Shiver by Maggie Stiefvater

 “Shiver has me shaking for more” That is perhaps how I would have started my review of Maggie Stiefvater’s, New York Times bestselling novel, Shiver, had I enjoyed reading it. I don’t think I am suppose to like it, and that is ok; after all, I am not within its target audience.

Perhaps I should explain myself. For starters, while I was not particularly put-off by the premise of the book—the werewolf/human thing was fine—I thought that the book took forever to get going; nothing really happens until you are well beyond the books half way point. Sure characters are introduced and they go places, and things happen to them, but they are generally of no consequence—how many times can you go to school, go home, wander carelessly into the woods, and go to school again. And when you expect a big turn in the story you are rewarded with nothing; it gets pushed along, and you are forced to contemplate or forget what happened. While some may call that building suspense, I call it: you are lucky I managed to read through the whole book; I was tempted many times to set it down and walk away.

                My second major criticism of the book centers on my perception that the book has no purpose. Sure a story is told, but it doesn’t go anywhere, or do anything to provide an added value to the reader. Typically, (at least this has been my experience) most books contain prominent themes or an overarching lesson, or function to provide a critique or parody of society, or seek to challenge or promote a cause, but Shiver (at least I was unable to make any connections) seems not to make any statements of this sort. So what is the point? I guess one could find pleasure in simply reading; for me, however, that is not quite enough. I would rather watch TV in that case.

Other faults (I won’t draw these out): (1) the story is predictable; the potential cure, the episode which followed the keys being locked in the car, right up to the ending—really, was there any doubt. (2) Poor secondary character development, it was hard to care for anybody outside of Grace and Sam. Some of them seemed to be over exaggerated archetypes of typical stereotypes ie. Isabel (especially).   

—Giving credit where credit is Due—

                I must say that I did enjoy Stiefvater’s penchant for descriptive writing. It flows like poetry, rich in detail, but simplistic in its imagery. In many cases, so powerful, I would stop to read it several times over. My favourite: “...I saw storms destroying small villages in her eyes.” (p. 163) and “she was already asleep. Unlike me, who had to stalk sleep with poisoned arrows.” (p. 191) That is just good writing plain and simple.         

                 Also, the dual narrate was unique and I think it added a special touch to the story; it seems odd that this would be included; however, given the potential financial gains they could have secured by writing a parallel series using one of the other narratives. Perhaps they needed to separate themselves from others in the genre.                          

With all that said, YAs (mostly of the female variety) are likely to adore this book and others in the series. Why? It depicts teenage love, some ideas about friends and friendship, has vague references of high school life, and has a light commentary on parenting. That is the best I could come up with. Signing off. Goodnight and good luck!

Review #2

World War Z: An Oral History of the Zombie War by Max Brooks. New York: Three Rivers Press, 2006. Paperback, 342 pages; $21.00.

Appropriate for grades 10 and up.

Rated: 3.5 / 4

 “We talk about it today as if it is some feat of magic, like holy water or a silver bullet, but why wouldn’t destruction of the brain be the only way to annihilate these creatures? Isn’t it the only way to annihilate us as well?”

The zombie apocalypse, the greatest and deadliest conflict in human history, is all but a distant reality. However, for the fortunate millions who have survived the wounds are still very real, likely never to truly heal. At a time when many are wishing to forget the terror and the devastation of the war, one determined individual has made it his goal and responsibility to record the experiences of these victims. The culmination of this effort is World War Z: An Oral History of the Zombie War.

Despite being the stuff of pure fiction, the personal testimonies evoke an unflinching sense of realism. Each character, from the first—a Chinese doctor who encounters the earliest plague-ridden causalities, to the last—a grizzled, combat-hardened veteran who participated in the ‘road to New York’ military offensive, provides insight that is unique and significant to the understanding of this cumulative narrative; although, in most instances each personal account is substantive and enjoyable to be read individually.

While this is unmistakably a zombie driven plot, at the heart of the book is the classic tale of human adaptability and survival; it is in this story which readers will gravitate towards and identify with most closely. However, as the novel is very much premised on the happenings of contemporary society, that which is related to current and historic geopolitical and economic structures and systems, it may prove to be out of the reach or interest of many. Similarly, as the content is graphic in nature, including coarse language, and mature themes related to violence and death (particularly on a mass scale), this book may be inappropriate for younger audiences. Outside of content, certain readers may also be unimpressed with the unconventional nature of the book’s narrative, judging its delivery to be clumsy and ultimately lazy.

Nevertheless, World War Z represents a valuable contribution to the ever expanding and popular zombie genre; this book is highly recommended, although its appeal may only be appreciated by those interested in horror or post-apocalyptic themed books. Max Brooks is also author of The Zombie Survival Guide: Complete Protection from the Living Dead.