What is a Printz-worthy book? How do we gauge merit? Is great literature a definable thing?
There are so many questions and so few answers, but if we’re going to analyze all these books in light of the Printz award, it’s probably a good idea to think about what it is we’re hoping to see recognized come February 2. [Read more…]
Here we are, a diverse, vibrant, occasionally unexpected crowd. Together, we’re going to analyze the $%&* out of some books.
Well, Labor Day has come and gone, which means our labors are beginning again!
Which means it’s time to say:
Welcome to Someday My Printz Will Come, 2013 edition.
Dying to Know You, Aidan Chambers
Amulet Books, April 2012
Reviewed from ARC
Look, Aidan Chambers is an immensely accomplished writer. He was one of the early Printz winners, people write critical essays about his books, and he plays quite impressively with form in many of his novels. He certainly has a a steady command of his language, and while there are aspects of Dying to Know You I don’t like, when it comes down to it a lot of this is stylistic quibbling and reader preference, which is not a Printz-worthy argument.
Not stylistic? The decision to have this ostensibly YA book narrated by a 75-year-old man.
75. Let that sink in for a moment.
Looking back at Sophie’s rundown of series books that have been recognized by the Printz Committee over the years, a trend emerged that seems to draw a line between shared universe vs. truly serial works. By and large, truly serial works have only been recognized at series launch, with two duology conclusions and one single middle volume as exceptions, and that one volume is a verse novel, which may—by virtue of verse automatically leaving so much unstated—be a different animal altogether.
So let’s stand back and consider what we mean when we say “series,” and why genuine serial series books are at a disadvantage when it comes to being named the finest work of writing in any given year.
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