This dynamic theater story stars Aggie, a girl whose enthusiasm, mad talent and diva qualities lead her astray. Steamed that she doesn’t get the lead in the school’s production of Hello, Dolly and convinced it’s because she’s fat, Aggie writes a roman à clef musical. It features two girls, the fat one an undisguised Aggie, the thin one suspiciously similar to the girl playing Dolly, Cynthia of the recent boob job. Aggie’s friends (techie Suzanne, ever-loyal Elliot and lyricist Cameron) support Aggie’s hostility toward Cynthia despite knowing it’s unfair: Cynthia’s nice and actually deserved the lead because of her singing skill. They mount a major production of Aggie’s show that, astonishingly, succeeds. Aggie’s almost failing math, Cameron comes out to his parents (and it goes badly) and Aggie resents the parental support that Karl, her father’s partner, gives Cameron—Aggie’s possessive of her stepfather’s attention. The prose, sometimes unpolished and forced but always infused with warmth, brims with musical-theater references. Unlike most arcs about fat teens, this one never equates emotional growth with weight loss; Aggie’s refreshingly non-symbolic fatness is just part of her. Like Elphaba in the song that Cameron rewrites, Aggie tries defying gravity—and succeeds, musically, socially and romantically. Given the ratings of Glee and the emerging popularity of teen lit combining queer themes and musicals, this should be a hit. (Fiction. 13 & up)
Pub Date: May 1, 2011
ISBN: 978-1-59719-030-5
Page Count: 184
Publisher: Pearlsong Press
Review Posted Online: April 3, 2011
Kirkus Reviews Issue: April 1, 2011
“Death is a period / at the end of a sentence,” concludes Annaleah, the 16-year-old protagonist of Schutz’s captivating fictional follow-up to her verse memoir (I Don’t Want To Be Crazy, 2006). And much like the resolute finality fixed in that tiny dot, Annaleah spends a great deal of this free-verse novel stuck contemplating the harsh reality that her sometime boyfriend, Brian—a seemingly healthy, dark-haired, cloudy-blue–eyed 17-year-old—has just dropped dead on the basketball court. Reeling from both physical loss and lack of closure to the meaning of their clandestine relationship, Annaleah finds herself routinely visiting and addressing the deceased Brian, until a chance graveside encounter yields advice that finally begins to hit home: “Nothing grows here,” says Brian’s grandmother, “besides grass.” At first blush appearing to pull out all the melodramatic stops in classic teen fashion, these refreshingly spare lines tackle tough relational issues—intimacy, risk, abandonment—with aplomb, making for a moving tale that also effectively shows teens how life can go on. (Fiction/poetry. 14 & up)
Pub Date: Oct. 1, 2010
ISBN: 970-0-545-16911-0
Page Count: 304
Publisher: PUSH/Scholastic
Review Posted Online: Sept. 15, 2010
Kirkus Reviews Issue: Oct. 1, 2010
BOOK REVIEW
In the current game of one-upsmanship that is the teen paranormal romance market, how does one top vampires, faeries, angels (fallen and otherwise) and the like? Why, make your dark and brooding male lead the Lord of Death, of course. Seventeen-year-old Pierce Oliviera and her mother have just moved to Isla Huesos (an alternative Key West) to start over after her near-death experience two years earlier (she drowned in the backyard swimming pool) and her parents' subsequent breakup. But Isla Huesos just happens to be a portal to the Underworld, making it very easy for tall, dark and handsome John to monitor the girl who ran away from him at 15. She wants to live, darn it, and bad things always happen when he shows up, so why is she so unhappy when he takes back the magical necklace he gave her when she was dead? Cabot's a pro; Pierce is a perfectly likable if almost preternaturally good protagonist; her relationships with her ex-con uncle, underachieving cousin and new buddy Kayla are genuinely endearing, and her interactions with John have the right mix of humor and sexual chemistry. A refreshingly offhandedly gay cemetery sexton rather testily helps Pierce along the way. Ultimately, though, the conventions of the form leach real suspense from the plot, making it feel more like a progress to the inevitable sequel (Underworld, coming in the indefinable soon) than any real reboot of the genre. (Paranormal romance. 14 & up)
Pub Date: April 26, 2011
ISBN: 970-0-545-28410-3
Page Count: 320
Publisher: Point/Scholastic
Review Posted Online: April 4, 2011
Kirkus Reviews Issue: March 15, 2011
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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