Sharon Creech's _Moo: A Novel_

The Plot: Sharon Creech's (2016) verse novel Moo: A Novel tells the story of twelve-year-old Reena. Reena moves with her younger brother, Luke, and her parents from the big city to Maine, where they encounter an old woman named Mrs. Falala. Mrs. Falala owns a farm and a stubborn cow named Zora. After a few strange meetings with Mrs. Falala, Reena and Luke's parents volunteer them to work on the farm helping Mrs. Falala clean and care for Zora the cow and her other farm animals. While Reena and Luke are at first skeptical and even scared of the old woman and her cow, they eventually grow quite fond of her. Luke, an avid drawer, spends time teaching Mrs. Falala to draw, while Reena works diligently to train Zora. With the help of a young man named Zep, Reena begins to train to show Zora at the county fair. The novel ends with Reena and Zora's first time showing at the fair, and an unexpected twist involving Mrs. Falala.

The Poetry: Creech's verse novel follows her previous work in this form, Love That Dog (2001), Hate That Cat (2008), and Heartbeat (2004), in that it uses free verse  throughout the narrative, in addition to concrete poetry and varied typography in several poems. Despite the fact that in Moo the emphasis is most often placed upon the narrative arc, instead of poetic devices and techniques, Creech does use the broken line, white space, and typographical variances in order to emphasize the significance of particular moments in the narrative and to encourage the reader to spend more time on the page. For example, in the poem "Back to Twitch Street," Creech uses imagery and typography to create a distinct picture in the reader's mind of life on the farm:

with the open attic window

and the

           f  l  u  t  e     m  u  s  i  c

                       drift

                               ing

                                     d

                                     o

                                     w

                                     n (61)

In this excerpt from "Back to Twitch Street," Reena and Luke return to the farm after riding their bikes through pastures and past views of the ocean. They are truly captivated by the scenes of the country after growing up in the city. Throughout the narrative, Reena and Luke are captivated the the flute music they hear Mrs. Falala playing from her attic window. They never seen her play, but they come to learn that her flute music and attic space help her practice "remembering."

The Page: The 74 poems that make up Creech's verse novel Moo trace the experiences of pre-teen Reena as she moves from the city to the country and transforms from an indoor girl to an outdoor girl. Creech's Moo was a fine verse novel that represents a growing trend in the blend of free verse, prose sections, and concrete poetry in the verse novel for middle grade readers. I give Moo three stars.

Skila Brown's _To Stay Alive: Mary Ann Graves and the Tragic Journey of the Donner Party_

The Plot: Skila Brown's 2016 To Stay Alive: Mary Ann Graves and the Tragic Journey of the Donner Party is a historical verse novel that explores the life and experiences of nineteen-year-old Mary Ann Graves, a real-life settler who traveled with her family, the Donner family, and several other families across the country to reach California in the 1840s. Brown bases her narrative on historical records and research to tell a particularly compelling story of a young woman's survival in a time of hardship, chaos, and ultimately horror. The nearly 300-page verse novel takes place over the course of one year, beginning in the spring of 1846 and ending in the spring of 1847. Mary Ann travels from Lacon, Illinois with her family which includes her mother, father, older married sister, three younger brothers, four younger sisters, and a hired teamster named John. Mary Ann is a quilter and a strong young woman who likes to speak her mind.

The Poetry: Brown's To Stay Alive is primarily comprised of free verse poems that make use of rich imagery, lyricism, and the space on the page, but the verse novel also includes a few concrete poems that take the shape of what they describe or allude to in the poem. For instance, the poem on page 3, "Father" is shaped like a sphere on the page and describes Mary Ann's father as "burning like the sun" and "itching" to leave on their journey. Likewise, the poem "Inside the Wagon" spreads single words across the space of the page drawing attention to the fact that riding inside the wagon is bumpy: "never still never / smooth / always bump shake rattle" (41). While these poems were interesting in terms of form and content, the poem that I found most moving and rhythmic was the final poem in the collection, "A New Quilt." This nine-page poem shows Brown's skill in the long lyric poem, something that I have yet to see many verse novelists for young readers do well. In "A New Quilt" Brown uses anaphora, lyricism, imagery, and a rhythmic line that mimics the work of quilting to tell the last bits of Mary Ann's narrative. The repeated refrains "I'm stitching / a new quilt" at the beginning of stanzas and "I stitch" justified to the right side of the page at the end of many lines become a place of meditation for the reader as she considers the ways that Mary Ann copes with her loss of many of her family members.

The Page: In addition to being divided into five sections that reflect the seasonal changes, Brown's verse novel also contains a variety of paratextual documents to aid the reader in understanding the historical time period and Brown's research process. The front papers include an article from The Lacon Home Journal announcing that a local family is headed to the west, as well as a two-page map spread that provides the path that Mary Ann's family followed. The end papers include an epilogue, an author's note, a photograph of the real Mary Ann Graves, a list of individuals who were part of the Donner party divided into families with their ages and survival status listed, and an acknowledgments section. Her website also includes an educational guide to pair with the verse novel and a variety of blog posts with more details about the Donner party.

I found Brown's To Stay Alive to be a surprisingly engaging narrative. While the subject matter (cannibalism) initially made me wary of the author's ability to tackle such a topic in a new way, Brown was able to skillfully and successfully weave Mary Ann's story together through her use of lyric poetry. To Say Alive was a page-turner. I give it four stars and highly recommend it.

Jeannine Atkins's _Finding Wonders: Three Girls Who Changed Science_

The Plot: Jeannine Atkins's Finding Wonders: Three Girls Who Changed Science (2016) is a three-part novel in free verse that explores the lives of three real women: Maria Sibylla Merian, Mary Anning, and Maria Mitchell. Each narrative is roughly 60 pages in length, and explores the life of these young women from pre-teens through middle-age. Maria Merian's story begins when she is 13-years-old living in Frankfurt, Germany in 1660. Maria is the daughter of an artist, and she practices painting, but she is extremely fascinated by caterpillars and their metapmorphosis. Maria travels the country, painting these animals and learning about different types of caterpillars. Mary Anning's story begins when she is 11-years-old living in Lyme Regis, England in 1809. She works together with her father and then her older brother excavating stones on the seashore; unlike her father and brother, who simple chisel the fossils from the earth to sell, Mary is mesmerized by the patterns in the stones and the creatures from the past they discover. Maria Mitchell's story begins when she is 12-years-old living in Nantucket, Massachusetts in 1831. Maria's father is a mapmaker, who teaches her how to make star charts, use telescopes, and repair chronometers for sailors. Maria's family gives her a room of her own to do her work, and she eventually becomes the first female astronomy professor at one of the first colleges open to women, Vassar. Each of these narratives pushes forward into the next, demonstrating the ways in which women in science have advanced despite some of the restraints placed on them by their families, religious beliefs, and communities.

The Poetry: Finding Wonders utilizes lyrical free verse throughout, and the poems are rich with image, sound, and metaphor. For example, the poem "Metapmorphosis" in the first section of the book begins, "In a quiet revolution, Maria paints / on one piece of paper / first how a small egg breaks" (39), continues, "At last the cocoon breaks. / Pushing past sticky strands, / a fragile self unfurls," and finishes "Soft, moist, a moth fumbles / then unfolds four wings that flutter, / making her own faint applause" (40). In this poem, Atkins employs alliteration and the rhythm of soft vowel and consonant sounds. She also uses the caterpillars metamorphsis as a metaphor for Maria's own narrative of development as a young woman of science, pushing back against the suspicion her religious family has toward studying the natural world. Likewise, Mary's story uses metaphors of scientific and self discovery. In the poem "A Face in the Cliffs," Mary and her brother discover a huge fossil of a strange animal in the side of a cliff after their father and younger sibling's funerals. "After the rain, Mary walks by the sea, / which seems wide and empty. Pebbles clatter. / A gull drags its broken wing" (95); in these lines, Mary's feelings of loss and hopelessness are made manifest in the landscape by the speaker of the poem. Once they discover the creature, Mary's desire for knowledge is reignited: "She squeezes her hand, tastes salt on her tongue. / She'll scrape away stone. / Wonder doesn't have walls" (97).

The Page: Atkins's verse novel is divided into three distinct parts, "Mud, Moths, and Mystery," "Secrets in Stones," and "Many Stars, One Comet," and each section begins with an illustration of the young women its narrative charts and a prose paragraph titled "The ____'s Daughter" that locates the narrative in history and place. Interestingly, while each section begins by defining the young women by their father's professions, each of the narrative then turns this idea on its head by demonstrating the ways in which each young woman uses and moves forward from the knowledge she gains from her father. For example, in the last section, Maria's father is depicted as boasting about her accomplishment of locating a new comet, and the speaker notes "He enjoys introducing himself as Miss Mitchell's father" (178). The verse novel contains an author's note, a "reading past these pages" section, and a bibliography of sources.

Atkins's Finding Wonders is a beautifully written verse novel and the narrative is compelling. Atkins's purpose behind her narrative is to encourage young women's interest in the STEM fields and to bring recognition to female historical figures who helped to pave the way. Atkins's essay "Scrap by Scrap: Turning History into Poems" in which she explains her process would be a great pairing for this verse novel. I give her verse novel five stars, and I highly recommend it.

Nikki Grimes's _Garvey's Choice_

The Plot: Nikki Grimes's 2016 verse novel Garvey's Choice is a slim collection of poems, each of which uses the tanka form, to tell the story of a middle school boy named Garvey. Garvey desperately wants his father to see him. He is constantly teased because he is overweight, and his father laments the fact that he is more interested in books and music than in sports. He eats to fill the gap of loneliness, sadness, and longing to be seen as valuable just as he is by his father, his family, and his friends. Throughout the book, Garvey comes into contact with friends who encourage him and help him cope, including Manny, a boy who is passionate about cooking although his father thinks "that cooking is for girls" (62). Manny also has albinism and is picked on just like Garvey. Half-way through the collection, Garvey joins the chorus and finds his voice and a way to connect with his father through singing.

The Poetry: Grimes's verse novel is told entirely in the tank form. Tanka, as she explains in a section at the close of the book, is "an ancient poetry form, originally from Japan" (107). The tanka is five lines long, with each line adhering to a syllable count of 5-7-5-7-7. Grimes goes on to say that "traditional tanka poems focus on mood" and are "often poems about love, the four seasons, the shortness of life, and nature" (107). In addition to the use of the tanka form, Grimes also employs imagery, metaphor, and lyricism throughout her collection, and each of these poetic devices provides for greater emotional resonance for her narrative. For example, the poem "Phone Call" begins:

All evening long, I

try tucking in my sadness,

but it keeps getting

snagged on my voice when I speak (19).

In the poem, Garvey explains to his friend Joe about his desire to be seen by his father and to connect with him, but Joe response dismissively by saying, "I get it. Seriously. / But you've got a dad. / Mine skipped out long time ago" (19). In other poems, such as "Unique" Grimes uses Garvey's sadness and feelings of loneliness to bring up issues of the lack of diversity in literature for young people: "I search stories for someone / who resembles me" and "If it weren't for books and Joe, / "different" would just be lonely" (10).

The Page: Garvey's Choice is a short, but extremely impactful verse novel that utilizes poetic form and devices to tell a much needed story that addresses body image, cultural constructions of masculinity, bullying, and the black experience. I highly recommend Grimes's Garvey's Choice, and I give it five stars. If you are interested in the "story behind the story," you can read more about that from Grimes HERE.

Laura Shovan's _The Last Fifth Grade of Emerson Elementary_

The Plot: Laura Shovan's 2016 debut The Last Fifth Grade of Emerson Elementary is a polyvocal verse novel that includes the voices of the eighteen students in Ms. Hill's fifth grade class during a transformative school year. At the end of the year, the crumbling school will be closed and bulldozed to make way for a shopping center. The verse novel explores this event through the eyes of each individual student. Ms Hill tasks the students in her class with keeping a poetry journal; their poems will go into a time capsule at the end of the year.

The Poetry: Each poem in the collection includes the date, the name and illustrated head shot of the student writing the poem,  and a title. The eighteen diverse characters within the verse novel who write poems include: Sydney, Rennie, Tyler, Norah, Rachel, Sloane, Mark, Ben, Katie, Gaby, Brianna, Edgar, Newt, George, Jason, Hannah, Shoshanna, and Rajesh. Their concerns run the gamut from having a mother deployed in the armed forces, to having a crush on a classmate, to a death in the family. The poetry within The Last Fifth Grade of Emerson Elementary strives to represent many forms and a multitude of content, but ultimately much of it is uninteresting and the eighteen viewpoints make it difficult for the author to flesh out characters. One interesting move the author makes involves her inclusion of Spanish poems writeen by Gaby and their translation by another student in the class, Mark, on the facing page. This use of translation in Shovan's verse novel is lost though in the multitude of perspectives and thematic concerns.

The Page: The Last Fifth Grade of Emerson Elementary is divided into four sections, each named for a different quarter of the school year. The poems within the collection allow for one poem per day during the school year. Shovan includes a lengthly section at the end of her verse novel that includes "A Closer Look at the Poems in This Book," which explains how the persona poems work throughout the collection; "Favorite Forms From Room 5-H," which includes a list and definitions of each of the forms used in the verse novel from acrostics, concrete poems, and haiku to free verse poems, found poems, and odes; "Form the Fifth-Grade Poetry Prompt Jar," that lists several ideas for beginning writing poetry; and a glossary. Much of the work of this verse novel is pedagogical, and I can see Shovan and/or her publishers envisioning this work being used in the classroom. Ultimately, though, this work falls short in both poetry and plot. I give Shovan's The Last Fifth Grade of Emerson Elementary two stars.

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.

Stefanie Lyon's _Dating Down_

The Plot: Stefanie Lyon's 2015 verse novel Dating Down tells the story of high school junior and daughter of a politician Samantha Henderson and her experience of falling in love with a "bad boy," who is referred to throughout the narrative as "X." Readers learn in the first pages of the narrative why Sam's love interest is referred to in this way:

I will call him X.

X

for the reasons I crossed him out of my life.

X

for the number of times I plunged into self-destruction.

X

because his name would only give him a place in your mind

that he does not deserve (1).

The narrative follows Sam through the first time she sees X at a coffee shop where he works, through her first sexual experience with him, her discovery of his drug use and infidelity, her own participation in drug and alcohol abuse, and finally her decision to separate from X and move on with her life. Dating Down follows in the pattern of many verse novels for young readers in that it is part of the problem novel tradition.

The Poetry: Lyon's narrative primarily utilizes free verse poetry throughout while making use of end rhyme and concrete poetry occasionally. Lyon also employs the format of dramatic verse in order to demonstrate conversations between Sam and other young characters in the narrative. Ultimately much of the poetry lacked lyricism or innovation. For example, in the poem "Sex," which details Sam's first time having sex with X, the poem relies on short, choppy lines and sporadic end rhyme to move the reader more quickly through the moment: "my bra / my shirt / the late-May air" and "His hands / my body / the canvas of me" (121). Ultimately, this approach is not effective in drawing the reader into the narrative or allowing the reader to linger in the emotion or intensity of Sam's experience.

The Page: Throughout the narrative, Lyon often makes use of the space across the entire page, presumably in order to allow the reader to linger in the white space or to slow down the eye in the reading process. But overall, this approach was not successful. The poetry in Dating Down fell flat and the narrative didn't succeed in pulling me in as a reader. In an over-300-page narrative, the lack of a compelling narrative made getting through Dating Down particularly difficult. I give Lyon's Dating Down two stars.