Review by New York Times Review
CERTAIN GROWN-UPS REVEL in dumb generalizations about young adult literature. They say that Y.A. lacks moral ambiguity; that it is too dark; that it doesn't depict empowered female sexuality; that it is populated by fields of sparkly vampires; that it sprang fully formed from the head of John Green. Nice try, reductive grown-ups. The only overarching thing that characterizes young adult literature is the age of the protagonist. Y.A. is sometimes fluffy, sometimes fanged, sometimes hot, sometimes cool. Its writers' voices are punk rock and hip-hop and symphonic and fizzy-poppy. As these summer fiction possibilities prove, Y.A. books can be as different from one another as Cecilia Payne-Gaposchkin is from Blind Lemon Jefferson. Let's start our "there are more things in heaven and earth" exploration with EVERY EXQUISITE THING (Little, Brown, $17.99), by Matthew Quick, the author of "The Silver Linings Playbook." It's about Nanette, a high school junior whose suburban, conformist life is blown wide open after she reads an out-of-print coming-of-age novel called "The Bubblegum Reaper." Soon she's hanging out with its reclusive author, Nigel Booker, and a teenage boy named Alex who's a fellow Booker acolyte. Nanette starts reading Bukowski and Philip Larkin, rebelling against her shallow parents, tossing away her soccer stardom because she has come to hate the game, and falling in love. But before long her life starts sliding out of control. "Every Exquisite Thing" is guilty of the "not like other girls" trope - the notion that while most girls are predictable and icky, this one has complex dreams and emotions that make her special. And since the other girls in "Every Exquisite Thing" are vapid, undifferentiated, peach-schnapps-swilling sexpots, no wonder Nanette is a singular creation who'd rather hang with dudes who tell her to read dude authors. The plots of "Every Exquisite Thing" and "The Bubblegum Reaper" parallel each other; both are about ambiguity and not being able to look to adults or convention for guidance on how to live a meaningful life. But Quick sometimes seems to mock Nanette's pain and pretensions in away that feels meanspirited. "I like listening to music and reading poetry and novels," she tells her friend Shannon. "I like seeing art house films. I like having philosophical discussions as I look up at a hunter's moon." Shannon replies, "Maybe you're just a snob, Nanette." Maybe she is. But the universe Quick has built for her doesn't offer an alternative. By the time I finished reading "Every Exquisite Thing" (the title is from "The Picture of Dorian Gray": "Behind every exquisite thing that existed, there was something tragic"), my shoulders were somewhere around my upper ears. AS I read SCARLETT EPSTEIN HATES IT HERE (Razorbill/Penguin, $17.99), by Anna Breslaw, they inched back down. Scarlett has female friends who are smart and kind. She's a writer of fan fiction, so she doesn't treat canonical texts as gospel. Her stories are rooted in a "Buffy the Vampire Slayer"-esque TV show about a boarding school in which half the students are werewolves. But after the show ends, she begins a new narrative based on the lives of her friends, her nemeses and her crush object, Gideon. Unlike Nanette, Scarlett is self-aware and mouthy, snarkily alert to the class divide in her suburban New Jersey town, where her family can't afford all the extras her classmates take for granted and she is used to being made fun of "for wearing thrift-store clothes (they weren't cool yet), bringing weird wholesale Sam's Club chocolate milk to lunch unlike everybody else's normal Nesquiks, and the million other tiny indicators kids can sniff out poorness with." She adores her best friend, Ave, but wishes Ave were more assertive. "If Ave had invented fire, she'd introduce it to the Cro-Magnons by whispering, 'Um, hey, I made this thing, it's kinda cool, it might be sorta helpful for our continued evolution, if that makes any sense.'" Scarlett is annoyed at herself for her crush on Gideon, who acts like a jerk with the popular boys instead of living his best life as the stand-up-comedy nerd he is in his soul. When Scarlett sees him in school the day after he and his posse have trashed her feminist, pot-smoking neighbor's garden, she has no idea what to say. "I freeze helplessly, torn between wanting to yell at him about his cisgender white male sense of entitlement and whisper to him that he smells like pine needles and dreams." Relatable. Alas, many of Scarlett's references don't sound very kidlike ("Glengarry Glen Ross"? "The Wire"? Reclaimed-wood tables? Flipping through Redbook in a waiting room?), and the plot is, to be charitable, shaky. A character dies solely to advance the protagonist's emotional arc. Feh. But Scarlett's goofy, cranky voice is fun nonetheless. Her story is writ small. THE SERPENT KING (Crown, $17.99), a debut by Jeff Zentner, on the other hand, is an ambitious, sui generis genre mash-up. The three main characters, who live in rural Tennessee, seem to come from three kinds of literature: Dill, with his snake-handling fundamentalist preacher father - currently incarcerated for possession of child pornography - and fearful, quietly manipulative mother, is straight out of Southern Gothic. His parents don't want him to go to college (his mother wants him to drop out of high school and make money), and with his soulful guitar playing, self-doubt and yearning, you ache for him to find his way into a different story. Lydia is a smart-mouthed fashionista and power blogger whose spiky voice is so well executed she could text with Scarlett. Travis is a lumbering, black-clad, dragon-pendant-wearing, staff-carrying guy who lives through his passion for a George R. R. Martin-style fantasy world. Zentner's great achievement - particularly impressive for a first novel - is to make us believe three such different people could be friends. He also manages to blend a dank, oppressive, Flannery O'Connor-esque sense of place with humor and optimism. I particularly looked forward to Travis's passionate narration as he pretends he's in the "Game of Thrones"-like world. (Having dinner at Lydia's well-stocked house, he composes in his head: "The harvest was good that year in Raynar Northbrook's lands, and they feasted often on the heavy oaken table that sat in his great hall. He called for bread and meat until he was sated.") The characters narrate their own chapters, which makes for some wild shifts in tone. The unredeemable monstrousness of Dill's and Travis's fathers may prove hard for some readers to take, and a senseless, drug-fueled tragedy may seem over the top. But I adored all three of these characters and the way they talked to and loved one another. Mariko Tamaki's SAVING MONTGOMERY SOLE (Roaring Brook, $17.99) is also about three friends, but it's far less wrenching to read. Montgomery and her friends Naoki and Thomas constitute the Jefferson High Mystery Club in Aunty, Calif. They hang out after school and discuss strange phenomena. One day Monty spots an online ad for the "Eye of Know," a mystical crystal amulet from an actual meteorite, on sale for only $5.99. She buys it, and unnerving things start to happen. The book's vivid California-ness - avocado trees and warm air and concrete - along with Thomas's out-and-proud gayness ("Remember we are orchids in a forest of carnations," he texts) and Naoki's sparkly air-sprite energy reminded me a bit of Francesca Lia Block's classic '90s Y.A. novel "Weetzie Bat." But Monty's voice is far more sardonic than Weetzie's. "The sky was that pulsing electric blue that it is here," she writes. "It's this unforgettable, I'm-so-blue-it-hurts blue that I've always found kind of ridiculous. It's blue like nail polish for club kids. Anyway, today I wasn't really minding it." "Saving Montgomery Sole" has the assured tone and meandering plot of Tamaki's strange and lovely graphic novel "This One Summer" (illustrated by Jillian Tamaki, who is her cousin and the illustrator of the Book Review's By the Book feature). Both books deal with inchoate rage and anxiety. Monty loves her two moms and her friends, but the presence of a homophobic right-wing preacher in town has her on edge, and being surrounded by teenagers who aren't as enlightened as her immediate circle makes her furious. "I could feel my brain filling up with angry bits, piling up like Ho Ho wrappers on a binge day," she says. "Like homework on a Sunday." There's no big revelation, no epiphany. The mystery of the amulet is never solved. Readers who find this maddening are not the right readers for this book. Readers who do not like human effluvia are not the right readers for THE HATERS (Amulet Books, $18.95). I must impress upon you how profane, vile and hilarious this book is. I laughed so hard I scared my cat off the couch multiple times, but if you have ever used the phrase "the coarsening of discourse," it is not for you. It's by Jesse Andrews, the author of "Me and Earl and the Dying Girl," which also had gross moments, but not this gross, and there was a dying girl, so the gross seemed in service of something noble. Not this time. "The Haters" is about Wes, Corey and Ash, who meet at jazz camp, start a band and flee on a long and filthy road trip. The depiction of jazz camp - with its hypercompetitive, fedora-wearing, skinny white guys trying to talk like Miles Davis - slays. One guy starts chatting up Wes, who was adopted from Venezuela, and when Wes asks him to stop talking like that, he says: "'Well, this is how I talk with the brothers back in South Philly. And they've never had a problem with it. But if you have a problem, man. ...' He nodded slowly. 'Then I got to thank you,' he said. 'For speaking your truth.'" It's clear why our heroes have to escape jazz camp. The three play in dives and eat junk food (the beef-flavored chips "had a taste that I would categorize as like a locker room, but for dogs") and sleep wherever they can ("Motel 6 is where you go if you've been evicted from your home and you need a place to do the meth that you just stole from the corpse of a prostitute," Ash pronounces) and meet lovely and scary people and have romantic interludes. What "The Haters" excels at is describing music. Here's how Andrews captures terrible improv jazz: "The trombones were botching goofball quotations like 'Flight of the Bumble-bee' and then signaling surrender with sheepish atonal elephant noises. And each of the saxophone solos was basically the equivalent of the small talk that you are forced to make with the friend of your mom who cuts your hair." And, helpfully for many readers, "if you don't know music, just know that if the band is playing in F but you're playing in E, it's going to sound simultaneously very whimsical and very horrible. It's basically a horror movie starring the Muppets." What "The Haters" does not excel at is girls. Ash is, shall we say, a poorly developed character. And there's a scene in which she is uncomfortably in the room while a comic-relief white hippie girl has several rounds of sex with a semiconscious Wes. (In the morning, when Wes is sober, Ash tells him, "You were just lying there murmuring, Please, no, and she was ordering you around in broken Spanish.") Not funny. But a lot in the book is. From the gross to the celestial: THE SQUARE ROOT OF SUMMER (Roaring Brook, $17.99), a debut by Harriet Reuter Hapgood, is a story of love and grief grounded in physics. Gottie Oppenheimer is a math and science genius in a small seaside town in Norfolk, England. Her mom died when she was born; now she's mourning her grandfather Grey's unexpected death. Her best friend, Thomas, who moved to Canada five years earlier, is coming back. She has strange gaps in her memory. And she starts experiencing disruptions in time and space. This is a novel for readers unafraid of science. There's talk of fractals, wormholes, black holes, the Gödel metric ("a solution to the E=MC^sup 2^ equation that 'proves' the past still exists"), Schrödinger's cat, string theory. Physics provides metaphors for loss, confusion and love. But there's humor, too, including terrible band names (Gottie's brother is a glam rocker) worthy of "The Haters": Fingerband, Synthmoan de Beauvoir, Jurassic Parkas. There are funny German words and delicious baked goods and crazy outfits. And Thomas is wonderful. When he tells Gottie how sorry he is about Grey's death, "it's the first time someone's hugged me since Oma and Opa, at Christmas. I stand there, made out of elbows. ... But after a moment, I wrap myself around him. It's a hug like warm cinnamon cake, and I sink into it." Later: "His kiss interrupts me, sudden-short-sweet. Unquestionable. It feels like reading a favorite book, and falling for the ending even though you already know what happens." The book is too long and has entirely too many physics analogies. But the delectable romance and the moment when past, present and future all come together and semi-solve the mysteries of Gottie's time travel make the journey worthwhile. Nothing about Julie Berry's THE PASSION OF DOLSSA (Viking, $18.99) should work. It is a 500-page book set in the 13th century, sprinkled with a medieval language called Old Provençal, about a young noblewoman who escapes a Dominican order that wants to burn her as a heretic. Yet I stayed up all night reading it and had tears in my eyes almost the entire time. Dolssa is an 18-year-old girl who has a Song of Songs-like relationship with God. "He caught me up on wings of light, and showed me the realms of his creation, the glittering gemstones paving his heaven," she says. "He left my body weak and spent, my spirit gorged with honey." The friars do not look kindly on this kind of talk. But Dolssa (miraculously?) escapes being thrown into the flames and winds up in the seaside village of Bajas. There she's cared for by three sisters who run a tavern and supplement their income by whoring (the oldest), fortunetelling (the youngest) and matchmaking (the middle sister). It turns out Dolssa can perform healing miracles. But an obsessed friar is tracking her through the countryside with near-sexual fixation, interviewing prostitutes as well as Jews and small-town clergymen about whether they've seen her. The language is gorgeous and evocative without seeming to try too hard. You practically smell the sea and taste the foamy ale. The characters have clearly differentiated voices; Dolssa sounds fancy and stilted for much of the book, while the sisters sound like the funny, earthy wenches they are. I cried partly because of the matter-of-fact kindness of the sisters - they care for others because it's the moral thing to do - and partly because of the parallels to our country now. There's a difference between being Christ-like and using Christ's name to oppress others, to silence women and persecute immigrants. I'm not sure how big an audience there is for a book like this. But I found it magnificent. Finally, we turn to another debut, THE STAR-TOUCHED QUEEN (St. Martin's Griffin, $18.99), by Roshani Chokshi, a fantasy drenched in Indian folklore. It's essentially a fairy tale, with a journey, an evil villain, minimal characterization and a happy ending. But lush, ornate ribbons of language are festooned over the bones of story, turning it into something rich and dizzying. Maya, a princess in Bharata, is rescued by a mysterious man named Amar. He smells of "mint and smoke, cardamom and wood." He can't tell Maya who he is until the new moon, but he's obviously trustworthy, because he says things like "I want to lie beside you and know the weight of your dreams." He tells her, "Come with me and you shall be an empress with the moon for your throne and constellations to wear in your hair." My teenage-demigoth self would have swooned. Amar and Maya ride through magical settings to his empty castle. Mirrors reflect "countries spiked with spires, turrets bursting with small ivy flowers, cities awash in color, and a thousand skies painted in vespertine violets of anxious nightfall waiting for stars, dawns just barely blooming pink and orange with new light, afternoons presiding over sleeping towns. ... It was all here." You either have to let yourself be swept along or wind up doing an Amazon search to find out how many times the word "glittering" appears. (Fifteen.) I was troubled by grammatical errors: "Girl that" rather than "girl who; "with myself" rather than "with me"; "He sunk beneath the water." But who cares, if you're a reader who imagines being bathed in milk, adorned with amethysts and kissed by a gorgeous stranger who says: "I know your soul. Everything else is an ornament." MARJORIE INGALL is a columnist at Tablet and the author of the forthcoming nonfiction book "Mamaleh Knows Best."
Copyright (c) The New York Times Company [June 5, 2016]
Review by Booklist Review
Mayavati, favored daughter of the raja, lacks a shadow, but is well supplied in knowledge and bad fortune. When her father calls in men from surrounding kingdoms in an attempt to find her a husband, Maya is disappointed, wanting more out of life than to sit bored in a harem. But on her wedding day, magic and adventure find her as her kingdom of Bharata falls to war. She is rescued by Amar, the raja of an Otherworld kingdom called Akaran a mysterious, cloaked man who seeks a queen to help protect his kingdom. Still, though Amar offers Maya power and mystical secrets, he may also be drawing her into the darkness of his world, where she will never truly be free. Chokshi's first novel is filled to the brim with gorgeous, scintillating writing that easily draws readers into its new take on traditional tales. A unique fantasy that is epic myth and beautiful fairy tale combined.--Comfort, Stacey Copyright 2016 Booklist
From Booklist, Copyright (c) American Library Association. Used with permission.
Review by Publisher's Weekly Review
A princess's destiny may lie among the stars in Chokshi's exquisite debut novel. Princess Mayavati of Bharata is only one among her father's many children, and her horoscope says that death is her constant shadow. Her kingdom is on the brink of war, and when her father announces that she soon must choose her husband, it comes with a horrible catch. When a mysterious stranger, Amar, breaks into Maya's room and offers her the keys to his kingdom, she only hesitates for a moment before being whisked away to Akaran, a haunted place where mirrors offer glimpses of strange lands, and an enchanted tapestry holds the fate of millions in its threads. Chokshi's prose is captivating, and the pages come alive through lush descriptions of Night Bazaar teeming with Otherworldly delights, gardens made of glass, and realms where the lines between life and death are blurred. Maya is a strong heroine, and while there is romance, an emphasis on familial love adds another level of richness to a folkloric fantasy about sacrifice, self-discovery, and making your own destiny. Ages 13-up. Agent: Thao Le, Sandra Dijkstra Literary Agency. (Apr.) © Copyright PWxyz, LLC. All rights reserved.
Review by Library Journal Review
Lush and lyrical, Chokshi's debut melds Hindu folklore and mythology and weaves a story set in ancient India that captures the essence of fantasy. Maya is the daughter of a raja, born under a horoscope that promised only death and destruction. Her father arranges a political marriage intended to end in her suicide, the best thing she could do for the realm. A last-minute reprieve is put forth by an enigmatic man named Amar, who offers to marry her and take her to his kingdom. The Kingdom of Akaran is devoid of people except for the constant whispers that compel Maya to doubt every-thing she sees and feels, forcing her into a decision that may have fatal consequences for the whole world unless she locates the key to unlock her true past. Priya Ayyar's lilting cadence enhances the well-described imagery and the large and fantastical cast of characters. Her Maya is appropriately young, but as she rediscovers her true self, she grows audibly stronger. Amar is the handsome prince of every girl's fantasy until Maya breaks him. -VERDICT This fantasy is accessible to all ages, high school and up. Its themes of sacrifice, forgiveness, and repentance are familiar yet made new through Chokshi's stellar storytelling.-Jodi L. Israel, Miami, FL © Copyright 2016. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Review by School Library Journal Review
Gr 9 Up-Born with a horoscope that predicts a marriage of death and destruction, Maya is an outcast in her father's kingdom, Bharata. When her father's political machinations go horribly wrong, Maya finds herself married to Amar and queen of Akaran-a mysterious place filled with secrets and magic. Amar offers Maya the chance to rule at his side and become more than Bharata ever would have allowed. All he asks in return is her patience and trust, which soon prove more than she can give. Her search for answers will lead her across worlds and through her own fragmented memories to discover surprising truths about her husband's kingdom and herself. Maya is refreshingly unapologetic about her ambitions and her desire for independence. Although her distrust and doubts lead to the main conflict of the story, she is quick to own those mistakes and works to correct them even when it might be to her detriment. Chokshi's debut fantasy is filled with vivid and unexpected imagery as Maya discovers the wonders and dangers found in her new home in the Otherworld. Well-researched figures from Hindu folklore and mythology, astonishing creatures, and expressive characters further complement the story. A setting drawn from ancient India, romance with feminist sensibilities, and a unique magic system reminiscent of Laini Taylor's Daughter of Smoke and Bone (Little, Brown, 2011) make this a novel sure to appeal to fans of Renée Ahdieh's The Wrath and the Dawn (Putnam, 2015). VERDICT A stunning debut filled with lush writing, smart characters, and a mysterious plot that provides as many twists as it does swoons.-Emma Carbone, Brooklyn Public Library © Copyright 2016. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Review by Kirkus Book Review
In a fantasy world influenced by Indian mythology, a young princess lives in scorn because of the horoscope that decrees she will marry "death and destruction." But adversity breeds strength, and "dusky-complexioned" Maya has spent her childhood and adolescence reading mythology and history, spying on her father's councils, and weaving magical stories for her beloved half sister. When her father asks her to sacrifice her life to save their kingdom, Maya has no choice. And then, at the moment she is to drink poison, a mysterious, handsome stranger appears and whisks her away to the Otherworld, the place of demons and magic. What follows is a play on the classic love-betrayal-redemption arc of Cupid and Psyche or Beauty and the Beast. Chokshi's rich, descriptive writing weaves a lush web that almost hides the lack of character development; this is a book exclusively concerned with telling, and style overwhelms substance throughout. But a swoony romance, betrayal, and a journey to power and self-affirmation, with a slightly wicked, slightly funny animal sidekick in the best tradition (think Garth Nix's Mogget as a crimson-eyed horse), work together to create a spell that many readers will willingly succumb to, flaws and all. Richly imagined, deeply mythic, filled with lovely language with violet overtones: this is an author to watch even if she's not there yet. (Fantasy. 12 up) Copyright Kirkus Reviews, used with permission.
Copyright (c) Kirkus Reviews, used with permission.
