TWOC | |||||||||
Graham Joyce | |||||||||
Viking, 224 pages | |||||||||
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A review by Matthew Hughes
Then Sarah sends him off to a wilderness camp for horseback riding and pot-holing down some underground caverns, along with a
mohawked arsonist named Amy and the heavily acned but celebrated graffiti artist, Gilb. At that point the plot thickens,
because it's clear that our Matt's not the type to be reformed by an exhilarating gallop in the fresh air, a bonding experience
at an underground lake, and a lot of how-do-you-feel nattering back at the lodge.
Or maybe it's not all that clear. Graham Joyce has allowed the young twocker to tell this tale in his own voice, and Matt could
serve as a textbook example of an unreliable narrator. He believes he's being quite straightforward, except when he shuts
up and won't (or can't) say anything, and he's puzzled by the fact that everyone who knows him keeps referring to him as
a pathological liar.
The discrepancy is important because this is one of those tales that peel like an onion, layer by layer, until you get to the
core and encounter a startling revelation that illuminates all. Graham Joyce handles the process very deftly, as should be
expected of a World Fantasy Award-winning author of novels for adults. Evoking rather than describing the agony that Matt
keeps hidden, even from himself, Joyce works up to a well sprung surprise.
To this reviewer, a veteran of the wars that result from raising three relentlessly nonconformist teenage males, Matt's voice
rings true, both in his conflicted reactions to the people with whom he shares his life -- including dead Jake -- and in his
tortured relationship with his own survivor-guilt. The story peels nicely, as the young car thief takes his newfound mates,
the arsonist and the tagger, out of the wilderness and into town for a high-speed trip down memory lane. Their
night-journey brings them to a derelict railroad tunnel where, of course, the original business with the Testarossa put
a permanent ironic underlining beneath the "joy" in "joyriding." And there the truth comes cathartically spilling out,
and Matt is finally able to face what happened (and, just as important, what didn't happen). The upbeat ending seemed
a little pat, but this is, after all, a story for young teenagers (twelve and up, says Viking), so an attempt to end on
a note of stark tragedy surely wouldn't have survived the first edit.
One question arises, this being a review for the SF Site: is the novel really speculative fiction? No space squids
appear, nor any zombies or vampires. There is a ghost, but since the narrator is clearly unreliable, Jake's intermittent
appearances in improbable costumes (including Arnold Rimmer's red gingham dress and pigtailed wig from the "Quarantine"
episode of Red Dwarf), argue for their being a guilt-induced hallucinations rather than true revenances from beyond
the final curtain.
But, ultimately, the answer doesn't matter. Regardless of genre category, TWOC is a good story, ably told,
and if it warns off just one kid from learning how to crack open and hot-wire a Testarossa in under a minute, then
Joyce's work is done.
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