Plan A

Deb Caletti

Book - 2023

Sixteen-year-old Ivy's road trip across the country to get an abortion becomes a transformative journey of vulnerability, strength, and above all, choice.

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Subjects
Genres
Social problem fiction
Novels
Published
New York : Labyrinth Road [2023]
Language
English
Main Author
Deb Caletti (author)
Edition
First edition
Item Description
"Her story. Her choice."
Physical Description
404 pages ; 22 cm
Audience
Ages 14 and up.
Grades 10-12.
ISBN
9780593485545
9780593485569
9780593485552
Contents unavailable.
Review by Booklist Review

Caletti (The Epic Story of Every Living Thing, 2022) dives into the evergreen zeitgeist of reproductive rights through Ivy's story in Plan A. After teen Texas resident Ivy finds herself pregnant by unexpected means, she heads out on a cross-country road trip with her boyfriend, Lorenzo. While she has her mother's support, Ivy knows not everyone will be happy with her choice, like Lorenzo's father. But as she travels, she increasingly learns that it is her choice and she is far from alone in the long history of people seeking abortions. Plan A nails several elements, from the true-to-life and engaging voice to the tight handle on the nuance in the people who hold contrasting opinions and even the seemingly contradictory but simultaneously simple and complex issues of all varieties involved in abortion rights. Meanwhile, Caletti deftly manages a tender love story at the hurricane's center. Narrator Ivy maintains mystery around the specifics of her pregnancy for much of the book, building tension and a deeper level of investment in Ivy in a story that could happen to anyone. Characters throughout are dynamically painted with detail, as well as Ivy's sharp observations. Readers who enjoyed Juniper's independence and the take on a timely medical issue in Marisa Reichardt's A Shot at Normal (2021) will also appreciate Plan A.

From Booklist, Copyright (c) American Library Association. Used with permission.
Review by Publisher's Weekly Review

A pregnant 16-year-old in an ultraconservative town reckons with contemporary affairs surrounding abortions and bodily autonomy in this timely novel by Caletti (The Epic Story of Every Living Thing). When high school junior Ivy learns that she's pregnant, she knows she wants to get an abortion, but the procedure is illegal after six weeks in Texas. With her mother's support, Ivy and her steadfast boyfriend Lorenzo prepare to road-trip to Oregon, where her grandmother lives, for the operation. Before she leaves, however, a classmate discovers her secret, and soon, the whole community knows of Ivy's plan. Lorenzo decides to make the trip an around-the-world adventure, planning stops in cities such as Rome, Tex.; Lima, Okla.; and Moscow, Kan., to visit friends and relatives along the way. Through them, Ivy learns about other people's experiences with abortion. The cruelty that Ivy is subjected to by her community is sometimes difficult to read, but her surety of her right to choose never wavers. Through Ivy's frank first-person narration, Caletti offers a matter-of-fact exploration of abortion and its use cases, interweaving myriad perspectives on pregnancy and body agency with a deft and nonjudgmental approach. Main characters read as white. Ages 14--up. (Oct.)

(c) Copyright PWxyz, LLC. All rights reserved
Review by School Library Journal Review

Gr 9 Up--Sixteen-year-old Ivy DeVries has a plan. She is Assistant Manager of Euwing's Drugs, gets good grades, knows where she will go to college, and has money saved up so one day she can leave her tiny town of Paris, TX. But she also has a problem. She is exactly six weeks and one day pregnant--and abortions after six weeks are illegal in Texas. After talking with her mom, they decide that Ivy and her boyfriend, Lorenzo, will go on a road trip to visit Ivy's family in Oregon, where she will be able to get an abortion. The trip is messy and complicated--they get on each other's nerves; Lorenzo's dad tracks them down and tries to stop them. As they travel across the country and stay with relatives and family friends, women start opening up to Ivy about their own experiences with abortion. While Ivy never wavers in her certainty that an abortion is the right choice for her, the community that is created through the sharing of stories helps illustrate just how common abortion is (and always has been). Whenever a plot point strains credulity, Caletti cleverly breaks the fourth wall to address it head-on. But what really makes this story shine are the main characters. They are relatable and multifaceted, and the ways in which they love and support one another other feels deep and meaningful. Characters default to white, though the race of Lorenzo, who has the surname Bastimentos (Bastimentos is an island in Panama), is not clear. VERDICT An accessible, powerful portrayal of the importance of choice. A must-read.--Katie Patterson

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Review by Horn Book Review

Ivy, sixteen, is pregnant and scared. In conservative Paris, Texas, she knows she can't disclose her condition -- or her desire to have an abortion, which is illegal in Texas after six weeks. The accidental reveal of her pregnancy, and the judgment and hatred that follow, only make her more resolved. Ivy and her boyfriend, Lorenzo (who isn't the father), drive to Ivy's grandmother's house in Oregon, where Ivy can get the procedure done safely. During their "abortion road trip love story," they "travel the world," with stops in Lima (Oklahoma) and Genoa (Colorado) and visits to the Wonder Tower and the Pillars of Rome. As in The Epic Story of Every Living Thing (rev. 9/22), Caletti approaches a provocative subject with humanity, nuance, and compassion; here, Ivy's story is deeply personal but also contextualized within women's stories throughout history. "We should have all the choices, every possible choice, when so much hasn't been our choice," her mom's friend, who herself had an abortion, tells her. "Agency over your own body is, like, the smallest, most basic right." While this message is the story's focus, Ivy's journey is also full of beauty: great music, a new closeness with Lorenzo, and an appreciation for the wonder of the natural world. There is much more to Ivy than the "bundle of cells" inside her -- which, of course, is the point. Rachel L. KernsNovember/December 2023 p.78 (c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Review by Kirkus Book Review

The personal price of abortion bans. Sixteen-year-old Ivy lives in Paris, Texas, an insular town with a fake Eiffel Tower and a culture of megachurches. She proudly works as an assistant manager at Euwing's Drugs; she's also a diligent student with plans for college who one day hopes to see the world. But when she gets pregnant, Ivy knows it could spell the end of her ambitions. People in her town are vitriolically antiabortion--and abortion in Texas is illegal after six weeks. She tells her boyfriend, Lorenzo, and he and Ivy's mother organize a plan to drive to Oregon, where Ivy's indomitable grandmother lives, to get an abortion. What ensues is both a poignant road trip through towns named after world cities so Ivy can, after a fashion, experience seeing the world and a searing reflection on the contrasting states of affairs around abortion access and community attitudes. Over the course of the trio's journey, Ivy learns of other people's abortion stories--and that one in four women gets one. This extraordinary story scrutinizes, through Ivy's first-person, present-tense narrative, some of the historical and contemporary efforts to control women and the ways women have either been accessories to or have rebelled against them. The book offers a powerful argument for choice, bolstered by an exploration of women's oppression and strength, told through a personal lens: It's an individual story through which many readers will find universal commonalities. Main characters read white. Brilliant and multilayered; an absolute must-read. (Fiction. 12-18) Copyright (c) Kirkus Reviews, used with permission.

Copyright (c) Kirkus Reviews, used with permission.

1 When I'm not at school, you can find me at Euwing's Drugs, and so that's where I am that day, in the staff break room, surrounded by a shipment of pain relievers. It's not the most pleasant place to be, I admit. There's a permanent burnt smell in there after my manager, Maureen, once left the Mr. Coffee on all night, and it has twitching fluorescent lights that make you feel like you're in one of those futuristic movies where someone implanted a micro­chip in your brain. Still, it's what we've got, so I set my water bottle on a box that reads this end up and try for the hundredth time to start Tess of the D'Urbervilles for Advanced English III. I'm so far behind that it's becoming one of those things that grow bigger and bigger the longer you don't do them. I've never been this far behind in any of my schoolwork, and we've got a final coming up soon, but I just can't get through the beginning. You wouldn't believe how many pages there are before that thing actually starts. There's a foreword, and then an explanatory note to the first edition, and then a preface to the fifth and later editions. I'm not even kidding. You practically expect an introduction to the 109th edition. Blah, blah, blah, preface. If you ask me, they ought to be outlawed, the pages before the pages. And if they're in italics, forget it. You have a lot of opinions, Ivy, my mom always says. Which is, of course, an opinion. She has a lot of them, too--­opinions about music and men, guitars and rom-­coms--­and so does Grandma Lottie, about everything from shit cars to fast food. It's a thing in my family, especially among the DeVries women, to see yourself as strong-­minded and willful, fierce. Also, that old-­fashioned word "plucky." But I can tell you one thing--­right then, I don't feel very fierce, and you'd need way more boxes of pain relief to fix the hurt swirling around in my head. Swirl --­my stomach, too. Forget about eating. To get to the actual beginning of the book, I just skip all of it, all those pages that seem so meaningless. Fine, whatever, get to page seventeen, where the thing actually starts. You know what's funny? The first line. On an evening in the latter part of May, it reads, and right at that moment, it's actually an evening in the latter part of May. Something about this makes me think of our dog, Wilson, chasing his tail. Going around and around only to end up at the same place. Stop being a preface, Ivy, I tell myself. Get on with it. I sigh long and loud, even if no one hears it, and take off my blue vest with my name tag pinned on. In order to reveal my future, I open the book to a random spot to see what it says. Pages 142 and 143. My life looks as if it had been wasted for want of chances! Wow, thanks. Come on, book, you can do better! I close my eyes, move my finger down the page, and stop. What's the use of learning that I am one of a long row only? Oh my God. Or oh somebody's God. I wish he were mine, but the way people around here talk about God, he too often seems like the worst bad boyfriend--­moody, mean, and impossible to please. Ms. La Costa did say that Tess of the D'Urbervilles was the most depressing book ever as she handed out the copies in class, her legs shush-­shush ing from her nylons. How can it not be? It's about a woman in the 1870s who gets raped and has a baby, and then her whole town basically ostracizes her. When Olivia Kneeley said, Why do we have to read it, then? Ms. La Costa said, We still have to look. I wrap up the second triangle-­half of my peanut butter sandwich, tucking it into a plastic-wrap swaddle. It's one of those awful times when everything seems to be telling you something, even a peanut butter sandwich. Mini fridge, checkered linoleum, the curve of an orange peel in the trash, goodbye. I gather my things. Bending down, I tie my shoes even though they're already tied, like you do for a marathon. My opinions--­they don't have the power to wreck lives, though. They don't have the ability to make you so scared and so ashamed that you'll do what people want you to do, even if it destroys you. -- This all could be so easy, since I'm right there at Euwing's Drugs, where I've worked three days a week after school for two years now, and all day in the summer. Those very boxes are right in reach. But it's not easy. It's not Tess hard, but it's hard enough that I haven't slept for days. A scary dread keeps popping out at unexpected times, same as Diesel, our neighbor Mr. Sykes's dog, who snarls and flings his body against the chain-­link fence whenever anyone or anything passes by. "Be right back," I say to Maureen, who pinches her lips together and adjusts her own blue vest with the name tag that reads maureen and, under that, in print so small you practically have to have your face in our boobs to read it, how can i help you? She hates me. She absolutely hates me. I hate her daily tuna, how the smell of it merges with the old burnt coffee, but I try really hard to see the good in her. Whenever I relay all the thrilling drama at Euwing's Drugs for my best friends, Peyton and Faith, Peyton says for the millionth time, She's just jealous--­you know that. I know that. I'm the youngest assistant manager Euwing's has ever had, according to Mr. Euwing. Bob. Call me Bob. No more of this Mr. Euwing business. You're making me feel old! Promoted to management in only two years. While I'm still in high school. It took Maureen, who's, like, forty or fifty, something like fifteen years to be assistant manager, and two more to make manager after Flo died. I get it. I'd be jealous, too. I keep trying to be nice to her to make up for it, offering her a mint, giving her compliments about her hair or her latest manicure design, but there's no going back to the days when she'd pat my shoulder and say, How you doing, Ives? Mr. Euwing tapped the magic wand on my head because I'm his favorite, and who likes a favorite? I'd hate me if I were Maureen, trudging in to work all those years and then hearing Mr. Euwing say stuff to me like, I want to support your goals! I don't even know what my goals actually are. Go to college. Make money. Definitely see some places beyond Paris, Texas. Definitely see the real Paris someday, the real lots of cities in lots of countries, even. That's as far as I've gotten. I try to walk casually across the store, past the aisles labeled first aid and beauty and seasonal. I don't look at that wire cage by the door with those two lovebirds inside, Buddy and Missy, with their orange heads and curved red beaks and those black bead eyes on a circle of white that look like the plastic eyes you can find in a bin at Shelley's Craft and Quilt. Those eyes are so creepy and lifeless that you better make a joke about them, fast. Euwing Opaline Lovebird, Mr. Euwing will tell you. That's right! They have my last name! How can I not want to own them? He'll tell you much more than that, too--­how they're a mutation of two mutations, Euwing and Opaline, how you can pair two birds to actually design the bird you want. You can change its color. You can stop it from flying, even. "Birds don't belong in cages" is another opinion I have. What a life, to be forced inside, the door shut on all the possibilities that are right out there for you to see but not have. I hate the way those birds lift their feathers and peck at their small fat bodies and screech and scream. They make me so uneasy, I always try to avoid them, unless Mr. Euwing is watching. Outside, I stroll all casual until I'm sure I'm out of sight of Maureen and Evan, who's at the register. Then I take off. I run so hard, my backpack bangs against my side until I'm practically falling at the automatic doorstep of Euwing's archenemy, CVS. Giant corporation, forcing out the little guy. "Everything always seems to be about power" is another opinion I have. I step on the black mat, and the door whooshes open, which seems so upscale compared to our regular old door that you have to actually push. Everyone pulls, even though there's a sign right on it. Customers who have been coming for years do it, because, let me tell you, the force of habit is strong. If you watch Wilson go outside to pee, you even wonder if habit is inborn. Sniff the same two bushes, lift leg on tree, repeat for years, even when I try really hard to get him to view the yard in a new way. Inside CVS, air-­conditioning hits, and a wall of cool suddenly surrounds me. Goose bumps prickle up my arms as I face the display of Pump-­Up Max protein powder on sale that greets you as you walk in. The store is bright and clean and new, and so big that it's almost hard to see the anything in the everything. I glance around like a spy. My heart beats a guilty gallop, as if I'm about to rob the place. I didn't imagine how this would actually feel. Well, it feels bad. Really bad. Like a shame python is wrapping itself around me and squeezing. No cart, just a basket, the kind with the metal handles covered in a thin roll of red plastic. I get a hairbrush, on sale, protected in its transparent dome. A bottle of Suave shampoo, strawberry. A box of Red Vines for a dollar twenty-­five. A box of Junior Mints for ninety-­nine cents. A cheap mascara. When I get to that aisle, my face flushes. It's mid-May and warm, eighty-­two. Paris doesn't get hot like the Texas desert where my dad lives. It once got to be one twenty in Odessa. But I'm perspiring even in that air-­conditioning. Still, I wish I had a sweatshirt or something to cover my bare arms in my sundress. My skin feels all exposed, because when you're in that aisle, the one way in the back, it's the aisle of disgrace, where you stand there and publicly admit that you had sex or are about to have sex or that you get your period or can't control your bladder. Excerpted from Plan A by Deb Caletti All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.