Dystopic Tellings

Dystopias and anti-utopias (yes, I know they are two separate terms, but I’m not joining that hair-splitting debate) have long been a part of fiction. From Orwell’s 1984 and Bradbury’s Fahrenheit 451 to The Hunger Games, the concept of a world hiding behind a wall of an (at first) well-meaning, but ultimately, heavily controlled utopic principles, has always fascinated readers. For some time we have been awash in a sea of vampires, fairies, then zombies, and then fallen angels—the paranormal literally overtaking bookshelves and movie theaters, but now, thanks to Suzanne Collins, the tide has shifted and we are caught in a frenzy of dystopic bestsellers. What does this mean exactly? Well, for one it means that my desk is literally covered in dystopic novels from every publisher out there, but it also implies that we, as readers, as people wishing to be entertained, are just as fascinated with the often frightening aspect of dystopic worlds as our predecessors.

I have always enjoyed the edgy feeling of dystopian novels; that slight sense of apprehension when you start to compare the “real world” and all of it’s stunning technologies and it’s militant use of political correctness, to this imagined alter-earth, where all these concepts lead to totalitarian governments and the squashing of free thought and actions. Is it any wonder that readers, young and old all experience the same thrill and general awe when reading about that one fictional person or group who decides to defy that power?

The popularity of this genre has been under much scrutiny, particularly since the majority of these novels are aimed at young adults and/or taught in schools. Scott Westerfield, the author of the Uglies series, which presents a dystopic world where 16 year olds are able to have a beautifying surgery (turning them from Uglies to Pretties) that allows them to live in a work-free, party-filled, high tech environment, gives his thoughts on this topic:

“Teenagers’ lives are constantly defined by rules, and in response they construct their identities through necessary confrontations with authority, large and small. Imagining a world in which those authorities must be destroyed by any means necessary is one way of expanding that game. Imagining a world in which those authorities are utterly gone is another …It’s little wonder, then, that a lot of YA dyslit embraces both extremes of hyper-control and chaos, wedding an oppressive government with post-apocalyptic ruin.”
(Teenage Wastelands, http://www.tor.com/blogs/2011/04/teenage-wastelands-how-dystopian-ya-became-publishings-next-big-thing)

 I have to think that Westerfield has something here, but why have adults so thoroughly embraced this genre? Laura Miller of the New Yorker presents this concept (as discussed by Kay Sambell in “Utopian and Dystopian Writing for Children and Young Adults”)

"The adult dystopia extrapolates from aspects of the present to show readers how terrible things will become if our deplorable behavior continues unchecked. The more utterly the protagonist is crushed, the more urgent and forceful the message.“ (The New Yorker, http://www.newyorker.com/arts/critics/atlarge/2010/06/14/100614crat_atlarge_miller?currentPage=1)

 I guess this could be true also, in a rather Brechtian way of catharsis. But really, who cares why we love it—we just do and the publishers are having a field day. So, here’s what I’m going to do; mention of few great new genre novels and steer you all away from a couple of the horrid.

I’ve written about Penguin’s Matched, and in October of 2011 Ally Condie is back with the sequel Crossed. I’ve yet to receive an ARC, but am eagerly awaiting one. This is a series to be read and enjoyed, well-written and entertaining, it’s Penguin’s top dystopic novel. Also from Penguin, Across the Universe by Beth Revis, is another dystopic novel, but one which takes place in space. This one is an okay read, nothing enlightening, and there is a general feeling of discontent when you reach the end.

From Simon & Schuster, look for Blood Red Road by Moira Young. This is a great debut, a little rough around the edges, but sure to pick up as the series progresses. Look for a full review here in June.

From HarperCollins comes Divergent by Veronica Roth. This is another glittering debut, sharper and more fully defined than Blood Red Road, it is an edgy look at a world that for the betterment of humanity, has broken itself up into factions according to traits brought forth during an aptitude test given to all sixteen year olds. When Beatrice, a member of the Abnegation faction (the governing faction, devoted to selflessness) chooses to become a Dauntless (a wild and reckless faction, devoted to courage above all else) she must deal with a the hidden danger of her own true status, factions that have taken their well-intentioned programs to the extreme, and her own personal morals, as she navigates through an increasingly volatile world. This is a great new novel, one I’m quite happy to see come from a publisher with such a strong paranormal and dystopic list (ie. the utterly fantastic and gritty post-apocolyptic Forest of Hands and Teeth trilogy by Carrie Ryan). It’s a difficult book to put down and has a whopper of an ending—a must for genre fans.

From Scholastic comes Libba Bray’s Beauty Queens—an truly aweful dystopic-like satire, that will be throughly reviewed and harrangued in May.

As dystopia continues to prevail and over run the paranormals and steampunks, it is sure that we will see more and more of these novels. We are a society that thrives on such tales: Maybe because we’re teens searching for a way to outlet our rage against authority, or maybe because we desperately need some pity and purgation. Whatever the reason, they will write it and we will come, because we all want to topple a totalitarian world every once in awhile.





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If I Stay & Where She Went: Why You Must Read Them

A couple of years ago I read a book that stuck with me. It was one of those teen novels that an adult can pick up and devour, one which I’ve seen more adults love than teens. I loved this book, spoke about it often, wrote about it, and even spoke about it at the 2009 Warwick’s Reading Group Recommends Night. Here’s a brief snippet of what I had to say.

Mia is a promising cellist living a fulfilling life with her parents, young brother, and boyfriend, when in the blink of an eye her entire world is taken away. As she sees her past and the promise of an uncertain and painful future Mia must make a heart wrenching choice: let go of her tenuous hold on life, or stay, live without all that she holds dear. If I Stay by Gayle Forman is the most compelling book I’ve read this year, and surprisingly enough it is a teen novel. This is an amazing debut novel that pulls you in and does not let go.

It’s true, this book stayed with me, and two years on I still remember the visceral effect this book had on my emotions. It is one of the few books I had to sit and contemplate upon finishing, rather than hop directly onto the next book. I even downloaded the music mentioned in it—and have become a fan of many of the songs—because I wanted those unique feelings to last.

On Tuesday (April 4, 2011), Where She Went, the sequel to this amazing debut came out. Taking place three years after the horrific accident that destroyed Mia’s family, this book is told from the point of view of Adam, Mia’s former the boyfriend, the person who made Mia stay in this world, when it would have been so easy to let go. Adam, now a famous musician, is barely holding it together mentally, emotionally, and socially when a chance encounter with Mia, a rising star in the classical world, sets off a night of remembrance that will finally give him the answer to where she went and why she stayed.

I don’t know how she does it, but Gayle Forman manages to tap into your emotions in a way few authors can. You feel not only for the characters, but also with them. If I Stay was such an emotional roller coaster, dealing with the pain of loss and question of living with that pain or leaving it all behind, and Where She Went is equally brilliant emotionally, but here it is the anger of being left (physically and metaphysically) behind that rolls over the reader like a tidal wave. Her use of music and lyrics are inspired—truly tapping into the importance of music within the lives of Mia and Adam, but also how much we, the readers rely on music and its’ cathartic powers in our everyday lives. It’s as though she has this brilliant score running beneath the text, not so noticeable that it detracts, but just enough to add to our understanding of the plot and character development. She moves us with music without us ever hearing a single chord. I don’t know how she does it, but I want more.

If every book could this good, more people would be reading. I don’t know how to put it more succinctly than that. There are “must reads” and there are “read this nows”. Read this set of books now, you will crave more.



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A Mini Review of "Heads You Lose"

Heads You Lose
By Lisa Lutz and David Hayward

Lutz, of Spellman Files fame and Hayward, of no fame at all, team up to create a brilliantly neurotic whodunnit, with bodies, motives, and plot points flying in like Dorothy’s tornado in the land of Oz. A veritable he said/she said, with the authors blindly writing every other chapter, no one is safe and nothing goes as expected. I don’t know which is better—the story of siblings Lacey and Paul as they muddle their way through murder, drugs, and money—or the squabbling and character assassinations between authors Lutz and Hayward at the end of each chapter. No one is safe. Nothing is sacred. And if Lutz and Hayward do not publish The Fop (you have to read the book to find out what I’m talking about), they are missing out on a great marketing opportunity!
Highly original, exceptionally entertaining, and an ending that is wholly unexpected, Heads You Lose is a read unlike any other.





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Bent Road

While I would hesitate to call Bent Road by Lori Roy a psychological suspense or even a dedicated mystery, I can say that it is an engrossing read. This new novel brilliantly captures the small town aura of 1960’s Kansas. Flitting between the 3^rd person narratives of four characters; Celia, her two youngest children Daniel and Eve-ee, and her sister-in-law Ruth, the novel manages to be both literary in its encapsulation of small town life and prejudice and intriguing in it’s presentation of two mystery subplots, the unexplained death of Eve (Celia’s sister-in-law) decades before, and the sudden disappearance of a young girl. I say subplots because while both are essentially the blood in the veins of this story, their strength in terms of plot falls in comparison to the infinitely more interesting character study that this novel becomes. It is easy to become sucked into the world of these characters, to feel sorrow with them, fear for them, and to be angered by their actions. One becomes far more concerned with the thoughts and actions of these individuals than the (to my mind) less interesting mystery-plot. The ability of Roy to elicit this response from a reader as a first time novelist says a lot about her writing prowess. I would highly recommend this new novel to lovers of solid character-driven fiction.

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Gothic Mystery Meets CSI

Instruments of Darkness
by Imogen Robertson

Set in late 18th century England, Instruments of Darkness is a wonderfully intriguing novel. Robertson successfully manages to intertwine gothic suspense with period forensics, a concept that has never before been so charmingly presented.

The story follows Harriet Westerman, the strong-minded wife of a sea captain and Gabriel Crowther, a crusty and secretive anatomist. The two are drawn into an unlikely team after Harriet finds a dead man on her property with ties to Thornleigh Hall, the rather menacing home of the invalid Earl of Sussex. As Harriet and Crowther begin their partnership a man is murdered in front of his children in his London music shop. While it is no great leap to see that the two events are thoroughly connected, or who it is that set the events in motion the story unfolds compellingly.

Roberton’s characters each have their own hidden depths and secrets, many of which are not answered within this first novel (it will become a series), these multi-layered beings entice readers to stay with the plot, despite the rather obvious conclusion. Yet, don’t let the ease of the plot throw you off, the book is well-written and entertaining, it’s enough of a mystery to keep you hooked, if only to see how the characters will react to the outcome. It is these characters that will bring readers back for future sequels.

In all, this is a good period mystery, sure to entertain fans of writers like Alan Bradley and Anne Perry.



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Vampire Cat Burglar: What's Not to Love

Bloodshot
By Cherie Priest

In the midst of the vampire fiction tidal wave Bloodshot is a breath of fresh air. Centering on Raylene Pendle, a world-renowned thief who happens to be a vampire, Bloodshot manages to make a rather tired genre fresh. This is a fast paced novel where the heroine, although undead, is decidedly human. Whip smart, agile, and cocky Raylene is not some super human creature stalking the night for prey. She’s a thief who is drawn into the job of her life when a blind vampire sends her on a mission to track down his missing medical records from a government facility. What follows is filled with adventure, tongue-in-cheek comedy, drama, and just plain fun.

This was one of those books you pick up and don’t put down, not because it is deep and thought-provoking, but because you are just having too much pleasure reading and don’t want to stop. Raylene is a one of a kind heroine, flawed, funny, and brave and the motley cast of characters she picks up on the way are just as unique and endearing. Fans of Charlaine Harris who are looking for a little more intelligence and a lot less brooding look no further; you will become a convert to this new series and a fan of Priest. As we speak I’m picking up her some of her backlist titles and can’t wait to dive in and after reading Bloodshot, I have a feeling you will be too.


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The End of Fever?

I have been patiently awaiting the book Shadowfever by Karen Marie Moning since I finished her last book Dreamfever in August of 09. It’s difficult to wait for a sequel and even twice as hard when you know that the next book is last in the series. This difficulty was expanded for me significantly because I finished Dreamfever in Dublin, the series’ location—it just made me want to read Shadowfever that much more. Shadowfever came out Tuesday, January 18th; I finished it on the 19th.

What do you say when a series you love has come to an end? How do you critique the culmination, when what lead up to it was so good? I find myself asking these questions in the dark of night, knowing that I should have some mention of this beloved series within this blog, but not quite sure how to sum up my thoughts. I’ve sat on it for several days, and hope that I will be able to successfully convey my thoughts, both praise and the occasional criticism, in a manner benefiting such a unique and thoroughly enjoyable series.

I do not wish to give any of the plot away, I hate it when people do that with series conclusions, but I will say that I was happy with where the characters end up, enjoyed their journey, and am a grateful reader now that I know Moning is working on another series within this world. I love how the characters, primarily protagonist MacKayla Lane, evolve throughout the five books. The changes in Mac from a spoiled, flighty, pink-loving bit of fluff (or Mac 1.0 as she calls herself), into a strong, damaged woman, willing to risk it all to solve her sister’s murder and essentially save the world is wonderfully done. Mac and those around her are fully fleshed, three-dimensional characters, ones you want to know, or in some cases, ones you hope to never meet. Moning brilliantly nails the emotional journey of these characters; and she does so in a manner the reader feels genuinely understands the large shifts in character that take between Darkfever and Shadowfever. One cannot help, but love her unique world, characters, and story.

That being said, it is clear that I loved the series, but I didn’t necessarily love Shadowfever. Don’t get me wrong, the characters and plot were fantastic, but Moning utilized some stylistic choices that were distracting, sometimes confusing, and extremely existential. As one reader pointed out to me, it seemed as though there was a completely different author between this and the first book. The style was so dramatically different, extraordinarily philosophical--to the point where, for the first time when reading Moning, I found myself skimming passages. Also, Moning employed a confusing dialogue style where many one-line conversations would take place between several characters at once, causing confusion as to who was speaking, what was being said, etc., something that works well when used sparingly or when used in live productions, but is just plain distracting when used as prolifically in print, as it is in Shadowfever. These style choices have not been present in Moning’s other works, and actually works against the flow of the plot, as opposed to accentuating the storyline, which is what I’m sure she is trying to do. Look, this is a paranormal series, not Nietzsche, don’t try to be what you are not, it doesn’t create fans, it just makes you seem pedantic. I want a great story, not one that puts on airs. That was my brief rant. I hated saying it, but it needed to be said.

So, Fever series? Read it. Shadowfever? Read it. Despite the excess philosophical ramblings the story is so good it would be a shame to miss it, especially as the series itself is phenomenal.




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