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BLOOD ROSES

These partially interconnected short stories treat magic as metaphor rather than as reality, in a watered-down version of Block’s trademark magical realism. Rachel Sorrow, who believes she is less beautiful and more intense than her rich friends, grows into a giant after she is kissed by a boy. Berry falls for a gang member from the barrio whom she can't invite to her wealthy suburb—because he's not just poor, but a centaur. Elodie sprouts magical tattoos as she falls in love with an older man; they fade just as inexplicably when she falls out of love. A nameless boy who has experienced too much death gets seduced by a dangerous fairy who calls him “Panda Bear”and “Creamsicle.” With overwrought passages such as “smoke-scented flowers with sharp thorns that traced poetry onto your flesh” and “that moment when you cut yourself with a knife and squeeze the skin and no blood oozes out,” these brief tales of sexual and psychological abuse, adolescence and twisted first love have plenty of mood but little depth. (Fiction. 14-15)

Pub Date: June 1, 2008

ISBN: 978-0-06-076384-8

Page Count: 144

Publisher: Joanna Cotler/HarperCollins

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: May 1, 2008

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MONSTER

The format of this taut and moving drama forcefully regulates the pacing; breathless, edge-of-the-seat courtroom scenes...

In a riveting novel from Myers (At Her Majesty’s Request, 1999, etc.), a teenager who dreams of being a filmmaker writes the story of his trial for felony murder in the form of a movie script, with journal entries after each day’s action.

Steve is accused of being an accomplice in the robbery and murder of a drug store owner. As he goes through his trial, returning each night to a prison where most nights he can hear other inmates being beaten and raped, he reviews the events leading to this point in his life. Although Steve is eventually acquitted, Myers leaves it up to readers to decide for themselves on his protagonist’s guilt or innocence.

The format of this taut and moving drama forcefully regulates the pacing; breathless, edge-of-the-seat courtroom scenes written entirely in dialogue alternate with thoughtful, introspective journal entries that offer a sense of Steve’s terror and confusion, and that deftly demonstrate Myers’s point: the road from innocence to trouble is comprised of small, almost invisible steps, each involving an experience in which a “positive moral decision” was not made. (Fiction. 12-14)

Pub Date: May 31, 1999

ISBN: 0-06-028077-8

Page Count: 280

Publisher: HarperCollins

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: May 1, 1999

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GUTS

THE TRUE STORIES BEHIND HATCHET AND THE BRIAN BOOKS

Paulsen recalls personal experiences that he incorporated into Hatchet (1987) and its three sequels, from savage attacks by moose and mosquitoes to watching helplessly as a heart-attack victim dies. As usual, his real adventures are every bit as vivid and hair-raising as those in his fiction, and he relates them with relish—discoursing on “The Fine Art of Wilderness Nutrition,” for instance: “Something that you would never consider eating, something completely repulsive and ugly and disgusting, something so gross it would make you vomit just looking at it, becomes absolutely delicious if you’re starving.” Specific examples follow, to prove that he knows whereof he writes. The author adds incidents from his Iditarod races, describes how he made, then learned to hunt with, bow and arrow, then closes with methods of cooking outdoors sans pots or pans. It’s a patchwork, but an entertaining one, and as likely to win him new fans as to answer questions from his old ones. (Autobiography. 10-13)

Pub Date: Feb. 1, 2001

ISBN: 0-385-32650-5

Page Count: 150

Publisher: Delacorte

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Dec. 15, 2000

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