Where Things Come Back by John Corey Whaley

I picked up this novel at ALA 2012 because it won the Printz and Morris Awards. I forced myself to read through to the end because it won the Printz and Morris Awards. As I read, I kept waiting to understand why it won the Printz and the Morris Awards. I read the final page, never understanding why it won the Printz and the Morris Awards.

The three literary components that this novel struggled with were show-not-tell, ambiguity, and characterization. The lack of development in all of these areas caused the plotline to fall flat.

Show-Not-Tell: Rule #1 of creative writing: show-not-tell.  Almost the entire story was a summary of events and people, robbing the reader of descriptive writing that connected her to the novel.  What little dialogue and description that was present was so inconsequential that it didn’t add anything to the plot or characterization.

Ambiguity: There was too much poorly explained randomness that the author tried to pull together in a “twist” at the end. Unfortunately, the twist was forced, and the entire build-up was poorly executed. For one, there was no natural flow. For another, it was completely unbelievable and far-fetched. Maybe the awkwardness was due to the author’s attempts to leave not-so-subtle hints throughout the story so that it would all “come together” in the end. I mean, I get what the author was trying to do. I really do. I could see it a mile away. Sadly, it didn’t work.

Characterization: There was none. For example, the majority of the novel was about Gabriel’s disappearance; however, the reader never got to know Gabriel enough to care. In fact, because of all of the summaries, the reader never adequately got to know any of the characters. **SPOILER**There was a moment of sadness when Benton committed suicide, but that quickly gave way to the realization that he was simply the catalyst for the roommate to spiral into madness.**  Again, show-not-tell. Make the reader care.

Too many loose ends and too little descriptive writing left this novel a disappointment. I know that this novel won the Printz and Morris Awards; however, those awards are based upon the opinions of 11 Printz Committee members and 12 William C. Morris committee members – hardly the majority of readers. As I’ve learned throughout my professional career, just because something wins awards doesn’t mean that it’s good. The reality is that this novel is disjointed and poorly developed, and I suggest readers find something else. 

Hush, Hush by Becca Fitzpatrick

I can't really write a review about this novel without giving away some part of the plot, but I will say that it is a well-crafted suspense thriller with a little romance sprinkled in. This story involves fallen angels and a legend that demands a human sacrifice. Caught in the middle of this spiritual warfare is Nora Grey, and she knows that someone wants her dead. But, why?

Crescendo by Becca Fitzpatrick

This book was a pretty big let-down for me. I really enjoyed HUSH, HUSH with its suspense and spunky heroine, Nora Grey. I thought that I had finally found a series that broke away from authors trying to mimick TWIGHLIGHT'S version of "romance" by having a strong plot, in-depth characters, and a heroine who can hold her own - with or without a boyfriend. Unfortunately, I was wrong.

The book was "supposed" to be about Nephilim's (half human, half angels) gathering recruits to fight fallen angels. Of course, Nora is a Nephilim, and the danger is always lurking that a fallen angel wants to kill her to become human, but Patch is her guardian angel, which means that probably won't happen. That was SUPPOSED to be the plot. Instead, the author spent 327 pages chronicling Nora's angst about breaking up with Patch, and his going out with Marcie, her slutty arch-enemy. Fitzpatrick tried to create a double-love triangle by having Nora run into her childhood friend, Scott, and develop a romance, but the whole thing was weak and contrived. In fact, the whole novel was one big, awful romance novel depicting three weak and pathetic girls who strove for male attention. Some might argue that all of this angst is based in reality, and I admit that I knew one or two girls in high school like this, but I wouldn't call them the norm, and I wouldn't want them to be the norm. Nora even contemplates suicide at one point, which I thought was totally irresponsible of the author. We want females to be empowered, not constantly fed the idea that they can't function without a boyfriend. And, definitely not that their lives aren't worth living without one!

The novel finally focused on the REAL plot around page 357 but not before Fitzpatrick exhausted the whole "Can we trust Patch" thing. Honestly, that was beaten to death in Book One, it was simply annoying in Book Two and detracted from the plot. Also, the reader heard a lot about Rixon throughout the novel, but never even met him until she was 300 pages in. Then, all of a sudden, the whole plot revolved around him. The whole novel was like this. All of the characters were shallow and underdeveloped, and their functions throughout were disjointed.

I won't read Book Three. In fact, regardless of the overall ratings on Goodreads, most people (I'm referring to my friends) despised this novel, and were too nice to give it the rating it deserves. Every author deserves a "dud," and I hope that this is simply the case with this one. Like I said, I really loved HUSH, HUSH, so I know Fitzpatrick is talented. I just don't know why she sold out on this one.