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3.18 AVERAGE
3.18 AVERAGE
We are never in the same place at the same time. Do we cancel each other out? Can anyone prove that there are two of us? Flip sides, dark and light, girl and boy, yin and yang.
The Whole Thing Together is a complex, loud and authentic look at the chaotic realism of human dysfunction and it’s ability to destruct and come between the values of ourselves and others. It explores the aftermath of a cataclysmic divorce between the central adult figures of this novel, Lila and Robert; however, the true story resides within the impact the divorce had on their initial three children together: Emma, Mattie, and Quinn. In the period that this novel is set in, the contact between Lila and Robert has completely fizzled and diminished; they now lead separate lives with their respective significant others and the new children between the partners: Lila and her son Ray; Robert and his daughter Sasha. Now, young adults, Sasha and Ray have never met one another; their encounters are limited to fleeting glances across the seating at important events such as their older sisters’ graduations and at turnover periods when the family beach house that both Lila and Robert share on a week to week basis, is switched over from one family to another. However is some distinct yet dreamlike manner, Sasha and Ray feel as if they have known one another their entire lives as they both share a room at this beach house chalk-full in their belongings including clothing, shoes and books which they have annotated together; only, they are never in it together with Sasha habituated there on her dad Robert’s weeks and Ray on his mom Lila’s weeks.
If you seek a breezy, summery, nostalgia-inducing book that will reconnect you with all things warm and light; be advised that you may not find it in here, as this novel does deal with some deeper and darker themes. The author writes this novel with a great shrewdness; Ann Brashares writing is detailed and vivid in portraying scenery and images, as well, it is clever in wording and pensive, really making readers ponder each characters’ feelings and perspectives.
I can understand why someone might be greatly “turned-off” with the novel’s setup and approach to telling it’s story. This book introduces a myriad of sub-characters in relation to the central figures at a rapid pace as if the family was not already large and difficult to keep track of. The narration is a form of third-person limited, with every chapter often taking on one of the children in the family at a time, so the time spent exploring the perspectives of each of the centric figures is sparse. In addition, there are also several bite-sized topics and ideas that are not necessarily discussed to their full potential, such as culture and how Robert’s biological parents hailed from Bangladesh. Emma, Mattie, Quinn, and Sasha’s Bangladeshi ancestry is mentioned and the characters themselves often ponder it, but it is somewhat brief.
In the end, I found, all of these characters and ideas beautifully tie in with one another, under a large wing of “family.” I think that The Whole Thing Together explores how easy yet fatal building barriers and, simply, dysfunction, can be to not only one family, but to a community. We never learn of the meaning behind Robert and Lila’s hatred of each other, nevertheless, it’s clear that it is not without basis. By the end of the novel, it is well understood that the way they "isolate" does not come without cost.
The Whole Thing Together is a complex, loud and authentic look at the chaotic realism of human dysfunction and it’s ability to destruct and come between the values of ourselves and others. It explores the aftermath of a cataclysmic divorce between the central adult figures of this novel, Lila and Robert; however, the true story resides within the impact the divorce had on their initial three children together: Emma, Mattie, and Quinn. In the period that this novel is set in, the contact between Lila and Robert has completely fizzled and diminished; they now lead separate lives with their respective significant others and the new children between the partners: Lila and her son Ray; Robert and his daughter Sasha. Now, young adults, Sasha and Ray have never met one another; their encounters are limited to fleeting glances across the seating at important events such as their older sisters’ graduations and at turnover periods when the family beach house that both Lila and Robert share on a week to week basis, is switched over from one family to another. However is some distinct yet dreamlike manner, Sasha and Ray feel as if they have known one another their entire lives as they both share a room at this beach house chalk-full in their belongings including clothing, shoes and books which they have annotated together; only, they are never in it together with Sasha habituated there on her dad Robert’s weeks and Ray on his mom Lila’s weeks.
If you seek a breezy, summery, nostalgia-inducing book that will reconnect you with all things warm and light; be advised that you may not find it in here, as this novel does deal with some deeper and darker themes. The author writes this novel with a great shrewdness; Ann Brashares writing is detailed and vivid in portraying scenery and images, as well, it is clever in wording and pensive, really making readers ponder each characters’ feelings and perspectives.
I can understand why someone might be greatly “turned-off” with the novel’s setup and approach to telling it’s story. This book introduces a myriad of sub-characters in relation to the central figures at a rapid pace as if the family was not already large and difficult to keep track of. The narration is a form of third-person limited, with every chapter often taking on one of the children in the family at a time, so the time spent exploring the perspectives of each of the centric figures is sparse. In addition, there are also several bite-sized topics and ideas that are not necessarily discussed to their full potential, such as culture and how Robert’s biological parents hailed from Bangladesh. Emma, Mattie, Quinn, and Sasha’s Bangladeshi ancestry is mentioned and the characters themselves often ponder it, but it is somewhat brief.
In the end, I found, all of these characters and ideas beautifully tie in with one another, under a large wing of “family.” I think that The Whole Thing Together explores how easy yet fatal building barriers and, simply, dysfunction, can be to not only one family, but to a community. We never learn of the meaning behind Robert and Lila’s hatred of each other, nevertheless, it’s clear that it is not without basis. By the end of the novel, it is well understood that the way they "isolate" does not come without cost.
oof I really wanted to give this three stars because the author wrote the sisterhood of the travelling pants series, which I loved. The story was a fun, "beachy" read, with some dark twists. However, the reason I cannot give this a 3 star rating is because of what happened at the very end. I know that it is not incest,,,but at the same time,,,, it felt like incest.
I've had this on my shelf for years and, yesterday, in the mood for feelsy contemporary YA, I decided to give it a try.
But this gave me all the wrong feelings! The plot is bland despite its many technicalities, the multiple POVs add very little, and the "diverse" representation has me torn between laughing and crying.
You see, four out of five main characters in this book are ethnically half-Bengali. Their father was a refugee due to the Indo-Pakistani War in 1971, adopted by a Candian couple as a baby. What a unique backstory, right? Could lend itself to an interesting exploration of history and trauma and family, right? But not quite. Because the dad hates everything about his South Asian heritage, spending much of the book trying to erase it, idealizing WASP culture. Some of his family are (rightly, I think) upset by this. But the rest could not care less. One even revels in being the blondest of her siblings--because it makes her his favorite. I know people can be tone-deaf as teenagers, and we're meant to think this character is especially immature, but...why? Beyond having no one really celebrate diversity--besides one character getting a nose piercing "to get in touch" with her heritage--Brashares continually draws attention to the characters' Bengali background in weird and discomfitingly apolitical ways.
As other reviewers point out, characters casually mention racist behavior and colorism in their family without anyone taking issue with it. Sure, some books can simply "depict the reality of racism" without condoning it at every moment. Yet it felt weird that none of the characters, themselves POC, would be so nonchalant about the harmful attitudes displayed by their own family. It felt inauthentic and overly detached. In addition, some of Brashares' physical descriptions were truly odd. For example, a character is described as having "Bengali eyes," which doesn't really mean anything...? Later, the same character is described as having "yellow eyes." What are yellow eyes? I'm guessing the author means something like hazel eyes or that unique turquoise from the NatGeo cover...but yellow eyes are a symptom of jaundice, not an alluring shade of eye. For some reason, the only connection I see is that Bengal tigers have yellow-ish eyes, but that can't be, right? The character's a human being, not some exotic animal.
But you see, there is also, infuriatingly, explicit reference and allusion to the "exotic" beauty of these biracial characters. This is why the yellow eyes thing, rather than being odd but harmless, feels like one of many instances of othering women of color, despite trying to capture their internality. It was icky.
Basically, I don't think every book has to be an ownvoices narrative. But if this is the alternative, then I might reconsider.
As with its treatment of diversity, the book's plot is also haphazard and somewhat suspect. Ray and Sasha are, we are reminded many many times, NOT BLOOD RELATIVES. As such, their insta love is okay. But one cannot help but pause. Ray, in particular, is horny about his step-sister from the get-go, about her smell lingering in their shared bed, etc. This he himself notes. But self-awareness is not a free pass!
Okay, sure, at times, their unique circumstances and feeling of connection to each other made a lot of sense. They did grow up together, but not together . They did play a similar role in their messy family dynamic and can compare battle scars. But why does that mean they WANT each other? What happened to friendship and familial love? What's more, their relationship barely developed beyond boring emails, so what was the point of it?
The other plotlines were underdeveloped and soapy. Mattie's "twist" was visible from a mile away. Maybe that was on purpose. But nothing exciting happened in watching it play out. Predictable doesn't have to be dry--but it was. Quinn was OK--a bit manic pixie dream girl. Emma's "problems" never felt severe...And, at the heart of it, was this "feud" between their parents, which felt juvenile and melodramatic, serving little purpose but to prevent Ray and Sasha from seeing each other, heightening the quirky factor in their still-not-comfortable romance.
I guess, overall, everything fell flat. Instead of the raw richness of family stories--especially ones set on beaches--, this book made many attempts at depth without much success.
But this gave me all the wrong feelings! The plot is bland despite its many technicalities, the multiple POVs add very little, and the "diverse" representation has me torn between laughing and crying.
You see, four out of five main characters in this book are ethnically half-Bengali. Their father was a refugee due to the Indo-Pakistani War in 1971, adopted by a Candian couple as a baby. What a unique backstory, right? Could lend itself to an interesting exploration of history and trauma and family, right? But not quite. Because the dad hates everything about his South Asian heritage, spending much of the book trying to erase it, idealizing WASP culture. Some of his family are (rightly, I think) upset by this. But the rest could not care less. One even revels in being the blondest of her siblings--because it makes her his favorite. I know people can be tone-deaf as teenagers, and we're meant to think this character is especially immature, but...why? Beyond having no one really celebrate diversity--besides one character getting a nose piercing "to get in touch" with her heritage--Brashares continually draws attention to the characters' Bengali background in weird and discomfitingly apolitical ways.
As other reviewers point out, characters casually mention racist behavior and colorism in their family without anyone taking issue with it. Sure, some books can simply "depict the reality of racism" without condoning it at every moment. Yet it felt weird that none of the characters, themselves POC, would be so nonchalant about the harmful attitudes displayed by their own family. It felt inauthentic and overly detached. In addition, some of Brashares' physical descriptions were truly odd. For example, a character is described as having "Bengali eyes," which doesn't really mean anything...? Later, the same character is described as having "yellow eyes." What are yellow eyes? I'm guessing the author means something like hazel eyes or that unique turquoise from the NatGeo cover...but yellow eyes are a symptom of jaundice, not an alluring shade of eye. For some reason, the only connection I see is that Bengal tigers have yellow-ish eyes, but that can't be, right? The character's a human being, not some exotic animal.
But you see, there is also, infuriatingly, explicit reference and allusion to the "exotic" beauty of these biracial characters. This is why the yellow eyes thing, rather than being odd but harmless, feels like one of many instances of othering women of color, despite trying to capture their internality. It was icky.
Basically, I don't think every book has to be an ownvoices narrative. But if this is the alternative, then I might reconsider.
As with its treatment of diversity, the book's plot is also haphazard and somewhat suspect. Ray and Sasha are, we are reminded many many times, NOT BLOOD RELATIVES. As such, their insta love is okay. But one cannot help but pause. Ray, in particular, is horny about his step-sister from the get-go, about her smell lingering in their shared bed, etc. This he himself notes. But self-awareness is not a free pass!
Okay, sure, at times, their unique circumstances and feeling of connection to each other made a lot of sense. They did grow up together, but not together . They did play a similar role in their messy family dynamic and can compare battle scars. But why does that mean they WANT each other? What happened to friendship and familial love? What's more, their relationship barely developed beyond boring emails, so what was the point of it?
The other plotlines were underdeveloped and soapy. Mattie's "twist" was visible from a mile away. Maybe that was on purpose. But nothing exciting happened in watching it play out. Predictable doesn't have to be dry--but it was. Quinn was OK--a bit manic pixie dream girl. Emma's "problems" never felt severe...And, at the heart of it, was this "feud" between their parents, which felt juvenile and melodramatic, serving little purpose but to prevent Ray and Sasha from seeing each other, heightening the quirky factor in their still-not-comfortable romance.
I guess, overall, everything fell flat. Instead of the raw richness of family stories--especially ones set on beaches--, this book made many attempts at depth without much success.
3.5*
I liked this, but it was lacking something that made me feel attached to the characters in this book. Loved the idea, but it could have been executed a little bit better.
I liked this, but it was lacking something that made me feel attached to the characters in this book. Loved the idea, but it could have been executed a little bit better.
Sweet
Perfectly Ann Brashares. I swallowed it whole in one afternoon and enjoyed it. Feels a little infused with a David-Levithan-style of near misses and perfectly contrived connections. Strong, honest female characters.
Perfectly Ann Brashares. I swallowed it whole in one afternoon and enjoyed it. Feels a little infused with a David-Levithan-style of near misses and perfectly contrived connections. Strong, honest female characters.
This book had some sweet moments, but it was mostly confusing. The emotions seemed real, but the story wasn’t formed, concrete brought for me.
adventurous
lighthearted
slow-paced
did not finish, too confusing with characters/POV to get into it
emotional
sad
tense
medium-paced
Plot or Character Driven:
Character
Strong character development:
Yes
Loveable characters:
Yes
Diverse cast of characters:
Yes
Flaws of characters a main focus:
Complicated
Content Warnings
Graphic: Death