Category: Young Adult

Long May She Reign

Cover image for Long May She Reign by Rhiannon Thomasby Rhiannon Thomas

ISBN 978-0-06-241868-5

“It was one thing to be uncomfortable in court, to hate all the pretenses and be desperate to leave. It was quite another to panic, to become so frightened of the people around me that I forgot how to breathe.”

Twenty-third in line to the throne, Freya never had any expectation of coming anywhere near the crown. Instead, she dreamed of leaving the pomp and pretense far behind for a career in the sciences on the continent, where such things are appreciated. But when most of the court is poisoned for motives unknown at the king’s birthday celebration, Freya finds that all those ahead of her in the succession are dead. For better or worse, as long as she is still breathing, she is now Queen of Epria. Thrust into a position she never wanted, she must fight to hold onto it, or be killed by rival claimants to the throne. Unsure if she was even meant to survive the massacre, Freya is besieged on all sides as she tries to find out who murdered the king, and why.

Shy and socially anxious, Freya hates all the pretense of the king’s extravagant court. Her father—a man risen to the nobility by marriage alone—encourages her to cultivate her position, but Freya dreams only of a time when she can escape the expectations of her birth, and turn her attention entirely to science and invention. Such things are not valued in the kingdom of her birth, but she knows that she can make the world a better place if she solves the problem of fireless heat. All of that is snatched away with the mass assassination, and she must turn her sharp mind instead to solving the mystery of the murders, while also trying to stay alive in a hostile court full of enemies and would-be manipulators. Unfortunately, her interest in chemistry and convenient survival also make her a prime suspect in the killings.

With the motives of the murderers unknown, Freya must be suspicious of everyone around her. The king’s illegitimate son, fallen out of favour with his mercurial father, may have been making a bid for power. Or perhaps the king’s advisor, Torsten Wolff, betrayed his best friend. The court’s priest seems to have staunchly disapproved of the king’s wild extravagance. And why was the popular noblewoman Madeleine Wolff conveniently at her country estate when the murders took place? The suspects in the murder are interesting and varied characters, with potential motives both self-interested and seemingly altruistic, adding depth to the book’s moral questions. It also ends up exploring issues of censorship and ideology, when much of the initial blame is placed on a splinter religious sect who claim to follow the teachings of a dead man whose writings have been banned for generations.

Although there is a minor romantic subplot, Freya’s most interesting relationships in the story develop with her female friends. Her best friend is Naomi, a fellow noblewoman far down the line of succession. They are very close despite the fact that Naomi tends more towards romantic novels than science, and is a little more at ease at court than her best friend. I expected Naomi to be set up in a rivalry with Madeleine, who becomes Freya’s heir and unexpected friend in the aftermath of the succession. But while Naomi’s character development maybe did suffer in comparison to the attention paid Madeleine, I was pleasantly surprised with how the relationship was handled, and how Freya came to appreciate Madeleine’s differing talents and greater finesse with court life. Rhiannon Thomas does not set the women against one another in that way, though they did contrast.

On the whole, Long May She Reign was a little more character driven than the action and mystery adventure I might have expected from the description. But I enjoyed Freya’s character development, the honest portrayal of her anxieties, and the way she had to cope with such a sudden and drastic shift in her expectations for her future. The mix of science and political intrigue really worked for me, despite the fact that the cover and marketing give this book a fantasy vibe that is only realized in the medievalesque setting.

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You might also like Of Fire and Stars by Audrey Coulthurst

More Happy Than Not

Cover image for More Happy Than Not by Adam Silvera by Adam Silvera

ISBN 978-1-61695-561-8

“My worlds collided and I can’t get up.”

Sixteen-year-old Aaron Soto has been struggling since his father’s suicide, a downward spiral that culminated in a suicide attempt of his own, as the smile-shaped scar on his wrist constantly reminds him. Neither his overworked mother, nor his video-game obsessed older brother are able to offer much in the way of support, but Aaron is trying to get back to normal, a little bit at a time. When his girlfriend Genevieve leaves to spend three weeks at a summer art camp in New Orleans, Aaron begins hanging out with Thomas, a kid from the next block who is a little less rough and tumble than the friends Aaron grew up with. Soon their fast friendship is stirring up tensions with Aaron’s old crowd, and even Genevieve seems a little jealous when she returns home. As Aaron’s feelings for Thomas spiral out of control, he becomes obsessed with the idea of undergoing the Leteo procedure—a new medical technique that might be able to make him forget that he ever liked a boy.

Occasionally you run across a book that is best read with as little foreknowledge as possible, with The Interrogation of Ashala Wolf being my most recent example. While I had heard a lot of hype about how good this book was, I had somehow managed to absorb almost nothing about the plot, and I think that was for the better as far as my reading experience with More Happy Than Not. So if you are already planning to read it, just go do it! You can read reviews later. If you still need convincing, read on.

More Happy Than Not is a largely contemporary novel with a slight speculative fiction twist. Almost everything about Aaron’s world is recognizable as modern day New York. The exception is the Leteo procedure, a controversial new neurological technique that allows doctors to erase memories. When the novel opens, Aaron’s neighbourhood is abuzz with the rumour that Kyle and his family have moved away because Kyle had the Leteo procedure in order to forget about the murder of his twin brother, Kenneth. Despite this sci-fi twist, the focus is largely on identity and human relationships, and Aaron’s growing curiosity about the Leteo procedure is mostly a narrative device that allows Silvera to delve into the conflict surrounding his sexuality. When is it humane to allow someone to forget a terrible experience? What role does experience play in identity if it can simply be overwritten?

More Happy Than Not is an emotional rollercoaster of a book. Silvera does a good job of developing the connection between Aaron and Genevieve in the early chapters, so it is genuinely heartbreaking to see them beginning to come apart when Aaron starts to fall for Thomas. Aaron’s family relationships are less than stellar, and his childhood friends are deeply homophobic, leaving him isolated and depressed, grasping after the hope of a miracle cure that will make it all go away. Aaron struggles to even say the word gay—eventually opting for “dude-liker” instead—so it is perhaps not surprising that bisexuality is never considered, let alone discussed. The style develops in accordance with Aaron’s level of happiness and self-understanding, bumping along with an artful unevenness that neatly conveys his inner turmoil. While dark enough that I would not necessarily recommend this book for everyone—it deals heavily with both homophobia and suicide—it is nevertheless a powerful expression of what it means to come of age in an environment that is hostile to your very identity.

The Upside of Unrequited

Cover image for The Upside of Unrequited by Becky Albertalli

ISBN 978-0-06-234870-8

“There’s this feeling I get when I watch other people kiss. I become a different form of matter. Like they’re water, and I’m an ice cube. Like I’m the most alone person in the entire world.”

Molly Peskin-Suso is the queen of unrequited love. At seventeen, she has had twenty-six crushes, but zero boyfriends. She hasn’t even been kissed. By contrast, Molly’s twin sister Cassie has an easy confidence when it comes to hooking up with girls, and she always tells Molly everything. But then Mina arrives on the scene, and for the first time ever, Cassie is totally crushed out, and a little bit secretive, leaving Molly out in the cold. But Mina has a cute best friend named Will, and Molly might not feel so left out if he was her boyfriend. So why can’t Molly stop thinking about her nerdy co-worker, Reid?

One of the chief themes Becky Albertalli touches on in The Upside of Unrequited is the necessity of vulnerability in order to get what you want. Molly has had twenty-six crushes, but she has never asked anyone out, or told any of her crushes that she liked them. Molly is basically allergic to being deliberately vulnerable, since going through life as a fat girl is already a highly visible form of vulnerability to bullying from her classmates and pointed comments from her grandmother. Add in social anxiety, and the idea of ever getting into a relationship seems like an insurmountable obstacle. But Molly slowly comes to realize that she might have to be less careful in order to get what she wants, even if the idea is terrifying. Even if she isn’t sure who she should be less careful about.

Molly’s romantic conflict is between Mina’s cute hipster best friend, Will, and her new co-worker Reid, a nerdy Jewish boy. Will seems like the easy and obvious answer. He is best friends with Cassie’s girlfriend, which would make Molly feel like less of third wheel when she hangs out with Cassie and Mina. And Cassie seems pretty determined to get the two of them together. Her twin sister seems to be drifting away, and Molly will do anything to keep her close. But the more time she spends with Reid at the store, working, and talking, and laughing, the more she can’t stop thinking about him instead, even if he takes her further away from Cassie. It is a story about a struggle to reconcile two seemingly conflicting impulses.

Although Molly is caught between two boys, the central relationship in The Upside of Unrequited is really the sibling relationship between Molly and Cassie. Cassie has dated before, but she has never had a serious girlfriend before Mina, and this presages some changes in her relationship with Molly. Cassie has always been Molly’s person, but suddenly she is faced with the fact that siblings are rarely one another’s main person in adulthood. Her moms have one another, and Nadine barely talks to her sister Karen, even though they were very close growing up. Molly recognizes change as “the most basic of all tragedies,” an inevitability that she is determined to avert, even when struggling against change only seems to make matters worse.

Becky Albertalli’s sophomore novel has a loose connection to her first book, Simon vs the Homo Sapiens Agenda. Molly’s cousin Abby recently moved to Georgia, where she met a new guy named Nick, and became friends with Simon. Although there are a couple fannish nods to Simon, and some interactions with Abby, The Upside of Unrequited really stands on its own. It is a sweet story of love and family, featuring a diverse cast of characters all with their own unique charms and struggles. Relationships of all kinds are the driving force of this coming-of-age story.

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Scythe

Cover image for Scythe by Neal Shusterman by Neal Shusterman

ISBN 978-1-4424-7242-6

“She wanted to believe she wasn’t capable of it. She desperately wanted to believe she wasn’t Scythe material. It was the first time in her life that she aspired to fail.”

It has been three hundred years since humanity turned the corner, leaving behind the Age of Mortality. With the arrival of infinite computing power, a benevolent AI known as the Thunderhead emerged to rule this new deathless society. But although accidental death is a thing of the past, humanity still lives on a single finite planet, and so population growth must be limited. This task was deemed to require a human conscience, not to be entrusted to a computer, and so the Scythedom was born. Citra and Rowan have been selected to apprentice to Scythe Faraday, a job that neither of them wants. But there is corruption at the heart of Scythedom, and the Thunderhead is powerless to intervene. Reform must come from within.

There are a lot of practical world-building questions that can be raised about Scythe. How, for example, has humanity advanced so far as to be able to reverse the aging process, but been unable to master space travel, or some other method of supporting an increasing population? And if it is necessary to limit the population, why kill people in often gruesome ways to achieve that end? If you are the nit-picking type, you will probably have a hard time accepting the basic premise of this novel and some of the devices. But if you can achieve the necessary willing suspension of disbelief, you are in for a twisty and thought-provoking adventure that continually ups the stakes.

The main narrative focuses on Citra and Rowan, who are real teenagers who have yet to turn a corner to reset themselves back to youth. They have a limited idea of what life was like in the Mortal Age. Even with the existence of Scythes, they had to give very little thought to death and dying until they were called to perform the task. Interspersed with their perspectives are journal entries from the mandatory gleaning journal of the Honorable Scythe Curie, who is often known as the Grand Dame of Death. Her age and experience interject the perspective that Rowan and Citra lack, providing context to the events of their yearlong apprenticeship. We also get the occasional glimpse into the mind of Scythe Goddard, the main antagonist, who is simultaneously realistic and yet a bit one dimensional.

Scythe depicts a futuristic society with a vastly changed relationship to death and violence. Someone who is accidentally killed is not dead, but deadish, since only Scythes have the authority to take life; no one else can kill you, and you may not kill yourself. One mandatory trip the revival centre later, the deadish person will be back on their feet within a week. The resulting changes are quietly disturbing. Since actual suicide leads to mandatory revival, it has largely passed from memory, but attempting suicide has become a grisly form of entertainment. Rowan’s best friend Tyger is a splatter—someone who deliberately gets deadish by jumping off of buildings. The boredom of immortality is a common trope in vampire fiction, but it is less commonly explored in relation to humanity as a whole.

Due to the non-interference built into the Thunderhead, which rules everything else about this world except death, Scythes have almost unlimited discretionary power. They operate within a quota set for the year by their conclave, but they are free to choose who they will glean and their method of killing. Bias in their selections—such as by race, though almost everyone is mixed race—earns a mild reprimand at best from the conclave. They also have the discretion to grant a year of immunity from gleaning to anyone they choose, though it is customary to offer it to the families of those who have been gleaned, as well as to the families of Scythes and their apprentices, for as long as the Scythes serve. This nearly unbounded power and terrible responsibility has naturally created an order that is isolated from normal people, and sinking further into corruption as the centuries pass. A schism has occurred between the traditional Scythes, and revolutionaries who want to remove the few checks and balances that are in place.

Scythe begins a series, so while it stands alone quite well, there are certainly more issues to explore and questions to be answered. The lines of good and evil are quite starkly drawn here, but there is room to go deeper. Scythe Faraday, for example, is depicted as being part of the traditional group of Scythes who conduct their duties with care and honour, yet he gives some people deaths that are painful, and fill his quotas by mimicking the death statistics of the Age of Mortality. He and Rowan meet when Faraday gleans one of his teenage classmates, a selection that is intended to imitate a drunk driving death from before the turn. In the Age of Immortality, what reason is there for everyone not to have the chance for at least one full life before they face gleaning? Or is gleaning really necessary at all? It will be interesting to see how the morality of this thought-provoking series evolves.

The Hate U Give

Cover image for The Hate U Give by Angie Thomasby Angie Thomas

ISBN 978-0-06-249853-3

“It seems like they always talk about what he may have said, what he may have done, what he may not have done. I didn’t know a dead person could be charged in his own murder, you know?”

Starr Carter is a girl with a foot in two worlds. By day, she attends Williamson, a suburban prep school where she is one of only two black students in her year. In the evening, she goes home to Garden Heights, the city’s poor, black neighbourhood, where she has lived all her life. She is one person at home and another person at school, because she can’t be too “bougie” in the neighbourhood, or too “ghetto” at school. But the wall she has carefully built between her two selves begins to crumble when she is the only witness to a police officer shooting and killing her childhood friend, Khalil. The killing gains national headlines as protestors take to the streets to protest the murder of yet another unarmed black boy. In the day’s following Khalil’s death, Starr faces a choice between remaining silent, and speaking up. But even if she can find her voice, will it be enough to get justice for Khalil?

One of my favourite aspects of The Hate U Give was Starr’s family. Her mother is a nurse, and her father is an ex-gang member who now runs a convenience store. Her mother wants to move the family out of Garden Heights, while her father is determined to remain in the neighbourhood and contribute to its betterment. She has a younger brother who isn’t old enough to quite grasp what is going on, and an older half-brother who is fully part of their family, yet still connected to his mother and other sisters. Her uncle is a police officer who works in the same department as the man who killed Khalil. Starr’s family feels warm and incredibly real, complicated, and human. Most of the story’s more didactic moments are seamlessly written into conversations with her parents as they try to help her through the aftermath of Khalil’s murder. Starr’s father, Big Mav, was perhaps my favourite character, especially with his theory about how Hogwarts houses are like gangs. After getting out of the gang life himself, Big Mav is determined to keep his children safe, but he struggles with how to do that while also keeping them connected to where they came from.

While I loved Starr’s family best, her peer relationships are equally notable. Even before Khalil’s death, Starr notices that her relationship with her best friends, Maya and Hailey, is changing. Angie Thomas really captures the painful experience of growing apart from childhood friends. In the case of Khalil, Starr is left to regret that she let him slip largely out of her life, and now he is gone forever. And as she watches Hailey and Maya react to Khalil’s murder—without knowing she is the witness—she is left with difficult choices about whether or not her school friendships can survive the class and cultural divides between them. For the past year, Starr has also been hiding from her father the fact that she is dating Chris, a white classmate, and the time has come for her to face up to her complicated feelings about this relationship. Starr learns a lot by talking things through with her dad, but she also has to figure out how to have difficult conversations with her friends.

Someone who we don’t get to know very well is Khalil himself. His murder is the book’s inciting incident, so he is alive only for the first couple of chapters. Afterward, there is a stark conflict between Starr’s memory of her friend, and the image of him portrayed in the media. He becomes a symbol more than a person. While we learn a few new facts over the course of the story that help flesh Khalil out, he is still someone we did not know until he was already gone—which of course is true of the real-life victims of police brutality. I was reminded of Claudia Rankine’s essay “The Condition of Black Life is One of Mourning” in The Fire This Time, in which she writes about how victims are transformed from individuals to evidence, a process which their loved ones are helpless to prevent.

The Hate U Give is a brutal coming-of-age story about the harsh realities that face young black men and women in America. It is fundamentally about identity, and Starr’s struggle to bring the two halves of herself together. But it is also about families, communities, and building relationships. The strength of this narrative is in the way it balances the hard topics—racism, police violence, gangs, drugs—with themes of family, friendship, justice, and love.

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You might also like Men We Reaped by Jesmyn Ward

The Cursed Queen (The Impostor Queen #2)

by Sarah Fine

ISBN 978-1-4814-4193-3

“Thyra is not an eager fighter like I am, but when she commits, she is a thing of absolute, cutting beauty, and I hunger for the sight.”

Taken as a raid prize as a child, and passed from tribe to tribe, Ansa has no idea of her origins, but she has made a place for herself among the Krigere, earning her rank as a warrior with blood and plunder. She is loyal to her chieftain, Lars, and most of all, to his daughter and heir, Thyra. Spurred by the victory Lars’ brother has won over the city of Vasterut, the Krigere set their eyes on crossing the Torden to conquer Kupari. No one truly believed the Kupari witch queen was anything other than a myth until she called down the storm that destroyed the Krigere fleet. Ansa and Thyra are among the few survivors, and Thyra will need Ansa more than ever as she fights to unite the Krigere under her leadership, even as she must convince them that they will need to change their way of life in order to survive. But with her dying breath, the witch queen cursed Ansa with ice and fire that threaten to devour her, or turn her into a weapon against the people she has claimed as her own. Her loyalty will be tested at every turn as she tries to control the curse or find a way to rid herself of it forever.

Sarah Fine’s companion novel to The Imposter Queen largely takes place simultaneous to the events in the first volume. The first three-quarters of the book retreads the same timeline, from the battle on the Motherlake/Torden and through to the fight for the Temple on the Rock. The last hundred pages of The Cursed Queen continues on past the end of the first book to set Elli and Ansa on a collision course. Known as the Soturi to the Kupari people in The Imposter Queen, they call themselves the Krigere. They largely appear as a typical invading barbarian race in the first novel, but here Sarah Fine takes the unusual step of turning to their perspective for the second installment in her series. The Krigere are divided into two groups; the warriors and the andeners. The warriors are the leaders, and they protect the andeners and go out raiding to provide for those under their care. The andeners in turn supply the warriors, crafting and repairing weapons, maintaining the camp, and caring for the children while the warriors are away raiding. Each group relies on the other for survival.

Fine sets up an interesting cultural dynamic with this system of raiders and andeners. The warriors are both men and women, and after their first raiding season, they are generally expected to make a partnership with an andener. The partner may be either male or female; what is unheard of among the Krigere is for a warrior to partner with another warrior. This poses a problem for Ansa, who is in love with Thyra. In order for them to be together, one of them would have to give up warrior status. Ansa is the natural fighter of the two of them, but the Chieftain must be a warrior. Thus Sarah Fine creates a conflict that keeps the two apart which is rooted in the Krigere culture, but does not rely on either sexism or homophobia, which I found refreshing. The situation only grows more complex when Thyra becomes Chieftain, and begins proposing changes to the Krigere way of life that Ansa has adopted so thoroughly as her own. Lars’ brother Nisse hews more closely to the old ways which Ansa has been taught to uphold, but what she does not see at first is that he values andenders for little more than their reproductive function, to replenish their diminished fighting force.

The Cursed Queen is related from Ansa’s point of view, and unfortunately I found myself more interested in getting Thyra’s perspective. Ansa has a hot temper and is always ready to fight to try to solve any problem that comes her way. Thyra is a skilled fighter, but one who prefers to think first, and pursue other options before drawing blood, so I was able to relate to her more of the two. Ansa’s confusion and divided loyalties are completely understandable, but as a result her relationship with Thyra becomes so antagonistic over the course of the book that it was hard for me to imagine them making up and getting together. I think this will need to be addressed in the final volume in order for me to really get aboard this ship. However, I am still very interested to see how Sarah Fine will bring Elli and Ansa together in The True Queen, due in in Spring 2018.

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You might also like Of Fire and Stars by Audrey Coulthurst

The Impostor Queen

Cover image for The Impostor Queenby Sarah Fine

ISBN 978-1-4814-4190-2

“When the magic leaves our current queen and enters you, Elli, you will become the most powerful Valtia who has ever existed.”

For three hundred years the Valtias have ruled the Kupari from the Temple on the Rock, the only wielders of the unique Kupari magic who can balance both fire and ice. The Valtia uses her magic to protect and shelter her people, but the magic exacts a terrible price, and these girl-queens die young, bodies devoured by their own terrible power. Elli has been raised in the Temple as the Saadella, heir to the Valtia, schooled in service to the Kupari people, prepared to receive the magic when the current Valtia dies. Yet despite the fact that Elli is prophesied to be the most powerful Valtia who ever lived, when her predecessor dies, the magic does not enter her, leaving the Kupari vulnerable to the increasingly hostile raids of the neighouring Soturi. Exiled to the Outlands, Elli takes shelter with a group of bandits who defy the rules of the Temple, and refuse to turn their magic wielders over to the Temple Elders. For the first time, Elli has a reason to question the order under which she was raised, bringing to light the terrible abuses of the very system which she was sworn to uphold.

The opening of the book drops the reader into Elli’s day to day life as the Saadella, a relatively slow-paced sequence that allows Sarah Fine to lay out fascinating hints about the world in which the story takes place. Elli’s point of view is naïve, but there are hints early on that all is not well with the Valtia system of rule. In general, Fine spends a lot of time on the characters and the world, and the plot doesn’t truly pick up until the outlanders begin to question Elli’s appearance in their midst, and the unusual changes her presence seems to invoke in magic wielders, such as Oskar, a brooding ice-wielder who would prefer to deny his magic, despite suffering from the consequences. However, patience with this slow approach is rewarded as the truth about the Valtias begins to come to light.

Elli is sixteen when the story opens, just as rumours begin to swirl that the current Valtia is weakening, and may soon pass her power to her heir. Elli has had a sheltered upbringing in the Temple, where she must be kept safe and pure so that she is a fit vessel to receive the Valtia’s magic when the time comes. She is even kept largely separate from the Valtia, who must devote most of her time and energy to serving her people, and maintaining the balance of her magic. Elli is instead educated for her future role by the Elders of the Temple, who put off many of her most pressing questions with the excuse that she must be kept pure. As a result, Elli is a rather immature sixteen, never having had to dress or fend for herself a day in her life until she faces her exile. All she has going for her is a deeply inculcated sense of duty, which translates into a strong work ethic when she joins the community of Outland bandits who have rejected the demands of the Temple.

As Elli begins to understand why the Valtia’s magic didn’t pass to her, she finds herself caught between prophecy and free will. The stars indeed foretold her birth, but the Elders of the Temple were not in possession of the entire prophecy. With so much already decided, it is hard for Elli to believe that she can wield what little power and knowledge she does possess to shape her fate, let alone the destiny of the Kupari. Having lived a life with little control over anything, Elli is torn between her habit of accepting her fate, and the desire to finally seize control of her own path, even as others continue to be determined to choose for her. The curiosity that the Elders ruthlessly supressed in her as Saadella comes roaring to the fore, but her questioning nature does not fit in among many of the Outlanders either, especially Sig, the fire-wielder who would prefer decisive action against the Temple at any cost.

I was engrossed by the slowly peeled back layers of the world and magic system that are unveiled as Elli sheds her sheltered upbringing and begins to understand something about the history of the Kupari magic. Although Elli was understandably immature, I enjoyed her character development as she came to terms with having the future she always expected ripped away, and then grappling with the fact that people still want to control her, and how easy it would be to let them. She is also daunted by a potential romance, after expecting to live a life of chastity in service to the Kupari people. I look forward to seeing how Sarah Fine complements this with her companion novel, The Cursed Queen, and then brings the series together with the conclusion that is due out in 2018.

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Also by Sarah Fine:
Of Metal and Wishes 

Here We Are: Feminism for the Real World

Cover image for Here We Are, Edited by Kelly JensenEdited by Kelly Jensen

ISBN 978-1-61620-586-7

“Whether you identify as a feminist now or are curious about how people come to label themselves as feminists and own that identity, these pieces will help you begin your journey through the various paths, influences, and experiences toward feminism.”

Feminism is a concept that has been loaded down with a lot of cultural baggage. This collection of essays, poems, comics, and lists pulls together a selection of pieces for a teen audience that aim to clarify misconceptions, share experiences, and reinforce empathy for a variety of journeys and perspectives. The contributors include men and women, cis and trans, from different backgrounds and social experiences, touching on everything from race, to mental health, to disability. The scrap-book style collection strikes a balance, speaking to teens at an introductory level without being condescending, while addressing everything from body image to sexuality to relationships and pop culture.

Here We Are contains enough broad variety that no doubt different pieces will speak to different readers. It is reaffirming to read about people who share your experiences, and enlightening to read about different ones. One of my personal favourites was “The Choice is Yours” by Kody Keplinger, about her long-standing decision not to have kids. Keplinger ties the expectation for women to reproduce, and the charge of selfishness against those who voluntarily do not, into the way women are socialized to put the needs of others before their own. Like Keplinger, I first said the words “I don’t want to have kids” at a fairly young age and, like Keplinger, was immediately told “You’ll change your mind.” I wish I could bookmark this essay, and put Here We Are in the hands of my twelve-year-old self, because it would have meant everything to finally hear an adult woman say that my decision was both valid and viable. To borrow another quote from Ashley Hope Pérez’s essay, “It would have changed everything, it would have changed nothing, it would have made all the difference in the world.”

Fellow book lovers will probably also strongly relate to the essay “Reading Worthy Women.” In high school, Nova Ren Suma was excited to take the popular World Humanities course. The piece chronicles her heartbreaking realization that there were no women on the syllabus, and when she stayed after class to confront her teacher, he informed her that there were no women worthy of being on his syllabus. This kicked off a five year period of rebellion, which lasted through college, during which time, outside of school, she only read books written by women because “It’s not a silly pursuit to read beyond what’s handed to you, to seek out new voices and leap over the usual books everyone’s already talking about and see what you can find on your own.” The concept of pushing the boundaries of the canon is an important one, which is also present in Brenna Clarke Gray’s piece “Choose Your Own Adventure” about fandom as a feminist act.

Book Riot editor and Stacked writer Kelly Jensen has pulled together a collection of essays representing the many and diverse facets of feminism, creating an intersectional introduction to the movement. Interspersed with the longer essays are short, fun pieces, such as feminist music playlists, a list of “Ten Amazing Scientists (Who Also Happen to Be Women)”, as well as songs, poetry, and a list of the best girl friendships in fiction. While straight-up essays are the most common type of piece, Wendy Xu’s entry “The Princess and the Witch” is in the form of a comic, and there are several interviews as well. Most of the contributions are original, though some such as Roxane Gay’s “Bad Feminism: Take Two” and Amandla Stenberg’s “Don’t Cash Crop My Corn Rows” are either reproductions or adaptations of previously published material. There were only a few things I thought were notably absent, such as a piece about affirmative consent to complement the discussion of rape culture. The chapter on romance and sexuality could also have used an essay about asexuality and aromanticism. Overall, however, I was pleased with the diversity of this introduction to feminism, and would heartily recommend it.