Thursday, September 25, 2014

Flashback July 2012

A look back at what I reviewed in July 2012:



One Moment by Kristina McBride. From my review: "If you could change one moment in your life . . .  That’s how Maggie feels. She wants to change one moment so that it doesn’t end with her boyfriend Joey dead, floating in the water below the cliff. Only thing is, she doesn’t remember what happened at the top of the cliff; she remembers agreeing to jump off the cliff into the cool water below, something Joey and her other friends have done countless times over countless summers. But after that, she remembers nothing. So what is the one moment to change? Something at the top of the cliff? Earlier, when she agreed to jump? If they all hadn’t gone to the party the night before, would things have ended up differently?"

Dark Companion by Marta Acosta. From my review: "Jane is a terrific mix of tough and vulnerable, smart and naive. Here she is on why she is at school: “It was rage that got me to Birch Grove Academy for Girls and out of Hellsdale. I nestled into my bed, knowing that rage would help me survive here, too.” Jane may know the way of the streets, but families are alien territory. What I liked about Jane is how her background impacts her; for example, one of the first thing she does when she settles into her own home (which is a cute little cottage I would love to live in!), is to find a place to hide those things that are important to her. When Mrs. Radcliffe takes her on a shopping trip so that Jane is ready for school, Jane returns half the clothes and pockets the money, putting it in with her secret stash. She’s a foster child who has to hide what is important to her, and who has to be always ready to run."

A Confusion of Princes by Garth Nix. From my review: "Prince Khemri is one of the ten million Princes who rule the Empire. To “ordinary folk,” these Princes seem immortal. And, it’s true, that they can be reborn in certain situations; and that they are augmented in what may appear to be super-human ways. . . . The sixteenth anniversary of his selection as a Prince-candidate is Khemri’s day of investiture as full Prince. He even gets assigned a Master of Assassins! Khemri has big plans, based on his grooming as a Prince and the things he’s been taught. He’s going to get a warship, go explore, make his mark, and become the next Emperor. Turns out, his education wasn’t complete. Some details were left out. Like the competition between Princes can be deadly. Instead of sitting back and living out the adventures lived in his favorite Psitek experience, The Achievement of Prince Garikm, he finds himself being saved from assassinations attempts and enrolled as a Naval candidate because the Academy is one of the few safe places. That’s all in the first thirty pages. That doesn’t even cover Khemri’s three deaths. Action, suspense, space pirates, and, yes, even a touch of romance in this intergalactic adventure."

Lies, Knives, and Girls in Red Dresses by Ron Koertge, illustrated by Andrea Dezso. From my review: "I love retold fairy tales, especially when they twist and tweak and turn inside out. You may remember that from my post about the TV show Once Upon A Time. Take something you think is familiar, look at it from a new direction, what new truths are there? Most of these tales live in a world that is both modern and fairy tale. The first one is The Stepsisters, from Cinderella, and begins “I write this on a brailler, a kind of typewriter/ for the blind.” Like some (but not all) of these stories, it takes the viewpoint of a secondary character (the stepsisters) and makes references  that are both non-fairy tale (a brailler) and classic (the birds pecking out their eyes.) It gives a different perspective: “Mother turned us against our stepsister,/ belittling her.”"

This Is Not a Test by Courtney Summers. From my review: " I like zombies. Love zombie movies and TV shows and books. I want three things from a zombie book: a new take on the story. A good metaphor for what the zombies represent. And a concrete tip or two on how to survive the zombie apocalypse.
This Is Not A Test is told from the point of view of a depressed, abused teenage girl who wants to die. Sloane was “rescued” by two high school classmates, Rhys and Cary, who didn’t know she wasn’t trying to survive, not like the rest of them. And now she is one of six, huddled up in a school, exits blocked and barricaded. Five teens who want to survive: . . . . And Sloane, whose secret is she’s not like them, never has been. Sloane doesn’t want to live, but she doesn’t want to put the group at risk, won’t do to them what [her sister] Lily did to her, so she finds herself with them, in the high school, where her silence is mistaken for strength."

Long Lankin by Lindsey Barraclough. From my review: "When reading this, I was reminded of three authors: Diana Wynne Jones, because Barraclough’s capturing of childhood reminded me of Jones. When Cora discovers a piano in her aunt’s house and wants to play, she sits down. But what child just sits down on a piano stool? “I sat down on the stool, one of those that whirled around and went up and down, and I must have whizzed round on it for five minutes at least before I cam to a stop, all giddy.” Stephen King and Peter Straub, because Long Lankin is a horror story about cursed generations, missing children, murders, witchcraft, and the supernatural."

And a little blatant self promotion, for the book Sophie Brookover and I wrote, Pop Goes the Library, because in 2012 was when a e-book version became available! Yes, the title is still in print, still for purchase, and still has a lot of valuable information... even if it was written before the Brangelina wedding.




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© Elizabeth Burns of A Chair, A Fireplace & A Tea Cozy

Tuesday, September 23, 2014

Review: Belzhar

Belzhar by Meg Wolitzer. Dutton Children's Books. 2014.

The Plot: Jam Gallahue was in love with Reese Marfield and it was wonderful and magical and all that made life living.

Was.

A year that has passed since she lost Reese, a year of life not being worth living, a year of Jam barely able to leave her bedroom, shattered by his death.

So Jam's parents have done the only thing they can think of: sending her away from her New Jersey home and all the memories, to go to The Wooden Barn, a boarding school in Vermont for those who are "emotionally fragile, highly intelligent."

Jam isn't happy to be there, but then she finds herself in a unique seminar: "Special Topics in English," with five students intensely studying one author for a semester. This year, the author is Sylvia Plath.

Each student is given a journal, to write in. And when Jam puts pen to paper ... something magical happens. She finds herself in a place where time stands still, and Reeve is hers again.

As the semester draws to a close, Jam wonders what will happen when she reaches the last page. Will she figure out a way to stay with Reese? Should she?

The Good: Another one of those books that I love, but part of what I love is the twists and turns and the reveals. It's not just the secrets: it's finding out the secrets.

Jam is at a school for the "emotionally fragile," so everyone has some type of story Hers is Reeve. Her fellow Special Topics members (Sierra, Marc, Griffin, Casey) each has had a loss; each, it turns out, can also use their journals to return to that pre-loss time. Inspired by the title of Plath's novel, The Bell Jar, they call the place they go to Belzhar.

Jam's whirlwind romance with Reeve was meaningful and magical but short: only 41 days. Actually, that is the sum total of the days they knew each other. It was sixteen days before they kissed. So Jam has only a handful of memories stored up and what she finds is in that Belzhar, she is limited to experiencing only what actually happened. Oh, it's not as if she's stepping back in time: Reeve understands that something is happening, something outside time almost, and impatiently worries about the times she isn't with him.

And... I don't want to get into spoilers, about Jam and her friends, or about Jam and Belzhar, and what it is or is not. But wowza; there was a certain deliciousness in reading and figuring out and discovering, much like there was with We Were Liars (but for different reasons.) Belzhar is not just about "emotionally fragile" people, but it's what it means to be emotionally fragile and how that shapes how you see the world and how you act in it. And aside from that, it's about the stories we tell ourselves about ourselves, much like The Bell Jar itself is Plath telling her story in a certain way.

And, of course, the language! This, for example -- "to be on the verge of your life, and not to be able to enter it" is just such a good description of someone being held back and knowing they are held back, for whatever reasons.

Or this: "Because when I let go of the story I've been telling myself and just try to think about what's objectively true, I can barely get a grip." And how often is that true, also -- the truth being so frightening that we tell ourselves other things we believe to be true, to get through the day.




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© Elizabeth Burns of A Chair, A Fireplace & A Tea Cozy

Thursday, September 18, 2014

Review: Falling Into Place

Falling into Place by Amy Zhang. Greenwillow Books, an imprint of HarperCollins Publishers. 2014. Review copy from publisher.

The Plot: Liz Emerson, a high school junior, has crashed her car into a tree.

She planned it, oh so carefully, to look like an accident.

It wasn't.

Now, as she lies in the hospital, hovering between life and death, Falling Into Place examines just what led her to that fateful moment.

The Good: Falling Into Place has some seriously beautiful writing. I dog-eared (yes, dog-eared, don't tell) so many pages to mark passages where the language knocked me off my feet.

"But that afternoon, in the abandoned field by the elementary school, Liz pretended that they were. In love. She lied to herself. Her world was almost beautiful. She didn't care that it was false."

"Had the world always been like this? Why had it seemed so much kinder when she was younger? Why had it ever seemed beautiful?"

In some ways, Falling Into Place is the mirror-image of Thirteen Reasons Why by Jay Asher. In Thirteen Reasons Why, Hannah explains her suicide by naming the people who hurt her, who let her down, her gave her no reason to live. Liz's story, also is a list of the reasons she gives herself for aiming her car at a tree... except her reasons are not things done to her. No, Liz's reasons are the things she did to others.

A small aside: if you don't like any spoilers, go no further. Because my conversation will be mainly about the characters and who they are, and aren't, and for some that may be too much.

I'll be honest: Liz is a difficult person to feel sympathy for. Or, at least, it was difficult for me to feel any sympathy for her. I began liking her, the way you would any character, but as the way Liz treated others piled up, action upon action, I just -- couldn't. I felt sorry for her mother, as her daughter's life hung in the balance, because that is a terrible situation to be in. But Liz herself.....

Liz is the type that hurts people because she can. Because she feels it's better to hurt others first, before they can hurt her. Because she has some own deep childhood wounds -- a father who dies tragically, a distant mother who cannot connect either emotionally or physically with her only child. She is, inside, a hurt and jealous child: "It made her remember that there had once been a time when she was in love with the sunshine and the wind and each brief flight. It was like watching the sky change colors, his playing. And then it made her jealous, because Liz Emerson was never at peace like that. Not really. Not anymore."

Liz both recognizes what she does and hates what she does yet cannot stop herself; she knows she does hateful things but does nothing to stop or make amends. She thinks she cannot fix what she does, so she doesn't even try. Instead, her solution is to end herself. "She looked around and saw all of the broken things in her wake, and then she looked inside herself and saw the spidering cracks from the weight of all the things she had done. She hated what she was and didn't know how to change, and half an hour before she drove her car off the road, she that despite all of that, she didn't have enough force to stop the world from turning. But she had enough to stop her own."

And... despite the glimpse into who Liz is, and seeing those who both love her and forgive her, despite not wanting her dead, I find I cannot feel much for Liz. I feel for those who she breaks: there's at least one suicide, plus a handful of teens whose lives get sidelined with pregnancy, drug use, failures. It's nice that we see at least one of her victims put aside Liz's actions and words, see her vulnerability, forgive her, and get on with his own life instead of letting Liz ruin his whole future -- but it wasn't a real balance. Not to me. And Liz herself had nothing to do with it. One of her good friends thinks, "she doesn't remember when she turned into such an awful human being" and the friend is thinking about herself, but it could be about Liz, and the thing is -- they are awful. And they feel bad about it, when it all comes crashing down....but where do they go after that?

These are the teens who I hope against hope that the real life teens I know never, ever encounter. And that if they do -- they are the type who don't care what the Lizs of the world think or do.

What is frustrating about Liz is the obvious: her world, the world she wants to escape, is her own creation. She sees a cruel world because of who she is; and that Liz has shaped her reality to be her is something she doesn't recognize. She doesn't see that she can stop it by changing how she sees the world: by looking, once more, for the beauty she saw as a child.

But what matters about Falling into Place is not what Liz learns or does not -- it's what the reader figures out. That the reader realizes, like one of Liz's targets, that just because someone like Liz is "never careful with her life or anyone else's, and in her disregard was a coldness, a deep cruelty, a willingness to destroy anyone, everyone", there is no reason to let Liz destroy everything: "he found that there were still beautiful things in the world, and nothing could ever change that." What the reader can also see, as Liz's full life comes into view, that Liz's world is also the sum of her own choices, her own times of going for cruelty and power instead of understanding and kindness.

What also matters about Falling into Place is the language. It's beautiful writing, that makes the ugliness more bearable -- much like Liz herself looks for beauty, yearns for it. I look for the beauty in Falling into Place. And I find it, in how the story was told. In how the pieces fall into place. And how, finally -- I do find, underneath it all, that I have sympathy for Liz, after all. In how she and her world spun so far out of her control that she felt like there was only one answer.



Other reviews: Scott Reads It; The Perpetual Page-Turner; Queen Ella Bee Reads.




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© Elizabeth Burns of A Chair, A Fireplace & A Tea Cozy

Tuesday, September 16, 2014

Review: Poisoned Apples

Poisoned Apples: Poems for You, My Pretty by Christine Heppermann. HarperCollins. 2014. Reviewed from electronic galley.

The Plot: Fairy tale retellings, in poetry and photographs.

The Good: Seriously, I just adore retellings. Whether it's looking into the historical origins of fairy tales, modernizing them, twisting them -- I just love what people can do with the familiar and the unknown, making them new and fresh.

Poisoned Apples approaches fairy tales with a particular question: what do they say about what it means to be a woman? What does it mean in today's world?

"The action's always there
Where are the fairy tales about gym class
or the doctor's office of the back of the bus
where bad things can also happen?"

Where bad things happen. There, right there, it shows that the darkness of the fairy tales is what will be examined.

So many good, tight poems, and each is independent, so it's hard to write about because how to select just one or two.

Some are cynical -- the "Prince Charming" who is charming to parents but says to the girlfriend
"Girl,
you look amazing. That sweater
makes your boobs look
way bigger."

Others are not. "
Retelling" says, "What the miller's daughter should have said
from the start
or at any point down the line is,
no."

And then offers a better solution:
"Once upon a time
there was a miller's daughter
who got a studio apartment
took classes during the day."

"Retelling" may be my favorite because it says, you can say no. You can put yourself first. And that means a happier ending for everyone.

Poisoned Apples is a short book but not a quick read. There is a lot here to discuss; a lot to think about it; a lot to question. And the questions are not just about fairy tales and the poems. It's about what it is to be a woman, what that means, what society and family and friends say it means.

I reviewed this from an electronic galley; and let me say, I want to get my hands on the final print version because I think it's going to be an even more intimate reading.

Other reviews: Sense and Sensibilities and Stories; Kirkus Reviews.

Amazon Affiliate. If you click from here to Amazon and buy something, I receive a percentage of the purchase price.

© Elizabeth Burns of A Chair, A Fireplace & A Tea Cozy

Thursday, September 11, 2014

Reading - It's Good For You!

Honestly, I don't care.

No, not entirely true -- telling me I should read something because it's good for me is a turn off.

Really.

The New York Times ran a Bookends dialogue asking, Should Literature Be Considered Useful?

And I ask -- why. Why.

As an adult, reading because I want to -- this really pisses me off.

Does everything have to be "useful"? Does everything have to have reason, a point, a higher message?

Listen, it's cool if that is why you read fiction. Or, rather, if that's one of the reasons you read. I think, at different times, we read for different reasons. So that some people are indeed reading for a purpose beyond entertainment, that includes gaining education, information, or enlightenment. That's cool. That's your choice.

But please -- don't frame your choice as being better than mine. Don't frame your choice as meaning that's the only reason to read fiction. Don't frame it as the only way to gain that useful information or education.

I'm afraid that part of the reason literature is looked at as "what can it do for the reader," "what benefit it gives," is that, sadly, is the world we live in - what is valued is not being lost in the book, but the test taken after reading to prove that the message was received and the lesson understood. Reading is literacy and grades, test scores and college applications, jobs and promotions.

Pleasure and enjoyment, escape and relaxation, isn't enough in a world where everything has to be purposeful and achieving and enlightenment.

I actually find I get a bit defensive about it -- like I have to justify reading for fun. That I have to give reasons about how I spend my other time to show my non-reading time is useful and productive enough to prove that I deserve time for fun. I fall into that trap that values the "work" above the "fun." Look at all the hours I worked! Look at all the professional reading I do! Look at all the other things going on in my life! Look at what I already know, that I don't need to read a book to know that "message"! And then I pull back, realizing I'm simply supporting the idea that reading as fun is something that comes in second, has to be earned, isn't good enough.

And I cycle back to my start:

I read for fun. Not for enlightenment, not to be a better person, not to learn about the universal human experience. I read to get scared, I read to fall in love, I read to feel less alone, I read for adventure, I read for so many reasons that all fall under.... because I want to.

And if that's why I read, why shouldn't that be OK for teens and kids?

Oh, I get that just like I have things to read with a purpose for work, they have things they have to read with a purpose for school.

But that's not the only way or reason to read. And, especially outside the school environment, reading for fun, rather than reading "because", should be championed.

It shouldn't be a guilty pleasure.

It should just be ... a pleasure.





Related posts: Libraries - More Than The Common Core


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© Elizabeth Burns of A Chair, A Fireplace & A Tea Cozy

Tuesday, September 09, 2014

TV Review: Happy Valley

Happy Valley, TV series on Netflix, originally created for and shown on BBC One.

The Plot: Catherine Cawood is a Yorkshire police sergeant, divorced, living with her sister, raising her young grandson, Ryan.

She's put together the pieces of her life following the tragedy of eight years before that ended in her daughter dead, Catherine's own divorce, raising her daughter's baby, and her son not talking to her.

And then she finds out that he's back. Tommy Lee Royce, the young man responsible for her daughter Becky's death -- even though there was nothing Catherine can prove. That was then, this is now. Catherine's search for justice is going to take her to unexpected places.

The Good: Sarah Lancashire, Sarah Lancashire, Sarah Lancashire.

I love this show so much, and the actress, that I'm never going to do it justice.

I sat up and took notice of Lancashire in Last Tango in Halifax, a show about two people who meet up again after sixty years, fall back in love, and what that means to themselves and their families. It is a terrific show, and I'll write about it one of these days. Lancashire played one of the adult daughters of the couple who remeet. It was created by Sally Wainwright, who then wrote Happy Valley, creating the role of Catherine for Lancashire. (When I looked up Wainwright on IMDB I also found out she wrote one of my favorite Shakespeare Re(Told) episodes, The Taming of the Shrew.)

Happy Valley is a mystery, a police drama, a family saga. Catherine Cawood is a fabulous character. She's tough and capable and good at her job. She's strong but not superhuman. She has flaws. She's in her late forties, with a complicated family. After having a few drinks with a man (see, I'm being very sparse with details), as they're kissing in the car, she matter of factly tells him "I'm too old to be shagging in cars" so invites him in. And yes - I confess that I loved watching a show about someone my age, being given a full, independent life.

In case you can't tell, half the reason I love this show was the amazing character of Catherine Cawood and how magnificently Sarah Lancashire brought her to life. In Happy Valley, it's not just Catherine who is terrific, but the other characters, also. There is a strong ensemble cast, and the other women are just as nuanced and shaded as Cawood.

The other reason I fell hard for Happy Valley is the story. The mystery is two-fold: first is the one close to Catherine's soul, what happened to Catherine's daughter, the role that Tommy Lee Royce played, and what Catherine will be willing to do to get justice -- or, revenge.

At the same time, the viewer watches another mystery unfold: a man unhappy with his job and his boss sets in motion a kidnapping, not realizing the brutality he sets forth in motion. Because the kidnappers demand silence, the police at first aren't aware so that it takes a bit for Catherine to be directly involved. The viewer knows, though, and watches near-misses and overlapping events with a fuller knowledge than any on0screen character. Eventually, the threads of the stories are braided together into strong, marvelous storytelling.

The setting is West Yorkshire, an area called "Happy Valley" because of high incidence of drug related problems. Catherine's sister is a recovering heroin addict, and drug use and trafficking are always lurking in the background, a vague poison to everyone's life. Happy Valley is not happy.

And yes, I'm not giving many details -- because part of the enjoyment for the first watching, at least, is learning secrets and seeing how all the pieces of the puzzle fit together.

Who will like this? Viewers who have enjoyed Broadchurch, the Fargo series, and True Detective. Like those shows, this is not an easy, happy mystery TV series. The stakes are real; their is violence and death. There are no happy endings. . . . but there are resolutions. And, in some ways, people making peace with their lives.

For those who have watched this -- can you recommend any books that have the same type of setting and characters as Happy Valley?








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© Elizabeth Burns of A Chair, A Fireplace & A Tea Cozy

Thursday, September 04, 2014

Review: It Happens

It Happens: A Guide to Contemporary Realistic Fiction for the YA Reader by Kelly Jensen. VOYA Press, an imprint of E L Kurdyla Publishing, LLC. 2014. Personal copy.

It's About: Don't you just love non-fiction books? They have the entire pitch in the subtitle.

Disclaimer: I am good friends with the author. I am quoted in It Happens. And I'm in the Acknowledgments.

The Good: It Happens is organized into three sections: Real Tools; Real Reads; and Real Talk.

The first part defines what, exactly, is contemporary YA fiction and why it matters to readers. As a former lawyer, I love that Jensen does this. I believe that it's hard to have conversations and discussions when we aren't beginning from the same place; and the way to know where that same place is by doing what Jensen does in Real Tools. I think even those familiar with YA fiction and contemporary YA fiction will appreciate what Jensen says.

Next is what is the heart of the book: Real Reads, extensive lists of contemporary titles. The lists are broken into fifteen themes. There are tons of books here, including books from 2014. Of course, I did what I always do when given lists . . . quickly skim to mark what I read, then actually it to discover books that I haven't read.

Real Talk, the final part, is basically "lists plus." Now that Jensen has provided the plethora of titles, with themes (so that they can quickly be used for booklists, booktalks, and displays) Jensen provides the "plus" -- how to use the titles to start conversations, especially tough conversations on topics like bullying and sexual assault.

I'll conclude with some reasons about why I think contemporary YA fiction is loved by readers. I believe that YA readers, like adult readers, should have the books they want and need to read. And so that includes contemporary books. I think that sometimes contemporary books can be easier for readers because they go in "knowing" the world and the characters, but the setting and people are familiar. It's the towns they live in, the families they live with, the friends they go to school with. I think that familiarity is very important to readers -- and it's why I think contemporary realistic fiction has to reflect the contemporary world, in terms of race, ethnicity, religion, gender, economics, family -- well, you get the idea.

I think that too long, the default for books have been that anyone can and will identify with the middle class white main character so that it's OK that the majority of books that show only that world. And I think that is a ridiculous reason to not have the diverse books readers want and need. To bring this back to It Happens, Jensen includes diverse books in her lists, not just in her section about The Diverse World but in other sections. Books about sports includes books with characters that have obsessive compulsive disorder; books about best friends include books about people of color. Multiple entry points are included for each book.

Other reviews and links: Jen Robinson's Book Page; Circulating Ideas Podcast interview.

And a bonus -- a giveaway! Kelly Jensen is having a giveaway of her book over at her blog, Stacked. A winner will be picked later this month.




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© Elizabeth Burns of A Chair, A Fireplace & A Tea Cozy

Tuesday, September 02, 2014

Review: Wildlife

Wildlife by Fiona Wood. Poppy, an imprint of Little, Brown. 2014. Reviewed from ARC.

The Plot: It's time for the "dreaded term" that is an "outdoor education camp." Nine weeks away from home, in the middle of nowhere, just you and some classmates and teachers.

Sib -- Sybilla Queen, 16 -- will be going. It's both dreaded and looked forward to, and she'll be going with friends and teens she's known her whole life. And all that time away from home! Things aren't quite what she expects, though, when she starts a romance with popular Ben Capaldi and her best friend Holly veers between jealous and supporting.

Lou, also 16, is new to the school and the group. She stands out, not just for being new, but for also not caring if she makes friends or enemies. Instead she sits back and observes. But if she's not willing to let people into her life, can she really tell others about how they're living theirs?

The Good: Wildlife - first, for the record, every year there is one book whose name I just repeatedly get wrong. This year, whenever I say Wildfire, know I mean Wildlife.

Wildlilfe alternates between two stories: Sib and Lou. Sib's story is about the girl who before school starts gets her braces off and has her acne clear up -- you get the idea. The cosmetic changes are even more amped up, because she posed for her aunt's advertising campaign. A glammed up version of Sib is what introduces her classmates to the "new" Sib -- except it's still the same old Sib, inside.

The New Sib now has a new boyfriend, Ben, and she is both flattered and scared by that. Yes, she likes him, but it's her first real boyfriend and she's just not sure what she wants or how she wants to be. Her best friend, Holly, is there, always being supportive and telling Sib the way she should be treating Ben.

Here is Sib describing Holly: "Maybe I need to explain that Holly's mean is not really meant to be mean -- it's just Holly! And you get used to it!." The reader doesn't need Lou seeing the Sib/Holly friendship to realize the relationship is toxic, and unhealthy, and Sib has no idea that Holly is that mean.

Lou's boyfriend died. It's probably best to get it out there, up front. She is still grieving and isolated, keeping the world at arm's length. Her moms think that the "outdoor education campus", nine weeks in the "wilderness," will somehow help. (While Lou hasn't attended the school before, one of her mothers went as a teen.) Lou's story is one of grief and loss and recovery, and putting together ones life. She's slowly drawn into the world she finds herself in, not through the other girls in her cabin -- Holly has marked her as an enemy, an outsider -- but through Michael, Sib's other best friend.

This is not a book where Lou and Michael fall in love, or where Lou finds new love. No, it respects Lou's loss and the time, the long amount of time, it takes when a loved one dies. What Michael and Lou offer each other is more important: friendship and acceptance. Lou needs that, even if she won't admit it, and Michael needs it, because he has to go through the pain of seeing the person he loves -- Sib -- happy with someone else.

This isn't a book about Sib and Ben falling in love. Sib and Ben's relationship is important, and I loved how Sib sorted out all her own complicated feelings about Ben. She's attracted to him, she wants a relationship, but she's also not quite sure about him or herself. Ben's a decent enough guy, but he's a teenaged boy. He doesn't pursue Sib until after she's glammed up. He and Sib are put together in a heightened time and place, the intensity and isolation of the wilderness experience. Out in the real world, would they have anything in common? And does that matter? One thing I love about Sib is that, when it comes to Ben, part of Sib realizes all this. But part of her is also young and new to relationships so she is unsure just what she wants from Ben and how to proceed, both emotionally and physically. So Wildlife is about their relationship, yes, but Wildlife is about a more important relationship.

Wildlife is a book about the friendship between Holly and Sib. Sib is in some ways a passive girl. It's not the type of passive of someone who doesn't know what they want; it's the passive of someone who is content with what they have. So content that it's not that she lacks strong feelings about things, but that she doesn't care so lets Holly take the lead. It's like the old deciding where to go for dinner: it's not that the person who says "I don't care" doesn't care, it's that they have no real strong urge for Italian or pizza or hamburgers or Indian, they just want food, and if you care, fine.

It's the type of passive that allows Holly to be the leader, and for Sib to go along with it. It's what some people call "too nice." But here's the thing about that type of "nice." It is genuine. Sib truly loves, and forgives, Holly.

Holly is a wounded girl: from the start, Sib explains that part of her tolerance for what Holly does is that she, Sib, knows the "real" Holly. What the reader (and Lou) sees is a girl who has gone from acting mean to being mean. A girl whose own insecurities and need for popularity and acceptance means that she's not afraid to push others around, and push others buttons, to get what she wants. Holly is the type of girl you don't want your child to be friends with: not because she's dangerous, but because you know at some point, she's finally going to go too far and hurt your child emotionally. And much as I grew to hate Holly, I have to confess: given her own emotional wounds, I wonder if Holly at some point will "grow up" and stop hurting others to make herself feel better. I wonder if she will ever become self aware. Still, that is just wondering --in the meanwhile, I want those who Holly hurts to stay away from her because they can't fix Holly. Only Holly can.

Wildlife is about Sib and Holly's friendship slowly, messily ending. Just as the boarding situation helps Sib and Ben's relationship progress, it also helps Sib and Holly's friendship implode.

Oh, the reason I put "wilderness" in quotes earlier is that this isn't tents and camping. There are cabins, and meals, and toilets, and showers, and classrooms. It is in the middle of a wilderness area, with opportunities for tents and camping and no toilets or showers. Like many experiences, it's a very controlled "wilderness." It's also a great time for all the teens to practice being grown up and older with a safety net. They are away from home, yes; but there are still rules and teachers and chaperones around.

This is one of my Favorite Reads of 2014, because of the character growth and the dynamics between people.




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© Elizabeth Burns of A Chair, A Fireplace & A Tea Cozy

Friday, August 29, 2014

Review: Brazen

Brazen by Katherine Longshore. Viking, an imprint of Penguin Group (USA). 2014. Review copy from publisher.

The Plot: England. 1533. Fourteen year old Mary Howard is being married to Henry FitzRoy, also 14 but already the Duke of Richmond and Somerset.

Henry FitzRoy (Fitz to his friends) is the only living son of Henry VIII. That he is a bastard means that he can never inherit his father's throne, but he is important and Mary's marriage to him is important. She, now is important.

Only -- not so much. Henry VIII doesn't want the marriage consummated - both from a belief that it's not healthy for the young teens, as well as knowing that such a marriage can easily be annulled if necessary.

If the king's new bride, Anne Boleyn, delivers the longed for legitimate son, Fitz's role remains the same. But if not.... well, what if Fitz was made legitimate?

What is it that the young and noble do with their time? Mary and Fitz and their friends form a circle of teens whose time is dedicated to sports, and flirtations, and poetry and song and dance. The most important dance being, of course, keeping the King happy.

The Good: I loved the first of Longshore's books set in the court of Harry VIII, Gilt. Gilt, set in 1539, is the story of Henry VIII's wife Catherine Howard, told from the point of view of one of the queen's friends. I didn't read the next book, Tarnish, about Anne Boleyn coming to Henry VIII's court for a very simple reason.

Anne Boleyn breaks my heart. Every time. And I didn't know if I could read about her, young and hopeful. So I avoided Tarnish.

Longshore fooled me, though! When I heard about Brazen, I didn't think about years. I thought, oh, an interesting look at the young Tudor court. And since Reign is one of my current favorite TV series (all about the young Mary Queen of Scots) and because I loved Gilt, I said yes.

I'm glad I did. Even though Anne turns up, a new mother, with all her future yet to come falling apart. Because I loved Brazen. I loved young Mary, wanting to have fun but also knowing the seriousness of her situation, the need to successfully navigate the Tudor Court. And I loved reading this Anne, an Anne who is smart and strong and fights as best she can, having done her own dance of destiny -- and who, despite her best efforts, has it all crashing down on her. Because Henry VIII is a man who is ruined by the power he has; and Anne does not give him a son quickly enough to satisfy him. I love how despite the danger and risks, Anne insists on her own autonomy and personhood.

Early on, Mary overhears an argument between Anne and the King. He tells her, "You should be content with what I've done for you. And remember I made you what you are." She responds, "I am myself! I am Anne Boleyn. You have not made me!"  And he says, "I can make you nothing." And this is where I knew Longshore got Anne, her "I am myself," her belief in herself.

I loved Brazen so much that I'm willing to have Tarnish rip out my heart.

But now, back to Mary. I love the friendship she shares with Madge Shelton and Margaret Douglass. I love how Brazen shows the importance at that time of family, titles, money, and access to the king. Or rather, the danger.

Brazen captures the always-moving court and what that means to the members, to never stay in one place, to have their lives be spent in the rooms that are not their own, with rank and location determining where one sleeps for those weeks or months. Each section is titled by where the court is currently: Hampton Court Palace, 26 November 1533; Greenwich, December 1533; Greenwich Palace, 1534; Whitehall, 1534; Hatfield Palace, 1534. And that only brings us to page 72!

Brazen is also about being young. And wanting to be in love. And being in love. And not wanting to repeat the mistakes of parents. And it's also about words: Mary and her friends like songs and poetry, and one way they communicate with each other is by a shared book (based on the Devonshire Manuscript).

And yes.... it's a Favorite Book Read in 2014.

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© Elizabeth Burns of A Chair, A Fireplace & A Tea Cozy

Thursday, August 28, 2014

Review: Hate To Love You

Hate to Love You by Elise Alden. Carina Press. 2014. Review copy from publisher. New Adult.

The Plot: Paisley has a "slutty reputation" (her words) but is still "technically" a virgin. Technically isn't good enough: Paisley is pregnant.

Paisley meets her sister's fiance, who is as snobby as Paisley's sister. It's mutual annoyance (but also attraction) from the start.

Which is why Paisley pretends to be her sister and sleeps with the fiance, James.

Paisley doesn't have a supportive or loving family. Which may explain why she slept with James. It also explains why Paisley decides to share the truth - she slept with James - at the wedding reception. It also explains why she decides to tell a lie -- that James is her baby's father.

All hell breaks lose, helped along by the cell phone videos of her epic announcement. In the aftermath, Paisley gives her baby to James and leaves.

It's seven years later, and Paisley is back. Determined to establish a relationship with her son. But will James forgive her?

The Good: Let's start with I LOVED THIS BOOK. If the plot sounds like twelve kinds of soap opera meets a Lifetime movie meets a Syfy show, you'd be right and that's what makes it AWESOME and AMAZING.

First, yes, it's a traditional New Adult book which means plenty of sexytimes.

Now, as I get into things, you may be saying, but Liz, you're telling me too much! Spoilers, sweetie. Actually, all the information above? The reader knows that from the start! Part of why I loved this book is even thought I knew what was going to happen, I still had to turn the pages, wanting to know why and how it was going to happen. About half of the book is explaining just how James and Paisley ended up in bed together; and half is Paisley, seven years later, trying to get her life back.

The first half: I won't go into too many details about the epic night, except to say heavy drinking and black out curtains so that the bedroom is total darkness. (I KNOW.) (And if right now you're thinking about things like logic, like "wait, how can he be so drunk that he can't tell this isn't his fiance's body, that's just not making sense," part of the answer is "Caroline is such a good girl that he wasn't getting any action before this so he didn't know.") (I KNOW.)

The kind of middle, the wedding reception where she announces she slept with James and is having his baby, is noteworthy because of the videos people take of her. Not only does the video go viral, but it inspired a lot of people to use important family occasions to announce secrets to their families. Also on video. EPIC.

In a nutshell, first-half Paisley is a bit of a mess. There's a reason why she has a "slutty reputation" (I really hate the word slut, but Paisley uses it, so it's here in quotes), and that is slowly revealed. (Semi spoilery - there is a tragic backstory AND her family is just awful.) (No, seriously, so awful that by the end, any sympathy I had for Caroline was gone.) In a way, the disaster of the wedding reception and losing her son and her family wanting nothing to do with her is the best thing to happen to Paisley. She leaves England and in the seven years (which aren't shown in the book) Paisley sobers up, continues her education, and gets her act together.

Once back in England.... let's just say this is the type of book that the only job in the entire country that Paisley can get is at the place where James works. Working for him. (I KNOW).

So the second half is Paisley trying to prove to James she's changed, yet there's the attraction with James, and FEELINGS and SEXYTIMES.

But Liz, you may be saying. I get the soap opera and Lifetime references, but Syfy?

Did I mention the kind of psychic powers that Paisley has, and the sort of psychic connection she has with James?

Yes, this book had a lot going on. But you know what? I kept turning the pages. I wanted, no, needed, to find out what happened next and why and how. Paisley was working against such a stacked deck, was such an underdog, that I was understanding of her self-destructive behavior and hopeful that she'd have a happy ending. And at the same time... this was a roller coaster of "what the hell just happened" and I really enjoy that type of book!

Other reviews: Dear Author; Harlequin Junkies; Shh Moms Reading; Confessions from Romaholics.







Amazon Affiliate. If you click from here to Amazon and buy something, I receive a percentage of the purchase price.

© Elizabeth Burns of A Chair, A Fireplace & A Tea Cozy

Tuesday, August 26, 2014

Micol Ostow Blog Tour for Amity -- Interview


As you know, I really liked Amity by Micol Ostow. And by "liked" I mean "had the heck scared out of me."

So when I found out about the Blog Tour for Amity, of course I said I wanted in!


You know what I like about doing author interviews, like this? I get to ask questions! Which means that the things I wonder about, I can get the answers to.

I hope they are things that you also find interesting!

First, here's a short bio of Micol Ostow (from her publisher):

Micol Ostow has written dozens of books for children, tweens, and teens, but Amity is her first foray into horror. I turns out, writing a ghost story is almost more terrifying than reading one. (In a good way.) Her novel family was called a “Favorite Book of 2011” by Liz Burns at School Library Journal, and her illustrated novel, So Punk Rock (and Other Ways to Disappoint Your Mother), was a Sydney Taylor Notable Book for Teens.

In her spare time, Ostow blogs with the National Book Award-winning literacy initiative readergirlz.com. She lives in Brooklyn, NY, with her husband, her (utterly fearless) daughter, and a finicky French bulldog named Bridget Jones. Visit her online at www.micolostow.com or follow her on Twitter @micolz.

Liz: I vividly remember the first time I read THE AMITYVILLE HORROR, and the first time I saw the original movie. When were you introduced to the story? The book or one of the movies?

Micol Ostow: Actually, my first introduction to the Amityville legend came via my favorite master of horror, Stephen King. In his early nonfiction treatise on horror, Danse Macabre, he dissected what he felt worked and what didn’t work in the movie, specifically. Ironically, if I recall much of his criticism of the original movie had to do with its focus on the physical manifestations of the house’s evil spirit rather than a build of psychological terror or dread. I didn’t end up seeing the movie until the 2005 remake, which I found really effective. Afterward, when I was kicking around ideas for my follow-up to the novel family, that remake was on tv and sparked something in me. That was when I went back and finally watched the original movie and read the book. So it was a surprisingly long time coming for a horror buff, in addition to my coming at it with a weird amount of preconception and bias given my total ignorance of the original subject matter!

Liz: While AMITY is a scary haunted house story about the supernatural, it's also a scary haunted house story about a very real haunting: the very real family dynamics that trap people, as well as the evil that people can do even without ghosts or hauntings. What type of research did you outside of the AMITY references and homages?

Micol Ostow: The “research” question is always hard to answer because the answer is slightly embarrassing: I’m very drawn to dark stories and I’m fascinated by the question of evil from within versus evil from without, so much of the research I did both for family and Amity was actually just background reading I’d done before I even had the slightest notion to write either book. Putting aside the obvious Amityville source material, though, I’d say the book’s most clear-cut influences to me are The Shining and The Haunting of Hill House.

To me, Connor is basically Jack Torrance – a flawed character who is driven to evil deed via the energy of the house, the way Torrance is driven mad by the Overlook Hotel. And Gwen is a successor to Hill House’s Eleanor, the fragile, overlooked (no pun intended) woman whose history of madness renders her fear unreliable. Both are to some extent tropes of the genre and there are plenty of examples of each throughout pop culture, but those two are my very favorite iconoclasts. I probably reread The Shining in particular at least twice a year. Does that count as research?

Liz: What was the scariest book you read as a teen?

Micol Ostow: The Shining! (That was a gimme.) I wasn’t quite a teen though, and definitely wasn’t supposed to read it. My mother was a Stephen King fanatic and kept those terrifying 1970’s library hardcovers on her nightstand, perhaps unaware of how they were imprinting on me (or maybe that was her plan all along?...) Pet Sematary made an impression, but The Shining was the one I actually snuck out of the children’s room to read in furtive fifteen-minute increments. I think I was maybe twelve? At most.

Liz: What was the scariest movie you watched as a teen?

Micol Ostow: Again, I wasn’t quite a teen – maybe eleven-ish? – but my younger brother had been home sick with something icky and lingering, and as some kind of pity-bribe thing my mother, I guess, allowed him to rent A Nightmare on Elm St. #s 1-5. I stumbled in as they were queuing up the first movie and got sucked in. TERRIFYING. That one and #4 are the two that still get me, every time.

Liz: Thank you so much!

Check out all the stops on the Amity Blog Tour.

Two stops for tomorrow: readergirlz and Little Willow.







Amazon Affiliate. If you click from here to Amazon and buy something, I receive a percentage of the purchase price.

© Elizabeth Burns of A Chair, A Fireplace & A Tea Cozy

Monday, August 25, 2014

Film Review: If I Stay

Saturday morning I decided to cry my eyes out at an early showing of If I Stay.



Any money saved by going to that early show was quickly spent on eating my feelings afterward, and buying a feel-good book to counter all the sad.

That's good, by the way. In case you were wondering.

If I Stay is the film based on Gayle Forman's book of the same name. Earlier this summer I reviewed If I Stay, and it's companion, Where She Went.

If I Stay is the story of a Mia, a seventeen year old girl whose family was in a terrible car accident. She is in a coma, yet can still observe the world around her, including learning what has happened to her parents and baby brother. Should she fight to stay alive?

Here is the thing. I cried at the trailers for this film. I cried when I read the book. I knew all the plot points. There were no surprises. And yet.... I cried through the whole film.

Why?

Because sometimes, it's not what happens. It's the emotional journey. And no matter how many times you go on that journey, it remains heart wrenching. Plus, Chloe Grace Moretz as Mia was stunning -- the perfect portrayal of not just Mia, but of a teenage girl, with insecurities and faults, strengths and passion. She made Mia so real that my heart broke, yet again, as I saw Mia realizing what she had lost and trying to decide if what she had left was enough.

As in the book, If I Stay introduces us to Mia, a teenager who is fairly typical. She has a good family and friends and a boyfriend. She loves them; they love her. That's big. That's huge. And it's a huge thing played out against a life that is not much different from the viewers. That Mia is "just another teen" is the strength of this movie. Oh, yes, she's also a cellist who wants to go to Julliard, and I'm not diminishing her talent or her dream but really -- she's not a superstar. She's not performing in front of crowds from the time she's five.

Even in Mia's music, which yes, matters to her -- it's hers, and it's something she loves and is passionate about, but it's also something that she's not sure of. Is she good enough? It's a question any teen asks themselves, as they try to decide what to do with their life. It's a bit heightened in that Mia's father is in a band, and she's grown up around music and musicians (even if it's not her type of music), so she's well aware -- even if its never outright stated -- that a person can love something and it not mean they are the best at it.

One thing I like about visual storytelling is it can show me things, reveal things, that I may not have picked up in the book. And yes, sometimes this is because of changes in the adaptation, but it's often about staying true to the spirit of the book if not the text. So, for me, the movie made me understand more how Mia viewed her father leaving his band to pursue a job that was more stable as something he did because of her younger brother, Teddy -- never realizing it was also for her.

The movie is true to the book, but something happened at one point where I both feared and hoped that a change had been made and I said to myself, please please please even though there was no way, no way, and it was just like in the book BUT STILL MY FOOLISH HEART, IT HOPED.

There were a couple changes that I thought made the movie stronger. Slight spoilers, here --

In both, Adam and Mia's other friends at first cannot visit her because of hospital rules limiting visitors to immediate family. So, of course, they decide a distraction is needed -- and it's changed in the movie. Personally, the book-one was one that I had eye-rolled at but that's because I found it too over the top for my tastes; and I think the movie-one makes much more sense and is more "real."

My only slight problem with the movie -- and this I think is editing -- also has to do with the visitor rule. (Spoilers, again.) While the viewer can infer that a family friend who works at the hospital stepped in to allow visitors despite the rule, it's not explicitly said, and I can see some viewers thinking "wait, look at all those visitors now? why?" (And if it was explicit and I didn't hear that line in my crying, let me know and I'll remove this paragraph.)

One last personal observation: the book was fresh in my mind. So I cannot write to the experience of someone who has no knowledge of the book -- whether, to them, the movie worked as well as it did for me.

So overall: thumbs up!

Now, on to quibble about other people's reviews. In part because for both of them, I wondered how much it was about teen girls, and films for teen girls, than this particular film.

While The New York Times review is overall good, why the hell does any review of If I Stay need to include a The Fault In Our Stars reference? Maybe I'm being a bit sensitive, but it seems like many other films, for other genres and audiences beyond teen girls, get reviewed without including references to other films for the same audience.

Also calling Adam a bad boy...where in the film does it say he is? Adam is only a "bad boy" for a viewer who assumes, from the start, that any teenage boy in a band is "bad." Which just leaves me annoyed, because "bad" is about actions, not about liking to play punk / rock music; wearing leather; and having a less-than-perfect family. Also, why not just praise Moretz as a good actor? Saying she's good at this role because it somehow reflects something in her own diminishes Moretz's accomplishments, even if its meant as a compliment. It's called ACTING.

I'm also less than a fan of the School Library Journal review, but that's more because I disagree that Moretz's performance made Mia into a girl who was "taciturn and a bit sullen." (Yes, Mia is shown to be a private and quiet, but especially combining taciturn with "sullen" leads me to think this isn't using the tern taciturn in a positive way.) That and other ways the review talks about Mia makes me think "ok, so Moretz is playing a typical teen...and that's somehow not good?" I also have to rewatch the film because I thought the point of their car trip was visiting friends and family, not snowboarding, but I may have missed that reference. And I think paring down Mia's circle of family and friends is necessary for a film; too many people can be too hard to keep track of. But that's just me.











Movie poster from Gayle Forman's Tumblr.

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© Elizabeth Burns of A Chair, A Fireplace & A Tea Cozy

Friday, August 22, 2014

Review: Feral

Feral by Holly Schindler. Harper Collins. 2014. Review copy from publisher.

The Plot: Two girls: one dead, one left for dead.

Serena is the dead girl, but it's her story that starts the book.

Claire is alive, having survived a brutal attack months before. She's the new girl in town, arriving at the same time Serena's body is found.

Claire finds herself drawn into the mystery of Serena's death: was it an accident? Or was it murder?

The Good:  The cats. Oh dear lord, the feral cats.

I thought I was going to say that the scariest scene was Claire's attack. A confident teen, walking home alone in the dark, chased and surrounded and beaten and left for dead.

But then I think of the feral cats, the ones that went after Serena's dead body and that scene, and the later scenes were the cats seem to come after Claire, and I think, no, that's the scariest scene.

This is a mystery, yes, about what happened to Serena. The reader, from the start, knows what has happened: "The body belonged -- or really, the body had once belonged -- to Serena Sims, a B average junior who loved her best friend, the sound of the rain, writing for the school paper, and her mother's chocolate mayonnaise cake with homemade icing, a family specialty. . . . Seventeen and dead: it was the worst kind of vulnerable." Serena is dead, but she is somehow still present, still feeling everything. And sharing all that, every bump and thump as her killer drags her body and dumps it. And then the cats come.

But there is only so much that Serena shares with the reader.

Then there is Claire: still recovering, physically and psychologically, from her attack months before. She is drawn to Serena's death for many reasons, one of which is that everyone else seems to believe that Serena's death is accidental. It turns out that Claire's new house was one that Serena lived in years ago; the first teens she meets are friends of Serena's; the local feral cat is the cat Serena fed.

As the story progresses, as Claire chases down the truth, Serena's ghost -- if that's what she is -- grows unhappier and unhappier with her own death, and more dangerous.

One more thing: the setting is fabulous. The town, Peculiar, Missouri,

How all this comes together was something I didn't expect, and made me go back and reread the first few chapters to see what clues were there. Part of me doesn't want to give away what that is, but part of me wants to give it away so you can understand when I say: Brilliant. You had me, you convinced me, and when I realized the truth of what was happening -- yes. That's true and real. Well, maybe not real, because at the end? I'm not sure what was real or not, what was Claire's fears, what was a haunting. But I do know this:

Damn, those feral cats are scary.


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© Elizabeth Burns of A Chair, A Fireplace & A Tea Cozy

Thursday, August 21, 2014

Dolls or Action Figures? Hints or Hacks? Inspiration or FanFic?

One of the things that interests me is the way that language and words get gendered, and how that influences how we talk about things, what gets celebrated and respected, and what is "cool." And how often that if it's something that is coded masculine it's cooler, de facto, and somehow better than when it's feminine.

The two obvious examples are that girls play with dolls, boys with action figures. And when movie tie ins are created, the female characters are sorely lacking in the action figure area because, well, action figures are for boys and that's where the money is. Don't believe me? Look at what is being sold for Guardians of the Galaxy, and what those toys are called, and what is available. Even T-shirts are "boy" or "girl."

Or "life hacks." Disclosure: hate the term. As has been pointed out by many others, it's basically Hints from Heloise with a cool computer (i.e., male) word added to it so now suddenly such hints are not relegated to home ec classes (if they even still exist) or "ladies" magazines, but are now cool trending pieces online.

So all this was on my mind when I read Lev Grossman's op ed for The New York Times about writing fantasy. It's a good piece -- Finding My Voice In Fantasy.

And what I'm about to say has nothing to do with Grossman, his books, The New York Times. 

Here are the paragraphs that made me sit up and go "huh":

"It began almost as a thought experiment: I wanted to write a story like “Harry Potter,” or “The Chronicles of Narnia,” or “The Golden Compass,” a story about someone who discovers power he didn’t know he had, and who finds his way into a secret world. But as much as I loved Harry, and felt deeply connected to him, I was also painfully conscious of how different my life was from his. I was in my 30s and dealing with different problems from Harry’s. I wondered if there was a way to make my magician’s life look more like my own.

"So I made my magician older. I made him American — he doesn’t talk in the crisp, correct manner of English fantasy heroes. I gave him a drinking habit, a mood disorder, a sex life. I wasn’t going to give my magician a Dumbledore or a Gandalf. There would be no avuncular advisor to show him where the path was. I wanted my magician to feel as lost as I did."

I half joked to myself, "ha, sounds like alternate universe fanfiction to me."

And I stopped laughing.

Note: I'm not saying what Grossman did is or is not fanfiction. But as a reader of fanfiction, let me say -- you get into reading alternate universe works, and those AU stories get so far from the original source material that it's barely fanfiction anymore.

And I began to wonder at the mostly women who've written and published many "a story like" and been criticized because the source material was Twilight or the inspiration was One Direction. And how, because those women didn't have a background in publishing or knowledge of how it works from their life or educational experiences, their starting place is not an agent, and their explanation of origins was not "thought experiment" or "a story like," but rather the online community of lovers of the source material/inspiration -- fandom. So fanfiction. And so they are haunted by that past, and no amount of "thought experiment" or "story like" forgives them; instead they are told that it's "not original." (Of course, some of the most well known examples of this are writers laughing all the way to the bank. But still.)

And I think of how the "baggage" of being a fanfic writer can follow the writer (often female) into present works, with those writers getting a heavier dose of criticism / suspicion of originality. I saw a throwaway joke in a story get attacked as not being original, and the p-word mentioned, because the writer (female) has fanfic origins, and the joke was one that was so old that variations of it were probably around before Guttenberg. But because she was known to be in fandom, and a similar joke had been made in that source material, it was suspect.

And so I'm wondering.... it this an example of male writers being allowed to be "inspired" by other works when creating stories, where women are sighed at for not being "original"?

Or is this more to do with privilege -- that those who, whether because of family, education, geography, or profession, "know better" about how it all works so can set up their writing career in a way that avoids the fanfic stigma?









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© Elizabeth Burns of A Chair, A Fireplace & A Tea Cozy
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