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Average rating4
"How to Set a Fire and Why is a blistering, singular, devastating novel by Jesse Ball ("A young genius who hits all of the right notes." --Chicago Tribune) about a teenage girl who has lost everything and will burn anything. Lucia has been kicked out of school, again, this time for stabbing a boy in the neck with a pencil. Her father is dead; her mother is in a mental institute; and she's living in a garage-turned-bedroom with her aunt. Making her way through the world with only a book, a Zippo lighter, and a pocket full of stolen licorice, Lucia spends her days riding the bus to visit her mother in The Home, avoiding the landlord who hates her, and following the only rule that makes any sense: Don't Do Things You Aren't Proud Of. When Lucia starts at Whistler High it seems no different from the schools that came before: girls play field hockey, chasing the ball like dogs, the school psychologist has beanbag chairs in her office, and detention means sitting silently surrounded by stupid people ("I am a veteran of detention"). But when Lucia discovers a secret Arson Club, she will do anything to be a part of it. With a biting wit and striking intelligence that she can't fully hide, Lucia animates her small-town life: the parties at an abandoned water park, visits to the 24-hour donut shop where her friend Lana's cousin works, the little island in the middle of a medical park where kids go to drink. As Lucia's fascination with the Arson Club grows, her chronicle becomes a riveting story of family, loss, misguided friendship, and destruction"--
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Liked this very much. The main character, Lucia, seems to be frequently compared to Holden Caulfield, but I thought she was more like a young Lisbeth Salander, and pictured her looking just like the movie version.
John Green writes books about young people dealing with not fitting in, loss, and other challenges of growing up. If you look up John Green's books on Google Books, they are categorized under the subject “Young Adult Fiction / Social Themes / Dating and Sex.”
Jesse Ball's How to Start a Fire and Why is a book about a young person dealing with not fitting in, loss, and other challenges of growing up. If you look up Ball's novel on Google books, it is categorized under the subject “Fiction / Literary.” What's the deal with that?
The simple answer is that a Ball is a better, more literary writer than Green. But what makes a writer more literary? Is it that Ball has an MFA and writes poetry while Green has a Tumblr and makes YouTube vlogs?
Or it could be because the Young Adult literature category is more of a marketing tag than a content tag, and that the Pantheon imprint (publishers of Mark Danielewski and books about literary arguments) isn't interested in marketing books towards the young adult reader.
Regardless of the classification rationale, marking How to Start a Fire and Why as literary fiction does a disservice to both the novel and to potential readers. How to Start a Fire and Why is a young adult novel, and it's a great young adult novel.
Lucia, the protagonist of the novel, struggles to fit into the social and academic systems at school and eventually becomes fascinated with arson. Like many of John Green's characters, Lucia is literate and brilliant beyond her teenage years, quoting Rumi and reading books about the Russian peasant class. And there are other familiar characters from the young adult world: the overbearing school admin, the weird outcast with a crush on the protagonist, the lone compassionate and supportive teacher. But there are also characters who break the typical YA mold, like creepy older men who Lucia often views with suspicion. It's these more mature views of the world that make it so essential for a book like How to Start a Fire and Why to be classified as young adult literature.
I'll admit, I haven't been a huge advocate for young adult literature. In fact, I thought I hated YA lit for a very long time. Eventually, I realized that I don't hate YA lit, I hate literature that deals with relationships, which a lot of YA books do. It was reading Rick Yancey's The 5th Wave that opened me up to young adult literature. (Although I hated all the love triangle stuff; just kill the damn aliens!) A book like How to Start a Fire and Why could help to eliminate the stigma against young adult literature (and genre fiction in general).
I want people (and especially young people) to read good books. I want them to read books that aren't all movie tie-ins or blatant ripoffs intended to capitalize on the popularity of books that are movie tie-ins (like the entire cottage industry of Gone Girl imitators). If books like How to Start a Fire and Why are shelved with Jonathan Franzen instead of John Green, it reduces the likelihood of that happening.
How to Start a Fire and Why is a great book. There are a couple of parts where Ball focuses on Lucia's writings that interrupted the momentum of the book, but it's otherwise a great combination of story, character, and thought. It's the type of book that's short enough and engaging enough to serve as a sort of gateway read that can encourage readers to diversify their reading habits and explore lesser known authors who publish with smaller presses. Not that there's anything wrong with reading John Green and Stephen King and the like, but there are so many authors and publishers to explore, and How to Start a Fire and Why is a prime example of why we need to seek out and support those authors and publishers.
I do not typically write reviews of books; frankly because I do not have the time. This book infuriated me on so many levels, but most of all I just had to let everyone know what I think happened when this book was written.
I believe that Jesse Ball got an old beat up copy of the Catcher in the Rye. Read it. And decided that Holden Caulfield needed a girlfriend who was an even worse character than he was.
Save your time and money and go find a book with a character who actually goes through development and has more personality traits than being a sad, angsty, teenager who claims everyone in the world is a phony (or a poser in this case).
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