My Raven-like Writing Desk
Tuesday, September 23, 2014
Monday, March 4, 2013
Delightful Madness
I have a new hero. Megan Shepherd wrote her debut
novel The Madman’s Daughter in only 9
months. Adams Literary in Charlotte accepted her immediately. Today, Megan’s first book has been published,
she has two different trilogies contracted with Harper Collins, and Paramount
has optioned The Madman’s Daughter.
So what’s her big secret? It’s cause she’s
pretty. I met her, and it’s true. But
really, Megan says the secret is to “spend 90% of your time on writing, and 10%
on getting published.” She took a book to market that was absolutely bursting
to see the world.
After her presentation this weekend at Spellbound
Children’s Bookshop in Asheville, NC, I went home and read the book. I couldn’t
put it down. I was planning to read two chapters before bed. Four hours later,
I’d consumed the entire tale.
I’ll get the bad reviews out of the way first.
Commenters who gave low ratings on Amazon and Goodreads are critical of the
fact that any love triangle exists ever, or shocked by violence and mild cuss
words, or very easily bored. Those people are stupid.
The Madman’s Daughter is a Victorian-era sci-fi
thriller with a nice dose of bodice ripper romance. Juliet Moreau is left alone
in London after her father’s scandalous disappearance and her mother’s death.
She earns her lodging by cleaning up after medical students’ dissections. From
the very beginning her thoughts drip with horror. “Dead flesh and sharpened
scalpels didn't bother me. I was my father’s daughter, after all. My nightmares
were made of darker things.”
She discovers a diagram that her father created
which leads her to her father’s servant, Montgomery, and eventually to Dr.
Moreau’s island. During the voyage, they rescue Edward, a proper gentlemen
shipwrecked while fleeing from his overbearing father. Juliet reunites with her
father and discovers that the scandalous rumors of his experiments are true,
horrible, and awe-inspiring.
Once on the island, the narrative jumps from one
danger to the next. There’s a monster killing the island creatures. Her father
will do anything to continue his experiments. Juliet suspects her own madness.
All the while, she can’t decide between her two men. She grew up with
Montgomery and feels safe with him, but he’s a servant. Edward is proper,
strong, and mysterious, but her father keeps pushing them together.
The end is a surprise, so I won’t spoil it. I will
tell you Juliet is one of the best female protagonists I’ve seen. She has a
strong sense of justice, insisting that surgery on a living creature is evil.
The Victorian senses of propriety and prudishness seem to have entirely missed
her; there’s even a steamy make out scene on a laboratory operating table. She
repeatedly stands up to her father’s blatant misogyny. She’s intelligent,
resourceful, strong, and stubborn, often eliciting a “You go gurl!” from the
reader.
I do have one complaint. The book ended with a
cliffhanger. I know trilogies are supposed to do that, but I mostly just want
the rest of the story RIGHT NOW. As for the movie . . . If Kristen Stewart is
cast in the lead, I will sob myself to sleep. If you’ve read the book, post
your ideal cast for The Madman’s Daughter
the movie in the comment section!
Tuesday, May 1, 2012
I Didn't Tell You
I’m sorry I didn’t tell you
at first
that I stopped believing.
I’m sorry I didn’t tell you sooner
that I wasn’t paying attention
to the sermons and lectures and tirades
about miracles and modesty and gay marriage.
I wasn’t paying attention
because I was reading Ephesians
where Paul says we're chosen
to be like Jesus.
I’m sorry I didn’t tell you
that I didn’t feel
chosen.
You would have explained
that faith isn’t a feeling,
it’s a choice,
like love.
I’m sorry I didn’t tell you sooner
that I got angry in Sunday School
when someone said, “Pray for my sister.
She’s started drinking.”
I got angry because I didn’t see
how we had the right to look down
on people with different standards.
I’m sorry I didn’t tell you
that I hated all the rules.
You would have explained
that being chosen isn’t for everyone,
it’s for the separate,
the beloved.
I’m sorry I didn’t tell you sooner
that I stopped reading my Bible
and started writing poems in my journal
and pretending to look at the verses.
I stopped reading because I wasn’t
experiencing a personal relationship
with the words not with Jesus.
I’m sorry I didn’t tell you
that trying to read it made me sad.
You would have explained that
sometimes God is silent for a bit
to test his children,
to test their faith-choice.
I’m sorry I didn’t tell you sooner
that I thought God must be evil,
if he’s really in control,
and there’s so much bad that happens.
I thought God was evil, because
he SAID he would never leave me,
but I FELT so goddamn forsaken.
I’m sorry I didn’t tell you
that I couldn’t see the beauty in the world.
You might have told me sooner
about the time our family was too broke
to buy milk and bread, and an angel
left groceries on the porch.
I’m sorry I didn’t tell you sooner
that it’s easier to believe
that there is no God,
or He’s too far away to trouble with humans.
It’s too hard to believe that tragedies
like Katrina and Nine-Eleven were planned,
caused by a person with a
“greater purpose” in mind.
I’m sorry I didn’t tell you
that I didn’t care about a God who didn’t care.
You might have protested,
but it wouldn’t have made a difference.
You see,
somewhere,
somewhere,
I stopped believing.
I wish I had told you sooner,
I wish I had told you sooner,
but I guess I couldn’t have.
It happened too slowly,
like an engine
running
out
of steam.
out
of steam.
Friday, April 27, 2012
Where Things Come Back, Printz Award, 2012
At first glance, Where
Things Come Back is utterly boring. If I
hadn’t been taking a class on the Printz Award, I would never have finished it.
By page five I hated the main
character. Cullen is simply a pretentious writer stuck in a teenage body. He’s
deeply introspective, in love with love, picked on by jocks, and hopelessly
self-important. He’s comfortable with being “an insecure shell of a man” and
goes so far as to pick friends who allow him to be this way. He’s misogynistic
in his descriptions of Ada, his brusque toleration of Meena, and his ignorance
of Laura Fish’s emotions. He broadens these offensive ideas to all women in
this ridiculous statement, “Pretty girls always want guys who treat them, and
most everyone else, like complete shit.”
His voice grated on my nerves.
The “When one does X, he begins to imagine Y” pattern used to distance himself
from his fantasies throws me out of the narrative many times. The insertion of
super-extra-clever book titles for his journal sometimes make me want to gag.
Zombies and dark humor just seem like a contrived part of this emo package.
The setting felt cliché. Lily
is a tiny town where nothing important happens; however, this tiny town has
much more than it’s fair share of tragedy. Teenagers regularly die, adults who
desperately want to leave get stuck there, parents are abusive or alcoholic or
absent, and by the end of the book, the biggest hope the town has had in its
entire existence turns out to be false.
The interwoven plot was jarring at first. I had no idea
there was a dual narrative to this book until I was jolted out of Lily,
Arkansas and plopped down into third-world Africa. Even after several switches,
when an experienced reader would be expected to easily shift mindsets between
narratives, the completely disjointed plot still made me want to throw the book
across the room. I didn’t begin to sympathize with plot B until late in his
story when I read, “He had traveled halfway around the world, slept in
dirt-floor huts, given food and water to the poor and dying, but still hadn’t
impressed Mr. Jackson Sage.” I finally felt something for him, and stopped
feeling like trashing the book, but I still had no clue why he was there.
As I rounded the corner to the second half of the book, I
began to understand why it won an award. I was happily surprised by the beauty
and style of lines like these:
“He imagines heaven to be not some huge
city with streets of gold and tall, white building, but a simple room filled
with just enough of the good people to make him smile and feel like the center
of attention as he tells a funny joke or talks about a new idea for a book. He
sees his brother standing in the corner wearing green flannel pajamas like he
did at Christmas five years before, and he sees his mother and father holding
hands at the kitchen sink as he caught them doing on time when he was eleven.
He see Lucas Cader tossing a football across the room to his older brother
Alex, who looked just like him, and he hears his aunt Julia singing a hymn that
he heard in church when he was eight or so.”
“I was trying to figure who I was back
then. Trying to figure out why I said and did the things I said and did. Trying
to understand why I cried ten minutes after Lucas told me Ada was at Russell’s
but never shed a tear when my cousin dropped dead. Wondering why I had written
nearly ninety titles, but not one single book. Questioning why I couldn’t do a
damn thing to bring my brother back.”
Cullen’s quiet, intense emotion broke through my spite and
confusion and began to draw me in. The two plots began to come together. I
couldn’t stop turning pages to find out what had really happened to Gabriel.
The parallel of themes, the merging of disparate stories, the beauty of
Cullen’s emotions gave the feel of something almost supernatural at play in the
previously boring story.
When I finished the book, I had to stop and think for a long
time. There are so many themes and symbols at play in this book, a literature
class could probably spend an entire semester on it. The symbols of
resurrection – Gabriel, the bird, the revived town, Benton’s crazy ideas,
Russell, and even Cullen himself, combine to create magical realism. Whaley
puts it this way, “things could come back from the dead, mistakes could be
rectified, lives could be started over.” Whaley provides social commentary on
short-lived fame, law enforcement, and religion. Themes include interconnected
fates, false hope, cynicism, death, grief, and friendship. Cullen points out
something important about the way other people handle grief:
“I wanted to be offered help from
people because they cared about me, not because they felt some strange social
obligation to do so. If you feel sorry for someone, don’t pretend to be happy.
Don’t pretend to care only about their problems. People aren’t stupid. The
world can’t be satisfied but that need to fix it all can.”
A more prominent theme, traceable through both stories is
obsession. The townspeople are so obsessed with the bird, they overlook a
15-year-old’s disappearance. Cabot’s obsession is aptly described here: “He had
taken Benton's notes and not blown them out of proportion so much as he had
strapped an atom bomb to every letter of every word.”
Over all of this, the theme of second chances transcends the
story. Cullen says, “People can’t give up on other people yet. We all get a
second chance, you know. We get to start over like Noah after the flood. No
matter how evil man gets, he always gets a second chance one way or another.”
Second chances make this story something newer, something beautiful, something
that deserves to be read a second time.
Ship Breaker, Printz Award, 2011
Ship Breaker bases a fast-paced, fascinating story in an even
more fascinating world. There’s no doubt setting is Paolo Bacigalupi’s crowing
achievement in this book and the primary reason it won two awards. Paolo
flawlessly works references into the story that are easily recognizable even
though they’re completely unfamiliar in our world– things like Harvesters, the
Life Cult, the Scavenge God, the Rust Saint, the Fates, City killers, Orleans
II, and the Teeth. The imagined world is frighteningly realistic, since the
reader can easily trace a pattern of event from now to that dark, ugly age. The
explanation for how that world came to be is even scarier - “The climate
changed. The weather shifted. They did not anticipate well.”
Its style of story telling is quick, with plenty of forward momentum. The style of language is often poetic like when Nailer nearly drowns in oil–“Spinning, spinning, spinning the wheel, his lungs bursting, all or nothing, reckless with the need to get out.” Or when Paolo describes injuries–“His should was a bright blossom of pain.”
Character’s voices reinforce the nature of their reality. Nailer and Pima speak with slang, irregular grammar, and in a clipped terse way like, “Luck or smarts, I don’t care, long as I’m not dead.” Nita speaks in perfect formal language with large words and complex syntax.
Nailer’s fighting spirit is what makes him stand out as a character. My favorite example of this is his exchange with Pima at the end of the story.
Its style of story telling is quick, with plenty of forward momentum. The style of language is often poetic like when Nailer nearly drowns in oil–“Spinning, spinning, spinning the wheel, his lungs bursting, all or nothing, reckless with the need to get out.” Or when Paolo describes injuries–“His should was a bright blossom of pain.”
Character’s voices reinforce the nature of their reality. Nailer and Pima speak with slang, irregular grammar, and in a clipped terse way like, “Luck or smarts, I don’t care, long as I’m not dead.” Nita speaks in perfect formal language with large words and complex syntax.
Nailer’s fighting spirit is what makes him stand out as a character. My favorite example of this is his exchange with Pima at the end of the story.
“What
makes you think some lower deck grease monkey ahs a change with a girl like
that?”
“Beats
me. Maybe I think I’ll just get lucky.”
Even through terrible physical
circumstances, Nailer is always dreaming big, working hard, and protecting
those he loves.
Themes in Ship Breaker include intelligence, luck, poverty, wealth, war, oil-dependence, global warming. The consequences of killing stands out as an important theme as Pima’s mother coaches Nailer on how to deal with his feelings “You’ve got blood on your hands. It always costs. It never goes away.” The primary theme is family. Nailer reminds us that loyalty is more important than blood ties and blood ties don’t make our character. “The blood bond was nothing. It was the people that mattered. If they covered your back, and you covered theirs, then maybe that was worth calling family. Everything else was just so much smoke and lies."
Themes in Ship Breaker include intelligence, luck, poverty, wealth, war, oil-dependence, global warming. The consequences of killing stands out as an important theme as Pima’s mother coaches Nailer on how to deal with his feelings “You’ve got blood on your hands. It always costs. It never goes away.” The primary theme is family. Nailer reminds us that loyalty is more important than blood ties and blood ties don’t make our character. “The blood bond was nothing. It was the people that mattered. If they covered your back, and you covered theirs, then maybe that was worth calling family. Everything else was just so much smoke and lies."
The only part of the book I didn’t care for was the weak explanation of the corporate war going on that trapped Nita in the middle. The evil guy’s main character flaw was quasi-legal tax evasion? Maybe I missed something big. I think teenagers are old enough to understand business relationships, but Paolo used such large words in Nita’s mouth that I didn’t understand most of it. Paolo knows teens can handle the violence and darkness in the world of Ship Breaker, so why doesn't he give them the chance to understand a few business concepts? Keeping this information lofty and out of reach is just as bad as talking down to kids.
While I don’t usually quote other readers, Stefan, a reviewer on Amazon.com, wrote a comment I completely agree with and couldn’t say better myself: “While I enjoyed Ship Breaker, and would recommend it to mature YA readers, I can't help but wonder if this story wouldn't have worked better as a regular, non-YA novel. Some of the darker concepts, situated on the periphery of Nailer's story, are only broadly hinted at rather than described outright, which left me feeling frustrated and wanting to read more. If you told me there was a 600-page adult version of this 340-page YA novel, in which Paolo Bacigalupi really embraced the story's darkness and delved more deeply into the world's history and set-up, I'd be first in line to read it.” I too wanted to know more about the darkness of this world, and I wanted so many more pages of this wonderful story.
Going Bovine, Printz Award, 2010
Going
Bovine is a deeply satirical, often dark,
surreal quest story. It’s not the kind of story for everyone. It’s long! The
plot is complicated and twists in and out of believability. It’s off-color and
even vulgar. But Bray takes on huge social concepts and turns them all into
comedic barbs. The story is quite a trip, and that’s the point.
The main character sells it as a believable teenager. He coasts through school and work, likes pretty girls, hates his father for having an affair, despises his emotionally distant mother, fights with his sister, gets high in the bathroom at school, and generally doesn’t give a fuck. His voice is alternately sarcastic and apathetic or positively ecstatic. When something does make him light up, make him care, he’s whole-heartedly passionate.
Music does it:
“The song makes me want to run and shout, kiss girls and ride motorcycles
through the desert. It makes me feel really alive, the way Eubie says music
should.”
Dulcie does it:
“Something brushes against my bare skin. Fingers? Lips? Wings? I can’t say, but
the sensation is incredible. . . . It’s so intense, this happiness – there is
no escape velocity from this kind of feeling. And for once, I’m not looking for
a way out.”
As far as style goes, I’m jealous of Bray’s ability to blend dreams/fantasy and reality. She sends Cam from waking to dreaming and back flawlessly in this selection:
"I’ve put my head on my desk,
where I can hear the minute hand ticking hard in my ear. My eye-lids are heavy.
Almost . . . Asleep . . .
The room is on fire. A row of
flames shoots up in to my field of vision. I leap out of my chair, knocking it
over. It hits the ground with a loud thwack.
'Mr. Smith? Are you okay?' Mrs.
Rector asks.
When I look up to the front of
the room, everything’s fine. No fire."
Transitions from Cam’s journey to the hospital room are also fluid but clear. The reader knows exactly where reality is interrupting the imaginary journey.
“The fire god pries open my mouth
and covers it with his. He breathes out, filling my lungs with choking smoke.
My body shakes. Somebody’s pushing against my chest in a hard rhythm.
‘Page Dr. Xavier!’ Glory shouts.
I’m on a gurney, watching the fluorescent ceiling lights strobe over me fast .
. . .
The next think I know, I’m on the
pavement of Farm Route 44 with a van headed right for me.”
Setting
is where Bray’s wit shines, starting with the SPEW test (State Prescribed
Educational Worthiness) where thinking outside the pre-prescribed test material
is strictly prohibited, and continuing on to a giant mockery of MTV’s spring
break television shows. She purposely compares the setting of this story to the
setting of Don Quixote. The famous literary novel is introduced by Cam’s
cheating; he says, “The Fake It! Notes tell
me that Cervantes is satirizing the culture of idealism.” He goes on to compare
suburban housing to Don Quixote’s windmills. And the reader automatically
continues to make similar comparisons throughout the book.
Themes in Going Bovine include mental instability, dysfunctional families, news and television, education, environmental concerns, religion, instant gratification, family, friendship, love, lust, fear, and death. Dulcie shares this ultimate theme with Cameron, “Everyone’s dying. A little, every day. Make it count.”
The theme is lofty, literary, and admirable, but I do take issue with the suggestion that what Cam did on his journey was really the core of living. Unless Bray believes the sum of these activities to be much greater than their parts, I don’t get it. Cam “lives” by partying, drinking, smoking weed, stealing money, avoiding religious crazies, having unprotected sex with a school crush and doing it again with an angel an hour later, running away from a dark evil force, getting put on a wanted list, and grappling with the intertwined concepts of music, physics, and trans-dimension time-travel. His version of “making it count” is only "making it fun." I was rooting for Cam to care about anything other than survival and self-gratification. I have a hard time accepting that anyone can make his life count- even an imagined life- without ambition and gratitude.
The White Darkness, Printz Award, 2008
The premise of The White
Darkness is absolutely fascinating–
slightly insane girl gets dragged to the arctic by her more insane uncle and
must fight man and nature to survive. But the story’s execution wasn’t so
fascinating.
The setting and characters were often too strange to be believable. Sym’s multiple personality disorder with this persona of a long-dead explorer was acceptably quirky. I could not relate, but I could wrap my mind around it. However, her willfully ignorant adoration of her insane uncle rendered her one of the weakest female characters I’ve ever read about. The way she idealizes ignorance and “a little child’s imagination” (35) made me despise her. Victor, as a character, was completely over the top. His insanity was obvious from the moment he “lost” Sym’s mom’s passport and would not let Sym call home. From then on, it was easy to guess that he was scamming Manfrud, that he was drugging the members of the Pengwings Expeditionary Force, and that he never intended for Sym to leave Antarctica alive. My only surprise from this character was that he murdered Sym’s father.
Dialogue often confused me, like I was listening to part of a group conversation where a hidden party was saying something to connect the other peoples' statements. It was jolting and unnatural. Here’s an example:
Sigurd: “Your
uncle, at home, his profession is . . . ?”
Sym: “Yes! I know.”
Sigurd: “You like maybe the animals
. . .”
Sym: “I heard penguins stink.”
Sigurd: “I heard that also. That is
a very attractive skirt.”
Sym: “Is that the itinerary. Can I
see it?”
Setting promised to be a highlight of this story. Some descriptions shine as excellent writing like this one:
“I chose not to believe in weather
stations and trucks and prefabricated igloos painted fire-engine red. I
preferred to believe in meteorites nicking the planet’s skin, needle sharp starlight
pricking it, the blood of dogs and ponies” (74).
Descriptions of the arctic wilderness were interesting at first, but became overdone and monotonous. I identified with a reader review on amazon.com that said, “We get it. It’s white!” There were even descriptions that, frankly, made no sense to me like this one:
“The horizon, for the first time was
sharp as wire- three wired, in fact, because the horizon had tripled. And there
floating above it, with a hand span of sky for a moat, hung a jet-black palace.”
Minute detail, and high emotion in description was wonderful. Here’s an example: “He threw the tin of syrup so that it hit the mantel-piece and we all sat and watched the syrup drip, drip, dripping into the grate like big amber tears” (69). But the narrative was so description-heavy that it was hard to find the beautiful moments.
Themes of The White Darkness include ignorance, innocence, exploration, discovery, crime, insanity, sexual discovery, love, and survival. A significant sub-theme is the contrast between subconscious knowledge and personal willingness to admit that knowledge. Sym says, “Every crime like this needs someone like me to look away and say nothing,” pointing out that her unwillingness to consciously admit certain facts allowed someone else to do wrong. The biggest theme is friendship, friendship which overcomes obstacles and fights for it’s own existence. Sym says, “Friends aren’t friends who tell you black is white just because you want it to be,” recognizing that friendship in itself requires one to stand up and say the right thing whether or not it’s going to be accepted.
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