.
Susan Campbell Bartoletti's They Called Themselves the K.K.K. presents a chronological telling of American history at the time of the Emancipation Proclamation through today, focusing on the white supremacy group the K.K.K. She provides the historical and cultural context for the “get[ting] up” of the organization and follows its reign and demise, through primary source documents. The accuracy of Bartoletti’s book is impressive; her use of primary sources is arresting and augments the absorbing nature of the book. Its pages are flooded with photos, newspaper clippings, engravings, etc. to break up the informational text and keep you interested. It is almost overwhelming sometimes because you do not want to miss reading or looking at every element of every page. Bartoletti also makes a point to “let the people of the past speak in their own voices… [making] no attempt to censor these historical statements,” making her account real and more interesting. Moreover, Bartoletti emphasizes her researching expertise by providing a Civil Rights timeline and an extensive list of quote attributions as well as bibliography and source notes. She leaves no doubt that her subject has been tediously studied. They Called Themselves the K.K.K. is marketed for Young Adults, but it is also the perfect set up for adults. Additionally, the controversial subject of the book makes it compelling; it is refreshing to have an author who is not afraid to delve into darker aspects of American or world history (she also wrote a book about the Hitler Youth). It really exposes the hypocrisy of the K.K.K. and the struggle for those living during the Reconstruction era. For example, she quotes John Lester, who said the K.K.K. was “a band of regulators… trying to protect property and preserve law and order,” when it is obvious that that is far from the truth. This book is beautifully done. Reviews: Starred book review on Booklist. "(A) standout contribution to youth history shelves." Starred book review from Kirkus Review. "An exemplar of history writing and a must for libraries and classrooms." Starred review from School Library Journal. "Engaging and informative." Starred review from Publishers Weekly. "Illuminating." Starred review from Horn Book. "Moving... Exemplary in scholarship, interpretation, and presentation." Connections: This book could be used to supplement history lessons on Civil Rights movements. This book could be read in conjunction with Bartoletti's other books on social movements. Students could write their own "primary source" document, which could have been included in the book.  Zusak, Markus. I Am the Messenger. New York: Alfred A. Knopf, 2002.
Markus Zusak’s I Am the Messenger follows nineteen-year-old Ed Kennedy, a seemingly complacent, ambitionless cabdriver, who, one day, receives his destiny in the mail on an Ace of Diamonds. He is catapulted into a mysterious journey, in which he must decipher and deliver messages to a variety of characters in his Australian suburb. Ed considers himself a “taxi driver. Local loser. Cornerstone of mediocrity. Sexual midget. Pathetic cardplayer” (74). However, when he begins receiving messages in the mail, he evolves into a man with confidence and integrity. His faults, crude language, and love for his friends and dog make him human and appeal to the reader, who is quickly entertained by him. As Ed develops relationships with the recipients of his messages, the reader becomes even more attached to him. His bond with an elderly woman, Milla, is especially touching. The reader begins to worry when Ed worries, hurt when he hurts, and love when he loves. Zusak’s storyline is intriguing and thought-provoking. The reader constantly wonders who is sending the cards to Ed, why he/she chose Ed, and what Ed is going to have to do. Zusak quickly captures the reader from the beginning with Ed and Marv’s humorous dialogue during the bank robbery. Then, upon the arrival of Ed’s first set of addresses on the Ace of Diamonds, the reader is engulfed in the mystery of the card’s intent, especially after Ed visits the first address and finds a victim of rape. However, the seriousness of Ed’s missions is always lightened by the wit of Ed’s interior thoughts, words, and actions. Ed, with difficulty, is able to overcome the series of obstacles he has been given, and, in the end, he and the reader are better for it. In I Am the Messenger, Ed’s messages evoke the frailty and beauty of human life and relationships. The various recipients receive unique messages, based on their lives, all of which the reader can learn from as well. However, with a twist in the plot, at the end, the reader realizes that the novel, itself, is the ultimate message. Zusak’s clear and consistent point of view encourages the reader to believe the novel’s plot as well as its messages. It is a style that blends hilarity, absurdity, and gravity, forcing the reader to think while also causing them to laugh – it is a perfect combination. Awards: Winner 2006 - Michael L. Printz Honor Winner 2006 - Bulletin Blue Ribbon Book Winner 2005 - Publishers Weekly Best Books of the Year - Children Winner 2003 - Children’s Book Council Book of the Year Award in Australia Connections: Students could create their own messages that they would like relayed to people within their communities. Students could read other Zusak novels. Students could compare this novel to other mysteries they've read.  Gaiman, Neil. The Graveyard Book. Illus. Dave McKean. New York: Harper Collins Publishers, 2008.
In Neil Gaiman’s The Graveyard Book, a baby boy escapes the gruesome demise of the rest of his family and wonders his way to the nearby graveyard, where Mr. and Mrs. Owens, both ghosts, adopt him as their son. Silas, in between the living and the dead, serves as his guardian and protector because Nobody (Bod) Owens’s destiny is not yet complete. The man, Jack, who killed his family, is still on the prowl for Bod, so that his secret organization is not threatened by the boy’s life. In this mysterious, thrilling story of ghosts and ghouls, the reader is catapulted into a dark and dismal world, in which light still finds a way to break through. Bod Owens lives in an unbelievable world in which he can see and speak to the dead, fade into the shadows, walk through walls, and visit others’ dreams; despite this, the reader can empathize with him. Bod struggles with living with the dead; he loves his graveyard family but also longs to be among the living. Readers can identify with struggling to find one’s self and what it means to fit in the world. Furthermore, a kinship forms between Bod and his readers, so that his difficulties become the readers’ – readers sit on edge when the ghouls kidnap him, as well as when the Jacks hunt him down to kill him, and, in the end, the reader wishes Bod a safe journey as he embarks in a world that is largely unknown to him. The Graveyard Book’s plot provides a new take on portrayed relationships between the living and dead, yet common fantasy elements survive. Bod must learn a new set of supernatural skills, such as fading and dreamwalking, he has inhuman guardians, he is pursued by a secret, villainous organization, and once his enemies are vanquished and he reaches a certain age, he must embark on his own. The consistency of plot elements allows the reader to dissolve into the book’s world and accept it for what it is. Moreover, the setting is an integral aspect of the novel and is necessary to the plot’s development. The story takes place in England, which is appropriate because it allows Bod’s graveyard to encase ancient, enigmatic remains from pagan times, which plays a necessary part of the plot. Gaiman’s tale includes the typical theme of good overcoming evil, but it also delves more deeply into the human condition and what it means to be living. The play between Bod and his living and dead counterparts encourages one to reevaluate the ways in which he/she views and lives life. Ultimately, one should and must “face [one’s] life/its pain, its pleasure,/leave no path untaken” (306). Lastly, Dave McKean’s ominous, inky illustrations reflect the morbid environment of the novel and give shape to the intangible. The grotesquerie of the ghoul gate on pages 62-3 is particularly intriguing in its shadows and wispy outlines. Awards: #1 New York Times Bestseller Newbery Medal ALA Best Book for Young Adults Horn Book Honor Hugo Award - Best Novel Connections: This book could be read in conjunction with other ghost stories in order to compare and contrast. Other Gaiman novels, such as Coraline, could be read. Students could write their own ghost stories. |
