The Sparkle Project

“Fracture”

Author: Megan Miranda.

Publisher: Walker & Company.

Pages: 272.

Summary (taken from GoodReads): Eleven minutes passed before Delaney Maxwell was pulled from the icy waters of a Maine lake by her best friend Decker Phillips. By then her heart had stopped beating. Her brain had stopped working. She was dead. And yet she somehow defied medical precedent to come back seemingly fine. Despite the scans that showed significant brain damage. Everyone wants Delaney to be all right, but she knows she's far from normal. Pulled by strange sensations she can't control or explain, Delaney finds herself drawn to the dying. Is her altered brain now predicting death, or causing it?

Then Delaney meets Troy Varga, who recently emerged from a coma with similar abilities. At first she's reassured to find someone who understands the strangeness of her new existence, but Delaney soon discovers that Troy's motives aren't quite what she thought. Is their gift a miracle, a freak of nature-or something much more frightening?

For fans of best-sellers like Before I Fall and If I Stay, this is a fascinating and heart-rending story about love and friendship and the fine line between life and death.

Cover impressions: Once your publisher starts promoting your book and mentioning it in the same vein as two of the most well received books in YA in recent years, immediately you have a lot to live up to. While I didn't adore “If I Stay”, I thought it achieved its objective – to present a young woman's life and her existential struggles – with a deft hand, one that is difficult to pull off for even the most talented writer. For Megan Miranda's debut (which is also a standalone, a refreshing occurrence in a field that churns out more multi-book series than it knows what to do with), the personal elements are much more successful than other parts.

The relatively short “Fracture” has many ideas running through it and, perhaps inevitably, not all of them work. The main issue arises from a lack of a central focus, which leaves the narrative prone to wandering off and slowing down to almost a complete halt. Sometimes the book can't decide what it wants to be – does it want to be a romance? A mystery? An exploration of human nature and death? Each segment succeeds to varying degrees, although none is given enough time to develop into something truly gripping, although the potential is clearly there, especially in the mystery elements, where Miranda creates some surprisingly tense moments and even surprised me when I thought things were becoming too predictable. Some scenes feel rushed and/or have no real resolution. A strong editor could work wonders for this book and turn it from good to great.

I've read some reviews which levelled complaints with the heroine Delaney and her coldness, but I actually found this rather refreshing. She provided a welcome change from the usual selection of blank faces I've become all too accustomed to in YA. I can definitely see many readers having a problem with this though. Her multiple boy troubles, however, grated on me. No less than 3 young men are presented as possible love interests for Delaney and none are given any page time to develop into a viable option for her (although, to give huge credit to Miranda, she turns the tables when things seem to be following an all to familiar YA romance route.) The story needed to either develop the romantic element further, concentrating on no more than two boys (you know how much I just love my love triangles!) or getting rid of the sub-plot altogether.

There's one element of this book that I have to discuss. Once again, here's another YA novel with a female antagonist who serves no purpose to the plot other than to be promiscuous and act as a straw-figure to compare the heroine to. She genuinely does nothing of any important besides act as the most minor of road-blocks in the possible relationship between Delaney and best friend Decker, and is almost always described in terms of her tight clothing or promiscuous nature, constantly talking about sex or getting naked. At one point she is described as "pathetic in her too-tight clothes, desperate for attention." We shouldn't have to keep going over this, YA. Stop demonising girls who have sex as sluts! Stop using it as a cheap shortcut to avoid characterisation of the already clichéd and damaging teen female antagonist role! The character was of no consequence and really didn't need to be in the book, so her inclusion felt all the more bitter and forced me to knock half a star from the review.

The potential within “Fracture” is evident and there are moments where Miranda really shines, especially within the mystery elements and Delaney's inner turmoil, but it's a work that needs to be seriously fleshed out. If certain plot lines, characters and situations could be tightened up and built upon, the book could be a very interesting and gripping piece of work. As it is, it's a perfectly readable story that fails to satisfy in the way it has the potential to do so.

2.5/5.

“Fracture” will be released in USA on January 12^th 2012. I received my ARC from NetGalley.com.

“Between the Sea and the Sky”

Author: Jaclyn Dolamore.

Publisher: Bloomsbury Children's Books.

Pages: 240.

Summary (taken from GoodReads): For as long as Esmerine can remember, she has longed to join her older sister, Dosinia, as a siren--the highest calling a mermaid can have. When Dosinia runs away to the mainland, Esmerine is sent to retrieve her. Using magic to transform her tail into legs, she makes her way unsteadily to the capital city. There she comes upon a friend she hasn't seen since childhood--a dashing young man named Alandare, who belongs to a winged race of people. As Esmerine and Alandare band together to search for Dosinia, they rekindle a friendship . . . and ignite the emotions for a love so great, it cannot be bound by sea, land, or air.

Cover impressions: I found Dolamore's debut “Magic Under Glass” to be a charming and creative book that could have benefited from some tighter plotting and characterisation. It certainly sparked my interest for her next book, a standalone mermaid story, especially after Dolamore mentioned how she wrote the book to the scores of Studio Ghibli films (indeed, I noted in my earlier review how her creative worlds would be ideal for Hayao Miyizaki's next film.) While the mermaid craze never quite took off the way that many bloggers and publishers thought it would, there is still a gap in the market for a strong mermaid YA to join the myriad of vampires, werewolves, angels and other assorted creatures of mythology already so well known to readerrs. Unfortunately this book did not meet my excpectations.

I found that many of the same problems I had with Dolamore's previous novel appeared in “Between the Sea and the Sky”. Wonderfully imaginative elements of world-building, including the mermaid-siren hierarchy, the relations between each of the species and the world of the winged creatures, the Fandarsee, were introduced to us but never fully developed. In “Magic Under Glass”, Dolamore introduced the strands of political and cultural complexities that I was desperate to know more about, yet such elements never came to fruition, and the exact same thing happens here. While there were moments of vivid descriptive scenes throughout her consistently strong prose, I never felt fully immersed in the world-building. To be honest, much of it felt very underdeveloped. I have a feeling this book may be marketed to a younger, more middle-grade audience. The prose and story-telling feels more suited to pre-teen readers, although it's very readable for all ages. I did find that the frequent dumping of exposition began to grate extremely quickly, especially since this is such a short book with very little action and a highly predictable plot.

I did not find Esmerine to be as interesting or well developed as Nimira in “Magic Under Glass.” The idea of the young beautiful mermaid dissatisfied with her lot in life and yearning for more on the surface is nothing new. In fact, it's a staple of the great mermaid tales going back as far as Hans Christian Andersen, maybe even further. I can understand the harking back to influential tales but so little is developed from that point onwards that it can't help but feel stagnant and unsatisfying. This applies to pretty much every supporting character in the book, although nobody is ever really given any real time to shine or become more three-dimensional. Of course, this doesn't bode well for the romantic element, which felt too heavily reliant on the childhood friends trope to explain Esmerine and Alandare's relationship. One part of the book that really left me scratching my head was the depiction of humans. While mermaids and the Fandarsee are granted some variety of characterisation, pretty much every human is seen as selfish, rude or extremely ignorant of other species aside from themselves. They seem to view all others as a side-show novelty. I could understand this possibly for one or two characters from more isolated parts of the country, but these interactions and knowledge of other creatures are well known, so it didn't make much sense to have every human act like a fool when in the presence of a mermaid (whom they are especially susceptible to falling under their charms) or Fandarsee.

While “Between the Sea and the Sky” possesses much of the charm and imagination of Dolamore's debut work, the same flaws are also still present and overwhelm the positive elements. Wonderfully creative elements and ideas are introduced but left to flounder instead of being given their deserved attention, while the characters and romantic element are pretty stock for the genre for the most part. The readability of its prose and short length make it ideally suited to younger readers, although the book itself is not without merit for readers of all ages. Once again, it's an ideal framework for a Ghibli film, but also hints are Dolamore's possible strengths as a short story writer.

2.5/5.

“Lost Voices”

Author: Sarah Porter

Publisher: Houghton Mifflin Harcourt Children.

Pages: 304.

Synopsis (taken from GoodReads): What happens to the girls nobody sees—the ones who are ignored, mistreated, hidden away? The girls nobody hears when they cry for help?

Fourteen-year-old Luce is one of those lost girls. After her father vanishes in a storm at sea, she is stuck in a grim, gray Alaskan fishing village with her alcoholic uncle. When her uncle crosses an unspeakable line, Luce reaches the depths of despair. Abandoned on the cliffs near her home, she expects to die when she tumbles to the icy, churning waves below. Instead, she undergoes an astonishing transformation and becomes a mermaid.
A tribe of mermaids finds Luce and welcomes her in—all of them, like her, lost girls who surrendered their humanity in the darkest moments of their lives. The mermaids are beautiful, free, and ageless, and Luce is thrilled with her new life until she discovers the catch: they feel an uncontrollable desire to drown seafarers, using their enchanted voices to lure ships into the rocks.
Luce’s own talent at singing captures the attention of the tribe’s queen, the fierce and elegant Catarina, and Luce soon finds herself pressured to join in committing mass murder. Luce’s struggle to retain her inner humanity puts her at odds with her friends; even worse, Catarina seems to regard Luce as a potential rival. But the appearance of a devious new mermaid brings a real threat to Catarina’s leadership and endangers the very existence of the tribe. Can Luce find the courage to challenge the newcomer, even at the risk of becoming rejected and alone once again?

Cover impressions: Sometime after Stephenie Meyer’s “Breaking Dawn” was unleashed upon the world and the media was scrambling for the next big creature in YA, mermaids was tossed around as a possible substitute for vampires and werewolves, partly influenced by Meyer herself admitting to having a mermaid story in mind for a future novel. While this hypothesised craze never really came to fruition, there is a number of mermaid-related YA stories awaiting release or already in bookshops from the past year or so.

Sarah Porter’s debut, yet another first in a series, takes the mermaid mythos that has more in common with Hans Christian Andersen’s “The Little Mermaid” than the incredibly sanitised Disney adaptation. While the mermaid and siren tradition has a rich and fascinating mythos, it’s not one that’s been explored very often in YA and Porter’s reinterpretation of themes from The Odyssey along with fairy tales of both Andersen and the Grimm Brothers is one of the strongest elements of the book. The story is unrelentingly bleak for the most part – girls are turned into mermaids after having suffered unimaginable abuse and pain at the hands of humans to the point where they give up on humanity. The mermaids live in a matriarchal society and use their siren-like voices to crash ships and kill those on board as a form of revenge for what humanity did to them. It definitely made a refreshing change from the stock paranormal format that has oversaturated the market.

Most of my problems with the book fall at the feet – or tail – of the protagonist Luce. She has a standard neglected orphan set-up which just manages to avoid falling into maudlin soap-opera territory (only just), and she does have some interesting moments, especially in her complex relationship with head mermaid Catarina. However, she veers from naive little girl to tortured hero with a passive martyr complex. I think most of these problems are the result of Porter’s prose, which is often clunky and repetitious but reasonably serviceable for the most part, except with Luce’s internal monologue. Her characterisation has a lot of potential – her coming to terms with what happened to her, discovering her new powers, wanting to fit in and stick to the mermaid code but still having her humanity – but it felt a little black and white at times, especially since practically none of the other mermaids had these issues. By the end of it all, Luce is the super special mermaid to end all super special mermaids and it’s so overdone. I was much more intrigued by Catarina’s story but Porter tries to introduce far too many characters so nobody is really given any time to truly develop beyond being abused girls turned vengeful mermaids. Most of the time it’s hard to remember which one is which since their personalities are so similar that they end up merging together. Things aren’t helped when even more characters are introduced with even less development. If you’re going to use something like abuse as a developmental point in a character’s life, you’d better make sure you do it well for fear of coming across as lazy and exploitative. In this case it’s more the former.

The plot is so deathly slow I didn’t think there was one for the most part. I understand Porter wanting to develop the mermaid way of life, and there is a lot of often repeated detail in this book, but it plods along at such a snail’s pace that I found myself getting bored on more than one occasion. Things pick up towards the end but you can’t just rush a plot 2/3s of the way through to make up for the rest of the book. Many interesting questions are raised, especially pertaining to the mermaids’ powers and their own twisted version of judgement, but few are answered. It’s a world that never truly reaches its potential.

If mermaids are to be the new creatures that fill our paranormal YAs in the future then I hope their worlds are at least as interesting as the one in “Lost Voices”. The mythos is clearly begging for some interesting interpretations and Porter gives us one that is bleak, complex and brimming with possibilities, which I hope it fulfils with the rest of the series. However, the plotting needs some serious work as does the characterisation of the supporting cast. There is definitely potential for Porter to develop and grow as a writer which will drastically improve the series but as this book stands, it’s not without merit but I was left with too many questions and too many problems.

2.5/5.

"Lost Voices" will be released in USA on July 4th. I received my e-ARC from NetGalley.com.

“Ultraviolet”

Author: R.J. Anderson.

Publisher: Orchard Books.

Pages: 384.

Synopsis (taken from GoodReads): Once upon a time there was a girl who was special.

This is not her story.

Unless you count the part where I killed her.

Sixteen-year-old Alison has been sectioned in a mental institute for teens, having murdered the most perfect and popular girl at school. But the case is a mystery: no body has been found, and Alison's condition is proving difficult to diagnose. Alison herself can't explain what happened: one minute she was fighting with Tori -- the next she disintegrated. Into nothing. But that's impossible. Right?

Cover impressions: I am a sucker for the dark side of literature. Growing up, I went through a massive phase of reading books about crime, serial killers and down-trodden detectives looking to solve the case, so seeing the synopsis of this book on NetGalley made it an instant must read for me. The book was surprising on many levels and it’s a real genre bender, not quite the straight forward dark thriller I thought it was going to be, but did it work?

Some of it worked rather well. It becomes evident very early on that Alison has the condition synaesthesia, where one’s senses cross over and interact in interesting ways. For Ali, this involves different numbers and letters having distinctive tastes and colours as well as some surprising experiences that occur throughout the book. I really enjoyed the way this was incorporated into the story and it provided a fascinating view of the world from a truly unique perspective. Anderson’s prose is particularly strong during these points and also rather beautiful. The more lyrical moments of prose don’t always work within the context of the story though; sometimes it felt a little jarring. It was always enjoyable to read but I questioned whether it was the right stylistic choice at these moments in time. While Ali’s narration is fascinating, it also means we sometimes don’t get a fully realised view of the world she lives in. This isn’t a problem to begin with – Anderson effectively creates a sense of foreboding and intrigue as Ali discovers what has happened – but then it goes a little off the rails, mainly because of Ali.

I didn’t mind Ali as a character. I understood her fear and sympathised with it for most of the book, plus her narration, as I said, was very lyrical and interesting at times. However, her decision making process left me feeling a little frustrated. I’m not a fan of characters avoiding the obvious for the sake of plot development. Sometimes it felt like Ali wasn’t allowed to progress because the author had decided it wasn’t time for that yet. While I understood Ali’s difficulties and worries over making certain choices, it still didn’t feel natural. I also felt like we didn’t get a lot of characterisation for the supporting players, especially Ali’s fellow patients and the mysterious Dr Faraday.

There are two small, very specific things in the book that I really want to touch upon, and to do this there may be slight spoilers.

Unfortunately, the book casually drops in one of my biggest irritants in YA fiction – the casual gay joke. One of Ali’s fellow patients, who is bipolar, makes several references to Dr Faraday being gay (he isn’t gay but the boy, whose name I have unfortunately forgotten, keeps saying he is out of jealousy, I think) and no-one chastises him for it. Ali silently expresses disapproval but nobody points out how stupid and insulting it is to casually use homosexuality as a negative marker of someone. The boy was frequently punished for saying stupid thing so why not this? It’s a small thing, I know, but I’ve seen it used so frequently in fiction without any character, or even the omniscient narration, taking the time to say it’s wrong, and it bugs me because we’ve still got this society that uses ‘That’s gay’ as some ultimate insult. Homosexuality is still somehow the acceptable insult these days.

The other problematic element I had also involves this young man forcing himself on Ali. She pushes him back, screams and makes it pretty clear that she doesn’t want this and when the boy has the audacity to be insulted by this, she say sorry. Even though she mentions in her narration that she really isn’t sorry, she still says it. She didn’t have to say it! She wasn’t the one at fault here; mental illness or not, the woman, or man, shouldn’t apologise for having someone force his or herself upon her/him! Later on, the issue is dealt with and the boy is punished but this little scene still nagged at me so I had to address it.

Overall, I like a lot of thing about “Ultraviolet.” The incorporation of synaesthesia was fascinating and well handled, providing an often beautiful and unique narration, and the set-up is intriguing for the most part. I admire Anderson for taking the book out of the comfort zone and not sticking to the well worn and seductively easy routes YA has so often been taking lately. It doesn’t always work but I was never bored by what I read, even if some of it was a little sketchily developed. The strong elements that kept me reading were let down by some weaker moments of plotting and characterisation. I’m really not sure how to rate this book. It’s either a 2.5 or a 3 out of 5. There’s definitely a lot to enjoy in the book and it’s refreshing to see something unique in the genre right now, but for all its strengths it could have definitely been stronger.

2.5 or 3/5 (apologies for my indecisiveness, I genuinely spent ages trying to pick one and couldn’t!)

“Ultraviolet” will be available to read in USA on 2^nd June 2011. I received my ARC from NetGalley.com.

“The Vespertine”

Author: Saundra Mitchell.

Publisher: Houghton Mifflin Harcourt.

Pages: 304.

Summary (taken from GoodReads): It’s the summer of 1889, and Amelia van den Broek is new to Baltimore and eager to take in all the pleasures the city has to offer. But her gaiety is interrupted by disturbing, dreamlike visions she has only at sunset—visions that offer glimpses of the future. Soon, friends and strangers alike call on Amelia to hear her prophecies. However, a forbidden romance with Nathaniel, an artist, threatens the new life Amelia is building in Baltimore. This enigmatic young man is keeping secrets of his own—still, Amelia finds herself irrepressibly drawn to him. When one of her darkest visions comes to pass, Amelia’s world is thrown into chaos. And those around her begin to wonder if she’s not the seer of dark portents, but the cause.

Cover impressions: This book’s had a couple of cover changes and the newest one is most definitely my favourite. There’s been a lot of blog buzz around this book, the second one by Mitchell, with many YA authors trumpeting their praises from the high heights of Twitter and such, so I was particularly excited when I received an ARC on NetGalley (best website ever, thanks to much to them and the publishers for winging it my way.) I have a serious soft spot for YA mysteries set in the Victorian period and I hadn’t read one set in America before so I was eager to dive in.

Starting off with the positives, I thoroughly enjoyed the prose. It was enjoyable to read and didn’t feel overdone or pretentious. With such period settings, especially when written in 1^st person, it’s all too easy to get carried away or let your guard slip but Mitchell does a good job with the prose; it was the thing that kept me reading the book through most of it. For the most part I also enjoyed Amelia, the protagonist. She’s practical and fully aware of the societal expectations weighing down on her as well as possessing a wit a little out of place for her standing in society. She wasn’t the greatest protagonist I’ve ever read in such a setting (I also give kudos to Mitchell for going with Baltimore as the setting, it’s a place I’ve never seen before in period drama YA, and much of it is described very well in the novel) but she was more than serviceable. Unfortunately, for me, she was also the only memorable character in the story.

As much as I loved the prose and liked Amelia, the deathly slow pace of the novel and sporadic appearances of the plot seriously disappointed me. The novel opened intriguingly yet Mitchell seemed to forget she was supposed to be writing a paranormal novel for large stretches of time. The paranormal element could have been dropped completely and it probably wouldn’t have made much difference. If the novel was shorter, maybe a novella, and a more straightforward period romance about a girl and the social expectations plaguing her life, it would have been much better. I wonder if Mitchell has ever written any short stories; if not she should definitely write some because her prose is excellent and I feel would be suited better to something less drawn out.

“The Vespertine” started off so promisingly and for all its faults there are also many positive things to say about it. Giving this book a rating was a tough one. The prose is very high quality for YA, I enjoyed the protagonist and the setting was well realised, but the plotting, pacing and under-developed paranormal elements are so poor in comparison that the novel is just so boring for long stretches. There’s a lot to like but getting through all the bad stuff to see it might not be worth your while. I do hope Mitchell can improve with her problematic areas because her prose deserves better (she is writing a companion novel to this, entitled “The Springsweet” and I think she’s definitely got the imagination to support it.

2.5/5.

“The Vespertine” will be available in USA from March 7^th.