This book is easily going to make my top 10 of the year. I haven’t read any of the other books of the National Book Award long list, but they must be darn good for this one not to be a finalist, because, holy crap, this is a damn fine piece of writing. Strongly recommended to people who like good shit.
4 whole stars
I admit to finally having given in to the hype (my first mistake, given my not so good track record with e. Lockhart’s books). Admittedly,the “mystery” kept me going until the end, and makes this a short little pageturner. But now I can say also once and for all that e. Lockhart’s books are just not for me. I absolutely hate the white privilege ‘woe is me’ rants of most of her main characters I have read. I have no sympathy for the main characters whatsoever and the literary techniques used by Lockhart here feel very try-hardy… It’s not about ‘sympathetic characters’ at all (I could care less about nice or not in a book, I don’t even care for nice in real life), I just find no connection between myself and this book…at all…ever. And I want to read books that *I* connect to, in whatever form: characters, style, world, anything…but here’s it’s just not there. I recognize that Lockhart can write a book, but they’re just not for me.
3 stars objectively / 2 stars for me
Out of the pocket (by Bill Konigsberg)
I think this is an incredibly important book content-wise but I was really disappointed with the execution of it. Konigsberg ‘s sophomore novel Openly Straight is in that respect clearly a step up from this debut novel.
3.5 stars for story / 2 stars for style
Not exactly a love story (by Audrey Couloumbis)
Cutesy love/friendship love story set in the 1970s, which reminded me a lot of Natalie Standiford’s How to Say Goodbye in Robot for some reason. It has the same vibe going on, only a little more stalkerish… (that sounded worse than it was!)
This is an ‘I liked it’ Sedgwick novel and not an ‘I loved it Sedgwick’ novel. There’s no denying that Sedgwick has talent coming out of his ears and is great at multiple genres over the age-ranges (I mean Revolver and The Raven Mysteries are so different and yet so very typically Sedgwick at the same time…)… but for some reason, I love Sedgwick a whole lot more when he does the whole ‘atmosphere’ thing, rather than the somewhat meager ‘whodunnit’ thing like we get in She is not invisible, especially when the plot is well…rather thin.
What is worth reading:
- The piece A.S. King wrote for the ALAN Review:
- And look here:
Still in the pipeline: a review for Andrew Smith’s 100 Sideways Miles.