Book Review: The Walled City

The Walled City by Ryan Graudin

Goodreads Description: 730. That's how many days I've been trapped.18. That's how many days I have left to find a way out.

DAI, trying to escape a haunting past, traffics drugs for the most ruthless kingpin in the Walled City. But in order to find the key to his freedom, he needs help from someone with the power to be invisible....

JIN hides under the radar, afraid the wild street gangs will discover her biggest secret: Jin passes as a boy to stay safe. Still, every chance she gets, she searches for her lost sister....

MEI YEE has been trapped in a brothel for the past two years, dreaming of getting out while watching the girls who try fail one by one. She's about to give up, when one day she sees an unexpected face at her window.....

My Review: The Walled City starts off by introducing us to our three main characters, Jin, Dai, and Mei Yee. Their first person POV chapters gives the reader a full view of the Walled City of Hak Nam. Though it's a dark book with a lot of edgy content, including human trafficking, forced drug torture, and prostitution, the underlying hope each character carries within them keeps it from feeling overwhelmingly depressing. Each character is exceedingly well crafted and their personalities shine through in a myriad of ways. Each one had motivations, dreams and a history that intersected perfectly and gave them sympathetic reasons for being in such a horrible city.

Aside from the character development, the other strength of this book is the author's ability to build tension and suspense. Though information is withheld from the reader about certain characters, it's not done in a way that feels annoying or intrusive to the story. As well, the three alternative POVs allows the reader to be privy to information that the characters haven't realized yet-- that Mei Yee is Jin's sister, that Dai is the strange boy Mei Yee sees in the window-- these little things leaves the reader-- or at least me-- squealing and bouncing in my seat, eager to see how the reveal will come, not to me, but to the characters.

The sense of place is incredibly strong within The Walled City. The city is based off a city that once existed in Hong Kong, but had since been torn down. Ryan Graudin creates an incredible setting by detailing the places and people who dwell within. Graudin keeps true to the Chinese history and keeps the culture rich within her own Walled City. The diversity was delightful to see, especially because the level of detail made me feel like I was standing in those cramped, dark streets.

Speaking of detail, the writing in this book is absolutely gorgeous. It flows and flowers without being overbearing, which I found to be absolutely delightful. The level of symbolism and metaphor as well is heavy and very well done-- from the dying flowers in Mei Yee's hotel room to the seashell and ocean representing her freedom-- the pages are lined with the type of writing that makes me heart sing.

I adored this book from start to finish. It drew me in and made me fall in love. At no point did I find something that annoyed me or I didn't enjoy, and at the end I shed a tear, not because the ending was sad, but because it was so good and I was happy with how things resolved.

If you want a beautiful story filled with rich Chinese culture, I suggest you pick this up. If you're worried about it too dark, don't let that stop you. The heart of the story keeps it hopeful.

TL;DR: 5/5 stars. So. Freaking. Beautiful.

What's in a Number?

Just an average day at work

I work in a mental health office for kids and their families, but my immediate surroundings are filled with people at least twice my age, and most of my correspondence is with people who could probably be my grandparents, let alone my parents.

I'm 23 and work as the file manager in an institution filled with kids with severe mental health issues, Talk about inspiration for writing, am I right? I've been in this position a few years and worked very hard to get where I am, and in the last year or so I've encountered some prejudice from some of the people I work with. These are some of the most caring people in the world, those who devote themselves to trying to help people, who work non-profit, and yet I still encounter what you would call "micro aggressions" from them. All because of my age.

It's nothing rude, mind you. Just talking over me, talking to my boss or coworkers on issues and departments that I not only approach them on, but that I am the sole person working on. It's frustrating to be treated in a way that undermines all the work I do, simply because of my age. It reminds me of my teenage years, fists clenched, eyes blazing, demanding to be treated like an equal and not an idiot.

Back in those days, I wrote furiously. Every free moment (and during the classes I skipped), were filled with furious typing. Even back then I was obsessed with having an authentic voice. I was determined that as I grew older, I would never allow myself to resent kids and look down on them. But more so, I never wanted to forget what it felt like to be a teenager. I didn't want to turn into an adult that didn't think teenagers had opinions or issues or dreams.

I never wanted to become what I hated.

As I grew into a young adult, graduated high school, dabbled around in university, it all seemed too easy. It felt like growing up was impossible, but even then I knew my voice had shifted. What I wrote was and is so affected by my life because those issues and ideas are what's writing from my heart. I let my voice shift and experimented with new things, But I also kept writing YA, right up to when I got my job at the mental health agency and began a shift of focus in my life.

I began volunteering with the kids at the agency, those who lived on the campus where I worked, some who had undergone unspeakable tragedies, abuse, had lost their parents, were parents themselves, and on and on. Yet at the heart of it these were still just kids, and I saw a lot of myself from just a few years ago in them. I'm close enough in age to some of them that a kid will play a song that's on my iPod and I can't help but bust out a jam. Yet despite how close in age I am, there is a world of difference between me and them, between who I was and who I am. And it made me realize something.

Adults cannot write young adult fiction without having some contact with kids and teens. Whether you're a parent, a teacher, work in child care, have friends who have kids, volunteer with kids-- you cannot create an authentic voice and story for kids and teenagers without actually talking to some.

Yes, yes, we were all kids once. And that experience is vital to creating fiction for teens. But you also have to accept that you're looking at it all through the lens of an adult. Your experiences since you were 16 have vastly changed you and how you view the world. There is plenty of adult fiction out there starring teenagers-- it's not considered YA because it is written with an adult audience in mind and so touches on thoughts and experiences that teenagers won't relate to as much.

What makes YA, YA? The target audience.

A "positive thought" left in my Positive Thoughts Bowl at work, written by a teenage client. Sorry it's crappy quality.

It's great that so many adults read young adult fiction these days. Hell, I'm an adult that reads YA. But I'm not who it's written for. The voices and experiences it needs to reflect are for those teenagers out there looking for something to relate to. They want a reading experience that speaks to them, and that is the entire point of young adult. It's to give a voice to teenagers and children. And the only way to successfully do that is to talk to teenagers, interact with them in some way or another. Consider it research, a very important kind.

Yeah, I hear you. Sometimes teenagers suck, Especially the ones that roll their eyes at you, or call you a little c**t, or get charged with assault. But just reading other YA novels as research into the "current" teenage experience isn't enough. That's a dangerous way to create a circle-jerk of outdated or false information. If you don't actually take the time to relate to those you're actually trying to market to, you run the risk of talking over your audience instead of giving them a voice.

What does that look like? It looks like creating a 'moral' for your readers to take away. It's purposefully forging characters to be perfect role models instead of creating true to life people. It's minimizing what might be 'offensive' or 'inappropriate' or  what you 'don't think kids/teens can handle.' It's assuming you know what's best for them and undermining their intelligence. It's inauthentic and kids can always tell.

If you really want to inspire a lifelong love of reading and literature in kids and teenagers, you have to create authentic experiences they can relate to, and touch on ideas and emotions that will leave lasting impressions on them. If you only focus on imposing a moral or lesson on them, on speaking over them, then it feels too much like work or school or the rules they're used to at home. If they sense the catch, they will drop your book in a heartbeat and probably drop reading not long after, if every other book they read is the same experience.

When you start to think you know what's best for young readers, you take away their autonomy, which is so vital in a world where young people seem to have so little of it. It's such an easy thing to do, and I'm certain I'm guilty of looking down my nose at those younger than me at times. In order for me to keep my promise to my younger self, to keep my voice authentic and true to the teenage experience, I will get to know my target audience and do my best to always be the conduit to their voice, and not its silencer.

I hop you will too.

Book Review: The Unbound

Book Review: The Unbound by Victoria Schwab 

Goodreads Description: Last summer, Mackenzie Bishop, a Keeper tasked with stopping violent Histories from escaping the Archive, almost lost her life to one. Now, as she starts her junior year at Hyde School, she's struggling to get her life back. But moving on isn't easy -- not when her dreams are haunted by what happened. She knows the past is past, knows it cannot hurt her, but it feels so real, and when her nightmares begin to creep into her waking hours, she starts to wonder if she's really safe.

 
Meanwhile, people are vanishing without a trace, and the only thing they seem to have in common is Mackenzie. She's sure the Archive knows more than they are letting on, but before she can prove it, she becomes the prime suspect. And unless Mac can track down the real culprit, she'll lose everything, not only her role as Keeper, but her memories, and even her life. Can Mackenzie untangle the mystery before she herself unravels?

My Review: The sequel to the Archived starts off with Mac dealing with the events of the previous book-- her fight with Owen and the lasting scars. It's refreshing to see in a fantasy the main character actually be traumatized by the horrible things that happen to them. It's one thing to be upset by what happened, quite another to start breaking down and questioning your sanity. Mac is dealing with horrific nightmares that make it impossible to sleep and moments of blackness where she can't remember what she did, or at least has great trouble. She keeps a lot of her fears bottled up due to the very real threat that the Archive may find her unfit to be a Keeper if she's losing her mind. And so the nightmares get worse, and her paranoia grows...

This book blew me away. The beginning starts off very focused on Mac and her real life as she tries to get her life back to normal. Not easy with her brother's death still hanging over her family, let alone settling into a new school year. The opening is smooth and solid, bringing Mac into a new world with a new circle of friends. Questions quickly begin piling up-- why is Mac having black spots in her memory while out hunting? Why are people who come in contact with her disappearing? And why are Crew from the Archive following her? The best part of all these questions is the deeper one Mac keeps asking herself: is any of her suspicions of foul play real, or is it all in her head?

As the story progresses, that question only amps up to the max. Mac's breakdown is so beautifully written and articulated it had me crying while waiting in lines at a convention. Despite everything weighing against her and the very real possibility of losing everything-- her job as a Keeper, any chance with Wesley, and her relationship with her parents-- Mac continues to fight for what she thinks is right. You could almost call what Mac does a troupe-- refusing help and not confiding in the Archive about what's really going on-- but it is written in such a way that is not only justified perfectly, but that suits Mac's character and contributes to her breakdown. So when she turns around and keeps fighting with such a profound weight on her, it just felt so awe-inspiring and invigorating.

And the romance? Oh, god, the romance between Wesley and Mac is gorgeous. Mostly because it relies on their need for each other and the shared connection they have. Not to mention their shared way of "hearing" people-- Wesley's rock band noise and Mac's thunderstorms-- really adds a unique angle to their romance that left my toes tingling.

Story aside, the pacing is perfect and the writing itself is absolutely stunning without being overbearing. The plot fits together like a puzzle that does an excellent job of circumventing your expectations. I went into The Unbound expecting a decent story, as I really enjoyed the first, and came away absolutely inspired and in love. I couldn't find a single thing I didn't enjoy about it, and it has easily become one of my favourite books. I'm not usually one for rereading, but I can easily see myself going back for this one. It it something else.

TL;DR: 5/5 stars. If you buy one book this year, make it this one. This book is utter magic.

Art and Truth

There are bars on the window of my hotel room.

The room sits on the sixth floor of an older building, and the brass framed windows open large enough to slide through, without a screen to feign the idea of security. Three white bars stretch across only the opening, bolted to stone and porcelain, with a bold-type logo stretched across the bottom reading ‘Guardian Angel.’

The bars make me want to jump more than the inviting cement waiting at the bottom of the six-storey drop.

Not that I want to die, mind you. I actually enjoy my life and am quite happy with the way things go, most of the time. But it’s difficult to fight that urge to leap from a rooftop, to play chicken with a transit train and lose, or to pull the steering wheel and send my car into a tree. I think it’s that adrenaline of oncoming death, that brief moment before tragedy hits where everything seems to hang still, that I’m really aching for. Something beyond the mundane, the trivial conflicts and strife that do more to drag you down rather than make you feel alive.

Of course, it’s not something that I talk to many about. Urges of destruction are rarely a socially acceptable topic to entertain at tea time, and yet these impulses are very real, and very there. It joins the many other dark little secrets of mine that are not tea-time worthy, and despite the fact that I know others face similar demons and entertain morbid thoughts, we all keep them tucked away, out of sight and out of mind.

But things don’t stay buried. Not in the mind and not in the world. And when wild dogs dig up our skeletons, we have no choice but to answer for them. I believe the more frightening option, however, is that these skeletons stay buried, that we harbour them in secret until the day we die, and those we leave behind have no idea what really took place within us.

Unfortunately, or fortunately, I am not able to silence the demons for long, or keep these morbid thoughts from bleeding out. Most often these themes and ideas creep out into my art. Stories of war, racism, utter despair, and struggle are those that I’m drawn to write. I want to look into the abyss and see what looks back. I want to know what’s hiding beneath everyone’s tea-time demeanour. I don’t want those secrets to stay secrets.

And today, as I leaned against the bars of my hotel room, looking out over the gloomy downtown Seattle and imagining a moment of free falling, I realized: you can’t lie in art. It is pure truth, and the things you create are a reflection of all you are within, the nice things and the not so nice things. It is impossible to create art without truth. Whether that truth is a well-known and accepted one, like the love between a mother and child, or something not so talked about, like the daily struggle against depression, you cannot make art without a reflection of soul taking place.

And perhaps that’s where I’ve gone wrong for the last little while. It’s difficult as a writer to sometimes share your work with others, as that is a piece of raw, unprotected soul that you are offering to them. It can be crushing to have others dismiss or criticize it, and I believe as we grow older, it makes us more guarded and less willing to show those pieces of ourselves, whether in art or otherwise. Without realizing it, we quietly censor ourselves more and more as life goes on, until we are nothing more than our tea-time demeanour, our polite little masks. For me, it’s become more and more difficult to share and create my work, being so overwhelmed by the opinions and criticisms of others, not necessarily about me or my writing, but about what I’m actually trying to say.

Is my message too dark? Will people be offended if I talk about these subjects? How do I portray this in a way that doesn’t make people think that I’m a monster?

On a walk with my boyfriend the other night, we discussed art and what made something “real” art. He made the point that art wasn’t to be shared, that “real” art was something created by the artist, for the artist. And though I argued vehemently, (“Of course art should be shared! It can’t be locked up in a box and forgotten!”) I think there’s definitely some truth in there. When you become so overwhelmed by what everyone else wants, which is very common when getting into the business side of art, you can’t hear your own inner muse. You can’t find your truth, because it gets mixed up in everyone else’s truths. And when you lose your own truth, you either can’t produce anything, falling prey to the devil’s “writer’s block,” or you lose all love for the craft.

I like to think diversity in art isn’t just about the artists themselves, but what you’re really saying. I like to think that the stories and truths within need to be as individualized as the artists, and we should be mindful of looking over each other’s papers too much. When you have too many people trying to stick their thumbs in the pie, you only get a crust full of holes. Inspiration is great, but there’s always a balance to things, and too much outside influence dilutes your individual style.

So, at least for me, that’s what I need to do: write truthfully. Be honest about what I feel and experience as a human. There are always those out there who feel just the same, who need those stories or that art to make them feel connected to someone else. To make them feel not so alone.

At the end of the day, what keeps me from pulling the steering wheel, from taking a swan dive, from leaping to dark impulses, isn’t some stupid ‘guardian angel’, but the fact I know I’m not alone. I know there are others out there like me, because I’ve shared my art and they’ve shared theirs. I know the world is dark and morbid and so am I, but it’s also full of incredible people, whom I hope to understand and who can understand me.

So I’ll be honest, even when it’s not easy. I’ll try to remember the feeling of art as a child, when it felt like my skin was as thick as steel. Because, let’s face it: I will have zero control over my demise when the time comes. I could die tomorrow, and I couldn’t bear to leave anything left unsaid.

Interview with Carter Roy and Giveaway!

Today on the blog, on the release date for the Glass Gauntlet, I have the privilege of hosting Carter Roy, as well as a giveaway of his awesome new release. Why head to the bookstore when you can win this baby with the click of a button? To celebrate its release I'd like to welcome Mr. Roy to the Underground!


1. Out of the many jobs you've had, which one most influenced your writing?

It is boringly obvious, but my jobs in publishing have most influenced how I write. I started as an editorial assistant and ended up in the position of editorial director at a major publishing house, and along the way I learned from the literally hundreds and hundreds of books I was lucky enough to work on.

2. What made you switch from writing for adults to children? What appeals to you about each?

I don't really feel like I made a "switch," exactly—I still write both! But the stuff for younger readers is less thinky and a lot more fun, while the adult stuff assumes a greater sophistication in the reader.

(This is not to slander younger readers; far from it. But part of growing up as a reader is to acquire a readerly sophistication that allows you to switch with ease from a novel by Charlaine Harris to one by Thomas Harris to one by Thomas Pynchon. Writing for adults has a bigger playing field as a result, if that makes sense.)

3. Did you have any trouble switching from short stories to a novel length tale?

Yes and no. Figuring out the pacing of a novel turns out to be really a lot of work. Ideally, there is a page-turning quality to the storytelling, right? But there also needs to be breathing room for exposition and character development and so on, so it can't all be breathless excitement. (Besides which, breathless excitement gets pretty dull after a while, and proper lulls in the storytelling make the more active bits all the more thrilling.) But with a novel, you get all this room to play around in that you don't have in a short story. The reader has settled in for the long haul with a novel, so she gives you more space for your tale. Not so in a short story. There, every line has to count. There are real challenges to each form.

4. When do you write? Do you have any routines or rituals?

I try to write to a schedule, but those can be awfully hard to nail down. (I recently became a father, and suddenly all routines went out the window.)

Ideally, I get up early (five to six am), brew some coffee, read the news, and then turn on Freedom (a program that blocks the internet for a set amount of time). And then I write that day's word count target, which can be anywhere from 1,000 to 2,000 words depending on the draft and where I am at in the book. (Later chapters and earlier drafts come faster; revision is where the writing slows to a crawl.)

Between chunks of the story (when I reach the end of a scene, say), I take a break and do other things. It's important to give your brain a break once in a while, and doing something else often shakes things loose. Walks are good for solving story problems.

5. Do you have any difficulties switching from editor mode to writer mode?

I don't think so. If anything, I'm too severe with my edits on later drafts. "When in doubt, cut it out" is my mantra. Each successive revision of The Blood Guard came in shorter than the previous one, because if I feel something is slow or not working well or showing the author's hand too much, I toss it. The first draft was a 100 pages longer than the finished book. The story is all still there, but there's no fat on its bones.

6. What advice do you have for young writers on writing an excellent story?

Never mind writing what you know, or what you think the market wants. Instead, write what you love. Nothing else is worth your time, and anything other than a story you love is going to get mired down in dreary, dead prose. Writing is tough, surely, but it is also fun. When you're clicking along writing the kind of book you want to read, then a certain kind of alchemy happens, and you find little pockets of joy in the writing all over the place. Love it or loathe it, but The Blood Guard is the kind of book I loved when I was eleven. Write what you love. Otherwise, why bother?

7. Are you a plotter or a pantser? Do you find it easier to plan or go with the flow?

Both. I work up a very detailed outline ... and then I feel free to diverge from it as the story comes together. I'm a firm believer in the liberating power of formal constraint. Outlines? They're safety nets. They allow you to feel secure as you blindly follow inspiration. As a writer, you can attempt bigger feats of daring when you know that even if you fail, you'll have the outline to fall back on.

8. What made you choose Evelyn as your main character's name?

Evelyn because I am fan of the hilarious, cutting novels of Evelyn Waugh; Truelove is because a friend's last name is actually Truelove, which struck me as both wonderful and a kind of curse.

9. What was the most challenging part of writing the Glass Gauntlet?

Making the story stand more-or-less alone but at the same time matter in the larger arc of Ronan's story.

Middle books in a series are always challenges—they can't move the story all the way to the end, but no reader wants to feel as though she is spinning her wheels waiting for the book three to thump down onto the doorstep with the conclusion of the tale. I knew Ronan and his friends couldn't leap right into full-blown action yet, because there is no way they could be ready to go to battle by book two. Instead, they needed to face a contained set of experiences that could dovetail with the larger story—and also set them up for the third book. Did I succeed? Beats me. But I certainly tried my best.

10. What is the best feedback you've received from readers? Got any stories?

I suppose my favorite (?) feedback comes from a few impassioned commentators who see The Blood Guard as having an agenda. (It doesn't. Honest.)

One letter writer accused me of having an anti-science, pro-religion bias, because the bad guys in the series employ cutting-edge technology. Another was sure I was against organized religion because the same bad guys have strange religious underpinnings to their beliefs.

The truth is that I didn't want to malign my villains just because they are true believers. Why shouldn't such people also recognize the power of science and technology? That bad people take advantage of technology doesn't mean I think science is bad; and just because some people commit heinous acts in the name of a religious belief doesn't mean religion is bad, either. It's a very complicated world out there, and I was hoping to make the opponents Ronan faces reflect that a little bit.

Why this has to be an either/or thing for some readers mystifies me. But I do appreciate their passion for their points of view, and I am grateful that they read my book and took the time to write to me.


Wow! Gotta love the last answer there. I definitely didn't see that one coming. Thank you so much Carter Roy for stopping by, and for those of you excited to get your hands on The Glass Gauntlet, I hope you'll enter the contest below! Simply comment that you would like a copy with an email address to contact you, and I will select a winner using a random number generator on Monday, August 24th. The contest is international, so enter quickly! 

 



Trust me, you'll want this one.

Book Review: The Glass Gauntlet

Book Review: The Glass Gauntlet by Carter Roy

Goodreads Description: Ronan Truelove barely survived his first encounter with his father and the Bend Sinister. Now, he’s determined to become one of the Blood Guard, a sword-wielding secret society sworn to protect thirty-six pure souls crucial to the world’s survival.

Eager to prove he’s got what it takes, Ronan is sent on his first mission with his friends Greta and Sammy to visit a weird-sounding school and take a series of tests called the Glass Gauntlet. Paper and pencils and nerdy scholarship—where’s the life-or-death challenge in that?

But the Glass Gauntlet is actually something much more dangerous: head-to-head competitions against ruthless opponents. Nothing and no one are what they seem. Who can he trust, and who will kill him? Ronan has to figure it out fast because his enemies are multiplying, and soon he will have to pass the ultimate test: facing his father again and standing up to those who threaten not only him and his friends but also the world.

My Review: An ARC of the Glass Gauntlet was given to me by MB Communications, but my opinion is entirely my own.

I hit the ground running when reading THE GLASS GAUNTLET as I had not read the first book in the series. I could have taken the time to read the first one, but I more wanted to read TGG on its own to see how well it stood up as its own story. After all, even though we write a series, aren't we told to make each book able to stand on its own? Its with that thought that I dived into these pages, and I gladly wasn't let down.

The beginning of the book is a little bogged down with some telling of what occurred in the previous book. As I had not read the first book, I found this information helpful, though many other readers could quickly grow tired of the explanations. Besides that, the book starts right into action, begginning with training in the Blood Guard's base camp before moving out to the estate of Agatha Glass to compete in some sort of 'test.' At first glass, Agatha's test could be seen as a refinishing of the Hunger Games trope-- a competition with life threatening challenges that runs the majority of the plot. Thankfully, this is not the case, as the "test" is not what the story focuses on, but rather everything going on outside of the test, which was refreshing. The tension and voice kept the story moving fluidly until all the tipping points are in place. It was nice to see that the major complications that Ronan faces in this story is caused by his own actions. Rather than being dragged along as a tool of the plot, Ronan instead makes choices both in the beginning and at the end that greatly shapes the outcomes. I especially liked how his decisions made things worse rather than better, as it keeps the tension high and the main character in the action seat.

The entire book had a definite feel of Rick Riordan's books, and many mirroring ideas. But where Riordan's stories focus more on magic, the GG is more focused on tech. The main mystery focuses around the glass gauntlet, what it can do, and how they were going to make it work. The writing is smooth and rather descriptive without going on for paragraphs and paragraphs. The way Carter Roy described scenes and actions made it very easy to visualize. His writing style keeps the pace swift and with deliberate details that are easy to latch onto.

One of the downsides was the lack of serious character changes or development over the course of the novel. I figure that more characterization of the main three characters took place in the first book, and the second is now more focused on plot than building up characters. It was nice to see some of Ronan's struggles-- how he dealt with thinking of his father and his responsibility to Greta-- but outside of him there's not much there besides showcasing character skills to convey personality. The character I was most interested in was Jack Dawkins, mostly because the mystery of his history and the emotion brought out of him, having to face friends he hadn't seen for many many years.

All in all, The Glass Gauntlet made for an enjoyable and fast-paced read. It definitely feels like a book that would appeal to boys, especially those interested in things like the Percy Jackson series. I did not expect to enjoy this book as much as I did and was delighted with the ideas and plot elements Roy brought to the table.

TL;DR: 3/5 stars. A good adventure story for those who dream of being a hero.

Book Review: The Girl in the Torch

Book Review: The Girl in the Torch by Robert Sharenow

Goodreads Description: At the dawn of the twentieth century, thousands of immigrants are arriving in the promised land of New York City. Twelve-year-old Sarah has always dreamed of America, a land of freedom and possibility. In her small village she stares at a postcard of the Statue of Liberty and imagines the Lady beckoning to her. When Sarah and her mother finally journey across the Atlantic, though, tragedy strikes—and Sarah finds herself being sent back before she even sets foot in the country.

Yet just as Sarah is ushered onto the boat that will send her away from the land of her dreams, she makes a life-or-death decision. She daringly jumps off the back of the boat and swims as hard as she can toward the Lady's island and a new life.

Her leap of faith leads her to an unbelievable hiding place: the Statue of Liberty itself. Now Sarah must find a way to Manhattan while avoiding the night watchman and scavenging enough food to survive. When a surprising ally helps bring her to the city, Sarah finds herself facing new dangers and a life on her own. Will she ever find a true home in America?

My Review:  I was sent an ARC of The Girl in the Torch, but my review is entirely my own opinion.

Right from the beginning of this book, I was pulled into Sarah's struggles and admired the way the author set up each conflict and could make every little problem feel like the end of the world for Sarah. As a new American immigrant arriving around the turn of the century, Sarah faces many varied challenges, from losing her mother, to choosing to jump from the boat to avoid deportation, to scavenging for food and a place to sleep among the Statute of Liberty. Through all of this Sarah remains resilient and hopeful, which is part of what made this book so special. Though Sarah undergoes horrible tragedies, she is always trying to move forward and overcome her next challenge. She doesn't dwell on things and remains optimistic and kind to those around her. Moreso, what made me admire Sarah's character is she was actually smart. The author, Robert Sharenow, didn't have her ignore red flags and walk blindly into danger. She could realize when something wasn't quite right, stand up for herself, and get out instead of allowing herself to be dragged into serious trouble. This is balanced well with a bit of the meekness and naivety that one would expect of a young girl on her own. The balance made her not only a realistic girl, but one that young readers can really look up to.

The pacing of this book is slow at first, but is in no short supply of tension. Each problem that Sarah has to overcome is presented in a way that makes it hard to look away, and each step builds upon itself. The last third of the book runs through like a thrill ride as Sarah has to find a way to rescue her new found friends and family from getting sent to prison because of her, while still find a way to stay in America. It was delightful to see all the pieces come together by the end. The epilogue definitely has a bit of sugary sweet cheesiness to it, but the overall ending to the story was very delightful. I can't think of a better word for it than that, since I was just delighted reading it.

The book had a very diverse flavour to it, since the story is of American immigrants. Sarah rooms with Chinese people and a black couple, befriends an Irish orphan, is rescued by a half-native man, not to mention encounters a variety of cultures settling throughout New York City. It definitely reminded me of something I would have read in school. It would be perfect for young readers to discuss in a classroom setting, as it does touch lightly on things like racism and life for immigrants to the USA.

I highly encourage teachers and librarians to pick this one up for their students. It would also appeal to those who enjoy a historical tale as well.

TL;DR: All in all, 3.5/5 stars. A very sweet and diverse tale, and one to savor.