This is another short "love" story in a similar vein to Same Love which I reviewed positively a day or so ago, but I was not able to give this the same rating for a variety of reasons. I liked the idea behind the story, and I appreciated the diversity it exhibited, but it felt far too trite, simplistic and shallow, and the characters far too caricatured for me to rate it as a worthy read.
I'm not a cover-lover, so I normally don't talk about book covers because they have nothing to do with the book's content and my reviews are about writing, not about bells and whistles, or glitz, or bait and switch. That said, I have a couple of observations about this cover. The first is that the person depicted in the cover image is gorgeous in the ambiguity and androgyny they represent, and I loved it for that. I'd like to read a story about that character, fictional or otherwise! The second observation is actually the problem: this cover has absolutely nothing whatsoever to do with anybody or anything in this entire book! So why was this cover used?!
I know that authors (unless they self-publish) have no say in the cover they get stuck with. I'm truly sorry about that, but this is a price you pay when you go the traditional publishing route, so this cover problem isn't a factor in my review. This is just an observation. I don't know how publishers can get it so wrong so often, and I'm forced to speculate on motive here, because whatever that is, it's certainly nothing to do with what the author is saying or trying to do with what they wrote!
I just wish publishers were more sensitive to a book's content than they all-too-often prove themselves to be when they slap a random cover on it. I know some people, particularly YA fans, get orgasmic over covers, but mature readers (and by that I don't mean old, nor do I exclude YA readers) do not. While many of them may appreciate a well-done cover, the bottom line there is that they're all about content. I'd rather have a lousy cover with a brilliant story than ever I would a gorgeous cover with a poor story. Reference The Beatles 'white album' (so-called) for sustaining argument!
As far as content is concerned, I was frequently disappointed in the story-telling, and this is where the real problems lay with this work. It was too simplistic, and the main character, Emmy, was not a likeable one (nor did she look anything like the character on the cover, so no match there). She wasn't strong, nor did she become strong. She showed zero growth, which is sad because she was sickeningly immature. Instead of a girl turning into a young woman with purpose and drive, all we got was an unchanging, needy, whiny, and self-pitying mess.
The worst part about all of this was that she knew exactly what her problems were, but never once did she exhibit the strength to try changing herself, or even evince signs of some development of a will to change. She was a weak and uninteresting character who did not remotely deserve the reward she got. There was no justice in this book, and this was a problem.
I don't typically care about genre any more than I care about gender. A person is a person, and a main character is a main character, but what this book most reminded me of is a genre of novels that I do detest, which is the one where the woman runs away from a bad relationship back to her home town where she meets the love of her life. I despise that kind of a story, and while this novel was not quite that bad, it had a lot of the hallmarks of such a story.
Emmy is so desperate to be popular that we meet her blowing the school hot guy, Ty, in some disgusting stairwell one night, just in hopes that from this she will become popular. How that thinking ever made sense is a mystery. All it told me was that she was profoundly stupid. I didn't mind that. I can work with that, because my hope was that she would wise-up and grow a pair, but she never did.
Emmy is 'overweight'. That's never actually defined, but that's not necessarily a problem, especially not in a society where anorexic actors and models are perversely considered the standard of beauty. 'Overweight' is not a problem unless you're unhealthy with it, and Emmy is, because she's overweight from binging on junk food for emotional comfort.
She knows this perfectly well, but never once does she even consider stopping the rot. Instead, she hangs around like a maiden trussed to a tree, awaiting her shining knight to come shield her from the dragon of life. This is why I did not like her. Throughout this whole story she never initiated a single thing; she was never the actor, always the one acted upon, and her inertia, passivity and complete lack of metaphorical balls was sickening to read about.
The Saint George in this story is Jude the somewhat obscure, the artist formerly known as Judy, who is a guy who was unfortunately born in a woman's body. Again, he looked nothing like the character on the cover, so no match there, either. Other than that, we never really get to know him.
Jude is living as a guy but has had no surgery yet. He's trying to save money for it, but is of limited means, so it's taking a while. He's a barista, and Emmy meets him when she visits his establishment with her cousin, Paige, whose parents Emmy is now staying with in Vancouver, having fled Winnipeg fit to be Ty-ed. Paige also looks nothing like the character on the cover, and she's such a caricature and a non-entity, it made me wonder why she was even in the story at all.
The story-telling effectively ends here, and instead of a flowing tale, what we get is a series of vignettes from this point onward. Emmy, who writes poetry that we never get to read, is all but forced onto the stage at the coffee shop on poetry night. She's laughed off the stage, but we never learn if the laughter was at her, or in enjoyment of the poem she read. We're left to surmise it was at her, but this incident never goes anywhere else. She never comes roaring back. Instead, her poetry drops out of sight after this. In the same vein, she starts cycling, but paradoxically goes nowhere. The poetry felt like it ought to have been an overture to her regaining some confidence, and the cycling a lead-in to her getting fit, but the cycling disappears as well!
Another vanishing act is her father's notebooks. Her father is dead and her mother has married a guy Emmy doesn't like. Those issues are never resolved either, but in staying with her uncle, she discovers that he has one or two of her dad's notebooks from when he was Emmy's age. She takes possession of them, but she never reads them - or if she does, we're not party to it, so it's yet another dead end street. Her stay in Vancouver seems full of them.
Emmy begins fantasizing about Jude, gazing at him simperingly whenever he's around, and the attraction seems to be entirely physical - at least that's the most common part that's shared with us: that he looks like he ought to be on stage or on the big screen.
Although some token attempts to broaden his appeal are made, they're too few and too shallow to be believable. Consequently, the elephant in the room here is not Emmy despite her lackluster attempts to convince us otherwise. The problem is the complete lack of any viable reason why Jude is interested in Emmy, because we're never offered a glimpse of any such reason. He just falls into line with her fantasies and is won effortlessly. She doesn't deserve him and we're never given any reason why she should.
I could see a great story here, but it's not the one we got, and the title was wrong. This was far too fast to be love. 'Infatuation is Lust' might have been a better title. I found myself more interested in Jude's sweet-hearted friend, Clarisse. A story about her might have been a lot more engrossing than this one was. I wish this author all the best; her heart is in the right place, but this particular story is one I can't get behind at all, and I'm sorry for that.