432 The Horn Book Magazine emotionally damaged In a cathartic scene she finally allows herself to feel angry at Julia—even temporarily to by ProQuest

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									  432                                                The Horn Book Magazine


  emotionally damaged. In a cathartic scene, she finally allows herself to
  feel angry at Julia—even, temporarily, to hate her. Scott takes no short-
  cuts with characterization; everyone from Amy’s well-meaning but self-
  involved parents to her taciturn love interest Patrick to Julia—an out-
  going, passionate, loyal enabler—is shaded with nuance. Amy’s final
  diary entry includes the disclaimer “there’s no happy ending coming
  here, no way a story that started on a night that’s burned into my heart
  will end the way I wish it could.” What has changed is Amy’s under-
  standing of other people’s choices and their consequent responsibility
  for their fates. She’s also, gratifyingly, chosen to take ownership of her
  own. elissa gershowitz

# Rebecca Stead When You Reach Me
    197 pp. Lamb/Random 7/09 isbn 978-0-385-73742-5 $15.99 g
    Library edition isbn 978-0-385-90664-7 $18.99
    (Intermediate)
  The first real indication that this book is going to get deeply, seductively
  weird is when broody classmate Marcus engages the heroine, Miranda,
  in a discussion about a flaw in the logic of A Wrinkle in Time: “So if they
  had gotten home five minutes before they left, like those ladies promised
  they would, then they would have seen themselves get back. Before they
  left.” Miranda’s life is an ordinary round of family and school, the first
  characterized by a pretty strong relationship with her mother and
  Mom’s good-guy boyfriend, the second by ever-shifting (and percep-
  tively limned) alliances in her sixth-grade class. But when her best friend
  is bizarrely punched by another boy on the street, and when she starts
  receiving anonymous notes that seem to foretell the future, it’s clear that
  all is not as it seems. The mystery provides a thread that manages, just,
  to keep the plot’s several elements together, and the closely observed
  relationships among th
								
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