Tag Archives: dystopian literature

Interview with Sherri L. Smith, Author of Orleans

Sherri L. Smith

Sherri L. Smith

Jaime Boler: Thank you, Sherri, for letting me ask you these questions.  Orleans blew me away!

 

Sherri L. Smith: Thanks, Jaime!  Coming from an avid reader, that means a lot!

 

JB: You have worked in film, animation, comic books, and construction.  What made you want to write novels?

 

SLS: Long before I did any of the above, I was a writer.  I’ve been an avid reader my whole life and started writing poetry and short stories in elementary school.  As a kid, I was always awed by novels—it was incredible to me that the author could hold an entire universe in his or her head.  Ever since then, I wanted to learn how to do it, too.

 

JB: You previously wrote FlygirlHot, Sour, Salty, SweetSparrow; and Lucy the Giant.  Orleans is so different from your other novels.  What made you want to explore dystopian and speculative fiction?

 

SLS: Again, blame my childhood.  I was a big fan of fantasy and science fiction growing up—give me Lloyd Alexander, Susan Cooper, Terry Brooks, Michael Moorcock or Frank Herbert, etc. and I was happy.  In fact, it was rather a shock to discover my first novel (Lucy the Giant) was contemporary.  I had to give myself a good hard look in the mirror and ask what the heck I thought I was doing.  But I loved the story and it worked.  From then on I decided I would just write what I loved, regardless of genre, and that’s what I’ve done.

 

JB: How did you come up with the idea behind Orleans?

 

SLS: I got the idea for Orleans from my family’s experience with Katrina.  At the time, the idea was born out of two things: an article I read about street gangs protecting their neighborhoods when the cops had all fled, and race issues that seemed to be part of the whole Katrina catastrophe.   It made me wonder: what if race wasn’t an issue?  What differences would separate people then?  What if it wasn’t something you could see?  I decided blood was an interesting answer.  And then, one day on the drive home, Fen popped into my head and started talking to me.  The street gangs became blood tribes, and it wasn’t long before Orleans was born.

 

JB: What kind of research did you do for Orleans?

 

SLS: I bought maps of the city, talked to doctors and scientists, read a lot of environmental studies and articles about hurricanes.  I researched blood types and the history of New Orleans, religious groups, and field medicine.  I watched movies about post-disaster worlds, read books, and studied knife fights in movies and books.  It really ran the gamut!

 

 

JB: One of the astounding things about Orleans is how you build a singular world, unlike anything anybody’s written before, and you do it all in one novel where Suzanne Collins, Veronica Roth, and Ally Condie need three books to fully achieve that effect.  How did you invent this wildly imaginative world?

 

SLS: That’s a huge compliment, so thank you from the bottom of my writerly heart.  I imagine that Collins, Roth and Condie knew the width and breadth of their worlds before they finished the first book, though.  The great thing about world building is, once it’s built, you can keep going back!

 

As for how I approached it, brick by brick is the short answer.  The long answer is—have you ever read Dune by Frank Herbert?  There are appendices at the end of the novel that detail the ecology of the planet.  I remember reading that as a kid and thinking, “Wow, he really made the world!”  It seemed insane, but it worked.  I had a teacher once tell me you had to create the entire room, even if you only wrote about one corner of it.  I think that’s true for all writing, but especially for speculative fiction.  With that in mind, when I started writing I actually made a notebook with tabs for religion, weather, food, tribes, disease, etc.  It was my own Dune appendix.  However, unlike Frank Herbert, I got bored with cataloging and decided to get on with the writing.  So, I didn’t refer to the notebook as much as I thought I would, but any time I lost track of things, it was my touchstone and a good place to daydream new ideas.

 

The ideas themselves came from—extrapolation.  I thought of New Orleans as I knew it and imagined what would change.  There are incredible time lapse maps of the flooding in the city during Katrina, and forecast maps for the Gulf shoreline in years to come.  Those all went into the kitty.  I sat down with a couple of doctors, and grilled my biology teacher friend and her scientist sister for details when creating Delta Fever and the DF Virus.  I saw a hut on stilts outside of Seattle, and the Church of the Rising Son was born.

 

JB: In Orleans, “tribe is life.”  Classifying someone by race no longer exists in Orleans.  It’s now all about blood type, all because of a horrible disease.  How did you come up with Delta Fever?

 

SLS: I knew I wanted a disease that would force separation by blood type.  I called a doctor friend of mine and she introduced me to a pediatric oncologist, Dr. Noah Federman, who walked me through the possibilities.  I basically told him what I needed the Fever to do, and he told me what diseases existed that were similar and how they would manifest.  I then talked to a friend who teaches biology and her sister, who is a research scientist.  They taught me how to destroy viruses and how I might try to create a cure.  Any science that works is owed to the three of them.  The rest is my crazy imagination.

 

JB: Do you have a favorite character in Orleans?  If so, please share.

 

SLS: Fen.  Hands down.  I just think she’s so cool.

 

JB: Perfect lead-in for this question: your main female character is named Fen de la Guerre.  “Guerre” is similar to “guerilla” fighter.  What made you choose this name?  And what came first—the character or her name?

 

SLS: The character came first.  Her voice popped into my head.  The name followed shortly thereafter.  I wanted something that conjured the swamps and bayous in the Delta.  A fen is a type of wetland.  It also reminded me of Fern, the little girl in Charlotte’s Web, which was my favorite book growing up.   “De la Guerre” is French for “of war.”  Orleans is constantly at war, so that made sense.  Lastly, “Fen” also sounds like the French “fin” or “end.”  I liked the idea that she would be a game changer for Orleans.

 

 

JB: It was so refreshing how you do not have the two protagonists falling in love, like so many other YA novels do.  What stopped you from doing that in Orleans?

 

SLS: To quote Short Round in Indiana Jones and the Temple of Doom, “No time for love, Dr. Jones!”  Orleans is an incredibly dangerous place and Fen is working on a timeline.  The idea of stopping in the middle of it to make googly eyes at someone was out of the question, especially for someone as no nonsense as Fen.  Thanks to Delta Fever, romance is also a liability in Orleans.  There is no room for a Romeo and Juliet situation—you fall in love with the wrong tribe, one of you dies.  You get pregnant, your blood volume goes up and your value as a blood slave does, too.  Not to mention it slows you down in a fight.  Fen actually loves quite fiercely in this novel.  It’s just not about romance.

 

 

JB: One scene in Orleans, for me, is one I’ll always think of when I see the book or hear about it.  It’s the scene where Fen and Daniel are in what remains of the Garden District and see a curious ritual from a window of a house in which they are resting.  It happens on November 1, All Saints’ Day and also the traditional end of hurricane season.  Can you tell us about this scene?  And what inspired it?

 

SLS: Ah.  This is the scene of the All Saint’s Krewe.  Mardi Gras, which takes place in the early part of the year, is famous for its parades led by organizations called “krewes.”  The first krewes were young men in 19th century New Orleans who rode around on horses while wearing masks and holding torches, or flambeaux, in the air.  I know this sounds disturbingly like a lynch mob, but it was meant to be a celebration.  Or, more likely, it was a group of wild partiers, the 19th century equivalent of a frat party, and they hid their faces so their families wouldn’t know about their hooliganism.  At any rate, the tradition stuck and transformed into the Mardi Gras mask and the krewe parade.

 

I liked the idea that this tradition would continue to evolve in Orleans, or rather devolve to its original state.  The opening image of the novel is a man playing a saxophone on the levee as a storm threatens the city.  That image came from news footage I saw at the time.  I decided the krewes would carry on that laissez faire attitude that New Orleans is so famous for by celebrating the end of hurricane season.  The parade is as an act of defiance against nature, where people of all tribes come together anonymously.

 

In the scene, Fen wakes Daniel to see the krewe ride in a hurricane-shaped spiral reciting the names of the storms that destroyed New Orleans, and then shouting—Nous sommes ici!  We are here!  We are still here!

More about that scene from my book review:

The participants “wheel around in a circle at the widest point of the road and thrust they torches toward the center of the ring, moving to a trot as the ring shift shape and turn into a spiral ‘stead of a sphere.”  They “be like a hurricane, swirling and swirling, the smallest rider in the center at the eye.”  Then, the chanting begins, over and over, louder and louder: “Katrina, Isaiah, Lorenzo.  Olga, Laura, Paloma…Jesus, Jesus, Hay-SEUS!”

As the riders go off in every direction, they move faster and faster.  As they disperse, one rider plays an old tune, “When the Saints Go Marching In.”  The ceremony’s observers continue to celebrate November 1, because they still live in Orleans, and the ritual is to honor and remember what Orleans used to be.  This is just one of the many ways in which Smith makes Orleans intriguing and new.  No matter how many young adult books you have read, Orleans is nothing like them.

In Orleans, Smith creates a world like no other—bold, harrowing, and impossible to forget.   This young adult story is a nail-biter that will keep you up well past your bedtime, but the pay-off is well worth the loss of sleep.

 

JB: Did you ever think of turning Orleans into a trilogy?

 

SLS: Yes, certainly.  Once you’ve built the world, why not go back?  Although I think there’s a lot more to see in this universe than just the city of Orleans…

 

JB: Interesting!  Why do you think YA dystopian/apocalyptic fiction is so popular?

 

SLS: I think it has something to do with war.  We’ve been at war for over a decade and that takes its toll on a society.  From terrorist acts to man-made and natural disasters, it’s got people wondering how they will survive.  Speculative fiction has always been good at mulling over those questions and answers.  It can be a comfort to read a book and say, “Ah, there is life after this disaster.  This is how you do it.”

 

JB: In your book, the United States as we know it today no longer exists.  Florida, Georgia, Alabama, Louisiana, and Texas have been quarantined and are no longer part of the Union.  The great city of New Orleans is surrounded by a wall.  Do you think a catastrophe of this magnitude could happen in our country?

 

SLS: In fact, the Wall runs from Florida to Texas, amputating a vital part of the country.  It seems crazy but, truly, in the first week after Katrina, it didn’t sound so farfetched.  There was talk of abandoning the city, moving inland.  In fact, I remember reading a report.  I think it was in the New Orleans Times-Picayune back in the late 1980s or early 1990s that postulated the need to abandon the city in the face of a major hurricane.  The report proposed building a wall around the French Quarter to protect it for posterity.  Apparently, the rest of the city was considered a reasonable loss.  I remember reading that in my grandparent’s kitchen and thinking, “But… that’s us!”

 

JB: I know that Hurricane Katrina affected your mother and you.  How did that experience provide the impetus to write Orleans?

 

SLS: My mom grew up in New Orleans and weathered the storm there.  It was a couple of days before we realized she was trapped down there and things were falling apart fast.  I hadn’t thought of it until recently, but, in a lot of ways, Fen’s journey to get Baby Girl out of Orleans mirrors my attempts to get my mom out of New Orleans.  It’s important to me to keep New Orleans in people’s thoughts through my writing.  We tend to think “the storm is over, everything is fine.”  But, as anyone who has ever had to rebuild after a disaster knows, it’s far from over and the effects last for years.  Orleans is about that aftermath.

 

 

JB: With each hurricane or even strong tropical storm that hits the New Orleans area, flooding seems worse.  With the marshes disappearing, how likely do you think it is that the city could be underwater in 40, 50, or 100 years?

 

SLS: I don’t even want to speculate about that.  Anything can happen, as Katrina proved.  As much as the fading wetlands were an issue with storm surge, it was manmade channels and levees that led to the bulk of the damage in the city.  Not to diminish the threat, but they’ve been talking about Venice, Italy, sinking for decades and it’s still standing.  A little low in the water, maybe, but it’s there.  Hopefully the storms we’ve had recently will be a wake-up call and steps will be taken to protect our land.

 

JB: As a writer, who has influenced you the most?

 

SLS: Too many people to mention.  I’ll say my mother because she always encouraged me to keep with it.  She never doubted I could publish if I tried.

 

JB: What are some of your favorite books and who are some of your favorite authors?

 

SLS: I think I already mentioned Charlotte’s Web by E.B. White.  I love Trumpet of the Swan and Stuart Little, too, a though that last one was a bit weird because his parents were human and it kind of threw me. I’m a fan of Susan Cooper.  I love her Dark Is Rising series.  I’ve already mentioned Dune.  I’ve come to appreciate Ernest Hemingway.  I admire Marion Zimmer Bradley’s ability to make her stories sound like truth.  David Eddings, Laurie R. King, Lloyd Alexander, Kage Baker, Olivia Butler—I’m looking at my bookcase, but it’s only one of 11 in the house!

 

JB: You really are an avid reader!  What do you like to do when you aren’t writing?

 

SLS: I like to read.  Is that obvious?  I also like travel, bake, eat, sleep, watch movies.  I like to dance and make stuff with my hands.  I watch a lot of cooking shows and make up songs that I sing to my cat, because she’s the only one who tolerates it on a regular basis.

 

JB: What do you hope readers take with them after reading Orleans?

 

SLS: That’s a good question.  I hope they recognize how precious the world we live in really is, and do what they can to protect it.  Whether that means putting together a “go bag” disaster kit, volunteering in an area that needs help, or taking steps to protect the environment, I’m happy.  Heck, if it means everyone goes to New Orleans and supports the city with their visit, that would be grand too.  Even if they just think about it and talk about the book with other people, it would mean I reached them somehow.  And that’s all any writer can ever hope.

 

JB: What’s next for you?  Are you working on anything new?

 

SLS: I am currently working on my first fantasy!  It’s an historical fantasy based on the Nutcracker.  I’m also genre-dabbling in mystery and noir.  I want to try everything, so that’s what I’m going to do!

 

JB: Thanks, Sherri, for a wonderful interview!  Good luck with the book.

 

SLS: Thank you, Jaime.  It was a lot of fun.

orleans1.jpg

 

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Book Review: Orleans by Sherri L. Smith

Orleans by Sherri L. Smith (Putnam Juvenile; 336 pages; $17.99).

            Katrina, Isaiah, Lorenzo, Olga, Laura, Paloma, and Jesus are the names of a series of hurricanes that hit the New Orleans area from 2005 to 2019, killing thousands and thousands of people, flooding the city, and eventually giving rise to the Delta Fever.  No, this is not a prediction orleans1.jpgof the future but the terrifying plot of Sherri L. Smith’s young adult dystopian novel OrleansOrleans is speculative fiction that disturbs, fascinates, and leaves us with much to ponder.

Smith sets her story in 2056 Orleans, no longer New Orleans, but a virtually unrecognizable world characterized by devastation, lawlessness, disease, death, and obstructed by a high wall.  The remnants of the Big Easy are cut off from the rest of the United States, and they are not alone.

In 2020, FEMA quarantined any state affected by the Delta Fever.  In 2025, the United States formally withdrew its governance from Alabama, Florida, Georgia, Louisiana, and Texas, permanently altering the nation’s landscape and sending the economy into a tailspin.  The United States is now called the Outer States.

You guessed it, Toto.  We aren’t in the New Orleans as we know it.  Nor are in the America as we know it today.

Smith stakes out new territory in this story.  Not only is Orleans an original tale it’s also a courageous one.  And, for Smith, it is personal: Her mother was among those affected by Katrina.  Chilling and wholly plausible, Smith immerses readers deep inside Orleans, and her characters matter deeply to us.

Using a dual narrative format, Smith narrates her tale from the perspective of her two protagonists: Fen de la Guerre and Daniel Weaver.

Fen, a teenage girl with a mysterious past, finds her world irrevocably altered when her mentor, Lydia, dies while giving birth.  Before Lydia dies, she entrusts her child to Fen’s care.

In Orleans, race no longer matters.  “Tribe is life,” and one’s blood type determines his or her tribe.  Fen is an O-Positive, or “OP.”  The baby is an O-Neg, which is problematic.

Delta Fever affects people in different ways according to blood type.  Those with AB blood type suffer the worst from the virus.  “O types don’t be needing transfusions like ABs do.  The Fever be in us, but it ain’t eating O blood up from the inside like it do other types.”

ABs hunt down people with O blood type, especially O negative.  A transfusion using O blood, the universal donor, allows a person with AB to temporarily replenish his supply of red blood cells.

The ABs’ need for blood is eerily similar to that of vampires.  Fen struggles to get the baby to a safe place, far away from Orleans, before the ABs hunt down them both.  As her name suggests, Fen de la Guerre is a fighter.

Daniel is a researcher and scientist from the Outer States whose brother, Charlie, contracted Delta Fever and died “before his eleventh birthday.”  His brother’s death compelled Daniel to work to find a potential cure for the fever.

He bioengineers “a new virus with one purpose—to attack Delta Fever in the bloodstream.”  Daniel creates an “even deadlier strain of the disease.”  Daniel’s virus is a weapon, “a time bomb” that only kills those with the Delta Fever, which includes “every inhabitant of the Delta Coast.”

Through Daniel, Smith shows us what life is like in the former United States, and the picture he paints is far from pretty.  The problems of the Outer States, though, pale in comparison to what happens in Orleans.  The Big Easy has some big problems, as you have probably already ascertained.

When Fen and Daniel meet, the real fun begins.  Fen and Daniel strike a bargain and navigate the bayous and menacing thoroughfares of Orleans together.  Smith takes readers on a wild ride as we accompany Fen and Daniel throughout the dangerous world of Orleans.

There is such authenticity within the pages of Orleans.  Fen speaks in dialect, using “be” in place of “am” and “are.”  For example, “We be near the Market,” Smith writes, “where the old levee used to be, across from St. Louis Cathedral.”  This may be jarring for some, at least initially, but one quickly becomes accustomed to Fen’s distinctive voice.  Many people in New Orleans and in the bayous (and elsewhere in the US) use this kind of discourse today.

If you’ve ever traveled to New Orleans, there are certain landmarks that are permanently fixed in your memory: the Superdome, the French Market, the Ursuline convent, and St. Louis Cathedral, just to name a few.  These all figure prominently in the story.  As does some old Mardi Gras and Catholic traditions.  The most fascinating of which is a ritual Orleanians adhere to on November 1, All Saints’ Day, and the last day of hurricane season, when all tribes come together on horseback wearing old Mardi Gras apparel to disguise their identities.

The participants “wheel around in a circle at the widest point of the road and thrust they torches toward the center of the ring, moving to a trot as the ring shift shape and turn into a spiral ‘stead of a sphere.”  They “be like a hurricane, swirling and swirling, the smallest rider in the center at the eye.”  Then, the chanting begins, over and over, louder and louder: “Katrina, Isaiah, Lorenzo.  Olga, Laura, Paloma…Jesus, Jesus, Hay-SEUS!”

As the riders go off in every direction, they move faster and faster.  As they disperse, one rider plays an old tune, “When the Saints Go Marching In.”  The ceremony’s observers continue to celebrate November 1, because they still live in Orleans, and the ritual is to honor and remember what Orleans used to be.  This is just one of the many ways in which Smith makes Orleans intriguing and new.  No matter how many young adult books you have read, Orleans is nothing like them.

In Orleans, Smith creates a world like no other—bold, harrowing, and impossible to forget.   This young adult story is a nail-biter that will keep you up well past your bedtime, but the pay-off is well worth the loss of sleep.

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Spotlight on Orleans by Sherri L. Smith

I love good dystopian YA literature.  Today is the publication day for Sherri L. Smith’s new young adult novel, Orleans.  I am on chapter five and am deeply immersed in Smith’s harrowing and utterly fascinating world.

orleans

 

I was hooked from the beginning, when a series of devastating hurricanes wreaks havoc on the Big Easy.

“After the storm deaths came other casualties: deaths by debris, cuts, tetanus, or loss of blood; suicide; heart attacks caused by stress of loss, or stress of rebuilding, or just as often from the lack of medicines used to treat common ailments.  The list of no-longer-treatable diseases grew: diabetes, asthma, cancer.  Domestic violence rose, along with murder.

Then came the Fever.

And the Quarantine.”

About the book

The following summary is from Goodreads:

After a string of devastating hurricanes and a severe outbreak of Delta Fever, the Gulf Coast has been quarantined. Years later, residents of the Outer States are under the assumption that life in the Delta is all but extinct… but in reality, a new primitive society has been born.

Fen de la Guerre is living with the O-Positive blood tribe in the Delta when they are ambushed. Left with her tribe leader’s newborn, Fen is determined to get the baby to a better life over the wall before her blood becomes tainted. Fen meets Daniel, a scientist from the Outer States who has snuck into the Delta illegally. Brought together by chance, kept together by danger, Fen and Daniel navigate the wasteland of Orleans. In the end, they are each other’s last hope for survival.

Sherri L. Smith delivers an expertly crafted story about a fierce heroine whose powerful voice and firm determination will stay with you long after you’ve turned the last page.

About the author

The following information comes from Smith’s website:

Sherri L. Smith’s life can best be summed up geographically. Born in Chicago, IL, she spent her childhood in Staten Island, NY, Washington D.C., and Upstate New York. Her parents divorced when she was twelve. A year later, she moved back to Chicago with her mother and big brother. After high school, it was off to New York City for college, San Francisco for graduate school, and then Los Angeles, to make movies.

Sherri has worked in film, animation, comic books and construction. Film highlights include Tim Burton’s MARS ATTACKS!, where she worked in stop-motion animation -a truly cool art form. Sherri also worked for three years at Disney TV Animation, helping to create stories for animated home video projects.

After leaving Disney, Sherri found an unlikely home with a construction company, working in a triple-wide trailer on the tarmac at Los Angeles International Airport. From there she spent nine hilarious years working at Bongo Comics, the company that brings you THE SIMPSONS in print. Currently, Sherri happily spends her days writing novels and visiting her readers in schools and libraries across the country.

She lives in Los Angeles with the love of her life, and is currently working on her next book.

Smith

 

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Fuse (Book 2 of the Pure Trilogy) by Julianna Baggott

Fuse (Book 2 of the Pure Trilogy) by Julianna Baggott comes out 2/19.  Up for grabs is an ARC of the book.

fuse

 

About the Book

After the Detonations, those who dwelled within the Dome were safe, unscarred.  Those outside–the Wretches–struggled to survive amid the smoke and ash.

Believing his mother was living among the Wretches, Partridge escaped from the Dome to find her.  His father, Willux, the leader of the Pures, unleashes a violent attack on the Wretches in an attempt to regain control over Partridge.  It’s up to Pressia Belze, a young woman with her own mysterious past, to decode a set of cryptic clues to set the Wretches free.

An epic quest that sweeps readers into a world of stunning imagination, Fuse continues the story of two people fighting to save their futures–and change the fate of the world.

Bookmagnet Says

Smart, electrifying, and discomfiting, as all dystopian young adult literature should be, Fuse is unlike most of the other books in the genre.  The heroine, Pressia, carries scars inside and out; she’s gritty, achingly real, and more powerful than she knows.  If any YA character can make you forget Katniss Everdeen, it’s Pressia Belze.

About the Giveaway

Please complete the form below.  Up for grabs is an ARC of Fuse.  Giveaway ends Monday, 2/18, at 5 pm ET.   Winner will be chosen at random.

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Spotlight on Reached by Ally Condie

I am reading an ARC of Reached by Ally Condie.  Reached is the third and final book in Condie’s Matched trilogy.

 

 

 

I loved Matched and compared Condie to Lois Lowry.  Crossed, though, was not as good as the first book.  But Reached is just as good, maybe even better, than Matched.

If you love YA dystopian fiction, or if you are a fan of The Hunger Games, you will definitely want to try Condie’s trilogy.

Reached comes out November 13, 2012.  ALL WILL BE SORTED.

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Book Review: Genus by Jonathan Trigell

Genus by Jonathan Trigell (Corsair; 288 pages; £7.99).

 

Gretchen Gerbi, an elderly woman who lives in a London apartment complex, busies herself by playing an old video game called “Civilization.”  Gretchen has not gotten far into the game.  Her tribe is still quite primitive.  She knows it is not the way to win the game, but she directs her people to farm and form settlements rather than make war on other tribes.  For Gretchen, Civilization is just a way to pass the time.  She never really succeeds because the game crashes when her power dims.  “After rebooting, it’s like a plague has wiped out half your people,” she laments, “all the achievements and population growth you’ve made since your last save have been lost.”

 

She sounds like any elderly lady in any city, right?  Did I mention Gretchen keeps a spider with ten-inch mandible fangs and three-foot-long legs who she calls Bojangles?  A spider that spins silk for her that she sells on the side?  Gretchen loves the spider.  She manages an apartment building in London’s King’s Cross (The Kross), a ghetto filled with the Unimproved lower classes.  No, Toto, we aren’t in Kansas anymore…er, present-day London.

 

We are in the world of the brilliant and talented novelist Jonathan Trigell.  Trigell, a British author, won the John Llewellyn Rhys Prize in 2004, the Waverton Good Read Award, and the inaugural World Book Day Prize in 2008 for his first novel Boy AGenus is his third novel.  In the book, Trigell turns to speculative dystopian fiction set in a future and chilling London.

No one calls “The Kross” King’s Cross anymore since it “sounds antiquated and strange,” Trigell writes.  There is no longer a king, you see.  “Once the royal family began genetically enhancing, the utter absurdity of bloodline head of state became obvious.”

 

Like Aldous Huxley and Margaret Atwood, Trigell explores science, medicine, biology, morality, and religion.  New breakthroughs occur everyday.  What was once considered science fiction or pure fantasy actually happens; this is our reality.  Test-tube babies, surrogacy, living to 110 years old, gene therapy, mapping the human genome, selecting a child’s eye color, and even finding out an unborn child’s genetic abnormalities–these are not the stuff of fiction.  They have already happened.

 

So Trigell’s premise is not so wild then.  In the not-too-distant future, scientists began “improving” people.  A child could be bred for warfare with all of the genes of warriors.  Likewise, a baby could be created to rule over others or to be a scientist.  If a man or woman was unhappy in his or her present circumstances, don’t blame the employer, him or herself, or even the government.  Lay the blame on the parents for not having enough money to give their child a great future.  Because money is what determines one’s future lot in life.  The more your parents pay for you the better your life will be, the better your education, the better your career.  Sex for procreation is outlawed; when it happens, the offspring are “unimproved,” ugly, and scorned.  These inhabit The Kross.

 

The future is bleak but intriguing in Trigell’s story.  The government has banned religion, as it promotes terrorism.  Opiates are the “opiates of the masses.”  An alcoholic drink called synth and drugs are very popular, as they make the Unimproved forget.

 

Trigell tells the story from multiple perspectives in suspenseful, alternating chapters, giving us a view into the lives of those Improved and Unimproved.  A few characters stand head and shoulders above the rest of Trigell’s narrators.  Holman, a dwarf, particularly fascinated me.  Holman is an artist with a rather shocking lineage.  His mother, Adele Nicole, was a religious cultist and then a model.  Adele Nicole was the last “Miss Natural” and caught the eye of a very important man.

 

Another especially interesting character is Crick, Holman’s friend.  Crick once fought in the Caliphate Wars and was injured so badly he is now blind.  He gives us some history of what got England into this in the first place.  Spain, Portugal, North Africa, most of France and Asia, and Arabia all became one.  They became the Caliphate.  Refugees from these war-torn countries fled to England.  Population growth ballooned; terrorism increased exponentially; crime spiked; unemployment shot up; homeless people flooded the streets; wars killed countless English people and drained the economy.  There is a lesson here, Trigell warns from between the lines. Trigell gives a voice to the disenfranchised Unimproved in his book.  They are crying out to be heard.

 

Meanwhile, there is a serial killer on the loose in The Kross.  A detective is on the trail.  But a deeper, darker force may be at work.  Trigell keeps the surprises coming, and the shocker at the end was one I never saw coming.

 

Genus is a masterful work of dystopian speculative fiction.  You may not have heard of Trigell, but he definitely deserves your attention.  London will be in the public eye over the next few weeks.  As you watch the 2012 Olympics, think what a future dystopian London might resemble.  Better yet, read Trigell’s Genus for yourself.  But be warned: the future is not pretty.  You can’t help but ask youself: “How good are your genes?”

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Not Quite the Girl on Fire

Insurgent by Veronica Roth (Katherine Tegen Books; 544 pages; $17.99).

I flew through Veronica Roth’s Divergent, marveling at how a college student could beautifully imagine and then, more difficult, skillfully render a unique dystopian world.  Roth, I was certain, would pick up Suzanne Collins’s torch and run with it.

Set in a future Chicago, Divergent introduced us to Beatrice “Tris” Prior, Roth’s heroine.  Factions mean more than family; in fact, your faction is your family.  Tris was born into Abnegation.  But at age sixteen, though, young adults may choose which their own faction.  Typically, one stays with the group she was born into.  So when Tris switches to Dauntless, some call her a traitor.

Tris is unique.  She has an aptitude for not one, not even two, but three factions.  For that reason, she is called “divergent,” hence the title of the first book in Roth’s Divergent trilogy.

Roth employs a technique that most YA authors of dystopian lit do not do: Tris alone tells the story.  There is no hero as her co-narrator.  Tris is it.

Sparks fly between Tris and a Dauntless leader named Four (No, that is not his real name.)  When the two get together near the end of Divergent, I pumped my fist in the air with a cry of “Yes!”  I think Divergent is so strong, so readable and compelling that Roth does not need any other narrator besides Tris.  Tris is the star and she carries the tale on her slim but capable shoulders.

The same cannot be said for the second book, Insurgent.

Roth begins Insurgent just where Divergent left off–on a train.  Her pace, from page one, is hurried, too hurried for my taste.  The characters have no time to reflect on anything that has happened.  Tris and others make decisions rashly.  Then again, perhaps that is Roth’s point.  Most of the characters in this story are young adults.

I strongly urge you to re-read Divergent before reading Insurgent.  There is no prologue to catch you up.

Insurgent is darker than the first book.  The situation is dire.  Roth creates many conflicts in her story: faction versus faction; fighting within a faction; Tris versus Four; Tris versus herself; fighting within a family; leader versus leader.  Those are all pluses.

The real problem is Tris herself.  Tris can no longer carry this story alone.  Dare I say it?  The story needs another perspective, preferably from the point of view of Four.

For most of the book, Tris is fearful, broken, and unsure of herself, quite unlike the Tris from Divergent.  That Tris was fierce, brave, self-confident, and mighty.  In Insurgent, Tris cannot even fire a gun.  She battles inner demons.  While this inner conflict should add to the story, I feel it does not.  I miss the old Tris.  I do understand what Roth is doing with Tris, though.

In this book, Tris is on the outskirts of her faction.  Her peripheral role allows her to see things in a different light.  This is how she becomes an insurgent.  Yet, for me, it is too little, too late, when Tris wakes from her stupor and emerges as a real threat to her enemies.

Roth does accomplish some things, and she does them well.  She introduces us to Four’s mother and puts her in a very intriguing position, making for an interesting family dynamic.  Roth reminds us that not everything is as it seems in this story.  Not everyone is who he seems either.  Her twists and turns are astoundingly clever.

The author drops a bombshell at the end of Insurgent, setting up the next book nicely.  Yet, I fear she has set up far more questions than she will be able to answer (Think of Lost).  It will be a tall order.

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