The hyper world demands you use contractions all the time and the Underground demands you can't use contractions. It is the extreme opposite of the other world. This is one of the problems, but the Underground is cool. Now the entrance into this underground is pretty stupid and doesn't really fit well in the story. To brutalize Shakespeare in this way, it's simply makes me cringe.Īngela hates this world and she is out with the trees when she is pulled into the Earth by someone.
but those who appreciate the succinct speed of the vernacular will find it to be more suited for todays world." that the cleansing of the text flattens the dance of the poetry. " Now, an Old World purist might argue that the language has been somehow compromised. In the New World, more efficient version, Juliet says What if the FRiar is trying to poison me?" It continues. "the old World version reads: What if it be a poison, which the friar subtly hath ministered to have me dead. Everything has been rewritten to be quick and most stories are now 12-15 minutes long. I love the scene in English class when the teacher is discussing Romeo and Juliet. It's extreme and they call it hyper which was annoying too.
In this world, you talk quickly and keep super busy, go go go. Our pain character, Angela just wants to slow down and be able to think. I know there is an exaggerated element to this aspect of our society, but it was fun to see it to this extreme conclusion. Our culture gets faster paced and faster paced. Luckily, once the story gets going, our new characters drop that annoyance, but it comes back at the end. I started out reading this and I couldn't figure out why they ended each sentence with Go. His plays-including NOCTURNE, ANIMALS AND PLANTS, BLACKBIRD, and STONE COLD DEAD SERIOUS-have been produced by the American Repertory Theatre in Cambridge, Massachusetts, the New York Theatre Workshop, and the Bush Theatre in London, among other venues.īorn and raised in Chicago, the novelist and playwright now lives in New York City. In addition to being a novelist, Adam Rapp is also an accomplished and award-winning playwright. "Takes a mesmerizing hold on the reader," adds HORN BOOK MAGAZINE. writes in an earthy but adept language," says KIRKUS REVIEWS. "Rapp’s prose is powerful, graphic and haunting," says SCHOOL LIBRARY JOURNAL.
The author’s raw, stream-of-consciousness writing style has earned him critical acclaim. His subsequent titles include THE BUFFALO TREE, THE COPPER ELEPHANT, and LITTLE CHICAGO, which was chosen as a New York Public Library Book for the Teen Age. "For those readers who are ready to be challenged by a serious work of shockingly realistic fiction," notes SCHOOL LIBRARY JOURNAL, "it invites both an emotional and intellectual response, and begs to be discussed."Īdam Rapp’s first novel, MISSING THE PIANO, was named a Best Book for Young Adults as well as a Best Book for Reluctant Readers by the American Library Association. His narration captures the voices of two damaged souls (a third speaks only through drawings) to tell a story of alienation, deprivation, and ultimately, the saving power of compassion. With the language of the street and lyrical prose, Adam Rapp hurtles the reader into the world of lost children, a world that is not for the faint of heart.
Among them: "When we have nowhere to go, who do we turn to? Why are we sometimes drawn to those who are deeply troubled? How far do we have to run before we find new possibilities?"Īt once harrowing and hypnotic, 33 SNOWFISH-which was nominated as a Best Book for Young Adults by the American Library Association-follows three troubled young people on the run in a stolen car with a kidnapped baby in tow. Adam Rapp says that when he was working on his chilling, compulsively readable young adult novel 33 SNOWFISH, he was haunted by several questions.
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