Young Adult Fiction

The forest of Broceliande is a place of magic and mystery. Legend has it that Arthur and his knights roamed the forest and had many of their adventures there, and that deep within the remnant of the forest Merlin still sleeps his enchanted sleep, for the Arthurian tales are as much Breton as British. The forest also holds relics and places of worship of the pre-Christian peoples of this north-west corner of Europe, and who knows what fragments of these beliefs may still lurk there.

The Young Adult ‘issue novel’ is a difficult thing to do well. To write one that rises above the mediocre requires a careful avoidance of both sentimentality and sensationalism, and the better books succeed by either tackling an unusual or topical issue, or by looking at a situation from a novel angle. These two books – though covering very different terrain – are good examples.

At the start, Catherine Jinks’s teen novel Evil Genius resembles a local edition of ‘cult’ blockbuster phenomena such as Harry Potter and Buffy, the Vampire Slayer – wish-fulfilment fantasies about misfits initiated into a hidden élite. On page one, we are introduced to Jinks’s protagonist, Cadel (Welsh for ‘battle’), a brilliant but barely socialised young boy obsessed with computers. His adoptive parents are named Stuart and Lanna Piggott, which should tell you all you need to know. Aged eight, this outwardly placid but potentially vengeful nerd learns from his psychologist mentor that his true father is a mad scientist named Phineas Darkkon, who has made millions through scams such as a line of shonky vending machines, and who subsequently bankrolls a secret University of Evil located in central Sydney, where, a few years later, Cadel precociously winds up. Among the subjects on offer are Basic Lying, Forgery, Assassination and Guerrilla Skills; the other students include a Goth chemist who is trying to turn himself into a vampire, and a pair of bitchy, telepathic twins.

Camel Rider is, according to the Penguin press release, the story of a young American boy living in the Middle East. When war breaks out, the release goes on, the boy is left behind as his family flees to safety. He befriends a young Arab boy, who has been kidnapped and taken to the desert as a camel jockey. Actually, no. Camel Rider is the story of a young Australian boy, Adam, living in the Middle East. When the city is invaded, his family does not flee. His father, a pilot, is away on a four-day trip (with Adam’s passport tucked unknowingly in his flight bag); his mother is on her way to Melbourne alone simply because, without a passport, Adam is unable to travel with her. In the desert, Adam meets a young Bangladeshi boy, who has not been kidnapped but rather sold to slave traders. Should it matter that a press release has it so wrong? I think it does.

Setting is a particularly important feature in fantasy texts. One of these three fantasy novels for young adults is set in a self-contained world, while the other two have their main character travel from the ‘real’ world into a secondary one.

In Justin D’Ath’s Shædow Master, fourteen-year-old Ora – related to the royal family of Folavia – knows there is a mystery surrounding her. Why was she the only person to survive falling into Quickwater Lake? And why does she have the despised fair hair and blue eyes of the lower-class skiffers, instead of the dark eyes and hair of Folavian aristocracy? Ora’s search for the truth about herself is intricately linked to the destiny of Folavia. The country is in the grip of drought, its people are divided into rigid classes where the rich oppress or ignore the poor, and the ‘history’ being taught by the aristocracy proves to be seriously flawed. Through her courage, compassion and willingness to examine herself, Ora gradually realises the secret that haunts her family, and comes to understand what she must do in order to give Folavia a future.

Much young adult fiction is about not fitting in. How that topic is covered distinguishes the hack from the frustrated pedant and the gifted writer. This review covers eight YA novels by skilful writers whose diverse works are peopled by those who refuse to fit the norm.

Sometimes ‘good’ girls just have to be ‘bad’. The ‘heroines’ of both these novels desperately want ‘to fit in’, but eventually discover that ‘fitting in’ involves accepting yourself for who you are, not changing into someone else. This seems an obvious lesson, but of course it’s one of the hardest to learn. Both books are jacketed in gorgeous fashion; the matte photographic images are enticing and every bit as seductive as the CD cases and video clips they emulate. But where one is brash and vibrant the other is muted and subtle – a description which could aptly be applied to the plots, too. For Walker and Clark deal with the age-old concern of self-identity in very different ways.

It had to happen – a rush of books about the Olympics. But that doesn’t mean they’re all bad or that they won’t last now that the fuss is over. Celeste Walters’ The Last Race, her second book for young adults, should certainly be around for a while. The cover alone could sell the book and word of mouth should do the rest.

Given the recent happenings in East Timor, this is a timely novel. It is the moving story of the developing tragedy following the withdrawal of Portugal from its former colony and the invasion by Indonesia. The book is focused through Jose, a fourteen-year-old boy who finds the events puzzling and distressing. He finds some solace in the fighting cock given to him by his uncle, the person he most relies on for wisdom and guidance. Eventually, at the insistence of his mother, he is evacuated to Portugal, where he becomes a lawyer working for Amnesty International. The last chapter brings the book full circle, as we have first met Jose as an adult, in his law office in Lisbon, looking at a paperweight which holds the tail feather of a fighting cock.

For a reviewer, there’s always a temptation to seek a link when writing about more than one book at a time. In this instance, the link, if there is one, is that both these novels for young adults attempt to recreate other worlds, albeit in one case an imagined one, in the other a ‘real’ one. In other respects, however, they could hardly be more different. One credits its readers with intelligence and stamina, the other condescends to them.