These Are Not the Words

Written by Amanda West Lewis

Groundwood Books

978-1-77306-792-6

216 pp.

Ages 9-12

April 2022 

 

It's all about rebound and control...(pg. 80)

Even if only a fraction of what author Amanda West Lewis shares in this semi-biographical novel is true, then life with a jazz drummer and an artist was eclectic and surreal. But it was also disordered and insecure and the kindling for her words.

Told in a series of vignettes and poetry, twelve-year-old Missy tells of living with her parents and two cats in 1960s New York City. While there is much life all around her, with an apartment regularly filled with jamming musicians and Pops taking her out to jazz clubs to hear and meet musical celebrities, there is also an unrest that pervades their family. Pops may work as an editor for Pepsi-Cola's magazine but his passion is jazz music. But with that passion comes an erratic personality that is equally oppressive and exciting. One moment he is leaving her bedside poems with a stone or a shell and the next he is railing at her for making too much noise. Thankfully, Missy takes comfort in her cats, in her bond with best friend Corky and in her own creative writing.

But after a Florida business trip he never wanted to go on, Pops goes from unpredictable to despondent and unbalanced. With that, Missy and her mom must find a way to respond that allows them to remain safe and move forward.

It's hard to catch your breath as you read Missy's story. It's a roller coaster of emotions. From joyous highs and special connections between characters to anguished lows from conflict, rage, and tenuous mental health, These Are Not the Words takes on us on that rough ride. Hold on tight because Missy's story is not an easy one and probably not unlike the lives of many children who are challenged with flawed parents who can't or won't be there consistently for their children. The fact that Missy's story is at least in part author Amanda West Lewis's story makes it all the more poignant, especially as Missy is a star. She is irrepressible and brave and insightful. She is true to herself while trying to be hopeful in a situation that is less than encouraging. So, as a character study, These Are Not the Words are all the right words.

I'm not sure that These Are Not the Words ends happily but it is still one of resolution and perhaps even expectation for a future that goes beyond the pain and leads with forgiveness for a flawed father and acceptance of the different.

Mono no aware means a gentle sadness, a wistfulness about the fleeting nature of life.  Impermanence is the reality of life. (pg. 84)

I'm Good and Other Lies

Written by Bev Katz Rosenbaum

DCB

978-1-77086-632-4

211 pp.

Ages 13+

September 2021 

 

It doesn't take long for me to start feeling a constant pit of dread in my stomach. The future... (pg. 108) 

 

Seventeen-year-old Kelsey Kendler has every right to be anxious about her life. If the recent past is any indication, things are not heading in the right direction. And the COVID-19 pandemic hasn't even hit yet. There will be lots more to set her off kilter and how she manages is only partly up to her. Parents, friends, school, work and social media will all have a hand in taking her down or bringing her up.

Kelsey and her parents Hannah and Mark have just moved from fashionable and wealthy Rosedale to transitional Parkdale because of Kelsey's celebrity comedian mom's fall from grace. Perennially stoned, drunk or abusing her pain meds, Hannah Kendler, a former participant on "Those Crazy Comics" TV show, is now unemployable and a raging, confused mess. Sadly, Kelsey's dad is less than helpful, either arguing with his wife or avoiding the household altogether. Not surprisingly, Kelsey vows to make some meaningful connections outside of their rat-infested house. There's Molly, a classmate whose perfect family doesn't prepare her for meeting the out-of-control Hannah, and crush Luca, which whom Kelsey begins a textlashionship. But, best of all, Kelsey gets a part-time job at an ice-cream place called Soft Spot. There she meets Chelsea, Veer, Quinn, Ruby, and Lee in addition to Kira, the owner's stoned niece and ineffective manager. Except for the rats in the house, her sleep paralysis that turns her nights into terrors, her warring and oblivious parents, and missing her only friend from before, Makayla, now in LA, things are stable. Then the pandemic hits.

They'd all been hearing about the virus. Makayla's mom, an actress, gets sick, as do others on her film set, and Kelsey worries that her mom's coughing could be it too. But when school is cancelled after spring break and then returns in some mishmash of independent learning and then virtual lessons, and Soft Spot is closed, and she's stuck at home with her worthless parents, Kelsey is left untethered. She may be saying she's fine but dealing with a tenuous support system and mental health during the trauma of a pandemic with lockdowns is just a lie.

We all know how difficult living through this pandemic has been but it's more than just difficult for some. For a teen, when life is in flux as they transition from dependence to independence, it's even more challenging. And for someone like Kelsey, whose home life is painful, she has no respite from the stress. Couple that with sleep paralysis that pervades her nights, this girl has trauma upon trauma with which to deal. I'm surprised she's as sane as she is. Maybe that's the hope that Bev Katz Rosenbaum has written into her story, reassuring her readers that as crappy as things are, there are glimmers of normalcy and even brightness that can help pull you through and out. Whether it's a socially-distanced get-together, texting with a new friend, connecting with a psychologist or being honest about what you're going through, there is hope even while "learning to accept uncertainty" (pg. 182). I'm Good and Other Lies is a powerfully authentic account of a teen living with a multitude of challenges, both before and during the COVID-19 pandemic. Sometimes Kelsey accepts the challenge and puts it down and sometimes she buckles, but it is always real and enlightening. With I'm Good and Other Lies, Bev Katz Rosenbaum has told us a story of not being fine but finding a way to make it so.

• • • • • • •

If you would like to hear author Bev Katz Rosenbaum talk about I'm Good and Other Lies, register for Future Shock (and Future Hope), a webinar with authors Wesley King and Eric Walters.

Date:  Wednesday, December 8, 2021

Time:  11 AM-12 PM, 1-2 PM

Registration costs:  School ($150), Class ($65), Home ($10)

Details:  https://www.storyninjawritingclasses.com/special-events

Charlie's Key

Written by Rob Mills
Orca Books
978-1-55469-872-1
254 pp.
Ages 12+
2011 

The cover art of Charlie's Key may suggest a dark and eerie, spine-tingling story but the suspense here is much more common and sadly relates to Plato's question: "Who will watch the watchmen?"

Charlie Sykes, 13, and his father, Michael, leave Fort McMurray, Alberta, for Newfoundland shortly after his father gets a troubling phone call.  A car accident with a moose (very common in Newfoundland) leaves Charlie an orphan but not before his father slips him an unfamiliar key.

Under the watchful eyes of the police, who seem to react to the Sykes name, Charlie is shunted from the hospital to "The Hollow", a juvenile facility, until a foster placement becomes available for him.  At the school, an older, nasty kid, nicknamed Flarehead, targets Charlie, physically abusing him whenever Frankie Walsh, another teen, isn't around to stand up for Charlie.  Frankie, a tough guy, takes an interest in Charlie upon learning his last name, and helps protect him in exchange for completing a reading proficiency test that Frankie repeatedly fails but needs to pass in order to be released from The Hollow. Another significant contact Charlie makes here is with Clare Dalton, a teen at the adjacent girls' rehab facility, who does some on-line research about the Sykes family.  Charlie learns of his uncle Nick, his father's brother, who has recently been released from prison where he'd been incarcerated for murder. His victim had been Brother Sullivan, one of the monks in charge of Cliffside, the orphanage at which Nick and Michael stayed after their parents' deaths in a fire.  A second murder in prison added more time to Nick's sentence.

When Frankie is released the same day that Charlie is to attend the memorial service for his father, he helps Charlie get away from the police (Sergeant Grimes, a.k.a. Tubby) and Child Services people (including his advocate, Dez) but not before Charlie meets his uncle.  Even when Frankie and his preppie friend, Gerald, take Charlie to a party at Clare's house (Clare, now out of rehab though still using Oxy (i.e., oxycodone), is a friend of Gerald's), Nick finds him and threatens him to get the key. But, it is only with several more encounters between Nick and Charlie, as well as other key characters, that the full story is revealed.

Rob Mills' writing seamlessly brings together the pathos of Charlie's situation with the coarseness of Frankie's and Nick's circumstances.  Their worlds, choked by alcoholism, intense anger and/or societal limitations may be difficult to comprehend for some, especially with the crude language used (particularly in references to women or to the abuse), but their realities are just that.  However, although Charlie's reality moves from one of naiveté and relative safety to one interconnected with Frankie and Nick, he is able to adjust well, applying his past to new experiences to help him make appropriate and ultimately self-sustaining decisions.  Beyond Rob Mills' strong characterizations is the suspenseful plot of Charlie's Key, which spends little time focusing on the mystery of the key itself but rather on the balance and merger of the past and the present.  The cliff hangers, beyond those of its setting, repeatedly lead the reader to anticipate but instead surprise, just the way a great thriller should.

Blood Red Road

by Moira Young

Doubleday Canada

978-0-385-67183-5

459 pp.

Ages 14+

2011

Moira Young's debut novel, Blood Red Road, begins as a dust storm: sudden, painful, devastating and gritty.  In their post-Wreckers world at Silverlake, eighteen-year-old Saba and her family endure the lack of rain and resources, looking to the stars for guidance and the landfill for materials. After a violent dust storm, accompanied by lightning, which turns everything red, life just shifts from bad to worse.  Men on horseback murder her Pa and abduct her twin, Lugh.  Leaving her shanty existence for the first time, Saba pursues her brother's trail, accompanied by her pet crow Nero and her nine-year-old sister, Emmi.  Learning more about her parents' early lives and their stay in Hopetown, Saba heads for the brutal town where the violent Tonton, who took Lugh, control the people and slaves with the use of a drug, chaal.  Unfortunately, it's Saba's anger and tenacity that make her attractive to Rooster Pinch and Miz Pinch, who press her into the brutality of cage-fighting (as the "Angel of Death") by threatening Emmi.  Sadly, only if they escape Hopetown do Saba and Emmi have any chance of finding Lugh. 

Their isolation at Silverlake has not prepared Saba for the multitude of characters that she encounters in her quest for Lugh, making it difficult for her to assess accurately their true natures, sometimes not until it is too late.  Her most difficult relationships seem to be with Emmi and with Jack, a young male cage-fighter.  Saba continues to vacillate between trust and resentment, often overlooking the insights of others or almost squandering opportunities for assistance.  As strong as she is physically and emotionally, Saba's misunderstanding and naiveté weaken her, threatening to jeopardize her self-imposed mission.

The grittiness of the story is matched by the text, told from Saba's perspective and in her words, just as she speaks them.  She trusts the red hot in her stummick that tells of her raging anger and she knows about talkin an fightin but not about books or history or the technology of the Wreckers such as their bolt shooters or long lookers. The text can be disconcerting to read, with its lack of quotation marks for dialogue and its perfunctory spelling, but it emphasizes the reinvention of a society to its most fundamental - survival.  Literacy and progress have been eschewed as the values of a Wreckers' society whose failure is evident in their abandoned settlements littering the landscape.

Justifiably, Blood Red Road has been compared to Suzanne Collins' Hunger Games trilogy with its theme of survival in a dystopian world led by a despot and his cohorts who rule over the suffering masses.  Luckily, another commonality lies in the book's inclusion in a trilogy.  To my great relief, Blood Red Road is just Book 1 in the Dust Lands trilogy so readers (particularly those reading it in the White Pine reading program) can look forward to a sequel in 2012.  My own heavy heart at the end of my reading of Blood Red Road has been assuaged, knowing that soon enough I will learn more about Jack's pre-Saba life, the mystery of DeMalo and the nature of Saba, Lugh and Emmi's new life at the Big Water.

Accomplice

Written by Valerie Sherrard
Dundurn Press
978-1554887644
142 pp.
Ages13-16
2011

Dundurn's newly established Keystone Hi-Lo series hits the mark with Accomplice by Valerie Sherrard, enticing readers with a cover suggestive of a female criminal, a less likely combo than you might expect.  Our covergirl, fifteen-year-old Lexie Malton, starts her story with her arrest, and spends the remainder describing the circumstances by which she ends up nestled in a sheriff's van.

The story is fairly simple: Lexie gets her boyfriend, Devlin, to go to a party where she is enticed into trying heroin and encourages the reluctant Devlin to follow.  Unlike her, Devlin becomes addicted, eventually ending up on the street.  Though Lexie eventually moves on and starts going out with Oscar, her overwhelming guilt at her role in turning a great guy into a junkie continues to compel her to get what little money she can for Devlin whenever he calls.  Regardless of Devlin's insistence that he's going to stop the drugs and get clean, even returning to rehab, he thoughtlessly wrenches Lexie into a brutal situation that results in a death and Lexie marked as an accomplice.

The mandate of Hi-Lo books, i.e., grabbing the reader with its engrossing plot without dissuading reading with challenging vocabulary, can result in uninspired writing around a weak storyline.  However, in the hands of an accomplished writer such as Valerie Sherrard, most recently winner of the 2011 Geoffrey Bilson Historical Fiction for Young People Award for The Glory Wind (Fitzhenry & Whiteside, 2010), there is no chance of mediocrity.  Accomplice presents a straightforward but not light-weight plot involving common teen trials dealing with curiosity about drugs, discriminating between right and wrong, dating and communicating, and accepting responsibility.  More than just a hi-lo read, Accomplice provides a glimpse into how innocent errors in judgement can produce unfathomable consequences.

Fostergirls

by Liane Shaw

Second Story Press

978-1-897187-90-6

256 pp.

Ages13-16

2011

Regardless of how romanticized the life of an Anne-of-Green-Gables orphan may seem, living apart from family, whether you have one or not, is hardly a life of fulfilment.  Sadie Thompson, 15, knows this all too well, having endured the moniker of "fostergirl" for the past 12 years, although she now has progressed to that of "grouphomegirl."

With moving onto her thirteenth school, Sadie is determined not to be singled out for help of any sort, believing that if she just keeps to herself until her sixteenth birthday, she can get out by requesting legal emancipation (freedom to get her own place and get a job).  But her plans not to engage with anyone are set awry.  At school, she meets chatterbox Rhiannon Kerry who chooses to make Sadie her friend, and then Ms Jackson, a guidance counsellor, who believes that a learning disability may be at the root of Sadie's school issues.  Both seem to see something beyond Sadie's "fostergirl" label.

At the group home, Sadie tries to stay under the radar of the other fostergirls: Alisha (who continuously proclaims that her alcoholic mom will be taking her home soon), Buffy (who regularly snaps and becomes vicious) and two inseparable younger girls whom Sadie calls the K's (Kendra and Krista). Sadie convinces herself that she really doesn't care to know what has brought them into care, including knowledge of her own story (beyond her memory of wandering door-to-door with a five-year-old brother).

Having and being a friend are foreign to Sadie.  So, when she is told that Rhiannon is also labelled a "fostergirl" (because her mom and dad are enthusiastic foster parents to numerous children) and is just "collecting" another foster child in Sadie, Sadie uses that to rationalize a return to her disaffection.  But a death, a tragic accident, some educational testing, and another transfer (because of the closing of their group home) all bring Sadie to a point she never envisioned for herself: feeling embraced by caring.

Liane Shaw's professional background in special education has provided her with the experiences and understanding to share the narratives of any number of Sadies.  However, it is Sadie's voice, one based in despondency and unrecognized courage, that prompted me to investigate for myself the extent of  issues troubling children in foster care.  Sadly, my cursory search suggests that Sadie's educational and socio-behavioural challenges are not unusual amongst foster children.  As such, I congratulate Shaw in providing such a convincing context by which the lives of many foster children are expressed, and the impetus for the reader to pursue greater understanding with empathy.

Check out Second Story Press' book trailer for Fostergirls on my Book Trailer page