Plague Thieves

Written by Caroline Fernandez

DCB Young Readers
978-1-77086-732-1
208 pp.
Ages 9–12
May 2024

 

It's 1665 and twelve-year-old Rose lives with her parents and sixteen-year-old brother Lem above their spice shop in London, England. Though Lem hates working in the shop, instead sneaking off to join his delinquent friends, Rose loves helping her father out, learning about spices for cooking, medicines, and cleaning. And then "the sickness crept into London." (p. 5) When Mother comes back from the market with flea bites and takes to her bed, Father closes the shop and sends the children to stay there. Via notes, he instructs Rose to collect ingredients for him so that he might create a medicinal oil to heal Mother. But his efforts are to no avail and Mother dies. Before Father also succumbs to the illness they should not name aloud, he gives Rose the recipe for an oil he believes will protect them. He tells them all the ingredients but one, though Rose knows what it is. They are instructed to place the oil on a handkerchief and set it over their noses and mouths as a mask. His last warning is to not to tell anyone about the oil and to do whatever they must to survive.

 Steal. Trade. Survive. (p. 18)

When they have left, Father burns the shop, and the two young people are truly homeless. With but a few coins and some silver spoons to trade, Rose and Lem each take one of the three bottles of oil she has made from Father's recipe and bury the third beneath a bridge where they also find shelter for themselves. And so begins their lives on the streets of London, finding any means to survive, including becoming thieves. That is, until Lem does not return one night. Now Rose is alone, evading anyone who recognizes her as the daughter of the spice merchant who was rumoured to know the cure for the Great Plague.

Rose builds a new life on the street with others who have lost jobs or homes because of the plague and are now struggling as she is to survive. Among these displaced persons are Elizabeth and her five-year-old daughter Clove; Amon, the son of a trader from Shanty Town; and two former farmhands Cinn and Cal. Rose doesn't know whom she can trust but she does know to avoid the black-clad man with the strange bird mask whom she calls the beast and who always seems to be around plague houses. 

From the mundane life of household chores, working with her father, and the drudgery of life in 1665 London, Rose's life becomes one of a dubious nature, never knowing whether there will be food, whether there will be shelter, who might be dangerous, and, worse of all, if they will be able to evade the plague itself. Accompanying Rose as she navigates arduous roads of grief and fear and desperation, young readers will get a very good idea about the historic hardships of an epidemic of which little was known, during which all actions were driven by fear. Caroline Fernandez tells Rose's story as an edge-of-your-seat read, keeping us wondering the whole time. We know there won't be a happy ending–it is the time of the Great Plague of London after all–but Caroline Fernandez invests us in Rose and other characters, most notably Amon, hopeful that they will survive and find some light out of the darkness. She definitely gives the atmosphere of anxiety and even despair, but she doesn't overdo it, never frightening the reader with the circumstances but instead helps us understand what life would have been like in 1665 London both before and during the Great Plague. With Plague Thieves, Caroline Fernandez has given us a spell-binding read that captivates but also enlightens about a time in which bleakness was almost inescapable.

The Worlds We Make

Written by Megan Crewe

Disney Hyperion

978-1423146186

288 pp.

Ages 12+

February, 2014

At the conclusion of Megan Crewe's The Lives We Lost (reviewed here on May 28, 2013), a hapless group of young people were leaving inhospitable Toronto to attempt to deliver a vaccine to the Centre for Disease Control (CDC) in Atlanta, Georgia in the hopes that the CDC would be able to mass produce the vaccine needed to save those uninfected with the widespread and deadly virus. The group, led by Kaelyn whose father had produced the vaccine, consists of Gav, her boyfriend, who she'd met while fighting the virus in their island community; Leo, her former best friend who had just returned to the island after making his way from New York City; Tobias, a young soldier who rescued them from the island; Justin, a reckless fourteen-year-old who'd forced them to take him; and a new recruit, Anika, a former ally of the scary Wardens and their leader Michael.  But getting the vaccine to the CDC is far more difficult than just finding a vehicle and gasoline to get it there.  The group must outwit and escape the omnipotent Michael and his legions of Wardens who are determined to get the vaccine for themselves.  So begins The Worlds We Make, the conclusion to Megan Crewe's Fallen World Trilogy.

Heading south in an SUV stolen from Michael's well-organized and well-supplied gang, Kaelyn and her entourage continue to deal with incredible snow storms and the fear that Gav and possibly Tobias have become infected with the virus.  A flat tire lays them up in a small town, searching for a new tire and supplies, attempting to contact the CDC by radio and, worst of all, isolating the now delusional Gav from all but the immune Kaelyn.  Gav's death leaves Kaelyn reeling, though his message to her on a scrap of paper in his jeans compels her to keep focused on getting to Atlanta. 

The group's journey is essentially a series of driving episodes interjected with stops to search for supplies and encounters with individuals or evidence of those who are no longer around (having died or left). Mostly they are observers of phenomena from fire balls in the sky, to a suicide victim, a well-stocked hunter's cabin, a commercial pig farm where the animals were left caged to die, and isolated communities of people, sometimes welcoming, sometimes not.  Though they connect with a Dr. Guzman at the CDC who prepares for their arrival and analysis of the vaccine for production, their capture by Michael's Wardens suspends their travels and threatens their only goal and their lives.

While the plot is very directed i.e., the group endures different horrors as they attempt to reach the CDC, the story is bigger than the plot in The Worlds We Make.  It has more to do with the premise of creating a world we choose, not as we deem it to be as thrust upon us.  Sure the epidemic changed everything and everyone is reacting to that change.  Some don't change their ways at all and may remain safe or may become victims.  Some completely alter their behaviour, such as Michael who was formerly a policeman and now uses the knowledge he learned to successfully establish a criminal organization, based on fear and hostility.

Kaelyn begins to see their world as a new dynamic, based on survival and power, essentially without room for empathy.  Every choice they make now must be weighed against the potential for infection, attack and successful delivery of the vaccine.  Trust is a commodity in short supply.  Anika, the last to join their group, constantly looks ready to run.  Justin's bravado covers his insecurities related to his youth, his interest in Anika, and even his desire to make amends for his perceived lack of effort. Kaelyn is less able to edit her comments, never realizing the effect they have on others around her.  That is, until she comprehends that they see her as a leader, their leader, and she must not refrain from showing how much she values them just to avoid the hurt of losing them.

The world that Megan Crewe has created is one of desperation and paranoia.  The bad is often highlighted because it is overwhelming and tragic, but there are slivers of goodness like freshly-baked bread and home-made sandwiches, hugs of reassurance, and a simple smile.  The strength of character with which Megan Crewe has imbued Kaelyn carries the reader, as well as the group, to a surprising resolution to create a new actuality where bad and good must come together to make something better.