The Stone Rainbow

Written by Liane Shaw

Second Story Press

978-1-77260-108-4

272 pp.

Ages 13-18

September 2019

Liane Shaw introduced her characters Ryan and Jack to YA audiences in her novel Caterpillars Can't Swim (Second Story Press, 2017), telling the origin story of their accidental friendship and Jack's acceptance of his sexuality. Though only a handful of others in his life, including his mom, Ryan's mom. Ryan's friend Cody and Jack's counselor Matthew, know that Jack is gay, he has capitulated that expressing that sexuality in the small town of Thompson Mills is unlikely.

This town is so small that being different usually means you're flying solo. (pg. 61)

In The Stone Rainbow, Jack meets the new guy at school, Benjamin Lee, and Jack is smitten. The new vice-principal's son is beautiful and kind and Jack doesn't know what to do. He's used to hiding in his "caterpillar camouflage" (pg. 8) and now the idea of putting himself out there, expressing his interest in anyone, especially a young man who may or may not reciprocate that interest, is terrifying.  Staying a caterpillar, on the other hand, is familiar, even if stifling.

Benjamin, on the other hand, is not willing to stay in the closet. When they are assigned an art project that reflects something of social and personal significance, he creates a massive rainbow of coloured stones on plywood. He honours and celebrates the LGBTQ+ community with the myriad of messages on the stones that reflect the rainbow's symbolism. Though Benjamin is pretty much out, his art project rouses all the nastiness that Jack had already witnessed in his town. But when Benjamin is attacked, Jack decides to focus on something positive that might help Benjamin as well: a Pride parade. Fortunately, Jack discovers that there's a whole lot more support for him and Benjamin and a Pride event than he could ever have imagined.

Though The Stone Rainbow is a story of acceptance of self and others, it is also a tragic story that depicts the reality for those who may be perceived as different. There is violence and hate and masks. Jack knows what it is to come out–as he did to his mother in Caterpillars Can't Swim–so he still feels compelled to hide his sexuality from his peers and others, fearing their reactions, and shielding his true self and expression of that self. Even with supports from Ryan and others, it's not until Jack meets Benjamin that he is able to shed that chrysalis to reveal the butterfly he was meant to be. It is both "terrifying and wonderful" (pg. 239) and Jack recognizes he "could be as beautiful as I want to be because no one cares if a butterfly is a boy or a girl. It's just a pretty part of nature that everyone accepts." (pg. 242)

With her diverse cast of characters, Liane Shaw demonstrates that differences make a community richer, though there are the unenlightened who still need to learn this lesson in compassion and tolerance. If The Stone Rainbow teaches us anything it's that it's the blending of all into a spectacular prism of life that makes our world complete and beautiful.

If everyone just decides to treat everyone else with kindness, it all goes away. Intolerance, disrespect, racism, homophobia, misogyny, bullying, and all the other horrible words we've had to invent to find a way to label the endless crap people seem to feel the need to throw at each other...all wiped out by one simple command. Be kind. (pg. 214)

We Contain Multitudes

Written by Sarah Henstra

Penguin Teen

978-0-735264212

384 pp.

Ages 14+

May 2019

We might as well take advantage of the fact that we don't owe each other anything, that no one else is ever going to read what we're writing, that it's just me and you and whatever we feel like saying. (pg. 19)

When Adam Kurlansky and Jonathan Hopkirk begin their correspondence, it's as an assignment for Ms. Khang's English classes. Kurl, as he is widely known from excelling at football and basketball, is repeating his senior year while Jo is a Grade 10 Walt Whitman aficionado. Though their first letters follow their teacher's directives to introduce themselves and discuss topics like their heroes, Jonathan really gets into the writing, sharing about his father Lyle and sister Shayna, his passion for poetry and folk and bluegrass music, and what is happening around school, including the bullying he endures at the hands of a group of students he calls the "butcherboys." His narratives are generally observational, always poetic and often psychologically astute, though it takes some time for Kurl to begin to share his secrets including of physical abuse and his take on his own life and the people in it, as well as what he sees happening to "Little Jo."

I mean weird kids do have this aura to them.  It's like a smell almost. They're stuck somewhere in their heads, in some kind of a bubble. People can't really help themselves: They see a bubble, they want to pop it. (pg. 12)

But as they continue to correspond, now beyond the assignment's scope, Jo and Kurl develop a relationship on paper and in person, and one that brings emotional and physical support and finally love.  We Contain Multitudes may be an examination of how we present a multitude of selves to ourselves, our families, our peers and strangers but We Contain Multitudes is a love story. It's about finding love through words and sharing those multitudes of ourselves and developing new selves with others.  Jonathan is a son of a single dad and a dead mother with a fuzzy history, a brother, a poetry lover, a musician, a victim, and an aesthete while Kurl is a brother, a punching bag, an athlete, a thinker, a cook, a hard worker, and a secret-keeper. But with others, they are more because we are all combinations and permutations of our selves, depending on others in or not in our lives and on the events that change us. Our identities are sweeping and dynamic, and we all contain multitudes. And isn't it wonderful when two become even more because of love?

I am completely, one hundred percent of the time filled up with you. (pg. 189)

Sarah Henstra may have won last year's Governor General Literature Award for her adult novel The Red Word (ECW, 2018) but I'm gratified that she has returned to her YA roots. (I reviewed her first book Mad Miss Mimic (Razorbill, 2015) and interviewed Sarah Henstra too.) The writing is exquisite, the voices of Jonathan and Adam deep and sorrowful and passionate, and the convergence of their stories creates something bigger than the parts.

As I finished this novel of letters, a book I didn't want to leave, hopeful of the many multitudes of Jonathan and Kurl still to come, I'm overwhelmed with the infinitude of these young men and of Sarah Henstra's story. They and it know to  "Be real and be true" (pg. 9) and are, and I want more.

Fire Song

Written by Adam Garnet Jones

Annick Press

978-1-55451-977-4

232 pp.

Ages 14+

March 2018

Maybe the game is rigged and the only way to win is by giving up. (pg. 115)

So much about Shane's life hurts that it's hard to find the faith he needs to help endure it.  It should be full of hope and promise. He's finishing his final year of school and anticipating a move to Toronto for post-secondary. He's smart, given the nickname of "College".  He has a pretty girlfriend, Tara, who adores him. But much is a facade because underneath it all, Shane is a mess of grief, confusion and guilt.

Fire Song begins the day of the memorial for Shane's younger sister Destiny who took her own life six weeks earlier. His mother Jackie is despondent, unwilling to leave Destiny's room, even with the constant ministrations of elder Evie. Fortunately, his Anishinaabe reserve community, the only home he's every known, is tight and supportive.

His heart beats under this ground and the roots of the trees spread through his lungs. (pg. 14)

But Shane has secrets and burdens that are disturbing his potentially bright future. He has just learned that his funding for school isn't available from his reserve because he is registered with his father's reserve, though his father is long passed and Shane never lived there. School wants a hefty deposit but Jackie hasn't worked since Destiny's death. Moreover, the roof on their house is disintegrating and, though the materials are in at the store to repair it, his family does not have the money for both the roof and his schooling. But Shane's most emotional struggle comes with balancing his growing sexual relationship with David, Evie's grandson, and his public romantic involvement with Tara, a teen eager to find a new life away from an abusive father and a private writer of introspective prose and poetry.

How can it be
That the smell of home and
the smell of lonely are the same? (pg. 70) 

As Shane tries to keep a roof over their heads and prompt his mother into action, hide his relationship with David while craving it desperately, make some money in a community with few opportunities, and grieve the loss of his sister, his life continues to fray and threaten his future. It's all about choices and not one of them is easy.

Adam Garnet Jones tells Shane's painful story in such expressive prose and poetry, the latter courtesy of Tara's writing, that the reader is carried on a wave from anguish to heartbreak to misery. Shane's story is a tragedy on so many levels: family, school, community, love. But, in each of those circumstances, there are still slivers of buoyancy: a mother who loves him but has abandoned him in her grief; acceptance to school in Toronto, though the money is not at hand; a community of friends who support Shane but would not accept his being a two-spirited person; and a boy and a girl who love him but confound his life's plan.  Adam Garnet Jones may not pretty up Shane's story but he does bring a fitting conclusion to it. I won't tell you if the roof gets fixed or if Shane goes to school in Toronto or if he chooses David or Tara, but I can tell you that things get worse before they get better but better they do. With acceptance of his choices and the life he needs, Shane survives another day to love and be loved.

•••••••••••••••••••••

Fire Song is based on a film by the same name, written and directed by Adam Garnet Jones and produced by Fire Song Films Inc. and Big Soul Productions Inc. I encourage readers to check out the trailer for Fire Song which premiered at TIFF in 2015.

Retrieved from YouTube at https://youtu.be/1HyRNI9kKkA on August 6, 2018. 

Uploaded by TIFF Trailers on August 13, 2015.

Ophelia

Written by Charlotte Gingras

Illustrated by Daniel Sylvestre

Translated by Christelle Morelli and Susan Ouriou

Groundwood Books

264 pp.

Ages 14+

March 2018

Ophelia is what she calls herself, though her peers at high school have affixed the label of "rag girl" on her.  But Ophelia, like Shakespeare's tragic character, is much more than she appears.  She is a complex teen, overridden with fears and anger and anxiety and isolation that goes far beyond the teen angst label many use to underplay overwhelming personal issues.  

Ophelia's story, past and present, is told in letters to an author, Jeanne D'Amour, who visited Ophelia's school and gifted the teen with an ink-blue notebook. The unsent letters reveal Ophelia's crushing worries of abandoned children; of being seen as ugly; of her struggles at school; of being alone or of finding love; of a mother who had been undeclared unfit once, forcing Ophelia into foster care, and could be again; of never knowing her father; and of her sexuality, especially as she harbours trauma from an incident of childhood sexual abuse.  

I don't love anyone for real, Jeanne.  If I dive down, down to my very depths, all I find is dark and hard.  Nothing alive. (pg. 122)

But when Ophelia, a girl who goes out at night and tags walls with oil-pastel broken hearts, discovers an abandoned building with walls on which she might express herself artistically, everything changes.  She soon learns that her workshop had previously been discovered by another marginalized teen, a new student and fat young man who decides to call himself Ulysses.  The two work out a schedule so that they do not have to interact, and Ophelia can continue to work on her art–first an "upside-down girl" as a depiction of her namesake, then an empowered "right-side-up girl" and more–while Ulysses endeavours to dismantle an old van he has named Caboose, hopeful of setting it to rights so he could take it on a long journey. 

Ophelia is still overpowered by her anger and worries but the innocuous Ulysses subtly begins to share his own fears and pains and finds a way to connect with Ophelia.

He'd defused my suicide-bomber belt with his chocolate bars and calming voice. (pg. 86)

Similarly Ophelia's artwork begins to have a positive impact on the two teens, enabling them to become the warriors she creates on the walls.  But can those shifts in Ophelia and Ulysses be sustained and carry them through a violent invasion into their safe space as well as their emerging sexualities?

Ophelia is a powerful book of a teen's struggles, a deep and insightful introspection of her shattering anger and apprehension.  Though Ophelia writes with the chaotic musings of a young person in trauma, alternating recollections of the past, with current struggles and anticipation of the future, there is a lifeline of progression from out-of-control angst to increasing self-reflection and empathy to self-acceptance and empowerment that is so real that it is visceral.

From Ophelia 

by Charlotte Gingras 

illus. by Daniel Sylvestre

I am so pleased that Groundwood Books has brought Ophélie (Courte Echelle, 2008), the original French-language novel from Governor General-award winning author Charlotte Gingras, to English readers through this translation by Christelle Morelli and Susan Ouriou.  Emboldened with the artwork of Montréaler Daniel Sylvestre, readers will catch glimpses of the fury and anxiety of Ophelia in her sketches and tags as they bear witness to her progress.  But it is the voice of Ophelia, heartfelt and agonized, as she verges on implosion and explosion, as well as that of Ulysses struggling with his own issues, that need to be heard and heeded by young readers and those who care for them.  There may not be a happy ending but there is hope for better.

Honouring all gender identities and sexualities: Cultural competence with diverse youngCanLit

Today's post, the forth in seven, continues the series of booklists I compiled and presented at the Ontario Library Association's Superconference in Toronto recently to help individuals, schools and other institutions become culturally competent.

Today's post will focus on...

(You) set me on fire
by Mariko Tamaki
Razorbill, 2012
304 pp.
Ages 14+
2012
Popularity, sexuality, same-sex relationship, coming of age

Asha’s Mums
by Rosamund Elwin and Michele Paulse
Illus. by Dawn Lee
Women’s Literary Press
24 pp.
Ages 5-9
1990
Same-sex parents

Chance to Dance for You
by Gail Sidonie Sobat
Great Plains Teen Fiction
172 pp.
Ages 14+
2011
Homophobia, sexuality, same-sex relationships
Review here

Crush
by Carrie Mac
Orca Book Publishers
136 pp.
Ages 14-17
2006
Sexuality, same-sex relationship

Homophobia: Deal with it and turn prejudice into pride
by Steven Solomon
Illus. by Nick Johnson
Lorimer
32 pp.
Ages 12-14
2013
Nonfiction, LGBTQ, prejudice, acceptance

Money Boy
by Paul Yee
Groundwood Books
192 pp.
Ages 13+
2011
Chinese immigrants, sexuality,  homelessness

Moon at Nine
by Deborah Ellis
Pajama Press
224 pp.
Ages 14+
2014
Iran, Islam, sexuality, same-sex relationship
Review here

One in Every Crowd
by Ivan Coyote
Arsenal Pulp Press
238 pp.
Ages 14-17
2012
Short stories, identity, sexuality, LGBTQ

Pride: Celebrating Diversity and Community
by Robin Stevenson
Orca Book Publishers
120 pp.
Ages 9-13
2016
Nonfiction, LGBTQ

Skim
by Mariko Tamaki
Illus. by Jillian Tamaki
Groundwood Books
144 pp.
Ages 14+
2008
Coming of age, sexuality, fitting in

Swimming in the Monsoon Sea
by Shyam Selvadurai
Tundra Books
280 pp.
Ages 16+
2007
Coming of age, same-sex relationships, sexuality, Sri Lanka

Switch
by Douglas Davey
Red Deer Press
 252 pp.
Ages 14+
2014
Coming of age, fitting in, bisexuality
Review here

This One Summer
by Mariko Tamaki
Illus. by Jillian Tamaki
Groundwood Biooks
141 pp.
Ages 14+
2014
Coming of age, sexuality, fitting in
Review here

Transphobia:  Deal with it and Be a Gender Transcender
by J. Wallace Skelton
Illus. by Nick Johnson
Lorimer
32 pp.
Ages 11-14
2016
Nonfiction, transgender, acceptance, diversity

Way to Go
by Tom Ryan
Orca Book Publishers
224 pp.
Ages 12+
2012
Sexuality, coming of age, Cape Breton, post-secondary
Review here

What We Hide
by Marthe Jocelyn
Tundra Books
275 pp.
Ages 14+
2014
1960s, England, sexuality, coming of age
Review here

When Everything Feels Like the Movies
by Raziel Reid
Arsenal Pulp Press
176 pp.
Ages 14+
2014
Popularity, same-sex relationships, high school, film


I would love to add an upcoming YA novel, A Boy Like Her by Carrie Mac (Knopf) coming out in 2019, because I think it'll be a ground-breaking novel but, with few publication details, I think we'll have to wait on that one. But make sure to tuck that nugget away on your list, somewhere.

Downloadable book list here

Watching Traffic

by Jane Ozkowski

Groundwood Books

978-1-55409-843-3

186 pp.

Ages 14-18

August 2016

Reviewed from ebook

“There are so many directions you can go, and no matter what you choose it’s going to have an effect on everything else.” (pg. 151)

It’s the end of summer after finishing high school and eighteen-year-old Emily Robinson is anticipating the departure of best friends, Lincoln and Melissa, for new adventures and locales, Australia for travel and Halifax for school, respectively.  And what of Emily, the girl whom everyone, and I mean everyone, in their small town of Cavanaugh only thinks of as the three-year-old girl whose mother committed suicide in her presence and has had to overcome so much?

Though they’ve been friends since Grade 7 when they both were attending weekly counselling sessions, one to deal with her mother’s suicide and the other with anger issues, Melissa and Emily seem to be at odds this summer.  Emily thinks it’s because of Melissa’s relationship with boyfriend Dan but Emily, burdened by her lack of direction, just doesn’t have the time or make the effort to deal with her messed-up friend, though she’s encouraged by Lincoln and Melissa’s older brother Robert to make an effort.

But meeting Tyler, a new guy whom she meets at the pawn shop where she goes to sell the gold teeth her grandmother has gifted her–Grandma is a wonderful story in herself!–gives Emily the chance to take her life in a different direction, one where she has divorced parents and is someone she wants to be seen as.

Watching traffic from the three overpasses that cross the highway that divides Cavanaugh in two parts is a common past-time for Emily and her friends, but it’s a metaphor for divisions and acceptance, and the movement of people into, through and out of our lives.  Emily’s life may seem tenous to her, not knowing where she’s going, but it’s not unlike her friends who, though they have direction, are apprehensive about moving on, and Jane Ozkowski gets the tone right for these young people who want to move on but only know that from which they come.  Their words of wisdom are both an anathema and a propellant.

"There’s a highway cutting through the whole town, and they think if they follow it they’ll find somewhere better.  Nothing’s better, though.  You can be unhappy here or you can be unhappy somewhere else.  Being happy is more about how you see things.” (pg. 50)

Watching Traffic is Jane Ozkowski’s debut novel but her skill in giving voice to Emily, Melissa, Lincoln, Tyler and others in their perplexity and discomfiture about going forward in life demonstrates a raw understanding and proficiency at telling their stories.  Less about plot and more about characters and their development, Watching Traffic suggests that Jane Ozkowski is the one to watch and continue to read.  I look forward to see and read what’s coming round the bend from Jane Ozkowski.


- - - - - - - - - - - - - - - - - - - - - -

I’m delighted to announce that author Jane Ozkowski is a last-minute addition to the impressive contingent of young adult authors reading at this weekend’s Eden Mills Writers’ Festival.  Come for the words!

Born With: Erika and Gianni

by Lorna Schultz Nicholson

Clockwise Press

978-0-9939351-7-6

231 pp.

Ages 13+

March 2016

Clockwise Press launched its young adult series One-2-One with Fragile Bones: Harrison and Anna (2015), also by Lorna Schultz Nicholson, focusing on the relationship between two teens in the Best Buddies program, a world-wide organization that aims to help individuals with intellectual and developmental disabilities integrate successfully  into their communities. Born With features two other teens, both with a love of musical theatre: Erika, a fourteen-year-old born with Down Syndrome and Gianni, a teen who’s struggling with his sexuality.  This is their story, a powerful one for their trueness of thought, action and self-appreciation.

Erika and Gianni both audition for the school’s musical Grease. While Erika is thrilled to get selected to sing and dance in the chorus for three songs, Gianni is disappointed to get slotted for the comedic role of Eugene, losing the coveted lead role of Danny Zuko to the more athletic but less talented Richard.  Also cast are Erika and Gianni’s friend Sonya, as Sandy, and a boy named Bilal to whom Gianni is secretly attracted.

Gianni is determined to be stellar in the role of Eugene and to help Erika rehearse her lines and steps, ensuring that both will be successful.  But the two teens have more on their plates than singing and dancing. Erika’s father has ALS and his condition is worsening, and, though she takes her responsibilities for him very seriously, all she wants is for him to see her dance.  On the other hand, Gianni is coming to terms with his sexuality and what he wants out of life, convinced he already doesn’t fit his father’s dream for him, and that he can’t be himself until he is able to graduate from high school and leave his big Italian family.  But secrets have a way of becoming revealed, especially when Erika has been tutored in not keeping secrets, even if they are someone else’s personal business.

Born With takes on the monumental task of showcasing characters living with aspects of their lives over which they have no control: a genetic disorder, and sexual orientation.  Erika has a great understanding and acceptance of the strengths and limitations of her genetic disorder, and works to meet her needs, advocating for herself while celebrating in her own successes.

Sometimes people don’t think I can be serious or that I can learn things, but I can–I can do lots of things after I’m serious and listen. And focus. Focus. (pg. 9)

Likewise, Gianni has compassionate insight into Erika but he has yet to accept himself, confused over his sexuality, still processing what he is feeling and with whom to share that secret.

Tonight Erika’s honesty was creating chaos in my life.  But, seriously, what difference did it make who I was in the school musical?  That was a relatively little issue in comparison to the rest of my life. (pg. 190)

Both Erika and Gianni must navigate how others feel about them and make them feel, while dealing with family, friends, peers, ignorant bullies, and others.  The high school years are tenuous enough but Erika and Gianni have struggles that many of us could not imagine, and yet they dare to be themselves and are able to thrive.  By wrapping their stories in the joyful musical that is Grease, another story about being true to oneself, Lorna Schultz Nicholson has written an inspirational and triumphant story of acceptance in Born With: Erika and Gianni.