Wendy Lamb Books
2005 Michael L. Printz Award Winner
“Every war has turning points and every person too.” Fifteen-year-old Daisy is sent from Manhattan to England to visit her aunt and cousins she’s never met: three boys near her age, and their little sister. Her aunt goes away on business soon after Daisy arrives. The next day bombs go off as London is attacked and occupied by an unnamed enemy. As power fails, and systems fail, the farm becomes more isolated. Despite the war, it’s a kind of Eden, with no adults in charge and no rules, a place where Daisy’s uncanny bond with her cousins grows into something rare and extraordinary. But the war is everywhere, and Daisy and her cousins must lead each other into a world that is unknown in the scariest, most elemental way. A riveting and astonishing story.
This one started off a little rough for me — run-on sentences, fragments, a young teen just spilling her guts on the page. I was worried it was going to be a slog to get through an entire novel like that. Luckily, though, after awhile, my awareness of the style (which, I later figured out was purposeful, of course…) slipped away. I got drawn in to Daisy’s story and couldn’t put it down.
Eventually, as Daisy is forced to grow up, her voice matured (as voices tend to do, I guess). And at the end, when it switches to a number of years later, the “voice” was completely grown up.
The premise of the book was fascinating. There is a war going on, and Daisy and her cousins (that she’s just been sent to live with) are left without adult supervision. But at the time and even later, when Daisy is grown up, it is never clear who the enemy was. Or why they were fighting. Or what they wanted. Or even for sure how it all ended.
In some ways, that’s what made it all the scarier for me. How often do you hear stuff on the news and come away wondering if you ever really understand why this or that is happening and what it really means to you, personally? I know I often listen to then news and hear Charlie Brown’s Teacher. I know they are saying words, but it doesn’t seem to be anything that makes actual sense.
Some reviews were unhappy with or offended by the relationship between Daisy and her first cousin Edmund. My first reaction to those reviewers was ….. good grief….get off your high horse…….On reflection, though, it’s not my place to judge what squicks out another reader. My problem with those readers would only come if they then try to use that opinion to keep others from reading.
Repeat after me: “not for me doesn’t equal this is bad.”
Personally, I didn’t find their relationship problematic. I’m not sure I can picture anyone I know falling for their first cousin, but I know that it isn’t completely unusual. These first cousins are teenagers when they first meet and who are thrown together in extremely unusual circumstances. And nothing is explicit on the page, this is YA after all.
And really, their relationship informed the whole story. For me, it worked. Even now, several days after I read it, I’m still thinking about Daisy and Edmund as characters, as well as the actual mechanics of how this was written, the style shift I mention above. The more I think about this one, the more I’m glad this project gave me the chance to read it.