Technically this was my Monday video, but I was really busy so I’m posting this late here. Please love me. Anyways, in honor of the release of Kresley Cole’s newest book, Arcana Rising, I wanted to talk about love triangles in YA that I actually didn’t hate. As you know, this is a very hard thing for me to admit, but it turns out that such love triangles DO exist in the world!
Hey guys! This week, I try to contain my ranting to a minimum while discussing the top 5 things that make it really unlikely for me to pick up a YA book. I even rank them this time around. My top choice even reveals an old sore wound of mine that has somehow gotten WORSE as I’ve written my last thesis chapter. Probably going to be more on that later!
Posts mentioned in video:
Worth It Wednesdays is a weekly post where I feature my favorite YA titles. Find out more about it here!
Author: Cassandra Clare
Goodreads Description: In a time when Shadowhunters are barely winning the fight against the forces of darkness, one battle will change the course of history forever. Welcome to the Infernal Devices trilogy, a stunning and dangerous prequel to the New York Times bestselling Mortal Instruments series.
The year is 1878. Tessa Gray descends into London’s dark supernatural underworld in search of her missing brother. She soon discovers that her only allies are the demon-slaying Shadowhunters—including Will and Jem, the mysterious boys she is attracted to. Soon they find themselves up against the Pandemonium Club, a secret organization of vampires, demons, warlocks, and humans. Equipped with a magical army of unstoppable clockwork creatures, the Club is out to rule the British Empire, and only Tessa and her allies can stop them…
Why it’s worth it: First off, Cassandra Clare is a wonderfully amazing author. I am incapable of letting people ask “What should I read next?” without screaming HAVE YOU READ CASSANDRA CLARE? That said, most people are familiar with her The Mortal Instruments series, which I also love a lot. However, I honestly think that this series is more strongly written than the TMI books–and also is a tighter, more thoroughly planned trilogy.
The Infernal Devices series has all the elements that I love in the first series, while being set in a more Steampunk setting. The characters are a bit more complex and the plot line deals with more issues than just magic/action/thrills. That said, they read REALLY fast and are good for plenty of heart-pounding and emotions and laughter.
ALSO THE ROMANCE. I have never been more on the fence with who I wanted the main character to pick in a love triangle. Yes, love triangle. BUT A GOOD ONE. Cassandra Clare basically only wrote this love triangle because Holly Black told her that no one could ever write a good love triangle. Clare succeeded big time.
…just talking about them now makes me wish they were here at school with me so I could read them again and again and again.
Anyways, if you were looking for a gateway into Cassandra Clare’s world, LOOK NO FURTHER. There is definitely some debate on how best to read the series (since they interlock in weird ways, given the order in which they were published), but starting here will show you all the best that Clare has to offer, which will get you through some of the not as strong showings in TMI.
Read it if you’re looking for: steampunk, magic, fantasy, kickass heroines, romance, good love triangles, action, adventure, humor
Worth It Wednesdays is a weekly post where I feature my favorite YA titles. Find out more about it here!
Title: The Girl of Fire and Thorns
Author: Rae Carson
Goodreads Description: Once a century, one person is chosen for greatness.
Elisa is the chosen one.
But she is also the younger of two princesses, the one who has never done anything remarkable. She can’t see how she ever will.
Now, on her sixteenth birthday, she has become the secret wife of a handsome and worldly king—a king whose country is in turmoil. A king who needs the chosen one, not a failure of a princess.
And he’s not the only one who seeks her. Savage enemies seething with dark magic are hunting her. A daring, determined revolutionary thinks she could be his people’s savior. And he looks at her in a way that no man has ever looked at her before. Soon it is not just her life, but her very heart that is at stake.
Elisa could be everything to those who need her most. If the prophecy is fulfilled. If she finds the power deep within herself. If she doesn’t die young.
Most of the chosen do.
Why it’s worth it: This is the first book in the trilogy, and it’s amazing. Even better, the books KEEP GETTING BETTER. Elisa is a model for the “not-perfect” girl who speaks to body positivism and doing your best even when you’re convinced you’re going to fail. I connected so much with Elisa as a person, which is something I’m often barred from doing because I don’t have “ultimate courage” or and not everyone thinks I’m pretty and– well, you know the YA tropes I mean. The book is also extremely well written, and–again–they just get better. (I mean, hell, Rae was just longlisted for the National Book Award for Young People’s Literature for her newest series.)
Besides the fabulous fantasy setting, the great and funny characters and the exciting plot–all of which are great!–the thing that Rae did that really made her great in my eyes was how she handled the love triangle. Yeah, I know you caught that in the description and groaned. But fear not! I actually included this series in an article I did about doing love triangles right and LET ME TELL YOU I DID NOT EXPECT WHAT HAPPENED. I’m not going to give it away, of course, but the end of this book just told me that Rae was an another unafraid to take risks and shake it up and in The Crown of Embers and The Bitter Kingdom I was NOT disappointed.
Just to give you an idea of this book, I’ve included in my Top Ten Books about Friendship, Best Sequels Ever, Favorite Authors in YA and Most Vivid Fantasy Settings!
Read it if you’re looking for: A strong female protagonist, action, adventure, romance, good love triangles, a worthwhile series, fantasy, strong worldbuilding
I promised myself a while ago–like, when I started this blog ago–that I would never write a response blog post. I have never wanted to get caught up in any drama. Lord, the drama on the internet, am I right? But two things have happened in such quick succession that I am finally using this blog to say some things.
The first was during the episode of my book club, Bibliomancy for Beginners, that aired last Tuesday. Head over to this link and watch the last six minutes or so. Starting at about 1:04:00 I just … blow up. Seriously. I scare my co-Bibliomancers. Because enough of them have taken enough jabs at the YA genre over the three years that we’ve been doing this that I just broke. (Warning: I say some choice things about John Green. While I stand by my opinion, I recognize that this is my opinion and not some cosmic rule.) So I start shouting in defense of it. Enjoy.
So, I’m usually not a fan of big block quotes. They’re clunky, take up space and it’s REALLY HARD to dissect them properly. For this week’s post, however, I might have to make an exception. This is potentially just what happens when you’re quoting Toni Morrison. The following is from her book on literary criticism, Playing in the Dark: Whiteness and the Literary Imagination—
“Writers are among the most sensitive, the most intellectually anarchic, most representative, most probing of artists. The ability of writers to imagine what is not the self, to familiarize the strange and mystify the familiar, is the test of their power. The languages they use and the social and historical context in which these languages signify are indirect and direct revelations of that power and its limitations” (15).
Morrison herself is speaking specifically about why she is looking at white literature to discover the effect of the constructed idea of African-Americans on the world at the time. If you’ve been following these blog posts, you might already see where I’m going with this post … in which case I hope you stick around to read this for my sheer sparkling personality.
First off, look at that. Writers with power. Just look at how she describes writers. Isn’t that beautiful? Okay, so Morrison herself is a writer and that might make her biased, but I don’t think that makes it any less true. (I am also a writer and I admit my own bias.) But just think about it. Why do we read at all? It isn’t to read the same story again and again (unless you have fallen into guilty love with some YA trend). We read to find some exciting story that at once captures our imaginations and yet also catches our heart. To be exciting, it must be new, but to capture our hearts it must be filled with some kind of emotion we recognize. Otherwise we’d just be confused.
Secondly, look at what she wants us to look at: languages used and social and historical context. This is SO IMPORTANT. Anyone who says that they can look at just the text and only the text and get the full meaning is a liar. Looking at just the text gives you ONE meaning–also, a one dimensional reading. If you remember back to my post about Whorf, I went on and on about how we understand our world and also how we construct it. These constructions don’t just exist in our lives. A writer constructs worlds, but no matter how fantastical they always reach back to something they know or at least believe in.
Morrison has some really great examples in her book about how white writers were writing about African-Americans and what it says–more about the writer than the actual constructed character. Ernest Hemingway makes such an effort to deny the black sailor in To Have and Have Not agency or speech that he writes this grammatically disastrous line: “I looked and saw [the black sailor] had seen a patch of flying fish burst out ahead” (qtd 72).
Love him or hate him, you cannot tell me that Hemingway looked at that line in editing and thought, “Yes, this makes grammatical sense.” He made the choice to leave it there, instead of allowing the black sailor to even shout a few words.
Does this mean Hemingway is a racist? No. It’s one quote from one novel and conclusions drawn from that would be factually inaccurate. But what it DOES say is that Hemingway felt that he had to write the scene and the character that way. It could be his choice, it could not be. After all, you can’t tell me that every YA author believes that every story should have a love triangle shoehorned in. But there they are, because they believe that’s what people want to read. (Hint, they are not but for some reason they sell.)
Yes, that’s a shallow example to compare to all the centuries of silenced African-American characters and writers, but my point here is not to enter into race politics. My point is that we can look at the way certain things are written and extrapolate massive amounts of information in the way that language is shaped and what it says about writing in the social and historical context of the writer. The difficulty of writing is that it must be both exciting and familiar, and people must also want to read it. Even in the most fantastical of settings, the human experience must resemble the majority of the readership or no one will read it, love it or understand it.
As a final note, if you’re ever looking for enjoyable, interesting and easy-to-read literary criticism, go pick up Morrison’s book. You won’t be disappointed.
Before you freak out: yes, I’m going to be mentioning 50 Shades of Grey in this post. No, it’s not because I like it. Get ready.
BUT FIRST, time for my poetical entrance into this topic. This week, one of the readings was from On the Sublime by this Greek guy named Longinus. (This is hopefully the last Greek guy I will be blogging about.) What he actually means about the definition of the sublime is something I’m still not 100% clear on (I’m like somewhere between 70-80) but where I am up to speed is what is NOT sublime. Specifically, this quote:
“All these ugly and parasitical growths arise in literature from a single cause, that pursuit of novelty in the expression of ideas which may be regarded as the fashionable craze of the day.”*
Ugly and parasitical growths coming from stupid, crazy trends? Of course I’m thinking 50 Shades of Grey.
To be fair, I’ve never read these. I’ve read sections online. I’ve watched the movie trailer. I’ve read the criticism. I’m on Tumblr. I’m not sad that I’ve never read these, and I never plan to. I DO know, however, that the author got her original idea from Stephanie Meyer’s Twilight series and this is actually a really bad riff off that.
I hate to agree with Plato, but this kind of imitation is really annoying. What’s ever worse is that it’s something that I, as a reader of primarily YA, have to deal with ALL THE TIME. One of my most popular blog posts was actually on this, specifically about the amount of love triangles that popped up after Twilight (otherwise apparently known as the root of all evil).
Okay, that last parenthetical statement is a lie. Twilight did cause a lot of crap to come out onto the market, but it’s hardly the only one. How many wizarding school books followed Harry Potter? Did you, like me, get hellishly sick of dystopians after The Hunger Games? And yes, of course, there were all those vampire books that erupted after Twilight. More than any other genre, YA is full to the brim of trends that produce a handful of good gems around a bunch of hastily and/or badly filler.
Where I have to disagree with Longinus, though, is his use of the phrase “a single cause.” For him, I admit, this was probably true: writers followed the examples of other popular texts because they, too, wanted to be popular and “fashionable.” These days, the attempt to be “fashionable” is a side note. After all, if we wanted our literature to be “fashionable,” 50 Shades of Grey wouldn’t exist.
The push towards trends in YA has nothing to be with anything else but money. Harry Potter, The Hunger Games, Twilight–they’ve made a lot of people very rich. These books have ranged the spectrum to books written exceedingly well to flat and dead inside (I’m looking at you, Twilight). There literally isn’t one particular thing that has worked as a formula to create the huge fan bases around these books, so the book world is constantly scrambling. Trends you see on the shelves now were decided months or even a year ago by publishers trying to create the next big cash cow.
Again, I’m not going to say that everything inside a trend is terrible. Some of them are really, really good books that deserve to be published on their own merit, and there are books being published against the trends. (I even wrote a post about love triangles done right for those curious.) This is a large, generalized observation that is, unfortunately, true more often than not. (And I haven’t even touched the trends of book covers. “Girl in dress” or “half close up of girl’s face” anyone?)
I guess the reason it makes me so angry is because I feel like there are certain books that have love triangles shoehorned in or otherwise being forced into a “trendy” mold that actually does their book a disservice. There are also books I’ve read where I wish the editors had taken a bit more time with them, at least, instead of shoving them out while the subject matter is hot. Also, as a writer of YA, I want to feel like my book(s) could be published someday because they are good, not because I magically managed to line up with tomorrow’s trend.
50 Shades of Grey just makes me angry because it exists.
Have you noticed the latest trend in YA literature? Or has “trending” created a certain kind of book or trope you can’t read anymore? Let me know!