This book has many qualities but alas some crippling flaws... In the end it wasn't a good read and I still don't understand how the entourage of the writer (friends, editor, beta-readers) didn't point the evidences.
Well.
The good points are quiet numerous: a good writing, an excellent voice for the narrator (a boy of sixteen yo), some rather humorous scenes and plenty of personal ideas. A desire to show how a so called romantic relation can be in fact a toxic one.
But the execution lacks of rigor, drifts frequently and even errs.
Pêle-mêle, from the minor to the worst:
- A diluted rhythm, with some lengthy parts (even if my read wasn't boring, thanks to the enjoyable narrator tone, at the half of the book I had quite enough). Some scenes were superfluous, breaking the story's momentum without adding anything to it.
- Some lack of show don't tell with some vertiginous ellipsis (for instance: Henry makes friend with Grace, through conversations and time spending together. He also have two besties, a girl and a boy. At some time of the book we have a sentence telling us that Grace ad the others become friends, and nothing more. There haven't been, and won't be much if any, interactions between the three during the story).
- Very very very weak intrigue's motors.
Ridiculous in fact.
To give an example (!!! spoiler of the very beginning only, the first chapter!!!):
A new girl arrives at school. She limps and use a walking stick.
=> questions anybody should be thinking about, even without actually asking them: is it a new injury, from an accident? or an progressive illness? or a handicap since birth? or else?
Later on she explains that she had a very serious accident and had to be kept in an artificial sleep for a month before beginning her convalescence
=> A question should immediately erupt in the brain of her interlocutor (note: he's a clever boy -_-)
I won't insult you by telling you witch one...
Very little time after this confession the boy learns that she goes to a graveyard each afternoon
=> Errrr... what could we possibly conclude?
Bonus: the car she rides, the phone she uses, the clothes she wears - are not hers. "Some friend's of mine" she says.
Against all odds, disdaining all these tiny little hints, our (clever) hero is utterly flabbergasted when he finally learn, some... weeks later, the truth.
(!!! end of the tiny spoiler!!!)
There are other exemples, particularly in the end of the book, when the author needs again a suspens and makes it with some totally impossible twist.
- I don't understand much the interest of a YA book about death and mourning if there isn't some positive things in the lot. I understood the author message in the end, but of what help could it be to anybody?...
Quite a lot a readers have loved this book, but I wouldn't recommend it to a depressive reader, especially a young one. There aren't any suicidal encouragements, fortunately, but there aren't any tips to soften the pain either. The morality is "when you're depressed and in mourning, you're depressed and in mourning and can't do anything about it". Well, there must be something else, but I couldn't find it anywhere.
To be honest those faults were just off-putting for a comfortable read.
But the other ones were much more toxic even if clearly involuntary so.
- The author is head over heels in love with her characters. And if I liked the narrator, Henry, who's wise and funny, the others were really too much.
The best friends were soooo cool they were caricatural. The girl is biracial, gay, exceedingly beautiful, kind, funny, badass, kickass and like to cuddle with Henry. The boy is Australian, and also big, boisterous, loud, invasive, a drama queen - and like to rough-cuddle Henry. There never show some kind of mundane behavior. No Sir, only the most showy cool attitude for the besties.
The parents are supposed to be extra cool and extra funny, but act like very poor actors. And when the author believes showing understanding and witty parents, she's in fact showing irresponsable, over indulgent, permissive ones.
The big sister is supposed to be reformed (very gifted, she used to do her worst when she was a teenager, with the teachers tolerance - nearly benediction - she was sooo clever and gifted), she has a baby of her own, but still accept to help her brother doing some very immature and even egoistic actions: for instance when he asks her to drive him in town to spy on Grace, to learn where she goes each afternoon (really? is it a sane respectful attitude?)
And when they see her entering a graveyard they all make witty comments (is she a ghost? a vampire? a mermaid?) to show their coolnessitude; it's only when they see her keeling near a tomb that the big sister, so gravely and wisely, says "We shouldn't be here".
Ohhh, really? o.O
The worst is Grace. The author isn't able to chose between her description of a very depressed teenager, unkempt, smelly, and a glamorous romantic tragic girl. She shows that she knows the difference, but the slips are too frequent.
She says that Grace is quite plain while saying she's fantastic and fascinating. She insists that last year Grace was very beautiful when she was dressed up, with some make-up, her hair shining and clean; and that nowadays Grace, who dresses with too big masculin clothes and doesn't wash and brush her hair enough is very plain.
What is exactly the message here? That to be attractive a girl must be not only neat but stylish?
She shows a very depressive girl who's need some serious help (the passivity of all the adults around her in another unbelievable narrative trick). This part is solid.
But on the other hand she can't resist to show her cleverness, her insight-fullness, her winning personality - her perfection.
Depressed people aren't perfect and glamorous. They're in danger and they need help, immediately.
One of the recurrent theme of the story is Grace explaining that she will never be a kintsugi vase - an art which consist to fix broken ceramics with gold, to make it better than new. It's a beautiful idea but if Grace is convincing in her words, the author always spoil it all by putting some numerous admiring lights on her.
It's difficult to explain but the best example - and the biggest fault of this book by far - was the insistence, three times exactly, to speak about Grace's beauty, when she's all dressed up, as "the beauty of a heroin-junkie who have nearly died of an overdose"
How, HOW, nobody has realised that this kind of inappropriate shocking irresponsible comparison should have been flushed out of a YA book ?!
To conclude a lot of personalities, an interesting message (the end is clever, in its substance if not in its form), a will to do well, but some very clumsy technique and a sorry lack of an external eye to sort the wheat from the chaff. Alas the road to hell is paved with good intentions...