I wanted to like this one better, but it reads like the rough draft of something that could be far more nuanced and smart than it is. Not to say it's bad, just that I see the attempt and want it to be better in the execution.
Firstly, this is a contemporary high school-set Hunchback of Notre Dame retelling. It also has some shades of Jekyll and Hyde, Les Miserables, The Monk, and probably other classics I didn't catch. Style-wise, it's a throwback to early fiction, where the girls are shallow lovely things and the villains are obsessive, delusional men. Only here, there are no heroes.
The Good:
Frollo is a villain. Not a redeemed villain and not a Byronic hero. He has moments where you sympathize with him and want him to do the right thing, and he inevitably disappoints you by being an abuser, a manipulator, and as bad as everyone he judges.
It's difficult to read, because you want to relate to the narrator, and that's probably why I enjoy it- no redemption, just continual self-destructive misguided person.
The concept is unique. I think this is the first time I've encountered a contemporary retelling of The Hunchback of Notre Dame. Victor Hugo's books are dense and sprawling- and some of the themes absolutely do not hold up today- so full props for the attempt.
The Bad:
Frollo has a running throughline that he's narrating all that he's done, even addressing the reader directly at one point to tell us he won't bother lying. But the story ends without any resolution of who Frollo is reminiscing to. God? Certainly there are random, rather pointless moments of Christian reference at the end- which was more confusing than story-serving.
What's the deal with chemistry? We're told Frollo is great at chemistry. And the epilogue reiterates this. But chemistry in concept and in practical terms doesn't enter the story at all. Is this an attempt at playing off the concept that people who 'have chemistry' together often pursue romance? Because the "romance" in this story is entirely one-sided, and that's a main part of the plot, soooooo. Yeah. Why, Lamm?
The demonization of Esmeralda. I approve of showing us that Frollo has built her up in his head to be this perfect paragon- part of the problem with his entire arc, but obviously a choice- but the portrayal of Esmeralda as so painfully naive (when she's meant to have grown up on the streets), and stupid enough to endanger her life directly and repeatedly are unnecessary. She's superstitious, and she has a knife, and she fights when cornered, but she chooses to stay in truly life-endangering situations (also virginity-endangering) just to spite Frollo. It makes no sense and leaves me without a single character to respect.
Again, this may be a deliberate choice in order to remind us how truly terrible Frollo is, but his sexual assault of Esmeralda- weeks after saving her from being date raped and right on the heels of his endless protestations that he loves her and won't touch her because he's put her on a pedestal- really only serves to put us even more off to him. This is where I started thinking maybe the author was going for Jekyll and Hyde? They never quite got there, but Frollo swinging from tortured ace-awakening outcast to self-centered blind rage was more off-putting than intriguing.
Peter was a plot device that Lamm forgot for more of the novel. It bothered me to introduce someone solely for convenience. Gene, likewise, was supposed to have some sort of impact on Frollo's story but truly didn't. With a few more edits and subtlety, maybe they each could've worked to serve the story but in this edition they did not.
Frollo's spiral happened three or four times, so by the final action I'd lost any desire to care. And the ending did nothing to bring me back to a point of tragedy, sorrow, or any kind of impact.
Lastly, Frollo, Peter, and Valentine were all way, way more observant, wise, witty, and well-spoken than teenage boys are in the wild. That's not to say that none of them can be this way, but Frollo's marshalled thoughts and bleak outlook and forethought (especially given his utter stupidity and glaring blind spots with so much) didn't fit my own experience with (even intelligent, well-spoken) teenage boys. I think most fit somewhere between those three and Phoebus.