3.5 really, but hey, I loved it enough to marathon it on my day off. This was very different than any coming-of-age novel I've read (save for a few Sarah Dessen heroes). Here we go:
Pros
-Word Play
*The title Wreckless is a play on the idea of reckless: Jake explains that just because people are more impulsive/wilder than Bridget doesn't mean bad things will happen or that they're doing this just because; you can be wreckless, meaning you can walk away from the rebellious act unscathed.
-Opening Line
*Chapter one begins with a line of dialogue from Bridget's mother. Sounds small, but so many books open with description of our character's house, the sky beyond their bedroom, lots of set-up. But too much set-up/frivolous description makes for a boring read. Dialogue sets up tension/conflict, making the characters talk (which is, you know, an action). We really get a feel for who Bridget is, why she's restless, and it's not even Bridget speaking.
*This also sets the tone for one of the internal conflicts she wrestles with: letting others control her narrative.
-Timeline
*Wreckless takes place for the most part over one night. One night filled with teenage rebellion (contained rebellion, but rebellion nonetheless), complete with a scavenger hunt list started from a rambling "never have I ever" adjacent convo. And we also get week or so after the night's events. This really takes me back to movies like Sixteen Candles, where one night could make or break you. Just felt so John Hughes meets another 80's film with a similar concept (good girl-blonde no less-who's tired of being good meets up with a rebellious outsider for what she thinks is just one night of rebellion...) and title, Reckless (1984). Though, that one's on the scandalous side.
-True Teen Mindset/Speak
*Bridget's not thinking about long term; when she finds out her boyfriend's been cheating on her with her best friend, it's not because she has their wedding mapped out. She was just thinking "Oh, I've got a boyfriend and the world doesn't feel so scary right now. But now I'm alone again/the whole school probably knew...". She also dreams of going to the county fair, not hearing about the church potluck. The way she tunes out her parents at dinner was not done in a super angsty way, more like they were just gnats to her.
*So many YA books make their characters into caricatures, wannabe Holden Caulfield types, where you can practically feel the heavy hand of an adult writer, song of experience over song of innocence (any William Blake fans out there?). But here, they spoke authentically, honest to a fault, imperfect, no book references or loner girl/bad boy being the whole be all end all character trait.
*For example, when walking through the fairgrounds, Bridget marvels over the concept of not being noticed. Not because she's a spectacular beauty and usually people just throw themselves at her feet, but because everybody knows everybody in her town and how awesome it feels to be in crowd of people who aren't stopping to talk/stare with strange familiarity. Most books would have the character look at the kaleidoscope of colors, waxing poetic on her role in school/life, likening herself to one of the prizes at the booth. But nope, just a simple "pushing into a throng of people feels strangely comforting".
-Healthy Communication
*Bridget's actually got a good relationship with both of her parents:
1.She and her father joke about negotiating her Friday night curfew and even have a tradition where they attend football games together, her father buys them hotdogs while he huffs and puffs at the referee.
2.After the slight snafu with her mom, Bridget feels weird leaving her in a bad mood. So before she leaves for the fair, she quickly hugs her mom and honestly-not maliciously- says "I don't know why you're upset with me", seeming to encourage her mom to open up as to why. Also, her mom encourages Bridget to finally cut her hair (it's grown past her waist), and when she punches Tanner for trying to discuss the cheating before she's ready, Bridget tells her mom "He cheated on me with Leah" as justification, her mom just goes "Good enough for me; let's ice that hand".
*Tanner and Leah get to say their piece and they don't blame Bridget or get rewarded by their friends for cheating (Bridget was far from a laughing stock; those two are the ones on the social outs). They honestly say "I just started falling for them". Bridget gets closure too, going on to say that while she forgives Leah, she just can't be her friend anymore.
-Call and Response as Well as A True Call Out
*There's a bit in the beginning where Bridget's reading what she describes as a "we can't be together because we're not even the same species" romance novel. That had me laughing... also, I'm currently watching season one of Netflix's Hemlock Grove (so many people have told me stop after the first) so... Letha/Peter ran through my mind right then. Hence, one of my September TBR picks and why I added Maggie Steifvater's, The Wolves of Mercy Falls, to my TBR. Don't judge.
*In order to properly apologize, Jake creates his own list of things to do, one of which is to not threaten/manhandle every guy who looks Bridget's way. We love a progression.
*Bridget makes a remark that the CW makes parties look like an all you can eat date buffet and also that you can run businesses before you graduate high school/wear Gucci to pep rallies. Shots fired, Riverdale!
-Baby Got Backbone
*Towards the end of the novel, it's revealed that Jake's been using Bridget's rebellious list to his benefit: his time away from town made making friends difficult. So, the guys suggest joining The Player's club (ick) and Jake takes pictures of Bridget's dress, comments to his friends that she'll be "easy", and instead of forgiving him, Bridget tells him off, making him grovel and even in the end, she doesn't leave her father on the bench to watch the game alone. She tells Jake that she's not on the wrong team's side; she came with someone important.
-Method to the "Madness"
*We come to realize that Bridget's rules are self-imposed to keep herself from repeating what she believes was Christy's (her now deceased older sister's) mistakes:
1. She perpetuates the Madonna/Whore between herself and Leah (she claims Tanner cheated because Leah's more fun/beautiful), wearing conservative clothes, seemingly to protect herself from sexual attention.
2.Bridget avoids conflict even when she's in the right (i.e. Jake tells Bridget her plan to keep her head down/let her and Tanner's ties fade naturally is stupid and that if she doesn't nip it in the bud now, she'll get used to guys walking all over her the rest of her life). That unknowingly brings back the walking all over Christy received and how it drove her suicide. Bridget has to come to terms with the idea of standing tall vs. standing aside.
3.She doesn't cut her hair or upgrade her wardrobe from the time before Christy's death because doing so would mean more change. Her whole life changed in an instant. In her mind, is it too much to have one part of her life stay the same?
-Victimhood
*We've already discussed Bridget's discomfort with her appearance/body, but we later learn that part of why Christy committed suicide was because in a town this small, everyone would know about it. Would they think "Pretty girl like that, dating some out of town stranger, she knew the risks"? And in the end, she was too afraid to face society. The trauma of her rape/assault, the unfair embarrassment over something that wasn't her fault was too much. And for awhile, Bridget is angry that her sister left without a fight. But in the end, she goes to Christy's grave, offering up the apology she should've given in life. That line where through the tears, Bridget says "I'm sorry you felt like you had to go" broke my heart.
-Paper Doll Come to Life
*When getting ready to skinny dip, Bridget makes another observation about her clothing/lack of evolution: she's wearing the same style of undergarments her mother picked out way back in 7th grade, kind of allowing the past to dress Bridget. Even when she picks out her own clothes, it's a dress Leah bought for her.
-Bridget Centric Story
*I'm sure many people will ask "what about the romance?" "why wasn't her friendship with Leah or previous relationship with Tanner fleshed out?". The romance was good, healthy push-pull sort of manic pixie dream boy type. Sweet stuff, really. But the other things didn't effect the night. It's not about anyone else further defining Bridget. We get her POV on the people she chooses to associate with. I liked that this was study on the psychological effects of grief/self-isolation rather than YA friendship/romance gone awry.
-Repurposing Christy's Shoes
*Bridget wears Christy's favorite pair of boots and instead of crying over her loss, Bridget remembers all the places her sister wore them and her fondness for the objects. Kind of also read it like Bridget taking Christy along for the ride of life denied her.
-Last Line
*Jake thinks he's all smooth: "There's a creek I'd love to take you to", and Bridget responds "I'd rather drive your truck". Very brief yet very complex:
1.Driving represents freedom, especially for Bridget, who earlier in the novel, comments that Tanner never let her drive his truck. Jake in his speech says she can take the wheel almost anytime (provided she's wreckless as opposed to reckless).
2.Not only is Bridget suggesting she'd rather take charge instead of letting him lead her to the creek, but she also gets to say the final line/have final say by default.
Homages
-Bridget's self-imposed isolation from my prior point, side characters commenting on her long blonde hair (that's in a braid no less), and child-like wardrobe felt very Rapunzel to me.
-Here we go: This novel shares several similarities with the film Reckless (1984)
1. Bridget's a blonde good girl who is tired of being good and goes on a wild-ish night with a dark haired rebel from high school. In the film, Tracy's a blonde cheerleader who has many run-in's and one passionate night with her school's brooding rebel where they engage in teenage shenanigans spanning one evening both in their locked high school and her house.
2.Bridget lists off all the ways she's been good and all the things she's never done, just like Tracy straight up says "I've been good, haven't I? I've never given you any reason to worry" and then goes on to say all things she's never done.
3. Both main girls are in relationships with the golden boy of their high school
4.Following their one night together, Jake shows up to take Bridget to school on his motorcycle, much like the character of Johnny from Reckless both whisks Tracy away from the dance and convinces her to flee their small town (forever, it appears) on his motorcycle.
5.Both Johnny and Jake are football players.
6.Both end with romantic ambiguity (Tracy and Johnny ride away from their high school/their lives in town, while shouting to her brother to "Tell 'em (meaning their parents) I'll be alright!" and here, there's not talk of the future beyond high school/night at the creek. We hope both couples can make a go of it. Glass half full kind of thing).
7.Bridget and Tracy are both comfortable and restless with small town life (Tracy halfheartedly tells Johnny she'll probably stay there after grad, whereas Bridget is both in awe of no one knowing her and tired of knowing everyone and everything). While the leading men are born to run (Jake's already applying to college in Colorado and Johnny is looking only for life beyond and to get MORE out of of said life. If you've seen the film, you'll understand the caps).
-Splendor in the Grass (1961)
*Bridget's good girl breakdown (when she starts naming all the ways she's protected herself and parents and yet she still got hurt) after finding out her boyfriend cheated with her more adventurous best friend felt very much like Deannie's famous "I'm not spoiled/I've always been a good little girl, done whatever Mommy and Daddy told me" scene from the film after finding out Bud got his kicks from the "popular only with the boys flapper wannabe from school". Their frustrations are similar.
Con
-In the first chapter, we find out that someone sent a fake letter to Bridget's parents from a teacher accusing her of cheating on a test. Unless I missed it, we never find out who sent it or why.
So, yeah, *SPOILERS* for Splendor in the Grass (1961) and Reckless (1984). Is this novel perfect? No. But it kind of mirrors adolescence that way.