The Last Summer Of The Death Warriors Review

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(More customer reviews)At seventeen, Pancho has decided the last thing he needs to do with his life: kill the man he thinks responsible for the death of his sister. It's not so simple, though...first he has to figure out who exactly the man is, how to find him, and how to get past the annoying, aggravatingly happy D.Q., another teen boy with a mission of his own: live life to the fullest in his last months...before he dies of brain cancer. And...honestly...I can't do justice to the plot here. Throw in some conversations about life, death, faith, love. Mix up with heart-wrenching backgrounds, wise children, foolish adults, and sucking every drop of marrow from life.
As my little synopsis probably makes clear, The Last Summer of the Death Warriors is one of those fathoms-deep, meaningful stories that you rarely come across in YA lit. It is also an extremely subtle story--almost too subtle for my taste (the ending didn't feel wrapped-up enough for me), yet I love the way it left me thinking after I finished it. I can guarantee that it will make you question the way you're living your life, embrace the beauty of every day, and appreciate things you never thought to notice. You will never forget Pancho and D.Q. or the friends they make on their journey--Francisco Stork is a master at character and relationship development, and these aspects of the story are truly what make it shine. Even every description, although technically all of them are extremely basic and simply worded, serves to develop character--and does so perfectly.
As a bit of a warning, this is a very difficult book to read...certainly not in actual pacing or readability, but simply because it delves into topics and a world that are hard to be in. This is not a story to be read casually, and it is certainly for mature readers who can handle its issues. Yet it is a beautiful book, and it is an important book.


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The Fates Will Find Their Way: A Novel Review

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(More customer reviews)How often, in this day and age, does an author find a completely original way to tell a story? Avid reader that I am, I'll tell you: Not very often. And how often, after reading a novel in a single sitting, do write an immediate review? Not very often. And how often does a debut novel--any novel--affect me this powerfully? Not very often.
This is my immediate reaction to The Fates Will Find Their Way by Hannah Pittard. It is, and is not, the story of the disappearance of sixteen-year-old Nora Lindell. More accurately, it is the story of the vacuum left in Nora's wake, and of how that vacuum is filled. The tale is told in reflection by the men who were the neighborhood boys that Nora left behind, and it is told entirely in the first person plural. If you're wondering how that sounds, it sounds like this:
"It seemed we had all finally stopped looking for her, asking about her. It was a sickness, a leftover from a youth too long protracted. Of course we still thought about her. Late at night, lying awake, especially in early autumn, when we could fall asleep for a few weeks with the bedroom windows open, the curtains pulled halfway, a breeze coming in and the occasional stray dry leaf, we still allowed ourselves the vague and unfair comparisons between what our wives were and what she might have been. At least we were able to acknowledge the futility of the fantasies, even if we still couldn't control them."
This novel is a collection of those boys' fantasies, the fleshed out conjectures based upon shreds of evidence presented by impeachable sources. And, in the sharing of these speculative outcomes for Nora Lindell, we learn the true outcomes of the close-knit group that she left behind--from the immediate aftermath of her disappearance, through the decades that follow. And we see how Nora's absence shaped each of their lives.
Nora's friends are a true community, kids who grew up together and stayed local. They have a shared history. And time has transmuted Nora Lindell's fate from mystery to mythology. Their tale is told in a collective voice, and yet, individuals stand out. Paul Epstein, Jack Boyd, Winston Rutherford, Chuck Goodhue, Stu Zblowski, Drew Price, Marty Metcalfe, Trey Stephens, and Danny Hatchet all have their own stories that unfold along with their theories of what happened to Nora.
Even with the unusual voice, I found this book fully emotionally engaging. Reading it, I couldn't help but reflect on my own past, my relationships, stories I've heard, and so forth. This novel is plot-driven, literary, experimental, spare, and absolutely beautiful. One week into the new year, I'm confident that I've just read one of the top books of 2011.

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