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The elders had always maintained, without even the slightest wavering on the matter, that we Survivors were the only ones of our kind. But they had taken it so much further than that, insisting that there were no other supernatural creatues in this world, nor had there ever been. Recently, in late night discussions with Lizzie and Sarah, elders with whom I felt close, they had told a few of us tales of how the outside world believed in creatures that God did not create. They had given us some aging copies of literature that a select few from my generation – Noah, Benjamin, and me – were allowed to read. We each got one book that, in turn, we’d end up sharing with each other. Until then, we had only ever read the Bible. Noah received a copy of Shakespeare’s Macbeth, Benjamin got a copy of Beowulf, and I got a tattered, gold-lined compilation of Hesiod works including Theogony and Works and Days.

Some months ago I first encounted Amanda Havard over Twitter. She is one of an exciting new generation of writers who fully embrace the potential on blogging and online tools for the purposes of book promotion. It is an exciting development in contemporary writing. I was very happy when Amanda offered me the opportunity to read her novel – an offer I would never have received without the agency of Twitter and my own blogging project.

The story opens with a group of children exiled in the wilderness during the time of the Salem witch trials. Miraculously the majority of the minors survive the outdoor extremes – and take ‘The Survivors’ as their name and the definition of who and what they are.

Then the narrative jumps forward in time several centuries to the present day. We meet Sadie, a Survivor who is travelling to her friend’s wedding. It is quickly revealed that she is an unusual member of the community that has survived in isolation since their exile from the human world. For one – she has left. The Survivors have based themselves rigidly on religious precepts taken from the Bible, searching for a divine explanation for their own supernatural abilities. In addition to long life, each of the colony has certain powers. Sadie is considered undeveloped because her own skills have not evidenced themselves as readily. This outsider status informed her inquisitiveness and her consequent leaving of the colony and everything she has ever known to explain the outside world.

But are the Survivors really alone in this world, or is there more to their mysterious status as as society of immortals?

What I enjoyed the most about this book was how Havard demonstrates how Sadie has acclimatised herself to modern life after centuries of isolated existence. It is quite telling that a story that begins with the Salem witch trials is preceded by a musical quote from Coldplay. Sadie even has a Twitter account (I was tempted to investigate whether it existed or not). The character’s online activities reflect the author’s own online engagement strategy – somewhat meta that. While Sadie has lived a sheltered – obsessively so – life behind the walls of the Survivors’ colony, Havard establishes that she has managed remarkably to cope with the vagaries of the outside world. She is a true Survivor.

The influence of J.K. Rowling and Stephenie Meyer is evident here. Personally though I much prefer this work, because its breadth of reference is broader. Yes there is the requisite love triangle of Paranormal Romance, but it is informed by a central character who is legitimately conflicted. She has left behind everything she knows because of simple curiousity and as a narrative motivator, I find that quite a bold choice as opposed to random chance, or the disaffection of Bella Swan.

Also, that title font with the stand-out scarlet ‘S’ is just a delightful stylistic choice.

This is an entertaining and intriguing start to a new Paranormal Romance franchise. I look forward to the next entry in the series.

With thanks to the author for my review copy.

 

He nods. He understands. And then he takes my hand and presses his lips against my palm. It feels like fire entering my bloodstream and laying siege to my body. He kisses my wrist, and I am an inferno. He starts to move up my arm, his breath tantalizing, and I almost give in as he pulls me to him.

But instead I step back, cradling my arm to my chest. “Be well,” I tell him because I don’t know how to explain what I really want to say. And then I slip out the window and am covered in snow that instantly douses my skin, which just moments before had been aflame.

Paranormal romance has evolved certain tropes that are in danger of becoming repetitive. Firstly, the whole romance itself has often been perpetuated through a love triangle whose oscillations sustain a series of novels. Secondly the female protagonists have a tendency to either be clumsy, or suffer extreme injuries/physical deprivations. What interests me is that this kind of wish fulfillment fantasy carries echoes of male adventure novels. Bond having to choose between the ‘good girl’ and the bad. Clive Cussler‘s Dirk Pitt receives terrible injuries only to get right back up again and carry on. Are Paranormal Romance books just gender-swapped boys’ own adventures, with all that that implies?

Mary lives with her mother and brother in a community of survivors following a catastrophic event that destroyed civilization. Their memories of the time before are vague and the event itself is simply referred to as ‘The Return’ – when the dead rose and began to feed on the living. These once human creatures are known as the Unconsecrated and for her entire life Mary has lived with the sound of their cries every day, pressed up against the protective fence that surrounds the village. Beyond the fence lies the impenetrable Forest of Hands and Teeth.

When Mary’s mother is killed and her brother disowns her, she is thrown to the mercy of the Sisters, who run the village community. Her only other option would be to marry, but her best friend is to marry the boy she loves Travis and his brother, Harry, who does want her let the Sisters take her from her home. She is alone.

Sister Tabitha attempts to break Mary’s spirit and teach her that the only option is to accept her fate. Instead the young girl continues to find new ways to rebel, despite her punishments. Eventually she discovers a secret that the Sisters and the Guardians, who patrol the village fences, have been hiding. There is another girl in the Cathedral, wearing red, who Mary has never seen before. She is not from the village. Is there another place where life survived? Will she ever, as her mother promised her, see the ocean?

This is a very problematic novel. For a start the ‘romance’ is entirely counter-productive. Sister Tabitha claims that Mary’s headstrong nature will be the doom of the village. As it happens, she is not far wrong. The main character’s insistence on pursuing her own desires are pitched as being liberating, but she is living in the centre of community surrounded on all sides by monsters! Priorities! When survival becomes the most important thing, Mary is still mooning after Travis. More interesting by far is her relationship with her brother Jed, who blames her for their mother’s death. Unfortunately the novel only returns to their conflict near the end, just in time to tie up loose ends before the anticlimactic conclusion.

Mary is simply infuriating, her self-absorption almost justifiable if the reader considers that she must be suffering from colossal trauma given the village’s circumstances. The Unconsecrated themselves are mindless monsters that are simply always there. Their function in the story is to represent an ever-present threat, but beyond that there is nothing of interest about them.

This is a frustrating, tedious novel, that loses its way once the characters themselves become lost in the Forest of Hands and Teeth.

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