A sweet story with fun magic, though the coming out metaphor was a bit heavy at times. I'm not entirely convinced that it's a healthy relationship for a twelve year old to have a best friend who is also her only friend and also her girlfriend, or the plausibility of them ending up as a functioning romantic couple, but I do appreciate that Emma does in fact make other friends in the epilogue. There is room for sequels so I look forward to watching Emma grow into her powers and into herself.
It has Gene Luen Yang's signature style all over it, a heartfelt personal journey of self-acceptance with the help of an imaginary friend. Leyuen Pham's illustrations are gorgeous and evoke such a range of places, from Chinatown to Rome. But there were just too many details that rubbed me the wrong way to really get into it. The idea that one needs romantic love to be complete. The best friend used as a mere plot accessory without exploring the importance of other types of love. A queer character introduced only as a way to cut off a straight romance. The core was good, but the sides were half baked.
Except the aunties. The aunties and grandma were absolutely perfect.
An unflinching pandemic novel that faces grief and trauma head on; it's not just zoom school and social distancing, people are dying. Yet despite using a story within a story to show how storytelling is used to process trauma, the ultimate thesis is that the child needs to abandon the story and face reality, which muddles the theme a bit. Overall, the two stories synthesize very well, though, with both supporting each other instead of one acting as a framing device.
Came for the queer horse girls, stayed for the high intensity drama that still feels grounded in reality. Burkhart has no need to resort to over-the-top melodrama, instead masterfully capturing the depth of emotions of everyday conflicts from rivalry and mistakes. The romantic aspects are the least dramatic parts, actually, which is refreshing to find both in a tween story and a queer story.