Are you reading YA Highway yet? It’s super interesting and informative and will make you a better person! It’s one of a select few writing-related blogs I can read in great gobs without feeling nauseous. (Ironically, travelling to Vermont this Easter Weekend has been a stern reminder that non-virtual highways always make me nauseous.) Every Wednesday they post a question for readers to reply to in comments or on their own blogs. Apparently, I have a blog! You are reading it. Don’t freak out.
This week: What images inspire/ represent your WIP or favorite book?
I have several works in various states of progress at the moment, so I will give you one image that I find myself holding in mind for each of them.
I’m going to be MYSTERIOUS and leave it at that. Feel free to speculate in comments or what have you. Or just follow the links to the bits I’ve posted to Figment, if you really wanna know (as much as I’m willing to reveal at this juncture).
More Life,
Emmet
P.S. – Another subject for the comments: is it gross when I talk about what I’m writing on this blog, or is that interesting to the same kinds of people who want to read my gushing about books other people wrote? You won’t hurt my feelings by saying it’s gross. I kind of suspect it is, but I have a very poor gauge for how much other people really want to know about me and my doings.
P.P.S. – To be clear, none of these are necessarily to be taken as direct physical representations of any characters in the stories I’ve linked them to. Just, you know. Whatever. It’s complicated.
You know how I don’t care if I never read another freaking Mommy Issues book ever again? STILL TRUE. But NONETHELESS, I am urging you to read this one.
That’s the thing. Books with absent mother figures are not even statistically worse than other books in any way. Just. Why are there so many motherless children in literature? I mean, way to buck stereotypes, but what is it that drives writers to make mothers unavailable to their children in such greater numbers than fathers? Not very verisimilitudinous.
ASIDE FROM THAT though, man, this book is great in a way that only comes along every once in a very great while. Like, you know how I groan every time a YA novel is compared to Catcher in the Rye? TOTES WANT TO COMPARE THIS TO CitR. That could just be because I’m turning into yet another lazy reviewer, but I think it’s more ’cause it takes place over a period of just over 24 hours which also encompasses the narrator’s entire life and her thoughts about absolutely everything while she sort of runs away from home but doesn’t. Like, if you ever wanted to read a version of CitR where Holden is an Australian girl with a bicycle and a limp and drawn to old people rather than children, YOUR PRAYERS HAVE BEEN ANSWERED.
I’m aware that some people do not like CitR. To those people I say: would you like it if it was about an Australian girl with a bicycle et cetera, and also was like, more optimistic and good-natured generally? Because I really think you might still like this book after all.
Look, forget I mentioned CitR. You should read this book because it’s just cynical and just soft and just poetic enough, I think.
(Slight trigger warning for sexual assault. It’s really brief and happens in such a way that you could probably see it coming and skip ahead to the next chapter if need be. Like when you’re watching a movie and you ask your brother to tell you when it’s okay to look again. Only without being able to hear stuff anyways and instead of a brother it’s the chapter headings.)
More Life,
Emmet
P.S. – Offhand, I can think of two YA protags with single mothers: gay Will Grayson and LaVaughn from Make Lemonade. Actually, hardly anybody in the Make Lemonade books has much of a dad, but that’s forgivable on the basis of believability and also SOMEBODY HAS TO STEM THE TIDE OF MOTHERLESSNESS THANKYOUVERYMUCH VIRGINIA E. WOLFF.
P.P.S. – Oh, and I just remembered that Stephen Fair also does its part to balance the runaway father scales. There’s even a scene where allll the characters hang out discussing the deadbeatness of their dads. You don’t need to know that I typed “Stephen Fry” the first time, but I’m telling you anyways because I love you and I don’t think we should have secrets from one another.
P.P.P.S. – I realise that in order to turn into a lazy reviewer I would first have to begin providing legitimate reviews that at least pretend to be of use to potential buyers of books. I don’t even summarise for you. And half the time I’m just using a picture of a book cover to lure you into a post about my personal problems, or why I think you should call your/my mom more often or whatever. Have you noticed this? Am I giving away my tricks? Maybe we should have secrets after all. I never know, friends. I never know.
P.P.P.P.S. – I do know that CitR takes place over several days, not 24 hours. But it’s the same general idea.
P.P.P.P.P.S. – Speaking of Virginia Wo(o)lf(f), I saw Who’s Afraid of Virginia Woolf? the other day. Not remotely about either Virginia Wo(o)lf(f)! But a pretty swell production. Sadly over now, but this is me recommending you check out future shows by the same company if you’re geographically disposed to do so! I’m not just saying that because the director ate some food at my house a couple of times. Although I probly wouldn’t've known about if if he hadn’t, so, um, I guess indirectly I am.
First, let’s talk about the cover. I like this cover. It fairly presents the contents as a girly teen book without degrading or objectifying teen girls. The expression on the girl’s face makes me want to know more about her biz-ness. I don’t know why she’s blowing a gum-bubble, but as a gum-bubble blower myself, I identify with this behaviour. Awesome. What’s less awesome is the ugly-font pink letters inside the nice fat yellow letters spelling out exactly what DUFF means.
Uuuuuuuugh.
It’s gross on a design level, but the thing that really baffles me about it is that it betrays a lack of trust in the rest of the design. Seriously. You didn’t have to give up your mystery right out of the gate, cover. If I really couldn’t stand opening the book without knowing what the title meant, I could always just flip it over and read the back cover. That is what back covers are for. LEARN TO DELEGATE.
Weirdly, the cover is a pretty good microcosm for the book as a whole: a lot to recommend it, but also a ton of excess verbiage.
I won’t spend too much time on the stuff that irritated me, because that’s boring. Suffice it to say there are a lot of rhetorical questions and by the end of it I was kind of like, “YOU DON’T NEED TO TELL ME YOU DON’T LIKE LIVE MUSIC, BIANCA. I’VE BEEN INSIDE YOUR SOUL THIS WHOLE TIME.”
Okay, now the fun stuff:
The DUFF is like a teen movie with pages. It’s like a Sweet Valley High book with graphic sex. (I’m assuming there wasn’t graphic sex in Sweet Valley High. I’m assuming that Sweet Valley High was like old-school Degrassi with less pregnancy and HIV. I have no idea. I am basing my impression entirely on the covers and Shannon’s Sweet Valley High Blog.) Okay, not exactly graphic sex. More like graphic foreplay. Either way. If you’re a teenager you will probably be all “haaaat” and if you are not, you will be all “I probably should not be reading about the graphic foreplay of high school students. It’s kinda pervy.” Which is all to say: this is definitely a teen book for teens. (i.e. Please disregard this entire review because I am ancient and do not know what I am talking about.)
On the whole, The DUFF comes out fairly sex-positive, or at least anti-slut-shaming. Bianca has some ambiguity in her interpretation of her own behaviour and that of others, but the points that shine through the expected confusion seem to be: 1. sex is fun! when done correctly, 2. people who like sex are not necessarily evil! and 3. “ugly” people are sexual beings too!
So anyway. The DUFF is what it is, and you could do worse if you’re looking for a light read with some cunnilingus in it?
More Life,
Emmet
P.S. – The weird thing about having a blog is there’s nobody I can ask if it’s okay for me to put “cunnilingus” in here. I HAVE TO SET MY OWN BOUNDARIES.
P.P.S. – Now that I think about it, I feel like there’s a lot more fellatio than cunnilingus in YA. Based on the totally unscientific sample of stuff I have read that I am able to recall off the top of my head right now. Am I wrong about this? I sorta hope so. Anyways, is it weird to offer a writer a high five based on what kind of oral sex they wrote about? Probably. But I don’t know! SEE WHY I SHOULD NOT BE IN CHARGE OF BOUNDARIES?
So, I just listened to This American Life’s Retraction episode. It’s a retraction, perhaps most unfortunately, of their most popular episode of all time. As a big TAL geek, I’ve brought this episode up in plenty of conversations since it aired in January, including specific moments of it that are, as it turns out, not as factual as they were initially presented as. Daisey’s performance impressed me, and perhaps even more than that, I was fascinated by the second act of the show, where Ira interviews other people who give somewhat different interpretations than Mr. Daisey as to what is happening in Chinese factories and how much of it we should feel responsible/terrible about. The retraction episode is a well-made episode in its own rite, but I do think it’s somewhat unfortunate that they have removed the audio of the original episode from their website entirely, although you can still read a transcript.
Let me be clear: I think Mike Daisey did a really stupid thing. And I think that the TAL team’s response to uncovering his stupidity was pretty spot on. I’m especially glad that they went back to Daisey and genuinely gave him the opportunity to explain his actions. And I really respect Ira Glass for not letting Daisey off the hook when he kept giving the same weak excuse for his weak behaviour.
I find this to be a really hedgy answer. I think it’s OK for somebody in your position to say it isn’t all literally true, know what I mean, feel like actually it seems like it’s honest labeling, and I feel like that’s what’s actually called for at this point, is just honest labeling.
-Ira Glass
Neither novels nor their readers benefit from attempts to divine whether any facts hide inside a story. Such efforts attack the very idea that made-up stories can matter, which is sort of the foundational assumption of our species.
Now, John has not by any means issued a retraction of that statement, nor do I think he will, although he did make a curious comment via the magical curiosity machine that is tumblr, in reference to a recent article about his work.
I also think Minard’s analysis of my skittishness around autobiographical fiction is very well argued. It made me think differently about my responsibilities as a novelist.
I get as drooly as any other red-blooded nerdfighter when John opens up about the true events behind the fake events in his books, but at the same time, I’m kind of hoping he sticks to his guns when it comes to the distinction between fiction and truth, and the value of that distinction. Actually, just now, I’m sort of hoping he gets gunnier about it.
It’s a sad day when a theatre artist doesn’t know that you can tell everybody you made up a story for them and still make them care about what you’re saying.
We need to talk about this, and work on this, and not let anybody get away with bullshitting us on this. Please. Our collective sanity depends on it.
More Life,
Emmet
P.S. – Obviously there’s some potential linkage to the Kony 2012 problem in there, but I’m really not prepared to tackle that just now. But if you have those kinds of thoughts, leave them in comments!
Every time I think about trying to catch up on posting about what I’m reading it STRESSES ME OUT, and I don’t really know why. I think part of it is that the more books I read, the more I freak out about how I should space the posts or whatever. So I’m just going to make this one post with a bunch of short thoughts about some of the books I’ve read in the past little while.
One Hundred Demons, by Lynda Barry
Oh, friends, I’m being a difficult child on this one. I want you to read this book. I want that SO BADLY. But it’s so good and important that it is difficult for me to discuss WHY it is good and important, at least until you have read it and have your own reasons safely inside of your heart. I can only say that it will make you CRY and FALL IN LOVE and FORGIVE YOUR ADOLESCENT SELF/FRIENDS FOR DUMB ADOLESCENT CRAP, and possibly go out and get yourself some inkbrushes and/or monkey stationary. Also, there’s a chapter about smells that made my nosebrain feel UNDERSTOOD.
Scratch, by Charlotte Corbeil-Coleman
This is a play! It’s the kind of play that gets you all excitedly dream-casting your friends in the lead roles and wanting to email your high school drama teachers to tell them that if they don’t put on this play at the next possible opportunity it’s like saying that they hate their students and want them to grow up stupid and boring and thinking that the Theatrefolk catalogue represents the state of Canadian playwrightship these days. Unfortunately for the latter plan, there’s like, (spoiler alert) an on-stage blowjob in the latter bit of this script. Totes there for a reason and well-incorporated into the events of the script and all that, but does make it an unlikely candidate for performance at the Catholic high school that took quite enough issue with the tame little lesbian/vampire comedy I squeezed onto the stage when I was a student there. BUT ALL THE TEENAGERS NEED TO READ THIS PLAY! IT IS OUR ONLY HOPE! Otherwise the young people of Canada are going to think that all playwrights hate them. BUT CHARLOTTE CORBEIL-COLEMAN DOESN’T HATE YOU. She pretty much just thinks that you are a person with a brain and a body and stuff. Which is an extra fun assumption to make in the theatre, where you get such a unique opportunity to explore both simultaneously.
And I want my friend Robin to play Madelyn. I know she’s super busy playing other things, but if you know Robin too, maybe you can read this play and also imagine her in the role of Madelyn, and it will be kind of like it really happened? Especially if you ARE Robin!
True Believer, by Virginia Euwer Wolff
This is the second book in the Make Lemonade trilogy. I only found out it was a trilogy at all pretty recently, and I hesitated a bit about catching up. I read Make Lemonade so many times back when I really didn’t have any particular concept of books being GOOD or BAD, just STUFF TO ROLL AROUND IN YOUR BRAIN. It kind of hurt my heart to think of looking at that world again now, when I’m all corrupted by Internalized Rubrics of Judgemental Bullcrud. But it didn’t get gross like that! I liked that there was just enough connection to the first book so it was rewarding to know that whole story, but it was all in service of the NEW story, which is a really nice story I’m glad Wolff decided to tell. Also, I love this cover! It’s super attractive to begin with AND does the super-rare thing of depicting a specific scene in such a way that it doesn’t give anything away but totes kills your insides to look at once you know what’s going on. LOVE.
Box Girl, by Sarah Withrow
Plucked this out of a banned book display at the library, and I was around 50 pages in before I got the slightest inkling of what got it that honour. (Hint: it’s a stupid reason to ban a book!)
Like most YA/MG readers, I’m a little burnt out on missing mommy books, but I will say that the mother in this one still holds her own as a character, in spite of her absence. It pissed me off the way she messed with her daughter’s expectations, but the important thing is that I felt like I could see her, sometimes even in a way that Gwen (the daughter and narrator) couldn’t.
This book made me start a theory in my head about Canadian young people book covers just being BETTER than their American counterparts. It’s a nice illustration, and the girls look like real girls and moreover LIKE THE ACTUAL CHARACTERS THEY ARE MEANT TO PORTRAY, right down to the eyebrows. I am not big on Canadian supremacy, but it does seem like some of the more nauseating trends in this particular category might not have crossed the border. Or am I still not paying enough attention?
The story takes place in Kingston, which was fun for me, as I currently live there. In fact, Gwen’s neighbourhood is right around where my ex-girlfriend lived. It is possible that I have made out on her front stoop. It is a good thing that she is fictional, because she would find that most unseemly. I’d be interested to hear from non-Kingstonians whether the geographic specificity was irritating or invisible to them or what. This is A Thing I am often wobbly about in my own writing, so I should probably have more conversations about it!
The Maestro, by Tim Wynne-Jones
SPEAKING OF GEOGRAPHIC SPECIFICITY.
My grade five substitute teacher (who was really my grade five teacher, if you go by who taught the most days of our class) read us this book when it was brand spankin’ new, and I know that I liked it enough to be secretly seethingly envious that Tim was my classmate Lewis’ father, but it occurred to me when I stumbled across the paperback in the library last week that all I really remember is a handful of images and characters. The really weird thing is that I couldn’t remember how the Maestro himself fit into the story at all, so it seemed about time for a re-read.
And oh gosh.
I’m such a big bundle of FEELINGS about this that I don’t quite know if I’ll manage to say much.
Just: thanks Tim. And don’t forget to thank Tim, everybody.
EDIT: Okay, no, I can do better than that. I reallyeallyeally like that Burl is a kid who Knows Stuff. He makes plenty of mistakes and everything, but he’s never helpless, which is just such an easy and obvious but dishonest place to go to when you’re writing about an abused child. Burl really, truly inhabits his world in a way that’s rare and admirable for a person of any age, but is also completely believable. I love this kid. He makes me feel totally inadequate, but I feel like he’d be nice about it.
And yeah, thanks Tim. And Sarah and Virginia and Charlotte and Lynda. I’m a little better ’cause you hang out in my head sometimes.
More Life,
Emmet
P.S. – I wonder what it’s like to be named Virginia Wolff. Even though it’s spelled different and she isn’t dead, I bet some people (like my ten-year-old self) get kind of confused about it and say silly things. I went to school with an Emily Dickinson and people said silly things and she was not even a writer so far as I knew.
P.P.S. – I like this video of Tim winning an award for a book which I also like!
Some things I neglected to mention in said review:
1. The book contains potential triggers for self injury stuff. For what it’s worth, it’s just about the most honest, unsensationalised portrayal of cutting that I’ve seen anywhere.
2. Particularly given the subject matter described above, this book could have been saddled with a really crappy, dehumanizing cover, but it wasn’t! The girl even has a head! Kudos to Arthur A. Levine Books for that.
3. This book has maybe more than the necessary number of similes, particularly in the early bits. I mention this because I can see how it might be off-putting, but I’d like to emphasize that the payoff for sticking with it is way worthwhile.
4. I read it in the bathroom a lot, so there were a lot of times when I’d come back into the living room shrieking “That was the most dramatic pee ever! Omigosh! This girl totally just [insert spoiler here] and the other girl was like [spoiler spoiler spoiler] and I was like, wow.” So yeah. HIGH STAKES. Good to know if you’ve been trying to infuse more excitement into your pees? WHICH I RECOMMEND.
More Life,
Emmet
P.S. – I have, like, housemates. I wasn’t just shrieking at the furniture, guys. Also, it’s okay for me to spoil the book in that context because I always check to make sure nobody present has any intentions of reading it after me.
So, there’s a nifty queer film fest going on in my town right now. I’ve been erring on the side of seeing things rather than not, and it’s been working out nicely for me. I saw the amazingly funny and beautiful Cloudburst which, being a film in which Nova Scotia plays Maine (as well as itself), turned out to feature some familiar faces from my east coast life. Yesterday afternoon, I took in some really wonderful (and sad and devastating and sweetly agonizing) youth-themed shorts and the documentary This Is What Love In Action Looks Like surrounded by kids from the local queer youth groups, which was a fantastic reminder of why YA writers love their audience so much (although it should also be noted that queers of all ages are more fun to watch movies with than their straight peers, on average). I was very close to not going to see The Night Watch tonight, but I persuaded myself at the last minute (partially by sort of accidentally making somebody else expect me there who I only just met at the Cloudburst screening, and therefore am not prepared to disappoint just yet), and it was another winner.
I tweeted about it upon arrival home, but as happens with me and tweets, one soon became four, and it struck me it was leaning towards becoming a blog post. But then, I’d already pretty much said what I wanted to say. So here are the tweets, in reverse order of posting. Kind of appropriate, given the structure of the film they describe.
For proponents of Read It 1st, I’ll admit that a lot of the extra stuff the book packs into the character relationships was a sort of bonus feature while watching the movie — but I think it could be just as fun to discover that stuff after the fact. In fact, if I were less lazy, I might be inclined to start a Read It After movement. I love reading books after seeing their adaptations. I find it leaves me much freer to appreciate the merits of both. Don’t worry, I’m not too attached to my lit snob card. You can revoke it if you want.
More Life,
Emmet
P.S. – Is it weird that I talk about my mom in like, every post? Does it make me an unlikeable character? Does asking if I’m an unlikeable character make me an unlikeable character? Would you still like me if I was unlikeable? Should I just rename this blog stuff my mom might like?
So there’s this guy named John Green who has some good advice about how to grow up.
And there’s this book he wrote called The Fault In Our Stars which is great although I’m gonna wait a bit longer to talk about it, but you should really seriously know about this video in which he is interviewed by his Ilene. (Which does not spoil any of the major events in the novel although if you wish to know nothing about the character of Peter Van Houten until you meet him then don’t watch this yet.)
I love that John, whose signature is nowhere near legible, still has standards of like “this is a bad signature. I must apologise.” It is like this quotation from Wikipedia’s article on The Shaggs:
Reportedly, during the recording sessions the band would occasionally stop playing, claiming one of them had made a mistake and that they needed to start over, leaving the sound engineers to wonder how the girls could tell when a mistake had been made.
Hey, so I was just dabbling into the bookfighters videos about Moby Dick, and I was all, “Oh man, this would be a lot more entertaining to me if I’d like, read Moby Dick, so that I could take sides and want to stab people for their opinions and whatnot.”
The problem being that I really don’t feel like readingMoby Dick.
A beat up library copy is usually a pretty good sign. The paperback edition of Pure that I checked out has clearly been dragged around a good bit, despite only being in the library collection since 2010. That was enough to override my fear that a book with an ad for Lipsmacker Lounge in its endpages would almost definitely act like my friend so it could sit near enough to copy off my examen d’etudes sociales and then make me leave my own desk at lunch so it could sit with its real friends.
I used to work at an educational toy store, which means that generally speaking, we only sold things like dolls if they came with things like books. This store was run out of a refurbished garage in a part of town that didn’t see a lot of foot traffic, which means that it was often slow. This is all to say that I have read a number of the Groovy Girls books, as well as the ones that go with these pseudo-Barbies that are supposed to represent better values or something, or at least somewhat more realistic proportions (but no fatties). Pure is not like a book about the cookie-baking-horseback-riding-student-council-election adventures of animate inanimates, but it did have to go through the same door in my brain: the books-about-girly-girls-and-their-girly-girl-girlfriends entrance. When something comes through that door, I have a certain pre-understanding: I will not have any idea whether this book is reflecting reality or not. I do not have the real world experience to back up my opinions. Pure definitely takes place within a distinct kind of girl-culture, but as an outside reader, I felt invited into that world, rather than alienated from it.
There are two equally nauseating tendencies in representing groups of young women: either they’re all super bitchy and backstabby and it’s like ‘whoa why is anybody ever friends with girls because it’s clearly only ever horrible’, or whatever problems they have turn out to be totally insignificant because lalala faux-sisterhood makes everything awesome. Pure does a pretty good job of avoiding either extreme — which is important, because the book is actually far more about the ins and outs of platonic girlfriendship than it is about any of the things you might expect a book about purity rings to fixate on (eg – boyfriends, sex, evangelism).
In this way, Pure does present a somewhat positive perspective on the purity ring phenomenon. Mainstream culture often sees the proliferation of rings on the hands of adolescent stars as a creepy way of bringing up the subject of their sexiness by making it forbidden and therefore not pedophilic and therefore totally pedophilic, and the practice of fathers being the guardians of their daughters’ sexuality as a particularly gross way of having old fashioned family values. These views aren’t necessarily wrong (or at least, I still kinda agree with both of them), but as might be expected, they gloss over the complex individual reasons people choose to wear the rings. Pure doesn’t shy away from looking at the pitfalls of patriarchal ownership of female sexuality (although it’s equally unafraid to show us a female character who’s perfectly content to have her father as the self-appointed figurehead of her innocence), but for several of the girls in the book, that isn’t what the ring represents at all. The protagonist, Tabitha, had her ring presented to her by her best friend, making it a symbol not just of virginity, but of their promise to hold each other above their relationships with boys. Another friend considers her ring a promise to herself, not just to keep boys out of her pants, but to focus on her future and not become distracted. And of course, there’s one girl who seems to be doing it just because everybody else is.
Personally, one of the things that’s always ooked me out the most about virginity pledges of any kind is the heaviness of telling people, especially children, that their self-worth depends on their successful avoidance of sex until marriage — which is kind of an arbitrary marker. I recognise that this makes religious sense to a lot of people, but even so, it’s not like marriage is something that most middle or high school students can, with any accuracy, pinpoint on a timeline of their life. It’s also one of those concepts that’s so insanely complex that our feelings about it can and should change a whole bunch over the course of a lifetime. When I was twelve, I really hadn’t processed the idea that marriage was a situation that might eventually apply to me personally. When I was sixteen, I idealised marriage (or at least long-term companionship and fidelity) and was outraged when people I knew even tangentially failed in their commitments to one another — but I had still never had a serious romantic partner. When I was nineteen I was (sort of) proposed to, and rejected the idea out of hand. Now, at twenty-five, a number of my peers have gotten married (and many more are living in marriage-esque arrangements, where their lives are almost inextricably intertwined with a partner and it is pretty much assumed that they are going to remain like that for the forseeable future), and it is still a huge question mark for me. All of which is to say that while I completely respect young people’s right to make decisions about their policies regarding their interactions with other humans, and even to formalise and declare those policies however they see fit, I think it’s kind of screwy and damaging for adults to impose the idea of making a vow about something that we all know is an ongoing process of figuring yourself out (not to mention another person who you presumably DO NOT EVEN KNOW YET). Like, either you make this vow and stick to it or you’re awash in the vastness of the big sexed up world without a personal flotation device? UNKIND. Also not, like, truthful. I thought Pure did a good job of addressing how peoples’ relationship to the idea of purity changes over time. We are given to understand not that the girl who stops wearing her ring stops believing, but that she honestly comes to a point where the thing that is most in line with her values happens to be in direct opposition to the thing she pledged when she was twelve years old.
I also really appreciated that the book portrays Christianity as a diverse spectrum of believers — although I did find it a little bit curious that there was a bit of an all-or-nothing attitude towards sexual activity. Like, apparently it goes from kissing (which is okay but a slippery slope) straight into THE DEED. Which it, um, doesn’t, usually, in real life, right? I think part of the reason for this might be that the book is narrated by Tabitha, who is just starting to dabble in the kissing part with her new boyfriend, Jake. I feel like there’s some untold complexity on the subject for Cara (who has been with her boyfriend for over a year). I’d also be interested to hear from her about what it’s like navigating a sexual relationship after abstinence-only education. I’d say it’s a fair omission, given what McVoy chose as the focus and trajectory of the novel (sex is more of an incidental circumstance that allows the events to play out), but it is an omission that anybody with an interest in the status of sex education programs is going to notice.
When I first got the idea for Pure, I was working as an editorial assistant in New York, and reading a lot of YA fiction. Almost everything I read left me thinking, “Hmmm… this really wasn’t at all like my own high school experience.” Though my friends and I never had extreme fantasy lives (or extremely traumatic problems), the everyday stuff was definitely dramatic enough. So I decided to try to write something myself: something that captured the whirlwind rollercoaster of “normal,” and that focused on the deliciously horrible time in life when, for the first time, you’re making choices that separate you from your friends, your parents, your teachers and mentors—when you begin defining yourself as an individual.
I’m going to go ahead and say that I got kind of tired of the more mundane problems in the book by the latter pages — but to come full circle, that might be because I don’t know enough about the concerns of teenage girls. (Teenage girls, what say you?) Overall, though, McVoy has successfully drawn a novel’s-worth of things to care about out of a thoroughly realistic situation. So yay.
More Life,
Emmet
P.S. – It’s possible I have personal issues with Lipsmackers that I need to sort out. Is it weird that I still catch myself gazing at those sparkly tubes with the longing-repulsion of a sixth grader who half-believes that she is just a chapstick collection away from the love and acceptance of her peers?
P.P.S. – This is the article which provided the inspiration for Pure, in case you’re interested.