Despite being markedly different from many of Clevenger's other books, Moonstone still rates about the same quality as the rest, which is not a good thing. While this book was blessedly free from characters delusionally referring to their phallic toys as if it were part of them (though it does include a couple overt references to bondage--not shown--because for Clevenger love isn't possible without being tied up) it replaced that nonsense with greater emphasis on toxic relationships and pretending they were worth saving.
The majority of the story takes place in "Raceda" which is clearly Eureka, California but had the name changed to protect...what exactly? Further, if changing the town name, why not change the name of locations like Mad River Beach?
In any case, after an odd bagel chucking incident that was probably supposed to be seen as cute, the story begins a series of annoying flashbacks. While the first one is identified as 18 years earlier, every other transition forward or back just happens. A new paragraph begins and whether or not it's in the past or present is up to the reader to figure out.
Now, despite a few dozen pages worth of flashbacks, it all built up to one incident: a brief moment of holding hands and then Joy pulled away. Or was it Kelsey? It doesn't matter. It wasn't worth the time invested. Any other storylines or subplots noted will come to nothing.
A few chapters in, Clevenger either decided or remembered that Joy was supposed to be black. Perhaps an editor told her that her vague allusions to skin tone weren't cutting it. Who's to say? Not Joy. She hardly seems aware of her racial identity. Kelsey, the whitest white girl has to point that out.
As other reviews have noted, while the main characters don't consummate their relationship for the first time until 80% of the novel is finished, this isn't a slow burn. There is no burning at all. The characters listlessly interact and avoid meaningful communication. Further, as noted, the story takes a dramatic shift as the high school flashbacks end, and the things get progressively crazier.
Kelsey is not a good person but, probably because she is white, Clevenger makes her the primary character. Primary in that it is her wishes that dictate the ultimate choices. If she wants to stay in a place that seems remarkably limited in diversity, a place she didn't even want to be for most of the book, a place that has made Joy and her brother feel unwelcome numerous times, then they will. Kelsey says, "if you asked me to leave, I would" except she says that after saying "I can't leave". Clevenger would have us believe that despite 9.50 out of 10 hours of being unhappy in the town, they decide they are happy at the end with little justification.
So many characters and storylines have little to no resolution.
Kelsey's mother, Barbara and her friend Denise. It gets built up as possibly a toaster oven romance but is abruptly shifted and ultimately left hanging. Tamara and Andrew pop in as adults for a scene after featuring as jerks in high school and then...nothing happens. Vanessa plays a far larger role than it would have seemed possible, including multiple sexual encounters with Joy, and her story is resolved with a vague reference to "Tiff". The enabling older sister to Hanna, Sadie Padgett, gets hooked up with Kelsey's brother off-page. Does anyone experience any consequences for virtually encouraging Hanna to be a drug dealer, a partner abuser, as well as fostering her drug habit? No.
More examples of Kelsey being just the worst:
Kelsey loans Joy a hoodie. Later Joy finds a bottle of pills in the pocket (made out to Kelsey's ex). When she asks about it, Kelsey gets upset and ruins the evening. Then, she blows off a planned date with Kelsey. Then, she gets pouty when Joy hangs out with Vanessa, someone who actively tried to be with her instead of avoiding her.
After their first bout of lovemaking, Kelsey becomes outraged that Joy had the absolute temerity to get ready for work the next morning instead of gushing about what they had shared. This irrationality is capped off by Joy apologizing for slipping out of bed to take a shower. It is like Kelsey couldn't imagine having a discussion later that evening. Then she storms out, refuses to answer any of Joy's texts or phone calls for over a week, and becomes upset when she hears Joy might be thinking of leaving and blames Joy for not being able to handle her baggage (most of which she hasn't even shared with Joy).
At various points, Kelsey tells Hanna she is done. Then later, Kelsey tells Hanna she is done. Then, Kelsey tells Hanna she is done. Kelsey tells Joy she is done with Hanna. Then Kelsey tells Joy she is done with Hanna, then Kelsey tells Joy she is done with Hanna. If you see a pattern developing, as well as a lack of follow-through, good for you.
Kelsey also: As a coach, allows a relationship to develop with a student. She accepts a gift of a luxury car from a family that is clearly enabling a dangerous drug dealer, to keep silent over the obvious crimes she has committed, including stealing Kelsey's car.
In the end, the biggest problem may be that the characters do no grow. I have little doubt that Clevenger thought she created characters that did just that. However, what she did was create flawed characters who, eventually, accepted or acknowledged their situation. They didn't learn anything. They didn't earn redemption/sobriety/or the love and respect they say they have for one another. While this may be classified as an HEA, it's closer to an HNA (Happily Never After) because despite their promises, YES, Kelsey will use again. She has sought no treatment whatsoever. It took her months and being threatened with losing everything to face up to a lie everyone knew she was telling. And YES, Joy will leave Raceda given that her endorsement of the town amounts to little more than "it could be worse". But, the only way it could be worse was if she was forced to read this novel.