How I Live Now
Meg Rosoff
YA

It's not your typical beach read. It's better. There's all sorts of taboo, broken rules, and heartbreak, not to mention great writing in How I Live Now.

I discovered the book after Meg Rosoff won the Astrid Lindgren Memorial Award (which she received last night in Stockholm). She has written more recent work, but this is the one that catapulted her to recognition, and a host of awards. It does not disappoint.

Basic Premise: Daisy (from NYC) is sent to live with her mother's sister and family in England. Her father is remarried and he and his new wife are awaiting their first child. Daisy and the stepmonster do not get along. She is also suffering from anorexia. I'm guessing the idea is that by sending her away she may get her life together (we had this very experience with an exchange student, but that's another, harrowing story). Instead, war breaks out and Daisy and her cousins are caught up in the middle of it, with all of war's tragedies, from starvation to random murders, death due to lack of medication, and slaughter.

In the midst of the death and destruction, Daisy falls in love with her cousin, Edmond, and vice versa. Yet, they are separated by the war and spend the rest of the book finding their way back to each other. It's Lolita light, i.e. illicit, taboo love affair, in this case between blood relatives, that's however mutually consensual. I didn't want to root for the star-crossed lovers (but I did).

The craft aspect of the book that has me mulling is one I've come across before but can't quite figure out. It's the inclusion of dialogue within the body of the text without separating out with quotations. Example: "...when I notice everyone's gone except this kid who comes up to me and says You must be Daisy. And when I look relieved he does too and says I'm Edmond."

Is this tool used to make the text read more from the perspective of a teenager who ignores punctuation and "proper" grammar in informal writing/texting?

The effect the tool has on me every time is to leave me feeling simultaneously more inside and apart from the story. I never can quite get my footing. I also stumble across the passages that are dialogue more often and have to re-read once I realize it is a conversation, not internal dialogue in the protagonist's head. Again, perhaps that emphasizes the way life feels to a normal teen, jumbled and coming at them every which way but straight on.

I'm all for rewriting the rules of grammar. I honestly haven't figured out, though, how to use this rewrite to my advantage since I can't seem to read it properly, or decipher how it is supposed to alter the reading experience. This one has me baffled, and it's the third or fourth time I've come across the tool and been left wondering.

So there you have it, a  great read AND a craft riddle for your summer reading pleasure. Some of you may have already figured out the answer. If yes, please share! I'm eager to unravel and understand this writing conundrum/tool.

For more great summer adventures, skip over to Barrie Summy's website and snag a bundle.

The Book Review Club - The Gollywhopper Games, Friend or Foe

The Gollywhopper Games - Friend or Foe
Jody Feldman
Middle Grade

This is my third romp through the Gollywhopper Games (3rd book in the series) and it was as fresh, fun and filled with as many unexpected twists as the first, which is saying something. These books are plot mixed with mystery (nod to Barrie) mixed with puzzles in a new spin on Charlie and the Chocolate Factory with a realistic twist. Every single puzzle or conundrum Feldman creates is both real and solvable. The reader has "skin in the game" so to speak because she can outwit the winner, if she wants, and solve the puzzles before she reads to the end. It's the kind of rush a reader longs for in a book, while sneakily being, dare I say, math at the same time.

Basic plot: Zane plays football, but after two concussions, he has to sit out for a season. He feels lost, both within his circle of friends and identity-wise when the strangest of tests arrives at school. All students are required to take it, although nobody knows why. Zane's teacher says the test is pointless, but when Zane aces it, pointless turns into a chance to play in the third round of the Gollywhopper Games. And the rush begins.

There are a lot of things to like both in the style of prose and the puzzles Feldman creates. I am amazed at the number of games and problems she has created now over three books, with no exhaustion in sight. This time around, contestants can play in friend mode or foe mode when solving the larger than life games and math problems Golly creates. Foe mode brings more points and also more obstacles. At the same time, a saboteur is at work to ruin the games. This B-plot keeps things interesting when the reader may need a mental break from problem solving, or a different kind of mystery to tackle, as well as putting the reader on edge. Will one of the contestants get hurt?

Characters are well developed, all going through a metamorphosis as they solve puzzles and advance. Even Zane finds a way to have his football without endangering himself, and discovers that football players might not be the only people with whom he shares common interests.

The thing that struck me most about this book from a craft perspective is a subtlety. Feldman uses observations by other contestants to deepen the relationships between characters. The story is told in 3rd person close (Zane). It is through his lens that the reader experiences the action. However, when describing relationships, other characters chime in, analyzing and interpreting the closeness or distance between characters. Feldman, because she has to do use so much descriptive work with puzzles, uses this valuable tool to keep the story from getting bogged down in descriptives. It's clever.

For more great Fall feasts, crunch your way on over to Barrie Summy's website. She's serving them with a piping mouthful of delectable dessert today!