The Price of Power

Holly Black

What could be a more frightening thought than teens who aspire to be vampires? Not for love, as with Bella and Edward, but for the desire to stay beautiful and young forever. That is the picture Holly Black paints in The Coldest Girl in Coldtown.

Black taps into that teen mindset of invincibility and carries it to its logical extreme in thought-provoking and haunting ways. She lays out the "scientific" parameters of infection versus "turning," after a vampire bites a human (there's an 88-day "cold" period during which, if an infected human does not feed on the blood of another human, he or she can theoretically return to a "normal" human state), and the elaborate Coldtowns that the government has built to contain the infected. Black gives a back story that explains how vampires are "made" and the complicated way that Lucien--a power-grabbing vampire whose nightly broadcasts within the oldest and most famous Coldtown--has achieved his status.

Once there were strict rules designed to "control," or at least track, the vampires' lineage--and the mysterious vampire Gavriel (aka, the Thorn of Isra) played a part in it. But Lucien has changed all that. The human heroine, Tana, makes a decision to rescue Gavriel, and gradually uncovers his complex past, and reveals a complicated history of her own. It's an epic book, with a size to support it, yet it reads in a flash. Black melds her characters' addiction for power, glamour and blood with sly commentary on today's youth-obsessed culture. The humor comes as easily as the book's gothic elements.

If you've not yet read her Doll Bones (aimed at middle graders, but which will appeal to her YA fans, too), it makes a fascinating contrast to this book. With a very different tone and equally serious (though less gory) themes, it too explores friendship, family, loyalty and independence. In many ways, Coldtown, with its exploration of hierarchy, the breaking of rules and fierce love, shares more of the aura of her Curse Workers series. This reader can't wait to see what she does next.

Childish Things

Holly Black with SLJ's Luann Toth

Holly Black spoke last week at School Library Journal's Day of Dialog. She confessed, "I played with dolls for a looong time. I didn't realize I could keep telling stories without them." This is the dilemma at the core of Doll Bones. When do we "outgrow" dolls and a world of make-believe? When are we too old for the imagination? 

Zach, Poppy and Alice, the three 12-year-old friends at the center of Doll Bones, weave an elaborate world around their dolls and action figures. They are at an age when others might still want to play with dolls, but have squelched that impulse. Their peers have moved on to crushes and sports teams and excelling in school. But the dolls are a launch point to these three friends' imaginations and the glue of their bond. So when Zach's father throws out all of his toys, Zach would rather give up his friends than tell them the truth--or perhaps acknowledge to himself--that the game is over. 

The more I think about this book, the more I think it's really about confronting, even grieving the end of childhood--not only for Zach, Poppy and Alice, but also for the adults who take care of them. Their parents and guardians also have to acknowledge that Zach, Poppy and Alice are not little children anymore.

The fact of Zach keeping from his friends the truth about his action figures creates a chasm between them. The secret grows in weight and strength. Later in the book we discover that Poppy and Alice have been keeping a secret from Zach, too. Black explores the implications of hiding a secret, hiding one's true yearning (to connect with their friends, to continue to explore their imaginations), and allowing someone or something to come between them. The Queen doll (pictured on the cover) becomes both a symbol and a physical manifestation of their fears. 

Doll Bones offers the opportunity to create a conversation with young people about how their friendships can change when they "grow out" of the circle faster than the others, whether or not they have to put away "childish things," and whether that sense of play can be continued in other ways. 

Imagination is essential to everything we do: problem-solving, planning for the future, playing chess or video games (which adults do). It's important that young people recognize all the ways in which we use imagination throughout our lives. Even without Zach's dolls, the three friends find ways to continue their friendship and deepen their connection. What they had to give up was not their imagination, but their secrets.

Fun Summer Reading

As children and teens nationwide wind up the school year, they will leave with summer reading lists of "suggested" titles, possibly even a required number for completion by the time school resumes. But what about the books that give pure pleasure? Let's make sure they have some of those as well.

Flight 1-2-3 by Maria van Lieshout makes an ideal travel companion for families planning a trip by plane. High-contrast design elements serve as a legend that unlocks airport signs for luggage carts, elevators and the all-important rest rooms. Kids who like to get a bit more technical will welcome Jet Plane by David Macaulay.

For newly independent readers, the Critter Club series by Callie Barkley, liberally illustrated by Marsha Riti, stars four friends who start an animal rescue in Amy and the Missing Puppy; their adventures continue in All About Ellie and Liz Learns a Lesson. Even 8- to 12-year-olds who don't refer to themselves as "readers" will madly turn the pages of The False Prince by Jennifer A. Nielsen and its sequel, The Runaway King. Four orphans, conscripted by a nefarious member of the royal court, "audition" for a chance to pose as a young prince presumed to have been killed by pirates. In Nobody's Secret, author Michaela MacColl imagines poet Emily Dickinson as a teenage detective solving a murder, and Doll Bones by Holly Black, illustrated by Eliza Wheeler, describes a role-playing game gone awry, with plenty of suspense and gothic overtones.

Gorgeous by Paul Rudnick (which may well find its way into a few adult beach bags) examines a culture of instant commentary and the dilemma of a normal teen who gets a chance to become "the most beautiful woman who has ever lived." Fans of Kristin Cashore's Graceling books will discover heroines just as smart and skillful in Robin LaFevers's novels, Grave Mercy and Dark Triumph. And teens searching for a gripping dystopia, in which an alien presence attempts to hijack the earth, will not be able to put down The 5th Wave by Rick Yancey.

This article originally appeared in Shelf Awareness for Readers.

Collaborative Storytelling

Gary Paulsen photo c Brian Adams

Gary Paulsen tells us in his author's note for Road Trip that he'd never intended to write a book with his son, Jim. It just evolved organically. Gary Paulsen sent Jim a section he'd written about a father and son rescuing a dog, and his son sent him another section. Collaborative storytelling can be a great ice breaker with kids who don't think of themselves as writers. 

We all remember sitting in a circle in the classroom in early elementary school, and the teacher would give us a line to start a story with, and we'd go around the circle and add a line to keep the story going. But writing a story in pairs or in a larger group offers kids a chance to polish, to see which story threads seem to be the most promising. Gary Paulsen acknowledges the crucial role of the editor of Road Trip, who "tied it all together." 

Another recent example of excellent collaborative storytelling is Click: One Novel, Ten Authors (authors include Linda Sue Park, Gregory Maguire, Eoin Colfer, Roddy Doyle and Margo Lanagan). Each author's chapter carries the story forward. Then there are strong anthologies on a theme, such as Steampunk!, edited by Kelly Link and Gavin J. Grant, and Jon Scieszka's Guys Read anthologies, Thriller and The Sports Pages. There's even an anthology with a competitive spirit, Zombies vs. Unicorns, edited by Holly Black and Justine Larbalestier (for a true treat, listen to the audiobook edition, in which the ad lib between the editors is even funnier than what Black and Larbalestier wrote in their introductions to each story). 

This could be a great way to keep the dark days of winter lit up with ideas.

Going It Alone

White Cat by Holly Black is all about the experience of adolescence as a solo journey. All of the members of Cassel Sharpe’s family were born with a gift; each is a curse worker who can alter memories or dreams or life itself. Cassel doesn’t understand why he doesn’t have the gift. He doesn’t fit in with his peers (because of his family’s heritage—curse-working was banned in 1929) nor does he feel that he belongs in his family. Adolescence is all about questioning. Why is my body changing? What do I believe? Where do I belong? It is during this period—when you feel entirely alone—that you discover who you are, what you enjoy, what is uniquely yours.

The best YA authors explore this central experience of adolescence in new and interesting ways, as Holly Black does here. She answers none of these questions, but raises them in a fictional context and from different perspectives to allow teens to examine these questions for themselves. Cassel’s family tells him that he killed Lila Zacharov, but this makes no sense to him. He loved Lila. Something also seems off about his memories of the night that he supposedly killed her. And he’s been having strange dreams about a white cat. Little by little his instinct to investigate these nagging questions leads him to discover that his family is not telling the truth. Are they protecting him? Or themselves? He feels betrayed by them.

What do you do when you feel alone? You search for the answers yourself, and you begin to take responsibility for your life. This is the transition to adulthood, and while Holly Black constructs a framework of magic, the feelings and the experiences are real.