Spoilers in here!
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There's a lot going on in this slip of a novel, framed as the journal of a high schooler named Wendy who's struggling to stay grounded in reality after a family tragedy. The journal is assigned by the therapist she's seeing and she keeps trying to rid herself of it, but eventually it becomes a meaningful way to process through her grief.
The book (journal) is drawn in grayscale with touches of brown and splashes of full color here and there. Then there are sections in full color. The color schemes divided along the lines of what is fantastical and/or magical (in full bright color) and what is mundane (more on the grayscale side.)
The novel begins with a car accident. Accidents can happen to anyone. In this case it's not clear what caused it. It seems perhaps that rain had caused low visibility and perhaps slick roads. But there is a moment when Wendy, trying to concentrate on driving, turns around to yell at her youngest brother-to keep the noise down--taking her eye off the road--and that is when the car skids out of control. The book doesn't delve to deeply into this. In her journal Wendy doesn't go over and over the details of the accident though she does continually return to the scene of it. This is, after all, a book about grief and guilt and a teenager's attempt to move on after the unimaginable happens.
Wendy is sixteen, when, driving with her two younger brothers, Michael and John, she gets into an accident that kills the youngest, Michael. To feel responsible for a younger sibling's death. How does one survive after something like that? Perhaps one lives, but is it possible to thrive? What kinds of stories do we tell ourselves in order to be able to bear an event that is in essence, life-shattering. That divides life into a before and an after.
After the accident Wendy struggles to distinguish between her fantasy--that her youngest brother is not really dead, but flew off with another flying figure into the night sky--and the reality. Her brother is gone with the kind of finality that only death can bring.
But this is also a Peter Pan retelling, and so there is an element of realness to Wendy's fantasy. It is not clear to me how to interpret or fully distinguish between "realism moments" and moments in which fantasy and magical realism interweave. For example, Eben, the Peter Pan character--how much is he an actual person in Wendy's life, a fellow student at her school, how much a "real Peter Pan", and how much a character drawn from Wendy's imagination? How are we to understand the "real" magical moments, culminating in Michael's body washing up on shore--after Wendy finally visits him in Neverland--inexplicably "whole"?
There is a lot about this book to admire, but I also found it frustrating. I don't get a sense of who Wendy is outside of her grief. The family dynamics are somewhat toxic. After such an accident it's not surprising that there is family tension and disruption. But it's unclear what kind of parents the parents are, how the family dynamics were before the accident-- it's not addressed thoroughly and it's all resolved a bit too quickly and "easily" at the end. And there are a lot of scenes that are just a bit vague, where I'm not entirely sure what's happening and how much of it is fantasy.
Just a note, in the introduction to the edition of Peter Pan I read I learned not only that two of the boys J.M. Barrie took over care of after their mother Sylvia Llewelyn Davies died committed suicide in their very early twenties (a bit chilling, the question of Barrie's abuse of these boys), but also that Barrie himself invented the name Wendy. It came from a young girl he met in the park, who called Barrie her "friendy", but she was missing her two front teeth, and it sounded like Wendy. Thus the name Wendy, at least according to this story, came into being when Peter Pan itself came into being.
One of my favorite moments in The Wendy Project is when Wendy is speaking to her grandmother at her brother's funeral and her grandmother says, "he'll come back. Just make sure to leave the window open." It reminds me of the sad and strange and beautiful end of Peter Pan:
"As you look at Wendy, you may see her hair becoming white, and her figure little again, for all this happened long ago. Jane is now a common grown-up, with a daughter called Margaret; and every spring cleaning time, except when he forgets, Peter comes for Margaret and takes her to the Neverland, where she tells him stories about himself, to which he listens eagerly. When Margaret grows up she will have a daughter, who is to be Peter's mother in turn; and thus it will go on, so long as children are gay and innocent and heartless."