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Neverland
Neverland follows a thin line of magic that strings together Hayley Winter’s last shreds of hope. At 18 years old, Hayley relies on thoughts of glimmering kingdom lights and enchanted tea parties as the only way to dull the flashbacks and insecurities and decrease the pain from losing loved ones and facing tragedies.
This is not a happy tale. And despite the green-eyed man who inspires magic with every touch, it’s not a love story either. It’s a reminder to always cherish the things that give us strength, real or make-believe.
270 pages, Kindle Edition
First published June 23, 2015
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Displaying 1 - 12 of 12 reviews
October 29, 2015
It was hard to decide between one and two stars, but it seems I'm in the minority either way. Oooohh dear. This book started out so strong and so promising, then crashed and burned hard somewhere around the middle. It's that promise, that underlying current of boldness and potential, that ultimately bumped it up from one star to two. Unfortunately, a book that's all potential and no punch is going to fall flat, and that's what happened with Neverland.
Let me start by saying that I understand and appreciate what Vetrano was going for here. I really do. Her observations on human behavior are honest and precise. And I admire her balls-to-the-wall approach; she doesn't shy away from difficult topics, she doesn't hesitate to put her characters through the wringer, and she definitely has a well-defined voice and allows it to speak freely. Those are the things that made me want to keep reading.
The problems presented themselves mainly in two flavors: the characters, and the writing.
Problem one: the characters. Vetrano is at her best (and clearest) when she's inside the head of her narrator. Hayley's voice is distinct, funny, realistic, and easy to empathize with. The book starts out mainly sticking to Hayley's thoughts, and that's why the beginning is so strong. It's only when the story expands to include Chace that everything likable about Hayley falls apart. Put simply: Hayley and Chace's relationship is so unbelievable that it pulled me out of the story almost completely. Not only does Hayley turn into a boring, generic lump whenever she's around Chace, but he doesn't have any discernible depth to his personality either. And why, why, WHY is this successful, smart, charming, driven, 26-year-old lawyer content to settle into a serious relationship with an 18-year-old recent high school graduate with no ambition and no plans? That is so unrealistic it BURNS me. If he were just using her for sex, I'd get it. If she were just deluded about his feelings for her, I'd get it. If their respective issues believably complicated things, I'd get it. But no, Vetrano plays their love story straight the whole way through, and it's painful to read because it cancels out the darkness of the rest of the story. It's like walking through a haunted house in the daylight; the scary stuff is still there, but it has no power because you can see that it's not real. Likewise, the dark and intense aspects that form the backbone of this story are rendered innocent by the total ridiculousness of this relationship. How am I supposed to take anything seriously when this nonsense keeps rearing its head? If a 26-year-old man is pursuing a relationship with an 18-year-old woman, particularly a man as allegedly stable as Chace and a woman as simultaneously boring and messed up as Hayley, there is something wrong with that situation. It's not romantic, it's not sweet, it's creepy and weird. End of story, thank you, good night. (P.S. You know who would think that this type of weird, unrealistic relationship could instead be romantic and sweet? A teenage girl or a woman who hasn't been 26 yet. *checks author bio* I rest my case.)
Problem two: the technicalities of the writing. At first it was fine... then I don't know what happened. It started with adverb overuse. And then I suddenly found myself drowning in a sea of dialogue tags so horrendous that I actually yelled at my Kindle, "No, no, are you kidding me, WHY?!" Listen. Overuse of adverbs and more than super-sparse use of "creative" dialogue tags is warned against in dozens of articles you can turn up by Googling "rookie writing mistakes." It overwrites the text with "AMATEUR" in neon letters. Let's see some examples from Neverland. Within 3 Kindle pages (Loc 1134 through Loc 1148), these are the dialogue tags: he observed, I scoffed, I contemplated, he prompted, I groaned, he claimed, I admitted, he concluded, he suggested, I mulled, I murmured, he reflected, I acknowledged, he debated. THREE PAGES!! USE THE WORD "SAID," VETRANO, I PROMISE YOU IT WILL BE OKAY!!! To my utter astonishment, this was not a one-time offense. Let's look at Loc 1724 through Loc 1731, just 2 pages: I remarked, I stated, I clarified, she said blankly, I countered, Chace confirmed, she said quietly, she begged, I proposed, she explained, I threw out, Chace announced, [FINALLY] he said, I mumbled, Mia criticized. Here we at least get the word "said" three times, but two of those times it's modified with an adverb. Tagging the dialogue like this is not only incredibly distracting and unnecessary, it also indicates that the author thinks the reader is stupid and needs everything spelled out for them (if someone explains something in the dialogue, do you really need to add "she explained" when they're done talking?). And then it just turns into thesaurus acrobatics, which is only smoke and mirrors to attempt to hide the weaknesses in the story. If the story is good, you don't need flashy theatrics. Even beyond all of these obnoxious and distracting details, Vetrano doesn't have an ear for dialogue, which often leaves her characters sounding silly and over-dramatic when they get into long, serious conversations. Kind of a mood killer.
I wanted to love this book. I saw all the great reviews and I loved the sound of the heavy, magic-edged, character-driven story and I really, truly wanted to love it. In the end, I couldn't. But I do believe that with practice, Vetrano can find her way to more solid ground as a writer, and I would certainly be interested in reading more from her in the future. She has natural talent for storytelling, that much is clear; the tools in her arsenal just need a little sharpening.
Let me start by saying that I understand and appreciate what Vetrano was going for here. I really do. Her observations on human behavior are honest and precise. And I admire her balls-to-the-wall approach; she doesn't shy away from difficult topics, she doesn't hesitate to put her characters through the wringer, and she definitely has a well-defined voice and allows it to speak freely. Those are the things that made me want to keep reading.
The problems presented themselves mainly in two flavors: the characters, and the writing.
Problem one: the characters. Vetrano is at her best (and clearest) when she's inside the head of her narrator. Hayley's voice is distinct, funny, realistic, and easy to empathize with. The book starts out mainly sticking to Hayley's thoughts, and that's why the beginning is so strong. It's only when the story expands to include Chace that everything likable about Hayley falls apart. Put simply: Hayley and Chace's relationship is so unbelievable that it pulled me out of the story almost completely. Not only does Hayley turn into a boring, generic lump whenever she's around Chace, but he doesn't have any discernible depth to his personality either. And why, why, WHY is this successful, smart, charming, driven, 26-year-old lawyer content to settle into a serious relationship with an 18-year-old recent high school graduate with no ambition and no plans? That is so unrealistic it BURNS me. If he were just using her for sex, I'd get it. If she were just deluded about his feelings for her, I'd get it. If their respective issues believably complicated things, I'd get it. But no, Vetrano plays their love story straight the whole way through, and it's painful to read because it cancels out the darkness of the rest of the story. It's like walking through a haunted house in the daylight; the scary stuff is still there, but it has no power because you can see that it's not real. Likewise, the dark and intense aspects that form the backbone of this story are rendered innocent by the total ridiculousness of this relationship. How am I supposed to take anything seriously when this nonsense keeps rearing its head? If a 26-year-old man is pursuing a relationship with an 18-year-old woman, particularly a man as allegedly stable as Chace and a woman as simultaneously boring and messed up as Hayley, there is something wrong with that situation. It's not romantic, it's not sweet, it's creepy and weird. End of story, thank you, good night. (P.S. You know who would think that this type of weird, unrealistic relationship could instead be romantic and sweet? A teenage girl or a woman who hasn't been 26 yet. *checks author bio* I rest my case.)
Problem two: the technicalities of the writing. At first it was fine... then I don't know what happened. It started with adverb overuse. And then I suddenly found myself drowning in a sea of dialogue tags so horrendous that I actually yelled at my Kindle, "No, no, are you kidding me, WHY?!" Listen. Overuse of adverbs and more than super-sparse use of "creative" dialogue tags is warned against in dozens of articles you can turn up by Googling "rookie writing mistakes." It overwrites the text with "AMATEUR" in neon letters. Let's see some examples from Neverland. Within 3 Kindle pages (Loc 1134 through Loc 1148), these are the dialogue tags: he observed, I scoffed, I contemplated, he prompted, I groaned, he claimed, I admitted, he concluded, he suggested, I mulled, I murmured, he reflected, I acknowledged, he debated. THREE PAGES!! USE THE WORD "SAID," VETRANO, I PROMISE YOU IT WILL BE OKAY!!! To my utter astonishment, this was not a one-time offense. Let's look at Loc 1724 through Loc 1731, just 2 pages: I remarked, I stated, I clarified, she said blankly, I countered, Chace confirmed, she said quietly, she begged, I proposed, she explained, I threw out, Chace announced, [FINALLY] he said, I mumbled, Mia criticized. Here we at least get the word "said" three times, but two of those times it's modified with an adverb. Tagging the dialogue like this is not only incredibly distracting and unnecessary, it also indicates that the author thinks the reader is stupid and needs everything spelled out for them (if someone explains something in the dialogue, do you really need to add "she explained" when they're done talking?). And then it just turns into thesaurus acrobatics, which is only smoke and mirrors to attempt to hide the weaknesses in the story. If the story is good, you don't need flashy theatrics. Even beyond all of these obnoxious and distracting details, Vetrano doesn't have an ear for dialogue, which often leaves her characters sounding silly and over-dramatic when they get into long, serious conversations. Kind of a mood killer.
I wanted to love this book. I saw all the great reviews and I loved the sound of the heavy, magic-edged, character-driven story and I really, truly wanted to love it. In the end, I couldn't. But I do believe that with practice, Vetrano can find her way to more solid ground as a writer, and I would certainly be interested in reading more from her in the future. She has natural talent for storytelling, that much is clear; the tools in her arsenal just need a little sharpening.
August 9, 2015
When I started reading Neverland, I was thinking, oh, three stars. A promising author still finding her voice.
Then, after a while, I was thinking, Olivia Vetrano is an exuberant young author. This might just be a four.
Then, I thought, this is a story of a young, troubled, tortured girl, and I'm an old, burnt-out, realist without much use for her dysfunctions, and, yet, somehow, I love this story, and the only possible reason is that's astonishingly well crafted. It's got to be a five.
I wound up grading it on a curve, and I doubt Ms. Vetrano is ever going to make that call even difficult again.
Hayley is self-destructive, irrational, haunted, and her dream world isn't a refuge. It's a prison.
She has a wonderful boyfriend who, inexplicably, won't give up on her. Hayley spends much of Ms. Vetrano's novel drifting listlessly in the general direction of ruination. Not only that, she rationalizes it away. She is convinced of its inevitability.
Her best friend writes her off. Her parents mourn preemptively. Dread hangs in every page.
Hayley seems intent on killing herself softly. She takes her cues from the beyond and takes refuge in its gentle allure. Death may not be productive, but it is her path of least resistance.
Her loved ones don't give up on her, but they are afraid she is irretrievable. Yet there are reasons for Hayley's masochistic selfishness.
They are hard for her to overcome. No one can knock any sense into her head. She has to stumble upon it.
And I still can't believe how much I loved her story. I just did. It must be the author.
Then, after a while, I was thinking, Olivia Vetrano is an exuberant young author. This might just be a four.
Then, I thought, this is a story of a young, troubled, tortured girl, and I'm an old, burnt-out, realist without much use for her dysfunctions, and, yet, somehow, I love this story, and the only possible reason is that's astonishingly well crafted. It's got to be a five.
I wound up grading it on a curve, and I doubt Ms. Vetrano is ever going to make that call even difficult again.
Hayley is self-destructive, irrational, haunted, and her dream world isn't a refuge. It's a prison.
She has a wonderful boyfriend who, inexplicably, won't give up on her. Hayley spends much of Ms. Vetrano's novel drifting listlessly in the general direction of ruination. Not only that, she rationalizes it away. She is convinced of its inevitability.
Her best friend writes her off. Her parents mourn preemptively. Dread hangs in every page.
Hayley seems intent on killing herself softly. She takes her cues from the beyond and takes refuge in its gentle allure. Death may not be productive, but it is her path of least resistance.
Her loved ones don't give up on her, but they are afraid she is irretrievable. Yet there are reasons for Hayley's masochistic selfishness.
They are hard for her to overcome. No one can knock any sense into her head. She has to stumble upon it.
And I still can't believe how much I loved her story. I just did. It must be the author.
June 18, 2015
Absolutly captivating
You start the book meeting a spunky sassy yet arguably (or obviously to the reader) girl with some serious issues ranging from family to self-esteem with a tirade of other problems going on in her dark, determined and desperate mind. The whole time I was incredibly frustrated with the main character but I couldn't put the book down because I needed to know what her ultimate decision was and by the end, I understood why she did all those things that drove me crazy and I was rooting for her, even when she couldn't root for herself. Great book
You start the book meeting a spunky sassy yet arguably (or obviously to the reader) girl with some serious issues ranging from family to self-esteem with a tirade of other problems going on in her dark, determined and desperate mind. The whole time I was incredibly frustrated with the main character but I couldn't put the book down because I needed to know what her ultimate decision was and by the end, I understood why she did all those things that drove me crazy and I was rooting for her, even when she couldn't root for herself. Great book
July 15, 2017
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"I shouldn't have more secrets than I was capable of managing; it was rather inconvenient."
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Wow. This book was NOT what I thought it would be, but I found myself not minding that at all... It was a painful read - this isn't a soft, glowy, white lights kind of book, despite the cover art. It's gritty and a tough slog - poor Hayley has dealt with more drama (and trauma) than any teenager (hell, than anyone) should have to, and her path over and through is a fight from minute-to-minute. She manages it with more aplomb and snarky-dark humor than you'd expect, even though you know that all of that clever wit is just hiding a scared girl trying to find her way... The story is well-crafted, the characters - and their pain - are heart-breakingly real. This is a tragically lovely tale about the costs of choices - both our own and those foisted upon us by others.
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"We'll never be able to mold the truth into what we want it to be, but that doesn't mean we have no say in how we see it."
----------
"I shouldn't have more secrets than I was capable of managing; it was rather inconvenient."
----------
Wow. This book was NOT what I thought it would be, but I found myself not minding that at all... It was a painful read - this isn't a soft, glowy, white lights kind of book, despite the cover art. It's gritty and a tough slog - poor Hayley has dealt with more drama (and trauma) than any teenager (hell, than anyone) should have to, and her path over and through is a fight from minute-to-minute. She manages it with more aplomb and snarky-dark humor than you'd expect, even though you know that all of that clever wit is just hiding a scared girl trying to find her way... The story is well-crafted, the characters - and their pain - are heart-breakingly real. This is a tragically lovely tale about the costs of choices - both our own and those foisted upon us by others.
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"We'll never be able to mold the truth into what we want it to be, but that doesn't mean we have no say in how we see it."
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March 24, 2018
If you've ever lost a loved one through suicide or other violence, or been a victim of assault yourself, or even had strong feelings of self-worth and wondering why you are here, this book may give you hope. Deidre's letters to her sister, Hayley, give insight into why Diedre couldn't cope any longer, but she also wants to discourage Hayley from taking the same way out. The teen years are stressful ones, with so many challenges seemingly overwhelming. This book offers them hope; they aren't alone; there are solutions.
But why does every book call those who commit suicide "selfish"? Unless the person has ever been in such despair that he/she has ever felt that way, that the world was intolerable, those people cannot truly understand the pain and the need to end it.
But why does every book call those who commit suicide "selfish"? Unless the person has ever been in such despair that he/she has ever felt that way, that the world was intolerable, those people cannot truly understand the pain and the need to end it.
December 20, 2018
Need a box of Kleenex
I think a box of Kleenex is required with this book. It's a very tragic story with some light and magic in it. Haley was pretty strong.
I think a box of Kleenex is required with this book. It's a very tragic story with some light and magic in it. Haley was pretty strong.
July 3, 2015
Olivia VetranoNeverland
note: this is the same review that I posted on Amazon
I think every young woman should read this book. I don't want to give spoilers, so I'll only say that couple of very important issues are explored in the story without (and this is the important part) passing judgment. A young woman struggling with these issues would probably feel as though she had found a friend.
The writing style is _very_ good, with only a few bumps of confusion (to my middle-aged brain, anyway) at the very beginning. I imagine that getting a story started is the hardest part for almost any writer. The author has a real gift for setting a mood or description with very few words. Those moods and descriptions stay with you; the image of painting the sidewalk black is still with me. I also enjoyed the use of written letters in the book. Usually I don't like those kind of "inserts," and skip them, but these are integral to the story. They are key to the emotional pull of the book. The closing of the letters was particularly poignant.
Finally, the author left the end of the story open. That is, the reader is free to interpret it how she will. Arg!
note: this is the same review that I posted on Amazon
I think every young woman should read this book. I don't want to give spoilers, so I'll only say that couple of very important issues are explored in the story without (and this is the important part) passing judgment. A young woman struggling with these issues would probably feel as though she had found a friend.
The writing style is _very_ good, with only a few bumps of confusion (to my middle-aged brain, anyway) at the very beginning. I imagine that getting a story started is the hardest part for almost any writer. The author has a real gift for setting a mood or description with very few words. Those moods and descriptions stay with you; the image of painting the sidewalk black is still with me. I also enjoyed the use of written letters in the book. Usually I don't like those kind of "inserts," and skip them, but these are integral to the story. They are key to the emotional pull of the book. The closing of the letters was particularly poignant.
Finally, the author left the end of the story open. That is, the reader is free to interpret it how she will. Arg!
September 1, 2015
It has been a long time since I have read a novel that physically affected me. Two days after I finished NEVERLAND, I can still feel the story painting over my skin. As I read Vetrano's last few words, I found myself physically shaking. I was right there in that last poignant moment of the story. As a mother, I had lived through a similar experience, and Vetrano's words brought all of those sensations vividly back to me nine years later when I thought they had been buried. After finishing this novel, I needed a long walk and some bourbon.
This book is a rose that takes time to unfold, so be patient. As it spreads its petals, the fragrance and beauty become so heady that you get to go to that magic place where reality isn't, and you just get to experience - and in this case what you get to experience is desperate hope. I found myself crossing my fingers and holding my breath. This is one of those novels that you want all of your friends to read too, so you can share the experience.
This book is a rose that takes time to unfold, so be patient. As it spreads its petals, the fragrance and beauty become so heady that you get to go to that magic place where reality isn't, and you just get to experience - and in this case what you get to experience is desperate hope. I found myself crossing my fingers and holding my breath. This is one of those novels that you want all of your friends to read too, so you can share the experience.
September 4, 2015
Heavy, melancholy and morose, but I kept reading. Haley has lived a life of personal and family tragedy. Didn't like the letters her sister left her, but they told a story in of itself. I thought Mia was a true friend and Chace, wonder about his story. I wanted to drop the book several times but wanted to see what happened at the end. I would like to think that Haley found her fairy tale and decided to live, since she changed her mindset with her last conversation with Mia and upon her sister visiting her and the message she bestowed to Haley in a dream state.
August 6, 2015
The voice of the main character in this book is sassy and refreshing. As the story unfolds, we learn about the tragedies that have befallen her at such a young age and begin to understand the reasons behind her numerous coping mechanisms. I truly began to feel for this well-developed character and to hope with each new twist and turn that she would be able to find her Neverland. This novel is another excellent selection that I stumbled upon via the Kindle Scout program...Bravo!
May 29, 2016
I was blown away by the effortless feel of the writing! A powerful, unique storyteller.
April 13, 2017
I was captivated by the synopsis and downloaded the book through Kindle Unlimited. In the beginning, I felt the pace is slow. However, something about Hayley and her self-destructive behavior kept me going. I want to know how Hayley is going to survive. Overall, I am thankful I kept going because I was rewarded by Hayley's metamorphosis. It is a coming of age story, albeit, a morose one.
Displaying 1 - 12 of 12 reviews