Review by Asma Ali of "As Long as the Lemon Trees Grow" by Zoulfa Katouh

“Three shrivelled lemons and a plastic bag of pita bread that’s more dry than mouldy sit next to one another. That’s all this supermarket has to offer.”

Set amidst the Syrian revolution, Zoulfa Katouh’s YA novel plunges the reader straight into the bleak world of eighteen-year-old Salama. No food, bombed neighbourhoods and smashed dreams; Salama has lost everything. With her mother gone and father and brother imprisoned, she alone is left to look after her heavily pregnant sister-in-law, Layla, whilst volunteering at the hospital. Her days are filled with treating the wounded with little or no anaesthetic and she increasingly becomes torn between two choices: continue to stay and risk her life or take a chance at survival for herself, Layla and the unborn baby via a boat. But then she meets Kenan, the boy with vivid green eyes who firmly believes in fighting for his country, and the decision gets harder. 

Katouh’s writing is simple, expressive and engaging. She creates characters that stay with you long after the turning of the final page and their dilemmas throughout the novel lead readers to ponder on the complexities of human character. Her treatment of difficult themes such as guilt and refugee trauma is sensitive and well-researched. It also offers readers a brave insight into PTSD and it’s lived consequences.

Against the backdrop of pain and loss, the blossoming romance between Salama and Kenan brings an innocent and optimistic tone to the plot; their relationship is a simple reminder that life and love endures in spite of war. They also both turn to their faith for strength and guidance, which is another nod to authentic Muslim representation (one that I particularly enjoyed and found relatable as a Muslim reader) in a novel rich with culture. 

As long as the Lemon Trees Grow may be a devastating portrayal of life in Homs, but Zoulfa weaves a narrative of fierce hope and determination for a better life, which makes the book a truly beautiful read.  

About the reviewer
Asma Ali is a mum of four and current MA Creative Writing student at the University of Leicester. She has a healthy addiction to all things literary and coffee and can be found sharing her eclectic reading journey on Instagram @asma_scribendi 

Review by Cathi Rae of "Killing a Dead Man" by Siobhian R. Hodges

I wish this book had existed five years ago, when I spent my working days in a classroom with no windows and with a collection of teenage boys who were deemed, and in some cases actually were, too chaotic or troubled to manage in mainstream lessons.

On Friday afternoons, we generally abandoned any pretence of formal learning once I discovered that, if I could find the right book, my class would sit quietly and happily listen to me reading aloud to them. Story time for young men who generally towered above me.

Our criteria was uncomplicated, successful books needed to be about the lives of other young men, these lives needed to be recognisable, a lack of romance was definitely a plus and the more violence, gore, mayhem and horror the better.

Killing a Dead Man would have been an absolute hit. The story of Jordan, a very ordinary teenager except of course for the fact that he is still in ghostly contact with his twin brother, Danny, abducted and murdered when they are both ten, is a narrative that many young men will understand.

The core of the novel is the journey that Jordan undertakes when his brother tells him that he now knows who murdered him and that he expects Jordan to take revenge, hunt down and punish his killer.

Accompanied by the slightly enigmatic and menacing Mr Butch, the taxi driver, and with limited money, knowledge or even the ability to convince anyone that he is not mad, but really can communicate with the ghost of Danny, Jordan is not heroic, he is not a teen superhero, but understands that it is up to him to do the right thing.

This novel is pacy, exciting and has enough gore and violence to satisfy the reader. The language is straightforward and focuses on moving the plot forward, but is powerful enough to raise the hairs on your arms as the supernatural elements ramp up and they do.

The level of peril is well judged, spine chilling rather than disturbing and the descriptions of the sad ghosts trapped in the their own past’s is poignant.

A well-put-together addition to the Young Adult fiction genre but with enough oomph to also satisfy an adult reader.


About the reviewer
Cathi Rae is currently completing her MA in creative at Leicester University. She is a performance poet and spoken word artist and a multiple slam poetry winner and is allegedly working on her second poetry collection. Books about serial killers, unlikely heroes and blood are amongst her secret reading pleasures.

Review by Siobhian R. Hodges of "Blood Red Road" by Moira Young

2011 winner of the Costa book awards, Moira Young’s Blood Red Road is a highly-rated dystopian novel – and I can see why. 

Young’s debut book is filled with action, heart, and moments of comedy. I read this book a few years ago – as a teenager, the intended YA audience – and remember fully enjoying it. Now, as an adult, I have recently had the time to revisit the dustlands that main characters Saba, Emmi, Jack, and Lugh travel through. And you know what … I still love it. Probably more than I did before.

While the story is as gripping as I remembered it, I can now fully appreciate the author’s style. The twangy accents are consistent throughout, and the unique names for certain commonplace objects (such as the “long-looker,” which is a pair of binoculars) is a satisfying aspect which adds even more depth to the world Saba lives in. What stands out the most to me, however, is that there are no speech marks (I know!). I’ll admit it was slightly confusing to read at the start, but with its being written in first person, from protagonist Saba’s perspective, the dialogue soon became easy to differentiate from narration, thoughts, and description.

I tip my hat to Young, for opening my eyes as both a reader and writer. With a compelling storyline and memorable style that adds to the already strong characterisation, Blood Red Road is a novel you will not want to put down. I am looking forward to reading the sequel, Rebel Heart (2012), and have just ordered the third instalment to The Dustlands Trilogy, Raging Star (2014).  


About the reviewer
Siobhian R. Hodges is a writer and author of the supernatural thriller, Killing a Dead Man (2019). She has a BA in Creative Writing and Film Studies, and an MA in Creative Writing. When she’s not writing, she enjoys long walks in the countryside and raiding the biscuit cupboard. Her favourite authors are Kevin Brooks and Patrick Ness.

Review by Rachel Evans of "Uprooted" by Naomi Novik

(Some spoilers!)

Much like the terrifying and sentient Wood at the centre of Naomi Novik’s Uprooted, this novel reaches out with subtle violence, wraps its tendrils around your expectations and pulls them out from under your feet, leaving you (and your beliefs about what fantasy should be) altered for good. Fortunately for you, gentle reader, Novik is happy to take you by the hand and show you the safest route, saving you from any twisted ankles – or absolute insanity.

The tense stalemate between the two warring nations of Polnya and Rosya is but an abstract threat for Agnieszka, resident of the village of Dvernik, located on the border of The Wood. The most pressing issue for Nieszka, who happens to be Dragon Born, is the almost inevitable loss of Kasia, her best friend and fellow Dragon Born; for the Dragon chooses one girl from the surrounding area, and keeps her for ten years. In return for this, he protects the towns and villages from the constant, malevolent onslaught of The Wood.

Of course, this is not what happens. In a slightly predictable (and yet effective) twist, the Dragon ends up abruptly whisking her off to his lair – uh – tower. Apologies Ann Rice fans, but this Dragon is, in actual fact, a Wizard. He abandons Nieszka at the top of his tower without so much as a word of acknowledgement, leaving her to the realisation that she is going to spend the next ten years of her life locked up with him, not Kasia.  Unfortunately (fortunately) for the Dragon, Nieszka is not one to sit quietly and take instruction. Despite, or more accurately, because of his generally terrible behaviour, it is highly satisfying to witness Nieszka’s determination to make his life as difficult as possible. Nieszka’s vibrancy and agency in a world that is constrained not only by gender, but also class (making her pretty low on the food-chain) proves that there is scope for more female-driven fantasy that does not rely on the (boring) idea that 'women can do what men can, but in heels.'

The first third of the book focuses on world building, and brings to life the living, breathing threat of The Wood. It is refreshing to have a completely different antagonist to the usual run-of-the-mill demon/necromancer/manic ruler. The Wood is a genuinely terrifying creation, filled with all manner of creatures and malice that are hell-bent on destroying humanity. Beyond The Wood are Polnya and Rosya (Poland and Russia respectively), who have been at war with each other since the Polnyan queen disappeared with the Rosyan prince (into… you guessed it, The Wood!) These combine to create a backdrop of conflict and tension that feeds into every aspect of the story.

The rest of the book moves rapidly through a complex and sometimes confusing narrative. One could argue that the story doesn’t quite work in its current form, and could benefit with either being trimmed down or expanded into a multi-book series – there is certainly a wealth of material to draw from, both within the fictional world, and the mythological corpus on which it is based. In fact, the only true criticism that I have of Uprooted is its need to be everything at once; both high fantasy, multi-series epic and punchy one-off; YA but also oh-so-adult (some of the overarching themes and scenes in The Wood are highly disturbing); action-fantasy-thriller and romance. In fact, it is the romance aspect of the story that lets it down the most, something that I found incredibly disappointing. For all of Novik’s innovation with The Wood and Nieszka’s system of magic, there is a woeful lack of imagination and diversity when it comes to l-o-v-e. Initially, I thought that there was going to be a queer relationship between Nieszka and Kasia, and I was overjoyed. Those high hopes were crushed, however, when Novik practically forces the Dragon and Nieszka into a tryst that neither of them seems to want. The resulting relationship is both awkward and lack-lustre.

Despite the issues with pacing and with character interrelationships (both of which may have been better addressed in a multi-book format?), Uprooted is still a vastly enjoyable read. Novik’s prose is both evocative and hypnotic, and the way in which she builds the world of Polnya, Rosya, and The Wood is so immersive that it is possible to forget that you are reading a novel. Finally, Nieszka is a character that would cause me much distress if we were friends in real life; which is exactly what makes her such an excellent protagonist to guide you through the deepest, darkest parts of The Wood in order to reach the other side, both changed, and yet exactly the same.

 

About the reviewer

I am a first-year PhD student exploring the connections between gender and textiles in Old Norse literature at the University of Leicester. In my spare time I like to read (mostly dystopian, speculative or fantasy novels) and knit.

Interview with Kim Slater

Kim Slater is a full-time Nottingham author, writing in two genres. 

Her first Young Adult book, Smart, won ten regional prizes and has been shortlisted for twenty-five regional and national awards, including the Waterstones Children’s Book Prize, the Federation of Children’s Book Groups Prize and her first two novels, Smart and A Seven-Letter Word, have both been nominated/longlisted for the Carnegie Medal. Her third YA novel, 928 Miles from Home has just been published in hardback by Macmillan Children’s Books (May 2017).

Writing also as KL Slater for digital imprint, Bookouture (Hachette), Kim’s first two adult psychological thrillers, Safe with Me and Blink, reached the top five in the Amazon UK chart and top ten in the Amazon US chart. Her third thriller, Liar, is published June 2017. To date, she has sold over 300,000 digital copies of her adult crime books.

Kim holds a first-class honours degree in English & Creative Writing and an MA in Creative Writing from Nottingham Trent University. She lives in Nottingham with her husband. Her website is http://kimslater.com/.

Interview with Jonathan Taylor

JT: What originally drew you to the genre of Young Adult fiction?

KS: I chose Writing for Children and Young Adults as one of the modules on my MA in Creative Writing at Nottingham Trent University as I thought it would be interesting. Up until this point I never really fancied writing for younger readers as I thought it would feel limiting and ultimately be censured by gatekeepers. In actual fact, I found it to be quite the opposite. I wrote a short story called Smart for my assignment piece and fell in love with writing strong, young voices. And I have always found librarians, teachers and my publisher, to be embracing of the difficult and diverse subjects I often choose to tackle in my books.

JT: You write in two genres: crime fiction and YA fiction. In your YA novels, there is a kind of detective work, where the young narrators try to understand a complex and mysterious adult world. What do you feel are the differences and overlaps between the two genres?

KS: Adult crime was always my first love, it’s what I wrote (unpublished) almost exclusively up until embarking on my MA course in 2010. So, it felt natural for me to thread a bit of a mystery through my YA novels. It serves to keep the reader (both adult and young readers) turning the pages which is particularly important in writing successful adult commercial crime. 

For me, the similarity between all genres, not just these two, is in writing complex, believable characters. My characters are often flawed and it’s a challenge to get the reader to empathise with them but I enjoy revealing all their different facets when writing both YA and adult crime. Young readers and commercial crime fans all like a good story, so crafting a compelling narrative is a definite similarity, too.

A difference I find when I’m writing is being able to explore interesting issues more thoroughly in my YA fiction whereas in commercial crime, I can’t afford to dwell too much on anything that slows down the pace. That might sound a bit prescriptive and it’s easy to be sniffy about it but I love writing in this genre. I feel I have a good handle on what my adult readers are looking for - in what they deem to be a good book - and I enjoy crafting the characters and stories.

JT: Both Smart and Seven Letter Word are written from the perspective of teenage boys. I found the voices both compelling and convincing. How do you inhabit a teenage boy’s voice and, indeed, psychology like this?

KS: …and now a third teenage boy’s perspective in my latest novel, 928 Miles from Home. 
In the beginning, I never set out to ‘write boys’ but the character always comes first for me, even before I know what the full story will be and all the main character voices – in my YA fiction – have thus far been boys.

This has had an unexpected and welcome outcome in that schools inform me the books are very popular with their boys. I get asked by lots of girls in schools if I’ll write a YA female protagonist and my answer is that yes, of course I will . . . if she presents herself!

I inhabit a teenage boy’s voice in exactly the same way as I approach any voice I write: male, female, young, old . . . I put myself inside that person’s head. For some time before I start to write, actually. I get to know the character, listen to the little quirks and personality traits that make them the person they are. At the same time, I think about their world and the sorts of things that might happen. 

I don’t like to put labels on people, psychologically or otherwise and this allows me to write characters on a human level, from the perspective of their own experiences and how it feels to be them . . . regardless of what the experts might say. Within reason. I call it ‘simmering’ and it’s a very important part of the process for me. When I get a feel for that character and the world he or she lives in, then the words begin to flow.

JT: What would you like younger readers to take from your novels? What’s your aim in writing for them?

KS: When they’ve read a Kim Slater novel, I would like young readers to feel that they have walked in someone else’s shoes for a short time. Often my main characters are young people who feel excluded and who feel different to their peers in some way. By the end of the book I’d like to think that the reader identifies with them, that despite apparent differences, people are essentially all the same. 

I enjoy exploring issues when I’m writing YA and my aim is to get young people talking about difficult and often contentious subjects. I try and avoid being too political, I like to show both sides like a debate and for them to think about how they might form their own opinions. Happily, my books are popular in schools for this very reason.

JT: What do you enjoy most about writing, and being a writer? What do you enjoy least?

KS:The thing I enjoy the most is reminding myself that my passion is now also my career. Now I’m writing in two genres, the financial rewards are excellent but if I wasn’t a professional writer I’d be working a day job and writing for no money at all – indeed, as I did for many years!

The thing I enjoy the least is also, ironically, I believe the secret to success; getting so utterly wrapped up in a fictional world and its characters that one forgets real life and real people are just outside the door. Writing draws me in every day like a powerful magnet and it’s not until I physically get out into the fresh air it releases its insatiable grip!

JT: What are you working on at the moment?

KS: I’m currently ‘simmering’ my fourth YA novel for Macmillan Children’s Books which is again set in Nottingham and explores issues such as poverty and the affects that crime can have on a family. And I am working on my fourth adult psychological crime novel, writing as KL Slater.

About the interviewer
Jonathan Taylor is an author, editor, critic and lecturer. His books include the novel Melissa (Salt, 2015), and the memoir Take Me Home (Granta, 2007). He directs the MA in Creative Writing at the University of Leicester. His website is www.jonathanptaylor.co.uk