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featheredturtle's reviews
18 reviews
Guava Flavored Lies by J.J. Arias
The Bad:
Your Mileage May Vary:
Final Rating
Story: B-
Prose: B
Characters: A
World: B
Theme(s): C
Enjoyment: C- (First half A, second half D)
(Final thoughts: The first half was super fun, and I started longing for pastries ABSOLUTELY unavailable in my city. The second half has a lot of words and very little happening. Honestly, GFL might’ve worked better as a novella. The bonus epilogue was fantastic, though.)
funny
lighthearted
relaxing
medium-paced
- Plot- or character-driven? Character
3.75
The Good:
- Sylvia and Lauren. Their character dynamic is PURE GOLD. Laidback x chill character romance can be really fun, and Arias executed it well. The fact that they’ve known each other for years plays a big role and the reader can FEEL the mountain of personal history between them.
- Romance. A good dynamic helps build a good romance! Lauren and Sylvia are fun together and Arias doesn’t resort to cheap stereotypes when the two are together.
- Background family dynamics. Both Sylvia and Lauren have their own relationships and dynamics within their individual families. While their mothers can feel a bit same-y when they collide (with Sylvia’s a bit screechier) they still feel different with their daughters. Peeking into Sylvia’s dynamic with her brother especially felt very real and reveals a lot about why she is how she is as a person.
- The secret. It’s a big OOF.
- Miami descriptions. Arias has a great feel for Miami. It felt like Arias was writing about a specific city, and not simply describing a place and hoping for the best. I had flashbacks to my CSI: Miami watching days.
- Bonus epilogue. Reading the title of the epilogue and then going on to read the epilogue was HILARIOUS.
- Solid writing style. Arias’s style is vibrant and readable. Her food descriptions are great and the dialogue between Sylvia and Lauren is fun.
The Bad:
- Lacking/poorly distributed B-plot. While the romantic plot develops at a brisk, focused pace, the lack of development in other areas–namely, the bakery business/family history drama–becomes obvious.
- Loses steam about halfway through. This is a big one. Around the midpoint, Sylvia and Lauren are firmly established as “together” and there isn’t a significant threat to their relationship, and neither does one come up. The family rivalry feels a bit like a joke at this point, and Sylvia and Lauren have known each other their whole lives, so nothing feels rushed. There’s still a lot of intimate scenes between them, but it’s lost any substance. The book just keeps going long after there’s anything new to write about.
- Some weak points in prose. The usual suspects, like some avoidable weak/filter words. But also the opposite problem: some over-the-top descriptions for mundane things that feel tacky, like Lauren “pirouetting” into the driver’s seat. Like, what???
Your Mileage May Vary:
- Silvia is difficult to root for at first. While watching both families squall is painful, she–and the rest of the Campos clan–are particularly screechy. I warmed up to her as soon as she mentioned how differently she was treated compared to her spoiled brother, but depending on how you feel about high strung characters, it’ll vary.
- Not for Coldplay fans. There are a couple of harsh opinions about Coldplay. Sorry, Coldplay fans?
Final Rating
Story: B-
Prose: B
Characters: A
World: B
Theme(s): C
Enjoyment: C- (First half A, second half D)
(Final thoughts: The first half was super fun, and I started longing for pastries ABSOLUTELY unavailable in my city. The second half has a lot of words and very little happening. Honestly, GFL might’ve worked better as a novella. The bonus epilogue was fantastic, though.)
The Vermilion Emporium by Jamie Pacton
- Strong character development? No
- Loveable characters? No
- Diverse cast of characters? No
- Flaws of characters a main focus? No
0.0
Malice by Heather Walter
dark
tense
medium-paced
- Plot- or character-driven? Character
- Strong character development? Yes
- Loveable characters? No
- Diverse cast of characters? It's complicated
- Flaws of characters a main focus? Yes
3.5
Camp by L.C. Rosen
emotional
funny
hopeful
informative
inspiring
lighthearted
reflective
fast-paced
- Plot- or character-driven? Character
- Strong character development? It's complicated
- Loveable characters? Yes
- Diverse cast of characters? Yes
- Flaws of characters a main focus? Yes
4.25
One part the queer camp experience you've always longed for, one part bonkers romance scheme. 100% feel-good and hilarious.
The Good
– Smart, accessible approach to the culture of toxic masculinity in the queer community
– Diverse cast
– Fun and funny!
– Sex positive
– Characters who actually proudly state their sexuality
– A+ message: Be you!
– Modern, engaging, readable writing style
The Bad
– Concept of romance is a little sketchy
– Waaay too heavy on internal monologues for a bit
– Sexual content pushes the boundary of YA rating
– Goes a little too hard for Sondheim
<strong>Story</strong>—★★★★☆ (4.25 Stars)
It's Randy's fifth year at Camp Outland, a camp where queer teens get a chance to be themselves. Hoping to win over Hudson's heart—who's masc and straight passing and only seems to date other guys like himself—Randy has spent the past year reinventing himself: workout regimen, new haircut, new carefully curated wardrobe. His friends and camp counsellor all think it's a terrible idea, but what can they do but support him anyways?
<em>Camp</em> was both meaningful <em>and</em> thoroughly entertaining, which, wow, does not come around as often as we need. Rosen hits all the right ups and downs as Randy's plan unfolds: the times Hudson opens up to him, his friends' gentle teasing about his crazy plan, how he really misses participating in the yearly play his cabin puts on, struggling when he hears pieces of Hudson's prejudice toward the gay men who are "stereotypes." It's fun, it's sweet, it's incredibly easy to get lost in.
There's also an escapist fantasy element to it: Camp Outland is a place a lot of us wish we could or could have gone to. It's a sort of joy to see these characters interact and be free, but it also sparks a sort of wistfulness and longing. It's both fulfilling and a little bittersweet to think of a place like Camp Outland.
It's also a very sex positive book, or maybe a sex-normalized book? It's not over-hyped, but Randy is, well, <em>randy</em> at times, and looking forward to being together with Hudson soon (if he can get their relationship past Hudson's typical two week mark.) They're all teens, finally spending time with other teens like them. They can talk about these things without straight kids around to make them feel weird. However, there was a sex scene that kinda pushed the limits of the YA genre. No explicit terms were used and Rosen didn't linger on it, but it was clear what they were doing. I know sex scenes are very Your Mileage May Vary for people, so now you know.
However, around the mid-section and occasionally after, Randy picks up a bad habit of falling into internal monologues. These are dull, as he's only reaffirming the obvious: his romance plan is a bit sketchy. He hopes Hudson will still love him in nail polish, and he might forfeit theatre this summer to gain nothing in return. Rosen has already clarified these stakes to readers, reiterating them doesn't add tension. Instead, they are a dull spot on an otherwise vibrant and engaging story.
<strong>Characters</strong>—★★★★★ (4.5 Stars)
Randy: Between Hudson's inspiring speeches and an emotionally intimate moment they shared on their first night—that Hudson doesn't remember—Randy is 100% sure Hudson is perfect. Randy only needs to 1) work out, cut his hair, and give up theatre for the summer and 2) win Hudson over so thoroughly he doesn't turn into one of Hudson's two-week flings. But it's not that creepy, right? Right? Because once they're together, he's going to ease back into some of the more stereotypically "gay things" Hudson doesn't care for, and it will totally be fine because Hudson will love Randy for Randy by then, and not because he does or doesn't like to wear nail polish.
Unfortunately, it is definitely a bit creepy, and that puts a damper on the romance. Granted, the cast is <em>aware</em> of this and Rosen keeps the romance as uncreepy as it can possibly be, which takes an impressive bit of finesse. Randy's character development centres around trying new things while remaining true to yourself.
Hudson: The Dreamboat. A good guy with a complex and a lot of hidden insecurities. Hudson is the centre of <em>Camp</em>'s main theme: the culture of toxic masculinity, especially in the queer community. Hudson's parents are conservative, and they've instilled a certain strain of internalized homophobia in their son. Hudson doesn't understand why Randy (who he thinks is new guy "Del") hangs out with the theatre kids (~those sort of gays~) and is dismayed when he sees his best friend with painted nails. Kid's got some serious shit to unpack.
Supporting cast: George, Randy's best friend, is <em>hilarious</em>: he knows when to support Randy and when he needs a reminder that this plan is more than just a little wild. He flirts with Hudson's best friend, Brad, which creates some mild complications. Ashleigh, his other friend, keeps him on his toes while combating her own romantic woes. (The trio, together, are hilarious.) Other supporting characters support or guide Randy, or remind him he's kind of being a dick by ditching his friends 95% of the time.
Rosen does a great job with the whole cast: everyone is distinct and sharply characterized. It's easy to visualize them and easy to "hear" their voices. Several supporting characters even have their own minor character arcs, which is a nice touch and helps bring everyone to life.
<strong>Writing Style</strong>—★★★★★ (4.5 Stars)
<em>Camp</em> is written in first person, present tense from Randy's point of view in both future and flashback chapters.
Rosen's style is both vibrant, conversational, modern, and engaging. Conversation and scenes flow easily, witty lines sound natural and come about easily; the absurdity of what Randy is doing is always there, but no one ever forces it beyond belief. Rosen juggles humour, heartbreak, and storytelling with casual mastery, and his style contributes greatly to <em>Camp</em>'s success as a novel.
My only nitpicks lie around some (<em>some</em>) of Rosen's usage of the word queer. Queer is a wonderful term itself, and is great when you're referring to the community as a whole or someone who has a complicated or hard to define identity, etc., but it bothers me when it's used in a way that deliberately obscures or misrepresents our identities. The main instance in my mind is when Joan referred to the Mattachine Society as an "organization that campaigned for queer rights." But that's not 100% accurate. The Mattachine Society campaigned to protect and improve the rights of gay men, which were basically nonexistent when the group formed in 1950. There's nothing wrong with acknowledging that; throughout history, throughout the world, different parts of the community have had different needs.
<strong>Themes and Representation</strong>—★★★★☆
Rosen has provided a diverse cast in <em>Camp:</em>
Given the setting of the novel, there's an abundance of queer representation, with most characters stating their sexuality: Randy, Hudson and George are gay; Ashleigh is a demisexual lesbian; Jordan is nonbinary, possibly genderfluid; Jen is bisexual; Connie and Jimmy are transgender; Charity is aromantic and asexual. Multiple characters are gender-nonconforming.
Randy is possibly Jewish; Hudson is part Korean and possibly Jewish; George is part Middle Eastern and Jewish; Connie is Black; Paz has Afro-Brazilian heritage; and Brad is non-specified dark skin.
<em>Camp</em> centres around tackling the culture of toxic masculinity, particularly in the queer community, as well as addressing the bullying and trauma around being a gay guy interested in (what's society's deemed) feminine things.
<em>Camp</em> is about both wholeheartedly being your glorious self and also having the courage to try new things. It also refuses to inflict judgment: sometimes you're not ready, sometimes you fail, sometimes it's not safe for you to try new things, and that's okay, too.
<strong>Overall</strong>—★★★★☆ (4.25 Stars)
<strong>Recommended For...</strong>
Readers who enjoy YA and LGBT+ books; readers looking for a something fun and freeing; readers looking for something both meaningful and entertaining.
The Good
– Smart, accessible approach to the culture of toxic masculinity in the queer community
– Diverse cast
– Fun and funny!
– Sex positive
– Characters who actually proudly state their sexuality
– A+ message: Be you!
– Modern, engaging, readable writing style
The Bad
– Concept of romance is a little sketchy
– Waaay too heavy on internal monologues for a bit
– Sexual content pushes the boundary of YA rating
– Goes a little too hard for Sondheim
<strong>Story</strong>—★★★★☆ (4.25 Stars)
It's Randy's fifth year at Camp Outland, a camp where queer teens get a chance to be themselves. Hoping to win over Hudson's heart—who's masc and straight passing and only seems to date other guys like himself—Randy has spent the past year reinventing himself: workout regimen, new haircut, new carefully curated wardrobe. His friends and camp counsellor all think it's a terrible idea, but what can they do but support him anyways?
<em>Camp</em> was both meaningful <em>and</em> thoroughly entertaining, which, wow, does not come around as often as we need. Rosen hits all the right ups and downs as Randy's plan unfolds: the times Hudson opens up to him, his friends' gentle teasing about his crazy plan, how he really misses participating in the yearly play his cabin puts on, struggling when he hears pieces of Hudson's prejudice toward the gay men who are "stereotypes." It's fun, it's sweet, it's incredibly easy to get lost in.
There's also an escapist fantasy element to it: Camp Outland is a place a lot of us wish we could or could have gone to. It's a sort of joy to see these characters interact and be free, but it also sparks a sort of wistfulness and longing. It's both fulfilling and a little bittersweet to think of a place like Camp Outland.
It's also a very sex positive book, or maybe a sex-normalized book? It's not over-hyped, but Randy is, well, <em>randy</em> at times, and looking forward to being together with Hudson soon (if he can get their relationship past Hudson's typical two week mark.) They're all teens, finally spending time with other teens like them. They can talk about these things without straight kids around to make them feel weird. However, there was a sex scene that kinda pushed the limits of the YA genre. No explicit terms were used and Rosen didn't linger on it, but it was clear what they were doing. I know sex scenes are very Your Mileage May Vary for people, so now you know.
However, around the mid-section and occasionally after, Randy picks up a bad habit of falling into internal monologues. These are dull, as he's only reaffirming the obvious: his romance plan is a bit sketchy. He hopes Hudson will still love him in nail polish, and he might forfeit theatre this summer to gain nothing in return. Rosen has already clarified these stakes to readers, reiterating them doesn't add tension. Instead, they are a dull spot on an otherwise vibrant and engaging story.
<strong>Characters</strong>—★★★★★ (4.5 Stars)
Randy: Between Hudson's inspiring speeches and an emotionally intimate moment they shared on their first night—that Hudson doesn't remember—Randy is 100% sure Hudson is perfect. Randy only needs to 1) work out, cut his hair, and give up theatre for the summer and 2) win Hudson over so thoroughly he doesn't turn into one of Hudson's two-week flings. But it's not that creepy, right? Right? Because once they're together, he's going to ease back into some of the more stereotypically "gay things" Hudson doesn't care for, and it will totally be fine because Hudson will love Randy for Randy by then, and not because he does or doesn't like to wear nail polish.
Unfortunately, it is definitely a bit creepy, and that puts a damper on the romance. Granted, the cast is <em>aware</em> of this and Rosen keeps the romance as uncreepy as it can possibly be, which takes an impressive bit of finesse. Randy's character development centres around trying new things while remaining true to yourself.
Hudson: The Dreamboat. A good guy with a complex and a lot of hidden insecurities. Hudson is the centre of <em>Camp</em>'s main theme: the culture of toxic masculinity, especially in the queer community. Hudson's parents are conservative, and they've instilled a certain strain of internalized homophobia in their son. Hudson doesn't understand why Randy (who he thinks is new guy "Del") hangs out with the theatre kids (~those sort of gays~) and is dismayed when he sees his best friend with painted nails. Kid's got some serious shit to unpack.
Supporting cast: George, Randy's best friend, is <em>hilarious</em>: he knows when to support Randy and when he needs a reminder that this plan is more than just a little wild. He flirts with Hudson's best friend, Brad, which creates some mild complications. Ashleigh, his other friend, keeps him on his toes while combating her own romantic woes. (The trio, together, are hilarious.) Other supporting characters support or guide Randy, or remind him he's kind of being a dick by ditching his friends 95% of the time.
Rosen does a great job with the whole cast: everyone is distinct and sharply characterized. It's easy to visualize them and easy to "hear" their voices. Several supporting characters even have their own minor character arcs, which is a nice touch and helps bring everyone to life.
<strong>Writing Style</strong>—★★★★★ (4.5 Stars)
<em>Camp</em> is written in first person, present tense from Randy's point of view in both future and flashback chapters.
Rosen's style is both vibrant, conversational, modern, and engaging. Conversation and scenes flow easily, witty lines sound natural and come about easily; the absurdity of what Randy is doing is always there, but no one ever forces it beyond belief. Rosen juggles humour, heartbreak, and storytelling with casual mastery, and his style contributes greatly to <em>Camp</em>'s success as a novel.
My only nitpicks lie around some (<em>some</em>) of Rosen's usage of the word queer. Queer is a wonderful term itself, and is great when you're referring to the community as a whole or someone who has a complicated or hard to define identity, etc., but it bothers me when it's used in a way that deliberately obscures or misrepresents our identities. The main instance in my mind is when Joan referred to the Mattachine Society as an "organization that campaigned for queer rights." But that's not 100% accurate. The Mattachine Society campaigned to protect and improve the rights of gay men, which were basically nonexistent when the group formed in 1950. There's nothing wrong with acknowledging that; throughout history, throughout the world, different parts of the community have had different needs.
<strong>Themes and Representation</strong>—★★★★☆
Rosen has provided a diverse cast in <em>Camp:</em>
Given the setting of the novel, there's an abundance of queer representation, with most characters stating their sexuality: Randy, Hudson and George are gay; Ashleigh is a demisexual lesbian; Jordan is nonbinary, possibly genderfluid; Jen is bisexual; Connie and Jimmy are transgender; Charity is aromantic and asexual. Multiple characters are gender-nonconforming.
Randy is possibly Jewish; Hudson is part Korean and possibly Jewish; George is part Middle Eastern and Jewish; Connie is Black; Paz has Afro-Brazilian heritage; and Brad is non-specified dark skin.
<em>Camp</em> centres around tackling the culture of toxic masculinity, particularly in the queer community, as well as addressing the bullying and trauma around being a gay guy interested in (what's society's deemed) feminine things.
<em>Camp</em> is about both wholeheartedly being your glorious self and also having the courage to try new things. It also refuses to inflict judgment: sometimes you're not ready, sometimes you fail, sometimes it's not safe for you to try new things, and that's okay, too.
<strong>Overall</strong>—★★★★☆ (4.25 Stars)
<strong>Recommended For...</strong>
Readers who enjoy YA and LGBT+ books; readers looking for a something fun and freeing; readers looking for something both meaningful and entertaining.
The Girls I've Been by Tess Sharpe
dark
emotional
funny
mysterious
tense
fast-paced
- Plot- or character-driven? Character
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
4.25
Gideon the Ninth by Tamsyn Muir
adventurous
dark
emotional
funny
hopeful
mysterious
sad
tense
fast-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? Yes
- Flaws of characters a main focus? Yes
5.0
Harrison Bergeron by Kurt Vonnegut
fast-paced
- Loveable characters? No
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
0.5
The Maltese Falcon by Dashiell Hammett
slow-paced
- Strong character development? No
- Loveable characters? No
- Diverse cast of characters? No
- Flaws of characters a main focus? No
0.0
The Empress of Salt and Fortune by Nghi Vo
medium-paced
- Strong character development? No
- Diverse cast of characters? Yes
- Flaws of characters a main focus? No
It's Not Like It's a Secret by Misa Sugiura
Story—★★★☆☆ (2.5 Stars)
Sana moves from lily-white where she was the only kid of colour to California, which boasts a more diverse population. She finally has Asian friends who Get It, even if they’re straight. But, if the text messages she’s found on his phone for the past four years are any indication, she’s pretty sure her dad’s cheating on her mom.
emotional
lighthearted
tense
fast-paced
- Plot- or character-driven? Character
- Strong character development? Yes
- Loveable characters? No
- Diverse cast of characters? Yes
- Flaws of characters a main focus? Yes
3.25
The Good
– #ownvoices Japanese main character
– Sana discovering solidarity and kinship with other Asian students
– Explores nuances of racism and prejudice between different minority groups
– First half has the hallmarks of a cute romance
– Approachable, readable, conversational writing style
– Poems as a style of communication!
– The highs and lows were at the right moments (they just weren’t fun to read tho)
– #ownvoices Japanese main character
– Sana discovering solidarity and kinship with other Asian students
– Explores nuances of racism and prejudice between different minority groups
– First half has the hallmarks of a cute romance
– Approachable, readable, conversational writing style
– Poems as a style of communication!
– The highs and lows were at the right moments (they just weren’t fun to read tho)
The Bad
– Drama relies on Sana’s sudden out-of-character bouts
– Second half was cringeworthy on a majestic scale
– Literally no one likes cheating storylines
– Lesbian character kissing a guy
– Relationship timeskips
– Some telling over showing
– Overuse of omigod
– Drama relies on Sana’s sudden out-of-character bouts
– Second half was cringeworthy on a majestic scale
– Literally no one likes cheating storylines
– Lesbian character kissing a guy
– Relationship timeskips
– Some telling over showing
– Overuse of omigod
It’s Not Like It’s A Secret begins as a cute, promising romance mixed with more serious themes; it veers off the rails when Sana suddenly “can’t stop” the racist tirade coming from her mouth.
Story—★★★☆☆ (2.5 Stars)
Sana moves from lily-white where she was the only kid of colour to California, which boasts a more diverse population. She finally has Asian friends who Get It, even if they’re straight. But, if the text messages she’s found on his phone for the past four years are any indication, she’s pretty sure her dad’s cheating on her mom.
Also, her parents don’t know she’s gay.
Also, racism is more nuanced when it’s more than just you and a crowd of white kids.
It’s Not Like It’s A Secret has a lot going on. This is part of its problem. It starts off on a strong enough note, balancing Sana’s new friendships, her worry over where her father is when he’s out doing something late “for work,” and her growing closeness with her crush, Jamie. It was fun to read about Sana connecting with other Asian students and their schemes to maneuver around their strict parents, and to read about Sana and Jamie sharing their favourite poems with each other and growing closer. It’s easy to sympathize with Sana when she worries about her father.
Then, halfway through, Sana starts making some bad choices and the whole story gets irritating. Sana suddenly “can’t help herself” as she racially profiles Jamie’s friends in a rant about how the latine students just need to work harder. She kisses a guy when her girlfriend doesn’t text her back. It’s a big ol’ mess. These moments were forced and unnatural. They weren’t good drama, they weren’t fun to read, they were glaringly bad choices.
The best subplot was easily the one about her father’s mysterious texts/possible affair. It’s not a black-and-white situation, and she gets to see and understand the core her parents’ values. Sana grows closer to them as a result, and it’s well-rounded in its execution.
In direct contrast are the storylines featuring her own mistakes, which are hastily swept up with a timeskip and a “Whoops! Sorry about that.”
Characters—★★★☆☆
Sana: I really liked Sana is a first. She’s awkward and her narration is humourous, plus her strict parents and her first crush on her clueless straight best friend make her sympathetic. But once we cross that middle bump and she starts up with the really bad decisions? Listen, I’m all for main characters screwing up, making mistakes, being impulsive, etc., but there’s screwing up, and then there’s the frustrating, sudden out of character moments that only happen for the drama of it all, like Sana going on a tirade stereotyping Mexican Americans or cheating on her girlfriend. Readers hate when characters do something stupid for no good reason, and most readers hate cheating story lines. Especially when the main character a) is in a situation where it’s easy to avoid cheating, and b) had the entire weekend to clear things up with her girlfriend and friends.
Sana: I really liked Sana is a first. She’s awkward and her narration is humourous, plus her strict parents and her first crush on her clueless straight best friend make her sympathetic. But once we cross that middle bump and she starts up with the really bad decisions? Listen, I’m all for main characters screwing up, making mistakes, being impulsive, etc., but there’s screwing up, and then there’s the frustrating, sudden out of character moments that only happen for the drama of it all, like Sana going on a tirade stereotyping Mexican Americans or cheating on her girlfriend. Readers hate when characters do something stupid for no good reason, and most readers hate cheating story lines. Especially when the main character a) is in a situation where it’s easy to avoid cheating, and b) had the entire weekend to clear things up with her girlfriend and friends.
Jamie: It’s super cute how Jamie and Sana bond over poetry, sharing and recommending poems for each other. But once they have their cute first kiss, it’s a lot of timeskips, some real bad communication on both ends, and the relationship in general mostly winds up on the back-burner.
The rest: The supporting cast was solidly characterized, and although the reader frequently encounters different groups of characters, it’s easy to tell everyone apart. No one felt same-y. I particularly liked Sana’s relationship with her parents. In the last section, I found Caleb really annoying and melodramatic. So what? The girl you kissed once, literally a few days ago, is gay. It sucks, but there’s no need to be an angsty baby for weeks.
Writing Style—★★★★☆ (3.5 Stars)
It’s Not Like It’s A Secret is written in first person, present tense from Sana’s point of view. Chapters are occasionally interspersed with Sana’s commentary on certain poems.
It’s Not Like It’s A Secret is written in first person, present tense from Sana’s point of view. Chapters are occasionally interspersed with Sana’s commentary on certain poems.
Sugiura wrote It’s Not Like It’s A Secret in a bright, conversational style. It’s decently polished for a debut book: it has a natural flow and is very readable. Although Sugiura captures emotional well at times (Sana’s bathroom stall breakdown was perfect!) there’s also a lot of telling over showing in some key spots that effectively kneecap a scene emotionally. Also: the use of omigod as an exclamation once or twice is fair, but using it over two dozen times is grating.
Themes and Representation—★★★☆☆
It’s Not Like It’s A Secret has an #ownvoices Japanese American protagonist, Sana, who is also a lesbian. Her immediate friend group is also Asian, specifically Vietnamese and Chinese from Hong Kong. Jamie, her girlfriend, is Mexican American and implied to be a lesbian. There are numerous supporting Mexican American characters from Jamie’s friend group, as well. It’s Not Like It’s A Secret often deals with the generation and cultural difference between Sana and her parents, particularly with how they approach things like secrets and truth. This last part is quite nice and one of the highlights of the book.
It’s Not Like It’s A Secret has an #ownvoices Japanese American protagonist, Sana, who is also a lesbian. Her immediate friend group is also Asian, specifically Vietnamese and Chinese from Hong Kong. Jamie, her girlfriend, is Mexican American and implied to be a lesbian. There are numerous supporting Mexican American characters from Jamie’s friend group, as well. It’s Not Like It’s A Secret often deals with the generation and cultural difference between Sana and her parents, particularly with how they approach things like secrets and truth. This last part is quite nice and one of the highlights of the book.
But… On one hand we have all this wonderful representation present on the page; on the other, we have a lesbian main character—specifically lesbian, not bi or pan or ambiguously queer or sapphic—who cheats on her girlfriend by kissing a guy. And readers also have to endure Sana regurgitating some unpleasant Mexican American stereotypes, which wouldn’t make any Mexican American or other latine readers feel great.
Overall—★★★☆☆ (3.25 Stars)
Recommended For…
Readers looking for YA books tackling stereotyping and racism between minority communities; readers looking for authentic Japanese American representation.
Readers looking for YA books tackling stereotyping and racism between minority communities; readers looking for authentic Japanese American representation.
Content Warnings
Graphic: Infidelity and Racism
Moderate: Homophobia