In times when the cat has to tell students that “No, 9/11 was not the day that Barack Obama was elected president of the USA for the first time”, a book like Hannah Moskowitz’s Gone Gone Gone may serve as a perfect way to connect that (this) generation of teens with a past that they only know from the History Channel or from a old(er) relative musing about “Where they were when they heard about the Twin Towers” (getting the one and only Ringo the Cat, btw).
That being said, Gone Gone Gone is not about 9/11. It’s also not really about the 2002 Beltway sniper attacks. Both of these events do provide the story with the perfect eerie-sounding atmosphere, an atmosphere of not really know what exactly is happening with the world you’re living in. Instead, Gone Gone Gone is about two 15-year-old boys, Craig and Lio, who are trying to figure out what their place in the world is and what they mean to each other.
Gone Gone Gone is alternately told from Craig’s and Lio’s point of view. They first met online, because Craig is an ambassador for his school, the type of kid that shows new students around. Lio recently moved away from NYC to DC, where Craig lives. After sort-of-but-not-really breaking up with his ex-boyfriend Cory, Craig has totally lost himself in taking care of his 14 stray animals, animals that escape after a burglary at his house. So Craig has to deal with finding back his animals, but he’s also trying to juggle the emotions of losing Cory (or not quite) after an event that is never made entirely clear and finding Lio (or not quite) and figuring out what Lio might mean to him. Lio, from his part, is also one messed up kid, even his therapist Adelle agrees… When he was 7, Lio and his twin brother Theo got leukemia. Lio survived. Theo died. Not only does he have to deal with being “a cancer survivor”, there’s also his fragmented family life to consider.
Rather than focusing her attention on an intricate plot, Moskowitz is the mistress of voice and characterization,… 2 characters to be more precise. She deftly uses the alternating point of view of Craig and Lio, giving both of them distinct voices. A criticism here could be that the other characters, such as Craig’s parents, or Lio’s sisters or Adelle, are not as fleshed out as they could have been. To Moskowitz’s credit, it’s definitely something that works here. Of the two the cat preferred Craig’s voice, which was often very stream-of-consciousness-like, with Craig losing himself in his long even melodramatic sentences (not the negative kind of melodrama, though!). Even though Craig is 15, at times you get the impression he’s a very young sort of 15 (or maybe that’s just his almost OCD type of behavior concerning his animals), while at other times, he’s clearly the voice of experience. Even then, it’s obvious that it’s a vulnerable sort of experience. Contradictory, yes, but flowing from Moskowitz’s pen (or errr keyboard…) it sounds very convincing. Lio’s voice, on the other hand, was often a lot whinier (despite his not talking) – an authorial choice, btw, that the cat can get behind, it just made it a lot harder to ‘like’ Lio the way the cat immediately connected with Craig as a voice and character.
Truth be told, I hadn’t really expected it (there are so many “new” voices in YA-land), but Hannah Moskowitz’s writing definitely has a freshness to it that shows talent, conviction and a heart for character. The cat loves authors with a heart for their characters. Writing a great and intricately plotted story is one thing, but if you manage to give a character a voice so unique and special and flawed and true, then it shows you’re willing to go there as an author, and that is the hallmark of a true author.