Ellen Hopkins's _Traffick_

The Plot: Traffick (2015) is the sequel to Ellen Hopkins's Tricks, and in it Hopkins presents the intertwining narratives of five teenagers from across the country who are living in Vegas and have been victimized by sex trafficking. As a sequel narrative, Traffick focuses on each characters' attempt to become a survivor of trafficking and their individual, rocky roads to recovery. The first character introduced is Cody, who wakes up in the hospital after being show to find that he is paralyzed from the waist down. Cody's struggles with gambling led him to sex work. Next, the story shifts to Ginger, who runs away from home with her girlfriend Alex after years of her mother selling her to men for drugs, but is eventually arrested for soliciting an undercover cop. Ginger is living in House of Hope, a Christian center for young sex workers looking to become survivors. Ginger practices writing her story through poetry while at House of Hope. Next, the narrative moves to Seth, a farm boy from Indiana whose father kicked him out after he came out to him. After a string of boyfriends, Seth finds the only way to survive is to begin working for an escort service. He also volunteers part-time at the YouCenter serving LGBTQ youth. After Seth, readers are introduced to Whitney, a girl from a wealthy family whose boyfriend/pimp Bryn facilitated her trafficking and heroin addiction. After the police find her, she is placed by her family in a five-star rehab facility called Clean Slate. Finally, the narrative turns to Eden, a preacher's daughter who after escaping from an abusive, religious facility called Tears of Zion, turns to prostitution to survive. After wandering into a Catholic church, Eden is directed to Walk Straight, a rescue for teen prostitutes intent on a better life. The narratives alternate every 10 pages or so for 500 pages.

The Poetry: Hopkin's Traffick is told through a series of alternating narratives. Each time a new character is introduced, a poem "written by" that character or someone close to them leads off the section. The poems are told in free verse and are typically one to three pages in length. Often, Hopkins will include a poem that manipulates the space on the page in order to isolate a specific phrase that can be read inside the poem, but also vertically as its own entity. For example, the first page of the verse novel is a poem written by Cody Bennett; it contains four stanzas with four lines justified left and four single lines appearing after each stanza justified right. The lines justified right form the phrase: "the abyss,... / would be... / preferable to... / this living hell" (1). Each right justified line can also be read as part of the larger poem, as in the first five lines:

The courage to leap

the brink, free-fall

beyond the precipice,

hurtle toward

                                                     the abyss, (1).

The Page: In addition to the manipulation of space on the page, Hopkins also makes use of varied font to depict when characters write poetry or letters. Hopkins includes a detailed author's note in which she explains the research she did for Tricks and Traffick, relates the significance of the project to her, and provides a list of resources for young people. Overall though, I found Hopkins's writing in Traffick to be lacking. One of the biggest issues with the narrative is that it tried to develop the stories of too many characters, which became confusing as a reader and almost trivialized the horrific experiences of child sex trafficking being related. In addition to the five primary characters, readers are also introduced to a myriad of other characters who also share their unique stories of victimization. Ultimately, Hopkins verse novels are more successful when they focus on fewer characters. The inclusion of poems "written by" characters in addition to their narratives was interesting, but got lost in the chaos of narrative. I give Hopkins's Traffick two stars.

Marie Jaskulka's _The Lost Marble Notebook of Forgotten Girl and Random Boy_

The Plot: The Lost Marble Notebook of Forgotten Girl and Random Boy (2015) is a collection of poems by Marie Jaskulka that alternate perspectives between Forgotten Girl, a 15-year-old high school sophomore who is dealing with her parents recent separation and her mother's depression and drinking problem, and Random Boy, an unemployed recent high school graduate who is also dealing with a troubled home life in which his alcoholic father physically abuses him and his mother. The verse novel's alternating perspectives are visualized through font; Forgotten Girl's poems are in standard font and Random Boy's poems are in italics. The narrative follows the development of the romantic relationship between Forgotten Girl and Random Boy, which very quickly moves from intense to abusive. Random Boy's desire to keep Forgotten Girl isolated from others and to become completely enmeshed with her intensifies after Forgotten Girl decides she wants to begin exploring a sexual relationship with him. Forgotten Girl begins to develop interest in another young man, who she gives the alias of Peter X in her notebook poems, and this further enrages Random Boy. Peter X takes hundreds of pictures of Forgotten Girl on his cell phone and creates photo collages for her. Forgotten Girl eventually realizes she is in an abusive relationship after Random Boy brutally beats Peter X after he tries to stand up for her. The narrative builds upon the legacy of Judy Blume's problem novels like Forever that confront taboo issues such as teen sexuality and romantic relationships and also follows in the footsteps of other verse novelists who use poetry to approach the problem novel such as Ellen Hopkins and Sonya Sones.

The Poetry: The most unique aspect of Jaskulka's verse novel is her use of multiple narrative view points to explore the intricacies of an intense teenage relationship and the way in which a physically and psychologically abusive romantic relationship can develop. The Lost Marble Notebook of Forgotten Girl and Random Boy uses free verse poetry throughout and forefronts each teenage characters' use of the writer's notebook in order to explore their feelings, trauma history, and experiences. The author also utilizes lyricism, imagery, and metaphor in her poems. For example, each speaker uses the metaphor of notebook as body in order to emphasize the intimacies of both poetic exchange and romantic partnership. The poem "Even the Air" begins: "is different / after he's undressed / my notebook" (52), and later, the poem "View" continues that Forgotten Girl is never invited to Random Boy's house after the "day he opened / his notebook / to me" (65).

The Page: One of the biggest missed opportunities of Jaskulka's verse novel is the lack of framing provided to the reader in terms of the books exploration of abuse experienced by young people in romantic relationships. Not only does the author fail to mention this issue in her acknowledgement section or in an author's note, but the reviews of the book and Jaskulka's author website all fail to open a discussion of this topic or to be provide teens with resources if they are experiencing abuse in their own relationships. Instead, the reviews and dust jacket refer to the "dark story" and relationship as "frightening, but ultimately hopeful." I found this missing info within the pages of the book and the reviewers' discourse surrounding the relationship in the book problematic.

I give Jasulka's novel three stars and suggest using THIS interview with the author and the linked resources as a companion piece.

Ellen Hopkins's _Rumble_

The Plot: Ellen Hopkins's Rumble (2014), her eleventh verse novel for young adults, tells the story of Matthew Turner, a high school senior who is dealing with his younger brother Luke's recent suicide, his parents' separation, and his conflicted feelings toward his evangelical Christian girlfriend Hayden. Most of the narrative in this 500+ page work centers around Matt's anger and resentment toward Hayden's circle of church-going friends who bullied his younger brother mercilessly for being gay before his death. Matt also attends regular therapy sessions in which he meditates upon his anger toward everyone who he feels had a hand in Luke's death, his fear of being left along (by Luke, his parents, and his girlfriend), and his struggles with guilt and forgiveness. Toward the middle of the narrative, Matt reconnects with his girlfriend's former best friend Alexa and they begin to feel more and more attracted to each other. This connection, along with his girlfriend's deepening faith and increased commitment to her youth group ministry, leads to Hayden and Matt's breakup. Matt finds out that Hayden also had a hand in gossiping about Luke to her friends who then posted photoshopped pornographic images to Luke's social media pages before he committed suicide. Matt also begins visiting his uncle's gun range regularly to practice shooting. His uncle eventually gives him a job working at the range where one of his uncle's friends (Gus) comes regularly. Gus is depicted as suffering from PTSD after his military service and regularly comes to the range drunk and tries to obtain his gun. When Matt's uncle has a sudden heart attack and leaves Matt alone at the range, Gus shows up angry and Matt's life is changed (again) forever. There is a lot of drama packed into Rumble, and Hopkins employs her signature angsty teen voice throughout. Ellen Hopkins is the Judy Blume of the verse novel, and Rumble is absolutely a problem novel, filled with the protagonist's confessions and an overarching didacticism concerning ideas about books and censorship, faith and religion, and teenage sexuality.

The Poetry: Hopkins's verse novel is told through a series of free verse poems that have a strong focus on language and utilize internal rhymes and rhythm to move the narrative along quickly. For instance, the first poem in the collection "In the Narrow Pewter Space" begins:

Between the gray of consciousness

and the obsidian where dreams

ebb and flow, there is a wishbone

window. And trapped in its glass,

a single silver shard of enlightenment (1).

In these first few lines, Hopkins sets the focal point of the narrative on the mind and philosophical meditations of her protagonist. This first poem in Rumble utilizes alliteration, internal rhyme, and metaphor to convey the inner workings of Hopkins's character.

The Page: While most of the poems in Rumble focus on moving the narrative forward, several poems take the form of Matt's memories of his younger brother and the discussions they would have about faith, family, and the meaning of life. A few poems also focus on Matt's own writing, including an essay he writes for his English class arguing against the existence of God and a letter to the school board he writes arguing against the censorship of the YA text The Perks of Being a Wallflower.

Overall, Hopkins's verse novel was in the same vein as her other works: full of drama and the frank discussion of serious/taboo topics like sex, drugs and alcohol use, religion, suicide, and PTSD. I give Rumble three stars.

An Introduction to the Verse Novel Review

Welcome to The Verse Novel Review! This blog features my reviews, critical perspectives, analysis, and exploration of the verse novel for young readers as a literary form. I am a children's and young adult literature scholar and educator who studies form in contemporary American poetry, comics, and realistic fiction.

I first became interested in the verse novel as a form while I was completing my MFA in Poetry. I read hundreds of children's, young adult, and adult verse novels and even experimented with writing my own verse novel. Throughout my research and writing process, I was most struck by the fact that although this form has deep historical roots and has been utilized by many contemporary adult writers (such as Anne Carson, Rita Dove, Marilyn Hacker, Derek Walcott, and Seth Vikram), the form has emerged strongly in literature for young readers from the 1990s onward. Karen Hesse's Out of the Dust was the first verse novel for young readers to win the Newbery Medal in 1998, and Virginia Euwer Wolff's True Believer and Thanhha Lai's Inside Out and Back Again each won the National Book Award for their verse novels in 2001 and 2011, respectively. Most recently, verse novels such as Kwame Alexander's The Crossover and Jacqueline Woodson's Brown Girl Dreaming have been awarded top honors by the Newbery Medal Selection Committee and the National Book Award panel. Beyond awards and honors, verse novels for young readers have also emerged as a form extremely popular with young people. Verse novels by Ellen Hopkins, Margarita Engle, David Levithan, Sonya Sones, Sharon Creech, Helen Frost, among others can regularly be found in stock at large chain bookstores.

Further research into the critical opinion about the verse novel for young readers uncovered a general feeling of suspicion and distaste for the form (see the bibliography of critical perspectives page on this blog, noting critical commentary from the panel for The Lion and the Unicorn Award for Excellence in North American Poetry in 2005, 2009, and 2014). Critics have debated about whether there is any poetry in the verse novel and whether the form merits serious critical consideration. This led me to wonder: Why the verse novel? What is the verse novel? Why have authors for young readers found the form useful to communicate to and about children in the twentieth and twenty-first century? Why have critics of verse novels for young readers found the form lacking at times? What makes the verse novel for young readers a valuable form? I hope to use this blog as a way to open up a dialogue about the form and to begin answering these questions. I also hope to use this blog as a place to begin tracking, organizing, categorizing, and recognizing patterns in the production, consumption, and content of the verse novel for young readers.

Although many have defined the verse novel, it is not only scholars, but also readers, authors, and publishers who help determine what makes a book a verse novel. What makes the verse novel unique is its hybrid form, a form that combines elements of poetry, prose, and even drama (see Mike Cadden's "The Verse Novel and the Question of Genre" for more on this idea). I define the verse novel as a series of poems linked by a central narrative thread. Furthermore, because of the strong connection between children's and young adult literature and participatory culture, I argue that if a publisher, author, scholar, or reader identifies a work as a verse novel, it is a verse novel.

The verse novel as a form is significant in that, in both children's and adult literature, it has a literary history and tradition that dates back to the late eighteenth and early nineteenth century. Since the late 1990s, the verse novel has reemerged within both children's and adult literature, marking an important shift in the way in which we view contemporary poetry. The verse novel, in its unique hybrid construction, opens up a space for young readers and educators to come to contemporary poetry without feeling overwhelmed. The verse novel presents itself as an accessible form, and quite often reveals much depth and complexity through its language and craft.

So welcome to the blog! You can look forward to my posts weekly. I will be reviewing a new verse novel for young readers each week beginning with those published most recently in 2014 and 2015, with an occasional post about what I will call "genealogical" works from 1990 through 2013. I will provide discussion of elements of the plot, the poetry, and the page, as well as note my rating on a five-star scale system. Cheers to a new year full of verse novels!