Impossible though it is for Carley to imagine loving books, she is in love with a young bibliophile who cares about them more than anything. Anything, that is, but a good bottle of scotch. Hunter Cay, Carley's best friend and Fox Glen's resident golden boy, is becoming a stranger to her lately as he drowns himself in F. Scott Fitzgerald, booze, and Vicodin.
When the Wellses move struggling writer Bree McEnroy into their mansion to write Carley's book, Carley's sole interest in the project is to distract Hunter from drinking and give them something to share. But as Hunter's behavior becomes erratic and dangerous, she finds herself increasingly drawn into the fictional world Bree has created and begins to understand for the first time the power of stories—those we read, those we want to believe in, and most of all, those we tell ourselves about ourselves. Stories powerful enough to destroy a person. Or save her.
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Creators
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Publisher
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Release date
June 25, 2009 -
Formats
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OverDrive Listen audiobook
- ISBN: 9781400192465
- File size: 392789 KB
- Duration: 13:38:18
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Languages
- English
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Reviews
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AudioFile Magazine
How do you entice teenagers to the written word? The parents in this book hired fictional author Bree McEnroy to write a biography of their daughter, Carley, in an attempt to teach her some culture and help her gain acceptance to a decent college. Renée Raudman's almost-uninflected reading mimics the personalities of Gibson's one-dimensional characters. Raudman persists doggedly, sorting through the confusing themes and undifferentiated characters. As Carley's friend, Hunter Clay, who devours books, slowly draws her into the timeless plots of classic literature, Raudman ever so slowly creates personas to match the two teens who are growing up and finding themselves. M.B.K. (c) AudioFile 2010, Portland, Maine -
Publisher's Weekly
February 23, 2009
Egan's debut, an odd blend of young adult melodrama and unsuccessful metafiction, winds itself into knots of empty story lines. Recognizing that their dullard daughter, Carley, needs an academic boost, Gretchen and Francis Wells hire author Bree McEnroy to write a book to Carley's specifications. Though Carley's love for reality television and Bree's fondness for self-conscious literary tropes should, in theory, unite to make a delightful story-within-a-story, it is often neglected or underwritten. Meanwhile, the cardboard secondary cast floats around Bree and Carley: there's Hunter, Carley's crush, whose alcoholic rakishness, we are assured, masks a poet's interior; Carley's social-climbing mother and philandering father; and Justin, Bree's college chum, who has become, on dubious merit, a literary star. Carley and Hunter's friendship is jeopardized by both his addictions and her unrequited adoration, and Bree and Justin reconcile. Plagued by thin, when not wildly inconsistent, characterization from the start, the narrative's tendency to flit from character to character without revealing anything memorable or insightful further blurs the point. Unfortunately, there isn't enough heart to redeem the dopiness.
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