Strong-willed Kelsey Reed must escape tonight or tomorrow her government will take her kidney and give it to someone else.
In this future forged by survivors of pandemics that wiped out 80 percent of the world’s population, life is valued above all else. The government of “Life First” requires the mentally ill to be sterilized, outlaws abortions and sentences to death those who refuse to donate an organ when told.
Determined not to give up her kidney, Kelsey enlists the help of her boyfriend Luke and a dodgy doctor to escape. The trio must disable the tracking chip in her arm for her to flee undetected. If they fail, Kelsey will be stripped of everything.
I have a confession to make. I was supposed to review this in 2016 but somehow my review copy never made it onto my Kindle or my 2016 ARCs folder. It was only when I was cross-posting to last year’s Accepted ARCs post that I saw it listed and wondered what had happened to it. Apparently it got hung up somehow in the cloud instead of ever delivering to my kindle. My apologies to the author for the delay but I must say the timing of reading it was rather impeccable. With new threats to the bodily autonomy of women coming in 2017 I found the dystopian future to be even more haunting than I might have in 2016.
Set in a near-future where the population was decimated by plagues and environmental issues leading to starvation, the title alludes to a new movement and indeed, rule of law, in the United States. In a landmark case, a woman who after the population decimation chose to have an abortion is prosecuted in court. Her defense is that you wouldn’t force someone to donate blood or a body part to save another person’s life so why should you force a woman to bring a fetus to term? The court agrees that it is a logical fallacy but instead of protecting abortion chooses to make it the law to donate body parts and blood when needed. (There are other impacts too, such as everyone must take statistics classes and decide whether or not to risk their life to save another’s based on the statistical likelihood of success). Everyone is given a life monitoring chip and is registered in a database and bodily matches found so they may be called in when needed. The main character is called in as a kidney donor, but she’s afraid to donate since one of her best friends became paralyzed as a result of her donor surgery.
Those who disagree with this policy have seceded to their own country in what used to be Florida. Kelsey and her boyfriend Luke plan her escape there but of course, not everything goes as planned. There are a lot of twists and turns that bring forth more moral issues that I can’t really get into without spoiling the book for others. Suffice to say, I work as a medical librarian, and I found the medical ethics issues raised on top of the bodily autonomy ones to be quite well-put and thought-provoking.
I must give a quick trigger warning that there is a graphic attempted rape in the book, which was definitely disturbing and not possible to simply skip over, as it was a key plot point and lasted for a while. However, I do think that it suited the book and the issues being raised and was not out-of-place. Essentially, if you’re disturbed by the attempted rape and not by the rest of the book then I have some questions for you about your ethical lines.
Overall, this was an engaging read that left me immediately curious about the next entry in the series. Twists and turns took it places I wasn’t anticipating it going and I encountered more medical ethics issues than I thought I would in the read. Highly recommended, particularly to those who have enjoyed other women’s issues dystopian futures such as The Handmaid’s Tale.
4 out of 5 stars
Source: kindle copy from author in exchange for honest review
This giveaway is now over. Congrats to our winner!
There was 1 entry via blog comment, so she is our winner. Congrats to Amanda McNeill!
Thanks to the generosity of the author, one lucky Opinions of a Wolf reader can win a copy of this ebook.
How to Enter:
- Leave a comment on this post stating why bodily autonomy matters to you.
- Copy/paste the following and tweet it from your public twitter. Retweets do not count:
Enter to win LIFE FIRST by @RJCrayton, hosted by @McNeilAuthor http://buff.ly/2kgFf4F #scifi #womenauthors #giveaway
- Repost the Instagram giveaway announcement and tag my Instagram.
- Tag one of your friends on the Instagram giveaway announcement.
Each option gets you one entry. Multiple tweets/Instagram posts do not count as multiple entries.
Who Can Enter: International
Contest Ends: February 23rd at midnight
Disclaimer: The winner will have their book sent to them by the author. The blogger is not responsible for sending the book. Void where prohibited by law.
It’s impossible to talk about a theatrical adaptation of a book without discussing spoilers, so if you haven’t ever read 1984, you might want to go pick up a copy and read it and come back to this review later.
(And by might want to I mean my god, reader, how have you not? Get thee to it!)
The American Repertory Theater (ART) is a really cool theater in Cambridge, MA (right in Harvard Square) that brings a lot of brand-new and often experimental theater to the area. Previously I’ve seen The Heart of Robin Hood (before it was a Broadway play, so when it was still in its developmental phase) and another adaptation of a book–Wild Swans (review). I keep an eye out for plays coming to the ART that might appeal to my husband and I. When I got the email about the new adaptation of 1984, I forwarded it to him, and he immediately confirmed yes, let’s get tickets.
We’ve both read 1984 but not in around 10 years. My husband immediately noted the precisely 101 minute running time. I had forgotten the torture room is room 101 in 1984. I’m glad he noticed this. There were other send-ups to it throughout the play.
When you arrive for 1984, the ushers notify you that there are strobes, gunshot noises, and also no intermission or readmittance. We were expecting the first two but were a bit thrown by the last. Since we both just had a nasty bout of food poisoning, we were a bit anxious about no intermission or readmittance. We joined literal throngs of people at the bathrooms, who were all also anxious about the whole thing and then found our seats.
I would be amiss not to mention that about 2 weeks before the show, the ART called us and told us that during pre-production they discovered that one of the (cheap in the back) seats we’d originally bought was going to be obstructed by some tech needed for the show. They gave us new better seats, in the center and only a few rows back. A great upgrade, for free. In any case, let’s get down to the actual show.
1984 is a production that truly embraces the futuristic, tech-heavy dystopia depicted in 1984 the book. It incorporates technology from the instant it starts, and from the moment patrons walk into the building, there is a sense of ominous foreboding. The entire 101 minutes is done on one stage with a single incorporated set change (which was amazing, and I will get to in a minute) and with 9 actors.
The set originally consists of a room with a table and some chairs. There is paneling at the back of the room. Half of this is see-through glass, so you can see characters coming to the door in the middle. On one side of the room is the ominous telescreen, which you can actually see glowing periodically. There is another door near the telescreen. Over all of this is a giant screen that is used to incorporate really cool tech. At first I thought it was pre-recorded film being shown on this screen, but later it becomes evident that at least some of it is being shot live via CCTV on various areas of the stage. As an example of how this screen is incorporated, at the beginning of the show, when Winston starts writing in his journal, the screen shows the words being written upon the page.
This single set is used to show Winston (the main character) at home, at work, and later in the countryside. I particularly enjoyed how the show just goes for it with the countryside. They declare they are in the country, there are sound-effects of birds, and then it’s really easy to believe they are in the country. My husband enjoyed the glowing yellow lights and sound-effects of a train chugging the show uses to transition here.
Those who have read the book will realize that the earlier scenes of Winston at home, work, and in the countryside end up being recollections and thoughts while he is in prison with the Ministry of Love being tortured periodically in room 101. We weren’t sure how they were going to handle this transition without an intermission, but it was awesome.
Throughout the beginning of the play, Winston and Julia go through a door on the side of the stage to the room of safety that they rent out that supposedly has no telescreens in it. When they are in the room, the audience views what is occurring via the screen on top of the stage through what appears to be CCTV. When it is revealed that they are caught (which is super spooky how it is done in the play), pieces of the set either lift up or slide to the side (I can’t remember which) to reveal behind the wall at the back is the actual bedroom set. So this is where they have been going to actually act out the bedroom scenes. The secret police who come in to arrest them also change the set. It is violent, brutal, and awesome. They ultimately change the set to be what appears to be an empty stage but then when Winston is brought into room 101, bright lights reveal white everywhere. It’s a glowing white room, which is perfect for the eeriness of the torture.
What about the acting? The acting was so good throughout the various set changes and tech that I didn’t really notice it, which I personally think is one of the best complements you can pay an actor. If you get so sucked into the world that you forget acting is even going on, then it’s good acting. I will add that multiple characters play various roles, and I didn’t notice, which is also a complement.
So let’s get to the most…memorable/impactful part of the show. The torture scene towards the end. I thought this was splendidly done. I am not one who ever really forgets that I’m watching a play, so I didn’t have the visceral horror I would have if I was seeing pictures or videos from actual real live torture, but the combination of the set and the costumes of the torture assistants (they’re wrapped in white suits that remind me of the yellow suits in Breaking Bad, if you’ve seen that), and the interrogator’s entire presence generated a real feeling of dread and horror.
If you are concerned about the “torture,” basically the interrogator gives an order (ie “fingers”), the people in white grab their instruments and come up to Winston. There’s a big sonic boom while the lights flash out, then the lights turn on and the results of torture appear, in the case of fingers, it’s blood on Winston’s fingertips. It was good, but it was obviously theater.
That said (bare in mind there was no readmittance) right around the first torture (there are three), people in the audience started bailing out. I heard later that around 20 people bailed out. I personally saw about 7. But, I will say, this was about 10 minutes from the end of the play, so it’s also possible at least some of them just really needed to use the restroom (this is a play without intermission right after most of us went to dinner). I heard later that one woman in the audience actually threw up in her purse, but to be fair, she could have been sensitive to strobes, and there are a lot of strobes in the show. My husband and I were generally flummoxed by the number of people bailing. Did they somehow know nothing about the plot of 1984 before they went? Were they that easily disturbed? It’s torture, but again, it’s theatrical torture. I know there’s nothing the ART can do about people walking out, but it did irritate me some just because it was distracting. However, it is also a hilarious story to tell people, and most people I’ve mentioned it to just think it makes the play sound more bad-ass (which it totally is).
We really only had a few points of feedback after the show. First, we wished that the scene when Julia and Winston are in the countryside and start to undress to have sex for fun and fight Big Brother that way had taken the undressing further. Given the violence, big booms, and large tech in the show, as well as the general point in the scene about Big Brother being afraid of orgasms, we felt that leaving shirts on just didn’t take things far enough. Additionally, we were both a bit disappointed that there were no actual rats in the show. We get how difficult it can be to wrangle animals, but I did think there’d be at least some video or disturbing images of rats, and there is not. To be fair, our ability to be freaked out by rats is really mitigated by living in Boston. I see at least one rat a week when I’m commuting. And they’re big ones. Finally, we thought that the clock in the room reading 1:01 was a bit too cute.
Overall, this is really cool experimental theater. Attending it won’t be like any other play you’ve attended. Come prepared to be a bit anxious for 101 minutes and maybe dehydrate yourself a bit ahead of time so you can last the full time without intermission. Personally, I think this is a beautiful adaptation of 1984 that really lives up to the spirit and intent of the book, while using modern tech and trends to keep it relevant.
Connor and Lev are on the run from the Juvenile Authority but for once they’re running to something. Or rather, someone. They’re looking for a woman Proactive Citizenry has tried to erase from history, hoping she’ll have some answers about just how the world got to be the way it is. Meanwhile, Cam, the rewound boy, is plotting to take Proactive Citizenry down in the hopes of winning the heart of Risa.
This entry in the series really fizzled for me with the far-fetched ideas and shaky execution of a complex plot finally becoming too much for me to really enjoy the story.
On the one hand, this book is more of the same. There’s multiple characters in vastly different situations who will clearly all come together at some point in a convergence that should read like fate but oftentimes just reads as too convenient. On the other hand, the action this time is interspersed with some flashbacks to the scientist who discovered unwinding, and how it went from something to be used to save lives to something to keep adolescents in line. This plot was interesting, but its reveal was awkwardly handled. The flashbacks are from the perspectives of the scientists, just as we switch around among the perspectives of the teens in the story, rather than letting them naturally discover what happened. It’s a change that could have been used to build up more tension and excitement but instead just makes the pace awkward and changes the feel of the story from one told primarily by teens to one routinely interfered with by adult perspective.
The big reveal of how unwinding came to be failed to really strike a chord with me, and I believe this is partially because it’s still a bit unclear to me as to who exactly the big bad is. I do think it’s interesting that basically unwinding came to be because big business was trying to protect their investment in health care. I appreciate the angle of how health care needs to be more than just a business. However, I question the supposed solution for unwinding offered at the end of the book. I feel it is just more big business.
Overall, this book continued the issues with the second book, only more so. Too many plots that conveniently intersect and confusion over what exactly is going on in the world. Additionally, the far-fetched elements that challenged my ability to suspend disbelief in the first two books become at the center of the big overarching plot of the series. Given both of these issues, I will not be continuing reading the series, although I am glad that I read the first book, as it is an interesting and unique dystopian YA world. It’s just one that went off the rails a bit. This entry is recommended to those readers who simply must know how unwinding came to be and how the characters plan to stop it.
3 out of 5 stars
Picking up where Unwind left off, UnWholly finds Risa and Connor managing the Graveyard full of unwinds themselves with no adults in site, and Lev struggling to find a purpose now that he’s both free of clapper chemicals and under the watchful eye of the government. Into the mix comes Cam, the first ever “rewind.” He’s been assembled completely from the parts of unwinds of every race and religion. And his creator intends to meddle with the runaway unwinds too.
I picked this up right after finishing the first on audiobook, because finding a fast-paced story with a good narrator can be harder than it sounds. So once I found that with the first book in the series and I saw the rest of it had the same narrator, I figured I may as well continue along with it. While I found the first book engaging and thought-provoking, I found myself periodically bored with the plot in this one, and also found it more difficult to suspend my disbelief than before.
The basic premise is that Connor is all torn up over having the arm of his once-rival (who also just so happened to threaten to rape his girlfriend, Risa). He thus holds Risa at arm’s-length (pun intended) because he’s afraid of what his own arm will do. While I appreciate the fact that it must be truly atrocious for your boyfriend to now have your attempted rapist’s arm, I think the fact that Connor lends the arm so much agency is a symptom of one particular idea in this world-building that just doesn’t work for me. The idea that body parts have their own spark of soul or agency or thought. It’s rife in this entry in the series, and it’s just plain weird to me. I can understand a character not bonding with a transplant that was forced upon him. I can understand it being weird for loved ones. I don’t, however, find myself able to suspend my disbelief enough to believe that someone’s arm has their personality in it so much that the person who it was transplanted onto would be afraid of it. It’s an arm, not a piece of brain or even a heart. The author does provide links to sources about transplant recipients feeling connected to the person whose body part they received or having memories or what have you. I appreciate that. But for me personally this plot point just does not work. Other readers may be able to suspend their disbelief better than I was able to. I for once can’t imagine not going near my own girlfriend because I was afraid of my arm. I also just disliked how much agency Connor removes from himself for his own temper. If he hits the wall when he’s angry it’s not him hitting the wall, it’s the arm hitting the wall. The arm got mad. The arm got out of control. There’s just a ridiculous lack of agency there, and I’m not super comfortable with that level of lack of agency being in a book marketed toward teenagers, who are at the best point in life for learning agency and responsibility.
I similarly have a hard time believing, from a neurological perspective, that the rewind boy, Cam, could exist. His brain is dozens’ of peoples all wound together. I could believe replacing a brain piece here or there with transplant technology, I couldn’t believe mish-mashing many together and having them actually function. Let alone with the only issue being that Cam struggles to learn to speak in words instead of metaphors. While Cam did strike me as grotesque, he mostly just struck me as an impossibility that I was then supposed to have sympathy for because he’s a person with his own feelings…but are they really? The whole thing was just a bit too bizarre for me.
On a related note, I found the scenes where Cam wakes up and learns to talk and slowly realizes what he is to be very tedious to read. They move slowly, and there is an attempt at building of suspense, but it is clear nearly immediately that Cam is a Frankenstein’s creature like experiment, even without Cam himself knowing it right away.
The other big new character is Starkey, a boy who was storked who is brought into the Graveyard. He’s basically exactly the same as Connor (he’s even still a white boy), the only difference being that was a stork and that he has no Risa to ease down his temper. I found his characterization to be uncreative, even if the building up of strife between the storks and the rest of the unwinds was a good plot point. It would have been better if the leader of the storks was more creative. Similarly, Starkey’s two main assistants are a black girl and an Indian-American boy. Just as with the first book, non-white people exist, but only as seconds to the white people. Why couldn’t either of them have been the leader of the storks?
All of these things said, there was still a lot of plot to keep the interest. I’ve barely touched on a couple of them. The world is still engaging, even if it’s hard to suspend the disbelief for it. I doubt I’d keep reading if I was reading this in print, but the audiobook narration makes it feel like listening to a movie, and it’s the perfect match for my commutes and doing dishes and such. Plus, now I’m curious as to where else the plot will go. I’m betting it will end up going in a direction I find it even harder to suspend my disbelief for, but it’ll be a fun ride seeing where that is.
Overall, fans of the first book may be disappointed by the slightly more meandering plot in this one. The addition of two new characters to follow will be distracting to some readers while others will find it adds to the interest and suspense. Some readers may be turned off by the continued lack of diversity in such a large cast of protagonists. The plot is engaging and the world is unique, though, so fans of YA dystopian scifi will probably still enjoy it.
3 out of 5 stars
In the near future, the Pro-Choice and Pro-Life debate explodes into a war called the Heartland War. The only way the war could reach a peace was to come to an agreement. There would be no abortion but when children are between the ages of 13 and 17 their parents can sign an order to have them unwound. New scientific technology allows doctors to transplant all of a person’s body parts. They will then “live on” in a “divided state.” Teens whose parents choose to sign an unwind order for them are rounded up by juvie cops and brought to Harvest Camps to await their fate. Some families, particularly from fundamentalist branches of all faiths, believe in tithing 10% of their children, and will have a child simply to raise them to be a tithe. Additionally, many children end up unwanted and living in State Homes, where they are all given the last name of Ward–for ward of the state.
Connor is a light-hearted bad boy who just accidentally found his own unwind orders in his parents’ desk and immediately goes on the run. Lev is a tithe who is on his way to Harvest Camp. Risa is a ward of the state, and she is on a bus to be unwound, because she isn’t deemed exceptional enough to justify her upkeep. A series of events throws them into each other’s lives and leaves whether or not they will be unwound in question.
This was recommended to me years ago, but when I first read the description I was skeptical that the book was anything but Pro-Life propaganda. Years later I decided to check it out again, and most reviews mentioned how neutral the book was. Additionally, I read some interviews with the author where he stated he genuinely was trying to present a neutral story that analyzes some tough questions, so I thought I would give it a shot. Ultimately, the author has succeeded at creating a future world that is fascinating to visit and that also analyzes medical ethics in a creative way. I would honestly say the book is much more about medical ethics, particularly in regards to transplants, than it really is about abortion rights.
The basic plot is that three very different teenagers are supposed to be unwound but then find themselves on the run instead of actually at Harvest Camp. The book is in the third person but from the limited perspective of one character, and that one character switches around. It is predominantly Connor, Risa, or Lev, but it is also sometimes someone like a juvie cop or a parent. Sometimes this narrative structure works really well, providing many different perspectives on the same event or issue. Other times it feels too contrived. The perspective switches at just the right moment to keep the reader in the dark, or to reveal something we wouldn’t otherwise know. Sometimes this structure builds suspense and other times it kind of ruins it. Overall, though, I enjoyed the structure and found that the multiple perspectives really added to the world and the story.
This narrative structure is enhanced by clippings from real, modern-day newspaper articles and blogs, as well as fake advertisements and news from the future the book is set in. Partially due to the Audible narrator, who did a fantastic job at the ads, I really enjoyed these snippets of media from the future. They are very tongue-in-cheek and adult, but will still appeal to teens reading the book for their over-the-topness. I found the modern day news articles to be less interesting, and mostly felt a bit like scare mongering. They read as a bit heavy-handed in pushing the “this could really happen!” angle.
I did find it a bit frustrating that all three of the main characters are white and straight. While it is acknowledged that a few people (primarily adults) could be GLBTQ, the assumed norm is straight and cis, no matter what social organization is in control. Whether it’s mainstream society, rebels, or anyone in-between. The norm is always straight cis. Similarly, while the author does include non-white people to a much greater degree than non-straight/non-cis people (there are a wide variety of ethnicities and religions represented in the society), they are all secondary characters. One thing that really stuck out to me was that at one point in the book we meet a Chinese-American girl who is being unwound because her parents wanted a son, and they just kept trying until they got one and then picked a daughter to unwind, because they couldn’t afford all the kids. She’s also got an interesting punk aesthetic to her. What an interesting main character she would have been! Can you imagine her in the role of Connor? They are both running away from being unwound, and she could easily have taken that main character role. It just bothers me when a book has three main characters who are all in a similar situation due to society-wide problems, and yet they are so non-diverse, with just a nod at gender by having one female character.
With regards to the female character, Risa, I must say I was very disappointed to have one plot point be an attempted rape of her, and her then being saved by a male character. First, we only get one female main character and then she naturally is almost raped. Then naturally she must be saved by someone else. The whole scene sickened me, especially when I thought about teen girls reading it. It was just a completely unnecessary plot point. I once read an article that talked about how often rape scenes (or attempted rape scenes) are a sign of lack of creativity. I don’t think all of them are, but this one certainly came across that way. Unnecessary and a convenient plot point without thought to how it would affect the readers.
In spite of these characterization and style complaints though, the plot is very good, and the world is fascinating. Characters in a natural manner talk about and explore the ethics of life, when life begins, and who has the right to life, as well as who has the right to end it. The plot is fast-paced, and I read as quickly as I could to find out what happened. There are also a couple of twists at the end that rocked my socks off and left me immediately downloading the next book in the series.
All of that said, I have a few questions about the world that were never addressed. First, if everyone who is unwound is between the ages of 13 and 17, how does that work out with transplantation? People have not yet finished growing at 17, especially their minds. Does this mean a 67 year old woman would have a 15 year old’s arm if she needed a transplant? If so, that sounds very grotesque to me, and I wonder how society has learned to deal with something so mis-matched. This isn’t particularly addressed, except to say that sometimes it’s weird to look at someone with two eyes that don’t match. Similarly, the world at large isn’t really talked about at all. The kids who are trying to escape being unwound don’t even consider running into another country but they never explain why. How has the world at large reacted to the United States’ new law? Is there any country that would be a safe-haven for unwinds? Are there other countries following suit? The international impact is woefully underaddressed.
In spite of these various shortcomings, the plot and the world still sucked me in. It was a quick read that left me wanting more.
Overall, fans of dystopian ya looking for another series to whet their appetite will definitely enjoy this one. It’s a completely different dystopia from most of the ones that are already big, and I am sure YA readers who are currently teens themselves will find the idea of their parents being able to sign an unwind order on them chilling. Dystopian YA fans should definitely give this one a go.
4 out of 5 stars