PLEASE! And if by the time you finish reading and you’re thinking “that was way off,” do me a favor and keep it to yourself. LOL. JK. No . . . really . . . don’t tell me how you really feel.
I’m gonna (yes, I wrote gonna; don’t judge me) take a HUGE risk and make a text to text connection here, which will lead to me encouraging you to read this book if you haven’t already. If you’re just tuning in, this is part 3 of my blog posts about Mindy McGinnis’ The Female of the Species. (read: go read my first two A New Approach and What Happens Next?) So here goes.
DIR: Make a connection
Did you absolutely love Laurie Halse Andreson’s Speak? Yep, me too. Except there were so many moments while reading that I kept saying “why don’t you just say or do something?” And “how is it no one knows this girl has gone through something?” By the end of the novel, Anderson’s protagonist Melinda had (subtly) found her voice. Finally! Here’s where I make the connection to TFotS. While both Melinda and Alex (TFotS) are similar—outcasts, limited voice, experienced tragedy—Alex is secretly who Melinda wishes she were. Melinda’s rape experience has caused her to shut down. She often thinks of how she’d respond to those around her—especially her attacker—but she can never seem to get the words out. Alex, on the other hand, doesn’t have to say a word. Her actions speak volumes. She’s ripped part of a boy’s ear off. AND KILLED SOMEONE for crying out loud. This girl has totally found her voice! And she’s speaking for her friend Peekay, her dead sister Anna, Melinda (in Speak), and all other females of the species whose voices have been silenced.
Do yourself a favor and stop reading my post and read the book; it’s much better.