August 17-19 Six or ten stars is more like it. This book exceeded everything I hoped for it to be and everything I dreaded it would be. Let’s hear the bad news first: John Green opens the story with his signature style AND signature characters. It was Pudge and Colonel and Q and Radar in Will and Tiny all over again and Alaska and Margot in Jane all over again. It was all those signature pop culture references all over again. And horrifyingly, the promise of the signature plot of his all over again. But I braved through it because I wanted to be fair to Green, who couldn’t have won all those awards for nothing, to David Levithan, who chose Green to write a book with him, and to my self, as a reader. It wasn’t horrible, really. Just forgive me for being less of a Nerdfighter and more of a RainbowLover, okay. Anyway, come Chapter 2, and yes, rainbows do appear after a downpour. Levithan introduces his half of the story, also bringing in his always-fascinating signatures (at least, for me): a gay character, a glaring deviant writing form, his unnerving narrative and poetry, even a Naomi in Maura (although goth). As much as I wanted Levithan’s half of the story to go on as a whole, I have to give it to Green this time that he was able to fill HIS half successfully. He may not please me characterization and plot-wise but when it comes to discovering, unfolding and explaining emotions, he aces it. And I may have read about whatever Green has written in this book before, but he did it so well this time that he shot to the top. And Levithan? I didn’t think it was possible for me to fall in love with him as a writer even more but nothing. is. impossible. Every time I read something new of his, he never fails to offer something new, even in things that I have seen from him before. Green and Levithan did such an amazing job with this that I think, with the number of dimensions, layers, elements of life they both touched on, it should be a classic.
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August 17-19

Six or ten stars is more like it. This book exceeded everything I hoped for it to be and everything I dreaded it would be. Let’s hear the bad news first: John Green opens the story with his signature style AND signature characters. It was Pudge and Colonel and Q and Radar in Will and Tiny all over again and Alaska and Margot in Jane all over again. It was all those signature pop culture references all over again. And horrifyingly, the promise of the signature plot of his all over again. But I braved through it because I wanted to be fair to Green, who couldn’t have won all those awards for nothing, to David Levithan, who chose Green to write a book with him, and to my self, as a reader. It wasn’t horrible, really. Just forgive me for being less of a Nerdfighter and more of a RainbowLover, okay. Anyway, come Chapter 2, and yes, rainbows do appear after a downpour. Levithan introduces his half of the story, also bringing in his always-fascinating signatures (at least, for me): a gay character, a glaring deviant writing form, his unnerving narrative and poetry, even a Naomi in Maura (although goth). As much as I wanted Levithan’s half of the story to go on as a whole, I have to give it to Green this time that he was able to fill HIS half successfully. He may not please me characterization and plot-wise but when it comes to discovering, unfolding and explaining emotions, he aces it. And I may have read about whatever Green has written in this book before, but he did it so well this time that he shot to the top. And Levithan? I didn’t think it was possible for me to fall in love with him as a writer even more but nothing. is. impossible. Every time I read something new of his, he never fails to offer something new, even in things that I have seen from him before. Green and Levithan did such an amazing job with this that I think, with the number of dimensions, layers, elements of life they both touched on, it should be a classic.