Will Strunk in the house but don’t call me junior
Grammatical genius. Number one word groomer.
I teach English 8 at the school of Cornell
Choose your words carefully or I’ll put you through hell.
E.B. White on the mic, former student of Strunk
A story that flows is all I need to get crunk
Write for the New Yorker, papers marked up in scarlet
I spin webs with words like my name was Charlotte.
I’m a far-ranging reader, happily reading a picture book one minute and a book for adults the next. Professionally, being a 4th grade teacher and reviewer, not a librarian, I tend to read only YA that really intrigues me for one reason or another and I have to shamefully admit that until now what I’d heard about Marcus Sedgwick’s books — that they were dark and creepy — did not make me want to read them. But recently, I saw something interesting about his latest, Midwinterblood, just as a copy showed up in the mail and so I took it home to read.
The book has an unconventional structure that someone told me is like Cloud Atlas, but while it does have a sort of similar time sense, I’d say it is otherwise completely different. Beginning in 2073 on the island of Blessed, it moves back in time, with an epilogue connecting back to the book’s start. There are seven stories in total, all set on the island, heading back and back and back through time. And by way of these distinctive narratives we are startled to encounter characters we have already met in the earlier stories, characters who care, hate, most of all, two who love throughout eternity. Separately these are ghost stories, love stories, and even something that might be termed dystopic. Playing on tropes of folklore, horror, myth, historical fiction, fantasy, and science fiction, Sedgwick imaginatively weaves something highly original and completely compelling. While Midwinterblood is its own distinct thing, mulling it over now, I think of Laini Taylor’s Lips Touch Three Times and the stories of Margo Lanagan.
Most of all, it is gorgeous. Highly recommended.