Keeping Up With The Penguins

Reviews For The Would-Be Booklover

Category: Books Made Into Movies (page 1 of 9)

I’ll Be Gone In The Dark – Michelle McNamara

When my dear friend Cathal handed me a copy of I’ll Be Gone In The Dark, I literally squealed with delight. I’d been desperate to read it ever since I did my initial binge-listen to every episode of the My Favorite Murder podcast (reminder: I reviewed the hosts’ joint memoir Stay Sexy And Don’t Get Murdered, also a gift from Cathal, here). But I exercised some restraint, and held onto it until I felt I really… “needed” it. That’s the definition of adulthood, isn’t it? Delayed gratification? Okay, maybe it’s a bit whacky that my gratification comes from a gritty true crime novel, but whatever. I am what I am, and what I am is a true crime junkie. I’ve made my peace with it.

The back-cover summary for I’ll Be Gone In The Dark promises “a masterful true crime account of the Golden State Killer – the elusive serial rapist turned murderer who terrorised California for over a decade – from Michelle McNamara, a gifted journalist who died tragically while still writing and researching her debut book”. It also features glowing endorsements from Stephen King and Gillian Flynn, once again lending credence to the idea that the truth can be stranger (and better) than fiction.

The story of I’ll Be Gone In The Dark has received almost as much attention as the crimes it covers. It all began with McNamara’s blog (True Crime Diary, still online here), and an article she wrote for the LA Times in 2013. At that time, the series of rapes and murders attributed to the Golden State Killer were still a decades-old cold case, with files stretching across multiple jurisdictions and decades. McNamara sadly died, aged just 46, with the manuscript of this book only two-thirds done.

It was completed after her death by the lead researcher and a close colleague (Paule Haynes, and Billy Jensen), and her husband (Patton Oswalt) wrote a touching afterword in her honour. These contributors added footnotes to clarify or expand upon what McNamara had written before her death, rather than editorialising in an attempt to produce a “polished” story. They don’t ignore or gloss over McNamara’s passing, and they don’t falsely emulate her style or voice – it’s always clear to the reader what was McNamara’s work, and what was their logical continuation. On occasion, they cobbled together crucial sections from her notes and blog posts, making it clear to the reader that they had done so. I really liked this approach; it seemed more respectful, to both McNamara and the reader, than any alternative. I’ll Be Gone In The Dark was ultimately published posthumously, in 2018, two years after McNamara’s death.





Even though the book is definitively true crime, it has a more literary bent than most offerings you’d find at airport bookshops. It crosses over into memoir at times, with McNamara offering up her own family history to explain how she came to have an interest in true crime and this particular case. It’s not schlocky, sensationalist true crime, but it’s still compulsively readable. It would seem that the one concession the publishers made to the tropes of the genre were the glossy photograph inserts: smiling photographs of the victims and their families, yearbook photos, neighbourhoods where crimes took place, evidence bags, and police sketches.

McNamara doesn’t shy away from her own role in bringing the case to worldwide public attention; she’s not braggy, but she doesn’t downplay it either. She wasn’t “just lucky”. She, and a group of like-minded armchair detectives, kept the case alive through hard work, persistence, and determination. In fact, it was McNamara who coined the “Golden State Killer” moniker. Prior to that, given that the culprit had undertaken three separate crime sprees with little to connect them, the press had given him three different nicknames (including the East Area Rapist, and the Original Night Stalker). The public, understandably, got the impression that these were different perpetrators, until McNamara came along and started connecting dots on their behalf.

The crimes (over one hundred burglaries, at least fifty sexual assaults, and at least thirteen murders) were all committed long before the DNA testing and lab analysis we have today. “By the time DNA testing revealed that crimes previously thought to be unrelated were the work of one man,” McNamara says on page 4, “more than a decade had passed since his last known murder, and his capture wasn’t a priority”. More than eight thousand suspects were investigated as part of the Golden State Killer case, but when McNamara started her blog, the police still had nothing.





It’s near impossible to wrap your head around the magnitude, severity, and sheer volume of crimes committed by the Golden State Killer, and McNamara doesn’t even attempt to lay out the facts of the case(s) in any linear fashion. I can’t even imagine how difficult it would have been to try to capture the scope and relate the details of all of these crimes, because there were just so many – and, being an unsolved case with no leads at the time of writing, it’s not like there were trial documents or police interviews to verify information against. McNamara and her publishers helpfully included, in the front of I’ll Be Gone In The Dark a timeline, a map, and – most importantly, in my view, a list of victims and investigators. That’s something I wish we saw more in true crime: front-and-center focus on victims, and the people who work to bring them justice.

That said, the title is drawn from a threat the killer made to one of his early victims:

“… a man in a leather hood entered the window of a house in Citrus. Heights and sneaked up on a sixteen-year-old girl watching television alone in the den. He pointed a knife at her and issued a chilling warning: ‘Make one move and you’ll be silent forever and I’ll be gone in the dark,’.”

Page 60-61

Still, because the killer hadn’t been identified at the time of writing, I’ll Be Gone In The Dark by default avoids exploiting the victims or overtly revering the serial rapist and murderer (the way that true crime books about, say, Ted Bundy, tend to).





I’ll Be Gone In The Dark topped the New York Times Best Seller List for non-fiction, and remained there for fifteen weeks. HBO subsequently purchased the film rights, and a six-part documentary series was released earlier this year. But, of course, the big clincher is this: since the time of publication, the Golden State Killer has been caught. His identification and arrest was controversial, as it occurred through the use of DNA evidence matched against samples provided to a genealogy website. What’s even more stunning is that McNamara foresaw this: in I’ll Be Gone In The Dark, her notes point to her intention to find a way of running the killer’s DNA through 23AndMe or Ancestry.com.

Obviously, there are all kinds of scary ethical questions raised by this type of investigation, but I won’t explore them here. All I’ll say is, just this once, I’m glad it worked. The culprit has been sentenced to life in prison, without the possibility of parole, after pleading guilty to multiple counts of murder and kidnapping (he cannot be charged on counts of rapes he committed in the 1970s, as the statute of limitations has passed – boo to that!).

I’ll Be Gone In The Dark, though, concludes with a letter from McNamara to the then-unidentified killer. In it, she personally implores him to step into the light. It gave me literal goosebumps – and I still can’t help but wonder what went through his mind when he read it (as he undoubtedly has).

I’ve heard some readers complain that reading I’ll Be Gone In The Dark is less captivating now that the “case is solved”. I would argue that, if that’s the case, you’re reading it for different reasons than I am. I read this book to learn about a woman’s pursuit of justice, to understand the horrors wrought upon the women who were victimised by one terrible man, to get some insight into how fifty years can go by without an answer being found. I’m not here to gawp at a cold case (and if you are, no worries, there are plenty of other true crime books out there for you). But if you’re anything like me, if any of those motives sound more appealing to you than simple scares and shock factor, then I’ll Be Gone In The Dark is the book for you, as it was for me.

I don’t often include plugs at the end of my book reviews, but given the nature and content of this one, I feel it’s warranted. U.S. Keeper Upperers, I know there’s a lot of you – consider throwing some support towards End The Backlog, who aim to eliminate the atrocious backlog of untested rape kits across your country and prevent such a backlog from ever building up again. For Keeper Upperers elsewhere, look into your local or state-based sexual assault support services, I’m sure they could use your backing, too!

My favourite Amazon reviews of I’ll Be Gone In The Dark:

  • “This book legit gave me nightmares. 10/10 would recommend.” – Justin Marshal Kirkpatrick
  • “I don’t understand the reviews for this book. I found it to be dull and boring. My favorite true crime books read like a novel. This book is stale and full of percentages.” – siansays

Flowers In The Attic – VC Andrews

I’m a sucker for a content warning. If the news anchor says “the following content may be distressing to some viewers”, you’d better believe my eyes will be glued to the screen. When the ladies of the My Favorite Murder podcast warned their listeners about the twisted, sickening premise of Flowers In The Attic, I knew I had to give it a go. After all, they’d read it as teenagers, how bad could it really be? Keeper Upperers, consider my lesson learned…

Flowers In The Attic is a (relatively) contemporary (supposedly) gothic novel, first published in 1979. It’s the first book in the Dollanganger Series, so named for the family at the center of the story. It all starts in 1957, with a beautiful family of six (mother, father, and four adoring children) living a comfortable suburban life in Pennsylvania. Naturally, tragedy must strike. The father is killed in a car accident on the evening of his thirty-sixth birthday. Given that he was the family’s breadwinner, and his wife had no marketable skills, the remaining Dollangangers are forced to flee their newly-repossessed house and throw themselves at the mercy of their estranged (but very wealthy) maternal family.

All of this is narrated by Cathy Dollanganger, the second child and eldest daughter. Her perspective reminded me a bit of Scout in To Kill A Mockingbird: a grown woman telling a story from her younger perspective… but that’s about all these two books have in common. Harper Lee’s classic American tale of racial injustice and coming-of-age was confronting in a way, but Flowers In The Attic is grim and sickening on a whole other level.

See, the mother feeds Cathy and her siblings (older brother Christopher, and younger twins Carrie and Cory – all Cs, yes, very clever) some cock-and-bull story about how their grandfather is evil. She says the kids will have to hide out in a far-flung wing of the family mansion until she convinces the old coot that kids aren’t so bad to have around, then he’ll welcome them with open arms and give them all his money. Sounds hinky, right?





When the family arrives, they are given a very cold shoulder by their grandmother – by which I mean she hands them a printed list of heinous “rules” they must follow in order to keep their existence a complete secret from everyone else in the house (even the help! imagine!), under the very serious threat of physical violence. Oh, and there’s a lot of God-talk too: no being naked in front of each other because it’s sinful, no thinking about what anyone looks like naked because it’s sinful, no looking at yourself naked because it’s sinful… you get the drift.

The mother is exempt from all of this, for the most part. She cops a flogging, but at least she gets to move around the house and the servants know she’s there. She tries to reassure the kids that they’ll only be locked up for a few days, but those days turn into weeks, and then the weeks into months. On one of the daily food drops, the grandmother reveals to Cathy and Christopher that they are all, in fact, the product of an incestuous union between their mother and her half-uncle. Heaven forbid! That’s why the kids have to be kept secret, it would seem. If the grandfather knew that his daughter’s marriage to his half-brother had produced progeny, he’d… well, it’s not clear what he’d do exactly, but it would be bad.

Are you following this? It’s a bit convoluted, I’ll grant you. So, here’s a little mid-point tl;dr summary for you: Mummy married her Uncle, and now the kids are locked in the attic so the rich Grandpa won’t write them all out of his will. Ick. Now, I’m not going to tease you with content warnings or thinly-veiled references to more icky stuff (that’s the carrot that lured me to Flowers In The Attic in the first place). Consider everything from here on out extremely spoiler-y (and gross). Proceed at your own peril.





Things really start to drag in the middle. I mean, there’s only so much of kids whinging that they want to go outside a reader can take. Plus, the holes in the logic of the story become less “mysterious” and more mystifying. I tried to assume that it was all part of a masterful plot, that Andrews was being clever and leading me down rabbit holes, but 200 pages in I had to concede. The fact that they all just seemed to forget entirely about those extensive rules by the second act was what killed Flowers In The Attic for me. On day one, it was all “not a PEEP out of you until AFTER 10am or YOU’LL ALL BE WHIPPED!”, and (it felt like) the next minute the kids are all screaming their little lungs out by breakfast and no one gives a shit.

So, let me skip ahead. It turns out the reason that the evil grandmother was so hard on them with all this God business was that she was worried history was going to repeat itself… which, of course, it does. It comes on gradually, with Cathy suddenly noticing her changing body, and catching her older brother staring at her now and then, but eventually they’re snuggling and making out and there is a particularly awful incident whereby Christopher forcibly rapes Cathy, only for her to later tell him that she “secretly wanted it” and he “didn’t need to feel bad because they did nothing wrong”.

Feel free to take a moment to let the wave of nausea pass. I know I needed to take a few, myself.

The thing is, I’m really only assuming the grandmother’s motivation and role in the whole business. As a villain, she’s completely two-dimensional. Her dialogue and mannerisms are laughably cliche, like a child’s imagining what an evil grandmother would be like. At one point, she is literally (in a dream, no less) likened to the witch from Hansel and Gretel. There’s no insight into her past, her marriage, her motivation for keeping up the charade when (clang!) we find out the grandfather has actually been dead for months.





Ah, yes, the big twist reveal (as if we needed another): the mother and grandmother kept the “flowers” locked in the attic even after the grandfather passed away. The ladies have actually been trying to kill the kids off, by putting arsenic in their daily food deliveries. Andrews explains this strange new malevolence by having the kids overhear the servants say that the grandfather wrote a “codicil” into his will, stating that the mother would never inherit a dime if she had any children. Yeah, sure. Sounds legit. What lawyer wouldn’t sign off on that?

That’s the final straw for the kids (not the locked-in-the-attic-for-three-years thing, not the starved-for-two-weeks-because-Cathy-took-her-shirt-off thing, not the their-mother-didn’t-visit-them-for-months-because-she-was-honeymooning-with-her-new-husband thing, not the death-of-one-of-the-twins thing). Arsenic in their desserts? No, thank you! They hustle up everything of value that they can carry and run away. And they decide not to dob in their mother and grandmother for the imprisonment and attempted murder because…? Something about not wanting to go to a foster home? Wanting their deeply disturbing incestuous union to continue? Holy heck, I could barely bring myself to care by that point. I was just glad to be done with Flowers In The Attic and the terrible, schlocky writing.

Flowers In The Attic is a strange hybrid: a barely-comprehensible poorly-written story full of holes that still managed to disturb and horrify me. At first, I was frustrated by the mistreatment of the children, but all too soon I was frustrated by the children themselves, and the whole ludicrous set-up. I was sickened by the abuse and incest, but also by the fact that this is marketed as a young adult novel. I’m hardly one to restrict any young person’s access to any reading material, but damn. Even for kids that have a taste for the macabre, it’s a bit much, and the quality of the writing and the strength of the resolution (or lack thereof) just doesn’t justify it. If you’re going to serve young readers up a heaping plate of “adult themes”, best you give them some redeeming quality to wash it down with. They’d be better off reading Lolita.





It would seem that I’m pretty much alone in my opinion, however – maybe because I never did, in fact, read Flowers In The Attic as a young adult and as such have no nostalgic attachment to it. The book was an immediate sensation, and went on to sell over forty million copies world-wide. Of course, that success was not without controversy, with schools and libraries removing it from the reach of young readers (with limited success). Controversy also tainted the novel’s supposed inspiration; Andrews maintained all her life that Flowers In The Attic was “based on a true story”, but there is basically no evidence (beyond Andrews’ account and the reported corroboration of an unidentified family member) to support that. I’m not saying people aren’t held captive against their will for years on end, and that terrible things don’t happen… but Flowers In The Attic is so preposterous and flawed, I’m disinclined to believe a word about it.

Still, the legend lives on. There have been two film adaptations of Flowers In The Attic, a stage-play, a slew of sequels, prequels, re-tellings… even after Andrews’ death, the ghostwriter Andrew Neiderman took up the torch and continued publishing under her name. There are now more than 80 books in circulation for the VC Andrews brand, but I can tell you what: as far as I’m concerned, one was more than enough. If you get your jollies being scared, read some decent true crime. If you want some campy gothic fun, read classics like Dracula. If you want taboo, pick up some Henry Miller. But, for the love of all that is good and gory, don’t bother with Flowers In The Attic, not even to see what all the fuss is about.

My favourite Amazon reviews of Flowers In The Attic:

  • “Disturbing and infuriating all wrapped up in one. Don’t think I’ll be continuing the series. Not a fan of terrible parenting, child abuse or incest. No thank you.” – aziza
  • “good read will have to put it down due to getting angry” – Brandy
  • “I liked the movie but I’m halfway through the book and can’t stay interested. Oh look they’re still in the attic…still….yup, still there. Next chapter…still there.” – Kellyann

Gone Girl – Gillian Flynn

It is nothing short of miraculous that I’ve managed to go so long – over eight years, including the release of a wildly successful film adaptation – without reading Gone Girl. It’s doubly miraculous, surely, that I managed to avoid spoilers that whole time, too. But the jig is up, and I’m buckling down. Gone Girl is a crime thriller/mystery novel by American writer, Gillian Flynn. It came on the crest of the wave of “psychological thrillers”. In fact, given how many copies it sold (over two million in the first year alone), how long it spent on the best-seller lists, the extent to which it has permeated the popular consciousness, we might say that Gone Girl was the typhoon that caused the wave to begin with.

Nick Dunne’s wife, Amy, disappears on the morning of their fifth wedding anniversary. There’s a sign of a struggle in the living room, but no other real clues as to where she’s gone. The police suspect Nick was involved somehow in her disappearance, but he swears he had nothing to do with it. That’s how Gone Girl begins.

Flynn deftly weaves in their back-story, in the form of Amy’s diary entries. Nick and Amy had a fairy tale meet-cute and courtship. They married after dating for two years, merging seamlessly into one another. But when the global financial crisis hit, they both lost their jobs (Nick as a pop-culture writer for a magazine, Amy as a personality-quiz creator).

This change in circumstance all but forced them to leave cosmopolitan New York, moving to Nick’s hometown in backwater Mississippi. There, he opened a bar with his twin sister (borrowing the last of Amy’s family money to do so), and focused on caring for his terminally ill mother and demented father. Meanwhile, Amy… did nothing much, really, until she disappeared.

Flynn has borrowed from a few different sources to put this plot together. She used her own experience of being laid off from her job as a writer for Entertainment Weekly. She has also said that she was inspired by the real-life disappearance of Laci Peterson in 2002. It’s a strange mix, but damn, it’s delicious.





Nick and Amy’s perspectives alternate throughout the novel. They describe their marriage in very different ways, each (obviously) more sympathetic to their own cause and critical of the other. Both narrators feel unsteady, unreliable, but it’s not exactly clear why… at first. Every character in Gone Girl – from the married couple to the childhood friends to the greasy lawyer – exists in a murky grey area. No one is entirely likeable or unlikeable, trustworthy or untrustworthy, hero or villain.

The “big twist” comes almost exactly half-way through. Amy isn’t who she’s been telling us she is in her diary entries. At first, the switch felt a bit jarring, too extreme to be believable. But I went with it, and stopped using “believability” as a criterion by which I gauged my enjoyment of the story. I quickly found it added a whole new dimension to an already-complex plot. Plus, it was a great subversion of the kind of “suspense” we expect from these kinds of novels. The reader is forced to change gears, from wondering whether Nick Dunne was actually involved in his wife’s disappearance and waiting for the “big twist”, to wondering where on earth the story could possibly go after the truth is revealed.

I debated long and hard whether to discuss the details of the “big twist” here on Keeping Up With The Penguins. I mean, they’ve already been discussed and debated elsewhere at length – even some publicity materials have at least alluded to them. Plus, I don’t really believe in “spoilers” (if you don’t want to know what happens in a book, what the heck are you doing here?). But in the end, I had to concede: I won’t reveal all, just on the off chance that there’s some other Keeper Upperer out there who hasn’t read Gone Girl yet and would like to someday. The reading experience will definitely be better, as it is with all thrillers, if you don’t see what’s coming.

(What I will say, for those who already know, is that I really liked the ending. That might be a controversial position, as I’ve seen other reviewers bemoan it for being “unrealistic”, but I thought it was very fitting. I really appreciated that Flynn avoided the neat-bow-around-everything approach of so many other contemporary crime thriller writers. So, there.)





I was pleasantly – if weirdly – surprised by Gone Girl. I wasn’t going to stay-up-all-night to finish it, the way the schlocky blurbs promised I would, but I was always curious to see what happened next. I was particularly impressed by the complexity of the characters, and the way that Flynn weaved intriguing, tantalising hints into the story. In the Battle Of The Girls (Gone Girl versus The Girl On The Train), this one definitely comes out on top.

The film adaptation was released in 2014, written by Flynn herself and starring Ben Affleck and Rosamund Pike. I’m actually planning to watch it – a very rare outcome, but one that should be a testament to how much I enjoyed Gone Girl. I’m also keen to read Flynn’s other books (Sharp Objects, in particular, comes highly recommended), though I worry that they couldn’t possibly “live up” now that my expectations have been elevated. But even if they don’t, at least Flynn will already have a win on her record.

My favourite Amazon reviews of Gone Girl:

  • “Too many sexual remarks that were not necessary” – Tonga
  • “This is a great book, the shipping was fast, but the book was somewhat dirty. I had to wipe off dust.” – Esmerelda
  • “I would rather read an offensively revisionist middle school history textbook from a religious private school in a red state cover to cover once a week for the rest of my life then have to read this again. So you hate yourself go ahead and give somebody money for it and insult yourself by reading it. Trash.” – DangItBobby
  • “I didn’t like what was revealed in the middle of the.book because it should have been revealed near the end of the book. I went to Wikipedia to read a review and I shouldn’t have. The idiot who did the review disclosed the whole story of what happened in the second part of the book. When I read a mystery I want the main event to be revealed at the end of the book not in the middle” – Bruce
  • “Wife loved it.” – Jeremiah

The Hate U Give – Angie Thomas

The Hate U Give by Angie Thomas was one of the most-frequently banned and challenged books in the year it was released, according to the American Library Association. Why? Officially, for its profanity, vulgarity, and references to drug use. But, unofficially, it’s hard to imagine that it’s for any reason other than it might stoke the fire of young would-be Black Lives Matter activists in the tinderbox that is the United States. This is a story about the human cost of racially-motivated police brutality.

This is Thomas’s debut novel, an expanded version of a short story she wrote in response to the death of Oscar Grant. It’s shelved and marketed as a young adult novel – given that it features a teen protagonist who, one could argue, “comes of age” – but The Hate U Give would be appealing and accessible to readers of all ages. We all have something to learn from this story.

It opens at a party, where our main character – Starr Carter – is feeling awkward and uncomfortable. Even though the party is thrown in her neighbourhood by people roughly her own age, she doesn’t feel like she “fits in”, mostly (it would seem) because she attends Williamson, a “white-people” high school. When shots are fired, her friend Khalil helps her escape, and they drive away to safety in his car… or so they think.

Khalil is pulled over, and after a short interaction, the police officer shoots him. Starr is the only witness to Khalil’s death. The officer keeps his gun trained on her until back-up arrives.





That might sound like a story in and of itself, but really it’s only the beginning of The Hate U Give. The story actually unfolds around what Starr decides to do next. Should she make a statement to police and prosecutors, knowing it might cause trouble for her family? Should she identify herself as the witness among her friends and neighbours, knowing that it might incite the ire of local gang members? She’s stuck between the proverbial rock and hard place, an impossible decision for anyone to make, let alone a sixteen-year-old girl. Chuck into the mix a racist frenemy, a white boyfriend who doesn’t get it, and the ripple effects of drug addiction and gang violence in her neighbourhood… Unsurprisingly, Starr struggles under the weight of what is right and what is safe.

“I’ve tweeted RIP hashtags, reblogged pictures on Tumblr, and signed every petition out there. I always said that if I saw it happen to somebody, I would have the loudest voice, making sure the world knew what went down. Now I am that person, and I’m too afraid to speak.”

The Hate U Give (38)

The Hate U Give is a call to action in the form of a young-adult novel. Its central message is reflected in its title, which is actually a reference to an idea attributed to Tupac: that THUG LIFE actually stands for “The hate u give little infants fucks everybody”. In other words, raising children – of all colours and creeds – in a racist system that only functions on the back of oppression is good for no one. Or, to borrow an older saying, we reap what we sow.





In the Author’s Note following the novel’s conclusion, Thomas describes the first time she saw a photo of Emmett Till. She managed to convince herself that it was “history”, until she saw the video of Oscar Grant. This triggered a series of difficult conversations and revelations for her, and “from all of those questions and emotions, The Hate U Give was born”. She emphasises that her motivation for writing the novel was the opportunity to give young people the reassurance that they are not alone in their frustration, fear, and sadness. I like to think that it’s not just “young people” Thomas is speaking to anymore, because surely after the events of this year (if nothing else), that frustration, fear, and sadness is felt by all.

The presence of Chris – Starr’s white boyfriend – in the novel is a deft touch, one that kindly guides white readers towards understanding the role we have to play in making change happen. The Hate U Give also serves the dual role of guidebook and mirror, with Starr’s code-switching reflecting the lived reality of many readers while revealing it to others who haven’t experienced it for themselves. Characters like Starr – and her brothers, her father, and mother – are too often caricatured in fiction. It was a relief to read such a complex and nuanced depiction of them, and the politics of their communities.

It’s both amazing and saddening that The Hate U Give is still so resonant and relevant, perhaps even more so than when it was initially published. The film adaptation – released in 2018 – has also gone on to receive popular and critical acclaim. And so I circle back around to where I began: it’s hard to imagine that this book could be banned for any reason other than systemic racism. I feel a nervous flutter in my stomach as I type that, and I’m tempted to backspace over it, but if Starr can find the strength to use her voice then so can I.

My favourite Amazon reviews of The Hate U Give:

  • “I haven’t read it yet, I’ve heard good things and I’m sure it’s great. All I know is that it came broken. Not sure who’s fault it is but I don’t know who to tell and I’m very upset.” – Alyssa
  • “I’ve been wanting to read something that could help me understand better what blacks are like. This was was a great start. I plan to read more to help me understand as I’m a 70 something women who doesn’t consider myself racist but I grew up in VA and my school was the first in our country to graduate black people from a regular formerly all white High School. I need to continue my education.” – Ruth Moorman
  • “Couldn’t read the book — the first few pages were so full of obcenities I stopped caring what the plot was about. I know some young people talk this way but I choose to avoid filling my mind with dirt.” – Lee Gardner
  • “Doesn’t contain a Y and a O in the title.
    I won’t stand for this kind of madness.” – The Biz
  • “Contacting customer service immediately.” – Amazon Customer

To All The Boys I’ve Loved Before – Jenny Han

For a fluffy young-adult rom-com, To All The Boys I’ve Loved Before has a spine-chilling premise. Lara Jean has written a letter to every boy she’s ever loved (five total), letters that were supposed to be for her eyes only… until one day, under mysterious circumstances, the letters are mailed to the boys in question. It’s every teen girl’s worst nightmare; even now, slightly (ahem!) past my teenage years, I shudder at the thought. But don’t let that put you off! It sets the stage for a thoroughly delightful read.

To All The Boys I’ve Loved Before was first published back in 2014. I’d already seen the Netflix adaptation, but I figured if the book was anywhere near as charming and endearing, it’d be worth reading. Han has said her story was inspired by her own habit of writing love letters (never mailed) to the boys she had crushes on as a teenager. For Lara Jean – and presumably for her creator – the letters are cathartic, a way to “let go” and farewell the boys she has no future with (including her sister’s boyfriend – eek!).

Sure, the romance is the central plot, but equally essential to this novel is Lara Jean’s family. Her mother is, sadly, dead, but she is very close to her father and sisters. Margot is the elder, headed off for university in Scotland, and Kitty is the younger, annoying at times but wise beyond her years. Josh – the aforementioned boyfriend of Margot – is practically part of the family. He lives next door and he often joins them for dinner and family events. He is also (prepare yourself for a stomach-churn) an unintended recipient of one of Lara Jean’s letters.





What’s a girl to do? Throw everyone off the scent by plunging head-long into a fake relationship, of course! Another recipient of a letter, Peter Kravinsky, is the “cool guy” of Lara Jean’s high school. He’s also recently broken up with his own girlfriend. They mutually agree to carry on as though they’re in a relationship. Lara Jean hopes it will prove to Josh that she’s moved on (and stop Margot cottoning on to the fact that she was secretly lusting after him the whole time, plausible deniability is the name of the game!), and Peter just wants to make his ex-girlfriend and resident Mean Girl, Gen, jealous.

Will it come as any shock if I tell you that this perfect plan goes horribly awry? Of course not! Of course it does! And everyone involved gets their feelings at least a little bit hurt. Such is the nature of young-adult romances. And yet, To All The Boys I’ve Loved Before – predictable and sweet as it might be – never once feels like a cliche. It’s never cloying or annoying. I mean, if you’re determined to be a real grouch, I suppose you could look down your nose at it, but boo to you!





Given the dire state of the world, and our collective desperation for a little escapism, To All The Boys I’ve Loved Before is the perfect read for the current moment. It’s sweet, it’s nostalgic, no one has to wear a mask or sing Happy Birthday as they wash their hands… Lara Jean’s internal monologue feels real. So. many other YA novels I’ve read sound like an adult simply parodying the way they think teenagers speak “nowadays”, which is patronising to say the least. To All The Boys I’ve Loved Before, however, hits the mark – a bullseye! Ah, to be young and in love…

The initial release spent 40 weeks on the New York Times Young Adult Best Seller List, and went on to be translated and published in over 30 languages. It got another boost upon the release of the Netflix adaptation in 2018 (which, I’m pleased to report, was mostly faithful to the book). There have since been two sequels, too: P.S. I Love You in 2015 (now with its own Netflix treatment, too), and Always And Forever, Lara Jean in 2016. I’m not sure I’m hooked enough to seek those out, but I wouldn’t discourage anyone from doing so. On the whole, I thoroughly enjoyed this one, and I would highly recommend it to anyone who needs to be reminded that life can be good and sweet.

My favourite Amazon reviews of To All The Boys I’ve Loved Before:

  • “I wanted the movie.” – Kayti
  • “This was an amazing book because it was about boys.” – Amazon Customer
  • “I couldn’t put this book down. I love how it was clean and not dirty.” – Staci

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