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Boy Bites Dog, Dog Says "Ow"

What is it about a talking dog? I don't even like dogs, but I'm a sucker for one that talks.

Ever since Harlan Ellison's 1969 short story, "A Boy and His Dog," the futuristic talking pooch has been something of a sci-fi staple (witness the recent graphic novel from Adam Hines, Duncan the Wonder Dog).

And it makes good literary sense: you can get only so much mileage out of an animal character that's mute -- it makes for pretty thin dialog. But give man's best friend the gift of speech, and you've got a winning formula.

And that's just the first of many charms on offer from The Knife of Never Letting Go, the first title in the Chaos Walking trilogy by Patrick Ness.

Though not nearly as high-profile as Scholastic's blockbuster Hunger Games series, The Knife of Never Letting Go (September 2008) and its two sequels, The Ask and the Answer (September 2009) and Monsters of Men (September 2010) have been building a substantial following among fans of Young Adult speculative fiction, and all three are now available on Playaway.

A recent check of WorldCat showed that roughly 2,700 libraries now hold the print edition of The Knife of Never Letting Go (compared to over 5,000 that have The Hunger Games in print -- plus another 1,500 listings for CD, audio download, and Playaway). What are all those fans of Katniss and Peeta supposed to do once they've finished Mockingjay?

The answer offered by many teen librarians is: try The Knife of Never Letting Go. I see this title turning up more and more in listserv discussions as a worthy "read-alike" suggestion for young readers captivated by Suzanne Collins' creation and ready for more futuristic dystopias.  The third and final book in the series, Monsters of Men was just named one of the Best Children's Books of 2010 by Publishers Weekly (alongside Mockingjay).

In addition to being tremendously statisfying entertainment, The Hunger Games series gave thoughtful readers a lot to chew on. Patrick Ness offers readers further opportunities to engage some of the same difficult issues -- truth and trustworthiness; loyalty; privacy; the control of information, and the importance of history. And he does so by means of a captivating story with well-developed characters and relationships and inventive re-workings of old themes such as human settlement on foreign worlds; mental telepathy; and of course, the talking dog.

I first became aware of The Knife of Never Letting Go when its name came up repeatedly in a thread about "Books That Made You Bawl Your Eyes Out". One commentator on the YALSA-BK listserv, described Ness' trilogy as "more complex, layered and complicated than The Hunger Games."

Indeed, Ness puts forward some pretty challenging concepts and then explores them rather deeply over the course of the entire series. As one of the characters inThe Knife of Never Letting Go explains: "It's a long story."

Elsewhere in listserv discussions, there was much evidence that advanced reader copies for the third book (Monsters of Men) were in high demand. There appears to be strong consensus about the great character development -- both male and female -- throughout the series and the extremely satisfying quality of the conclusion. Don't tell me about it -- I haven't gotten there yet!!

The audiobook versions of the Chaos Walking books are part of the first batch of offerings to flow from the alliance formed earlier this year between Candlewick Press, a wonderful independent publisher of books for children and young adults, and Brilliance Audio, which in recent years has shown great dedication to turning out audio editions of some of the best new fiction and nonfiction for young readers.

Fans of other Brilliance Audio productions for young people may recognize narrator Nick Podehl who has given voice to Brent Crawford's Carter Finally Gets It (which I've written about previously), John Green and David Levithan's Will Grayson, Will Grayson, and Don Calame's Swim the Fly (also a Candlewick title). Podehl has a knack for capturing the tone and mindset of adolescent boys and can use this in both comic and non-comic ways. He also does a very good talking dog.

The second and third books in the series are multi-voiced, and Podehl is joined by Angela Dawe onThe Ask and the Answer and by Angela Dawe plus MacLeod Andrews on Monsters of Men. Ness employs some unusual stylistic tricks to represent the "noise" of men's (but not women's) minds -- the thoughts and feelings that spill out and can be perceived by others ever since the release of a mutant germ by alien adversaries (at least that's the story as received by the young protagonist, Todd Hewitt). The audio production renders these "noise" effects very successfully, thanks in part to the skilled narration and in part to the creativity of the audio producers.

As imagined by Ness, putting out "noise" is a condition with both good and bad aspects. He makes his readers wonder what it would be like to not hear someone's thoughts when hearing them is what you're used to. And he asks his characters and his readers: what if everything you thought you knew was wrong? "Knowledge is dangerous!" says one of Todd's protector's early on. At another point he naively asserts, "History ain't that important when you're just trying to survive!" "Actually," an older, wiser voice counters, "that's when it's most important."

And did I mention? There's a talking dog.

 

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Posted by David Perrotta, MLIS
Playaway Senior Content Strategist
Twitter: david_perrotta

Beautiful Darkness Giveaway HOM + 100 = SATC?

Kami Garcia and Margaret Stohl have captured a lot of attention among young -- and not-so-young -- fans of mystery and paranormal romance.  With the paperback edition of last year's Beautiful Creatures still on the New York Times best seller list for young people, the brand new sequel, Beautiful Darkness, joined the list on October 22nd.  

Garcia and Stohl weave a complex tale of a sleepy southern town where things are not all as they seem.  Beneath the surface are subterranean passageways, dark secrets, and family curses.  Throw in some witchy magic, a teenage love affair, a strong, dangerous heroine, and a sensitive young man with a keen appreciation of his girlfriend's fashion sense, and you have a story guaranteed to please young readers and quite a few grown-ups as well. 

A third installment of what is now being called "The Caster Chronicles" is expected next year, as is a film version of Beautiful Creatures.

Both books are available on Playaway, and it turns out that the authors are huge Playaway fans.  They are currently offering visitors to their website a chance to win one of five copies of Beautiful Darkness on Playaway.  The contest ends on Sunday November 7.  As of this writing, there were only about 40 entries, so the odds are attractive.

 

 

Did you catch last week's edition of Studio 360 from WNYC in New York and Public Radio International?  As part of their ongoing "American Icons" series, they examined Edith Wharton's 1905 novel The House of Mirth.  If you missed the broadcast, you can listen to the show online.

Edith Wharton's career spanned more than 40 years. She published her first book of verses in 1878 at the age of 16. She wrote 22 novels, 3 books of poetry, 13 short story collections, and 9 works of non-fiction. The House of Mirth was her fourth novel and her first major hit. Published in 1905, when Wharton was 43, it sold 140,000 copies in its first year -- a huge best seller at the time.

Wharton lived in France during the First World War and wrote numerous dispatches (including from the front lines) for Scribner's magazine, The Saturday Evening Post, and The New York Times. She was the first woman to win the Pulitzer Prize for literature -- in 1920, for The Age of Innocence.

105 years later, The House of Mirth continues to have a devoted following, and as Studio 360 host Kurt Anderson asserts, it still "feels strangely modern."

The story takes place in New York City just before the turn of the 20th Century and just before the book's central character, Lily Bart, turns 30 without yet having married. The book follows smart, witty, beautiful Lily in her relentless quest for a husband and a solid marriage that will secure her position in the privileged society of the Gilded Age.

Studio 360's Anderson and segment producer Michele Siegel, draw numerous parallels between the world presented in House of Mirth and that depicted in Candace Bushnell's Sex and the City (published in 1996). They argue that Bushnell -- like Wharton -- is a commentator on the world of New York privilege and power. Deborah German, a lecturer at London's Roehampton University, is quoted as saying that the two writers moved "in similar circles 100 years apart."

Though much has changed for women in the past 100 years, the similarity of themes is striking -- simultaneous fascination and revulsion with the workings of high society, a yearning for security but also a desire for independence, gender inequity, and the complexities of what marriage represents both practically and symbolically.

In fact, Bushnell herself goes so far as to acknowledge that she and a close friend had read The House of Mirth shortly before she began work on Sex and the City and that the two had vowed never to end up like poor Lily Bart. For Bushnell, the message in Wharton's work is that, "if you are kind of hoping that in some way you're going to be saved by society -- you really may not be."

As professor of American Literature, Hildegard Hoeller puts it, a century after The House of Mirth's publication, readers still identify with Lily because "most of us are quite entrapped ourselves."

We have two excellent versions of The House of Mirth available on Playaway as well as Candace Bushnell's Sex and the City, narrated by Cynthia Nixon.  I think they would make a great pairing for a book discussion group.

For more on The House of Mirth, visit Studio 360's "American Icons" page, where you'll find a slide show on Wharton and a web-extra interview in which Jonathan Franzen discusses The House of Mirth with Kurt Anderson and explains why its one of his all-time favorite books.

 

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Posted by David Perrotta, MLIS
Playaway Senior Content Strategist
Twitter: david_perrotta

Question Authority?

Suzanne Collins' "Hunger Games" trilogy is big stuff for the teen/'tween set. I knew that in an abstract sort of way, but it took a recent visit from an above-average 14-year-old to make it concrete for me. "The best books ever!" she told me when I asked her if the name Katniss Everdeen rang a bell.

I didn't want to debate that point with her, and I won't debate it here. I'll just say that these books are good and that all the anticipation focused on the August 24th release of Mockingjay, the final book in the series, is well deserved. The audiobook version, from Scholastic Audio, launches on Playaway simultaneously with the print edition, and for fans of Katniss and Peeta, it will not disappoint.

 Listening to the audio, I was at first slightly put off by the rather adult tone of narrator Carolyn McCormick's voice. She sounded a bit too grown up to convince me it was the voice of 17-year-old Katnis, the book's hero and narrator. But then I tried to put myself in the position of the intended audience. Forget what I want -- isn't the voice of a grown woman exactly how an above-average 14-year-old wants to imagine the sound of a strong, powerful 17-year-old? OK, problem solved. So here, for what little they are worth, are a few equally irrelevant impressions from a listener who falls decidedly outside of the target demographic:

• The third book begins with Katniss' return to the ash-covered remains of District 12. It was there she was born and raised to be a "tribute" offered up for "The Hunger Games" -- the futuristic blood sport organized by the authoritarian rulers of what seems to have once been North America.

• For the first few minutes of shuffling through the ashes, I thought it was kind of like Cormac McCarthy's The Road For Kiddies, but then I got with the program. 
  

• In the far-distant future, after convulsive wars, decades-long "dark times," the obliteration of democracy, and near-total ecological collapse, our descendants will have forgotten all about J.K. Rowling, and they won't realize how goofy-sounding their names are. Some will have names that hint at Roman antiquity like Caesar Flickerman, emcee of the Hunger Games. Or Plutarch Heavensbee the Head Gamemaker. Or twin cameramen Castor and Pollux. 
  

• Most folks, however, will have names that are just plain old goofy -- like Katniss Everdeen or Finnick Odair. Lucius Malfoy and Kingsley Shacklebolt would fit right in to this world.

• And, in the far-distant, post-apocalyptic world of tomorrow, no one will even think it's funny that a boy with a name pronounced "pita" comes from a family that ran a bakery. That's how bad things are going to be in the future.

As I said, none of this matters to the target audience, and there is plenty of truly good stuff for them to chew on, some of it pretty heavy-duty.

Famous as a child-gladiator, Katniss is called upon to become the symbol of an armed rebellion against the tyrannical central government, an assignment she accepts grudgingly and with suspicion. Being a bratty teenager is hard enough as it is without also having to figure out in just whose game it is that she is being used as a pawn.

There's a lot for her (and young readers) to ponder, including: standards of beauty -- appearance vs. reality; whether telling the truth is always the right thing; the use of deadly force and the high price of killing whether it is justified or not; retribution and revenge, the role of propaganda in social movements; and the assimilation of outsiders and refugees.

Authority is not something that is self-evidently good in this book, and, in fact, it gets questioned and flouted at nearly every turn. Good and evil both come into play, but neither is without complexity, ambiguity, and even self-contradiction. It's pretty messy in fact -- just like real life. Forget about the far distant future -- just like now.

Young Katniss has a lot of unfinished business to take care of in this book, and it's no wonder that her many fans are counting down the days till they can see how it all plays out.

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Posted by David Perrotta, MLIS
Playaway Senior Content Strategist
Twitter: david_perrotta

Life is Not a Drip - Life is a Flame! Sir Salman Rushdie Dazzles ALA Audience

This past Saturday afternoon in Washington, DC, Sir Salman Rushdie drew a large audience to his lively and engaging talk, part of the ALA Auditorium Speaker Series.

He spent most of his time discussing his forthcoming book Luka and the Fire of Life, a sequel to 1990's Haroun and the Sea of Stories. Haroun was Rushdie's first book since a fatwa was issued against him by the Ayatollah Khomeini in 1989 as punishment for his novel The Satanic Verses, which the cleric deemed to have been a work of blasphemy.

Haroun was the story of a boy's quest to, as Rushdie put it, "rescue his father's storytelling skills in a world in which stories were being poisoned." He wrote it for his elder son, Zafar, then nine years old, at a time, said Rushdie, when he had become "uncharacteristically interested in happy endings."

It was only after the book had been published, Rushdie said, that he came to think of it as a work that was "written to please a certain child" -- placing it in a tradition that includes Alice in Wonderland, Winnie the Pooh, and Peter Pan.

Nearly 20 years later, Rushdie's second son, Milan, came to him and asked "'where's my book?'" Guided by the example of Lewis Carroll writing Through the Looking-Glass as a sequel to Alice's Adventures in Wonderland, Rushdie decided he owed his younger son a book of his own.

By the time Carroll wrote Through the Looking-Glass, and What Alice Found There, 6 years had passed since the publication of Alice's Adventures in Wonderland. Carroll was estranged from the Liddell family, Alice Liddell, his inspiration, was no longer a child but a young woman of 19, and the first Alice book was famous. "How scary it must have been to write a sequel," said Rushdie, who confessed that, for the first time in his career, he found himself dealing with the same pressure.

"Through the Looking-Glass is not 'Return to Wonderland,' " said Rushdie. Like Carroll, he wanted to employ the same central characters but create another imaginative world, wholly different from the original. "I didn't want to do 'Return to the Sea of Stories,' " said Rushdie.

“Through the Looking-Glass is NOT

'Return to Wonderland'.  I didn't want to

do 'Return to the Sea of Stories'...”

And so, whereas the central metaphor of Haroun was water, Rushdie decided to make Luka about fire. Rushdie read aloud a short passage from the book in which a character compares the relative merits of fire and water and exclaims, "Life is not a drip. Life is a flame!" and "Life is not wet, young man -- life burns!"

Rushdie described the new novel as an exploration of "the love and the problems between fathers and sons" and as a book in which the author, now 20 years older than when he wrote Haroun, contemplates the hard facts of mortality. This time, story teller Rashid Khalifa is himself at risk -- not just his story-telling abilities. Death appears as a character in the novel, and Rushdie said that, at first, he was concerned he might have made him too disturbing a figure for children. He tried it out on young Milan (then age 12) and found it was actually the boy's favorite character in the entire book.

"I give all the credit to Darth Vader," said Rushdie. "Thanks to George Lucas, everyone now understands it's the bad guy who's the most interesting." In comparison, he said, Luke Skywalker is "a pathetic little drip."

Rushdie said he was interested in the relationship "between the world of the imaginary and the real world." "We live in an imaginary world in the real world," he said. "Mythology is the name we give to what was originally religion. Something good happens when people stop believing -- it becomes literature." However, "it's not so good for the gods -- now they're just a story," as Luka, the hero of the new book, discovers when he stumbles into a junkyard of deposed gods.

"Young readers don't need to dwell on these matters," said Rushdie, but he expressed the hope that -- as with the works of Lewis Carroll -- older readers will find layers of meaning worthy of grown-up attention.

"If I do it properly," said Rushdie, "it could demolish the boundary between adult and children's literature" -- like a movie that's not exclusively for kids or adults but "just for whoever shows up." His wish, he said, is that, "the same child can read the book again as a grown-up and get some slightly different satisfactions."

If Luka and the Fire of Life is up to Rushdie's previous standards, the satisfactions will no doubt be numerous and considerable.

During a question and answer period, Rushdie revealed himself to be a fan of audiobooks and said he was "really happy" that his second novel, Midnight's Children is finally available as an audiobook. (The book won the 1981 Man Booker Prize and was awarded "Best of the Bookers" in 1993 and 2008, celebrating it as the best novel to receive the prize in the first 25 and 40 years of Booker history).

For me, a delightful surprise came when an audience member asked Rushdie to comment on the similarities between The Satanic Verses and Mikhail Bulgakov's masterpiece, The Master and Margarita, which readers of this blog may have seen me extol on more than one occasion (see my posts from 18 December 2009 and 19 May 2010).

Rushdie answered that Bulgakov's book was "the most helpful" thing he read in preparation for writing The Satanic Verses and that he was inspired by it's inter-woven narrative strands. He noted that one of Bulgakov's story lines is a retelling of the life of Jesus, just as one of Rushdie's was "a variant retelling of a different prophet." He concluded by observing that the two books had initially met similar fates -- involving banning of the text and persecution of the author.

The event was recorded in full by ALA, although it's not clear at present if the audio will be posted online for download. I'll pass that information along when it becomes available.

In the meantime, listeners interested in Rushdie's work can find three of his titles -- Midnight's Children (1981), The Ground Beneath Her Feet (1999), and The Enchantress of Florence (2008) -- available on Playaway from Recorded Books.

Luka and the Fire of Life promises to be full of the same sort of wildly imaginative characters and fanciful wordplay that made Haroun and the Sea of Stories a joy to read. Rushdie tantalized his audience with sketches of the dictatorial, deference-demanding rats who constitute an autocratic government body known as "The Respectorate" and the disrespectful princess (the "Insultana") who defies them.

The new book will be published in print by Random House on 16 November 2010, along with an audiobook edition from Recorded Books. That should give everyone plenty of time to read (or re-read) the escapades of Haroun in preparation for encountering the new adventures of his younger brother.

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Posted by David Perrotta, MLIS
Playaway Senior Content Strategist
Twitter: david_perrotta

Going Bovine by Libba Bray

When I first heard about Going Bovine, I was immediately intrigued, in no small part due to the cover design: a cow standing upright, holding a garden gnome.  It started popping up on recommended and best-of lists for young adults.  Not long after, it won the prestigious Michael L. Printz Award for literary excellence in young adult literature.  The cherry on top is the video on Amazon of author Libba Bray talking about the book while dressed in a cow suit.  Pretty compelling!

The story starts out with a traumatic yet exhilarating catastrophe at Disneyworld’s It’s-A-Small-World ride, which sets the tone and the pace for Cameron’s story.  Now a sharp albeit unmotivated 16-year-old, Cameron is diagnosed with mad cow disease.  Sounds like a downer, but even in the midst of the serious subject matter, Bray is fiercely witty and draws some interesting though unsubtle parallels to Don Quixote.  Narrator Erik Davies does an excellent job with the sardonic tone often used to portray the intelligent disenchanted teen.  Though written for a young audience, the story and the writing make Going Bovine captivating for an adult audience as well.

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Posted by Caroline Duke, Playaway Collection Development Manager

Carter Finally Gets It - the new Catcher in the Rye?

Like many readers, I've been thinking about J.D. Salinger quite a bit in the six weeks since he passed away at the age of 91.

Apparently, he was an eccentric and, in many ways, unpleasant man (the New York Times called him "enigmatic" and a "literary recluse," "the Garbo of letters").  But there's no doubt he has left his mark on 2 or 3 generations of readers in the nearly 60 years since publication of The Catcher in the Rye.

Just 6 months prior to Salinger's death, a New York Times piece by Jennifer Schuessler explored the question of whether, after all those years, young readers had finally ceased to identify with the novel's unhappy adolescent hero, Holden Caulfield.

And practically at the very moment of Salinger's final exit -- by sheer coincidence -- I was listening to one of the most-talked about* YA audiobooks of 2009: Carter Finally Gets It by Brent Crawford.

The hero of Crawford's book is a different sort of adolescent boy, but he's an adolescent boy nonetheless. It got me wondering if maybe the Times article was right and if perhaps Crawford's hero, Will Carter, is the new Holden.  Well, maybe not really... 

Holden is depressed. Carter has Attention Deficit Disorder.

Holden worries about what a crummy world it is. Carter worries about dying a virgin and what the exact definition of "third base" is.

Holden is self-destructive.  Carter works as hard as he can to not screw up, and space out, and do the wrong thing; it's just that, often, he can't quite figure out how to pull it off. 

In the end, Carter gains a little maturity, a little confidence, and a little self-knowledge -- but not too much.  Holden too is sort of redeemed in the end, or at least offers something like a note of optimism.   Still, it's not quite the same. 

Nothing in Carter Finally Gets It is very metaphorical.  Its meaning is pretty easy to grasp, and it's not likely to be the subject of quite so much literary criticism as Salinger's famous work.  Maybe that's what makes it Young Adult literature in the end.

This gets me thinking about the difference between a true YA title and an adult title offered to young adults.  I'm pretty sure that Catcher in the Rye is an adult book that gets read by young readers (sometimes by choice, sometimes not).  Carter Finally Gets It might be something like the opposite -- a Young Adult book best appreciated by adults.

Crawford's book has been described as laugh-outloud funny, and this is particularly true of the audiobook, expertly read by Nick Podehl.  (Part of what makes the experience so amusing for adults is hearing a grown-up narrator doing a pitch-perfect adolescent "awesooooome!")   But might it be funnier for an adult to read about a kid's ridiculous thoughts and feelings than for a kid to see the foibles of adolescence so accurately depicted?  Not to worry:  to hold everyone's attention Carter Finally Gets It is full of fart jokes, barfing jokes, and crude utterances about heavy petting.  

Obviously Catcher in the Rye was going for something other than laughs.  Carter Finally Gets It unashamedly goes for the laughs.  So many laughs, in fact, that reading it or listening to it probably won't feel like very hard work to young readers.   Still, Crawford throws in some food for thought, including such questions as:  How do the girls feel about being taken for granted, objectified, and gossiped about?  What are relationships about beyond making out?  Does hard work really pay off? 

It may not be everyone's cup of tea, but in liberal environments perhaps it's just the ticket.  And for young readers, maybe it's more compelling than Holden Caulfield, who maybe after all is better left to the adults.   

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* For LOTS more views of Carter Finally Gets It, visit the archives of the YALSA-bk listserv discussion at:
http://lists.ala.org/wws/info/yalsa- bk

YOU can weigh in on the question of what makes a book YA literature by leaving a COMMENT -- click here or use the link below.

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Posted by David Perrotta, MLIS
Playaway Senior Content Strategist
Twitter: david_perrotta

Alfred Martino: Entrepreneur, Author

Alfred Martino isn't just an audiobook executive, he's also an author.

Alfred serves as president of Listen & Live Audio, the company he co-founded in 1994 with his partner Alisa Weberman. Since then, they've put out dozens of great audio titles including Tea House On Mulberry Street, by Irish author, Sharon Owens, and the very popular YA series of Bloody Jack books, written by L.A. Meyer and superbly read by the Audie-award-winning narrator Katherine Kellgren. Nearly all of L&L's titles are available on Playaway.

To date, Alfred has written two books for Young Adult/Teen audiences: Pinned (2006) and Over the End Line (2009). Both were published in hardcover by Harcourt and produced as audiobooks by Listen & Live. They deal with two of Alfred's greatest passions: wrestling (Pinned) and soccer (Over the End Line), but also with a whole lot more.

I recently took a listen to Over the End Line and found it very engaging. As a forty-something who grew up on the East Coast, it's evocation of the early-Eighties high school scene rang very true for me, as did its references to the New York Cosmos and such soccer luminaries of the day as Pelé, Franz Beckenbauer, and Giorgio Chinaglia. The themes of popularity, friendship, love, and responsibility all rang very true as well.

The story should be engaging even for reluctant readers (I performed a pretty successful test on my reluctant nephew). There's some profanity, a little bit of discreetly described teen sex, and a fair amount of high-school partying, early-eighties style. This rough stuff is presented frankly enough to catch the interest of teen readers, but it's not glorified. The audio production is expertly narrated by Todd Licea.

Both of Alfred's titles are available on Playaway: 

     Pinned

     Over the End Line (release date: 2-1-2010, available now for pre-order.)

You can learn more about Alfred and Listen and Live at: http://alfredmartino.listenandlive.com/

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Posted by David Perrotta, MLIS
Playaway Sr. Manager for Content Strategy