Bruce Coville
Middle Grade
In breaking with my world tour of literature from Down Under to Italy, I decided on a good, ole-fashioned monster book that doesn't even take place in this world...much, Always October by Bruce Coville.
Admittedly, it would seem this has a Fall slant to it, but no!, Always October is another world, a world inhabited solely by monsters who arise from human nightmares. Ghoulish, right?
But no! not ghoulish, not entirely. The monsters are actually nice, some of them anyway.
Basic Plot: A baby is abandoned on Jacob's doorstep with a note asking that someone take care of it. Jacob and his mom take said baby in. He's sweet and adorable so they name him Little Dumpling. But alas, when the moon is full, Dumpling turns into a full-fledged monster.
Methinks Coville has spent many an hour with small children.
As it turns out, Little Dumpling isn't just your run of the mill abandoned on the doorstep monster-baby. He is actually the savior of the world of monsters and humans, and there are monsters out to get him. Jacob and his friend, Lily, must travel (are first chased, actually) to Always October, world of monsters, in an attempt to save Dumpling from the bad guys, only to discover they have to cross back into the world of humans and hide Dumpling to keep Always October and the human world from total annihilation. The journey there and back again is a monster-style Candy Land with a River of Doom and Bridge of Doom and Veil of Tears and Queen of Sorrow and CliffHouse.
The action and fast-moving plot aren't what made me choose this book for my review, though (or the need for a good horror read during the doldrums of summer!). It is Coville's use of alternating first person POV between Lily and Jacob. I was excited to find a middle grade with alternating POV. I'd tried the trick before myself, and I was eager to see what someone with Coville's writing chops had done comparatively.
To keep the characters and POV separate, each chapter is labeled (Jacob), (Lily), (Jacob), etc underneath the chapter title. Coville gives Lily a quirky metaphoric vocabulary with a decidedly B-horror movie bent, while Jacob has physical quirks, e.g. he has to tap the wall three times when going upstairs, or he taps his fingers against his thumb to calm down. It's a pretty ingenious approach, connecting with expressive trends within this middle grade age group.
Nevertheless, I found myself flipping back to the front of the chapter to remind myself who was narrating, and I began to wonder why. Why does alternating POV work seemingly so much more easily in YA vs. MG? I came up with a couple of possible reasons: 1) the dual characters in YA, as in this MG, tend to divide up along gender lines, but in the YA case, love enters into the dynamic, and so we readers get two different viewpoints on love. 2) It helps that in the dual YA I've read, somebody usually is turning into, say, a werewolf, or other monster. The human/monster dichotomy goes a long way in keeping characters separate. 3) I've also read adult lit with alternating POV when both characters are of the same gender. Usually, in that case, age tends to differentiate characters and their views of the world are thus seen through the lens of more or less life experience.
Despite these de facto differences that may make it easier to write more distinctly different older protagonists, I still believe alternating POV can work better in middle grade. I'd love to hear from anyone who has read Always October and whether they had the same experience, or if you've got a suggestion for a middle grade title in which the alternating POV worked well. I'm on the hunt!
For more great summer adventures, paddle (here in the midwest anyway) over to Barrie Summy's website!
