Yeah, I have no idea how to rate this one.
On one hand, for as many YA "books about rape" that exist, I've never read one quite like this. It's extremely dark, harrowing, and well-written. Seriously, potentially one of the darkest and most painful books about sexual assault that I've read. The trauma of the situation is so well written that it's genuinely unpleasant to read at times, but visceral. Holy shit, is it ever visceral. It's also very unusual for making it clear that there's no justice for Grady, and for completely dismissing any possibility to punish the perpetrators, but dealing with the other stuff around it.
However, Grady is such a sympathetic character that it's so much worse that he is completely surrounded by idiots. His parents send him to group therapy once and, when he doesn't want to go again, they quit! Despite the fact that Grady is clearly (and unsurprisingly) falling apart. It literally takes one of the kids in Grady's class (who is gay. He knows about sexual assault against men because he's gay) to direct Grady towards individual therapy. It's surreal how all of the adults are supposed to be at least somewhat sympathetic characters but apparently, none of them are capable of doing the bare minimum and are all outmanoeuvred in both sympathy and mental health knowledge by a sixteen-year-old boy. Which is not surprising, because nobody has apparently bothered to read even a leaflet on rape and/or PTSD.
The problem with this book is just about every other character that isn't the protagonist. Grady is so sympathetic and well-drawn, but everyone else has one personality trait: Jess, Grady's new friend, is Black; Pearl is Fat (or is she? One of the frustrating things about 2000s YA novels is that it's never clear if an apparent "fat girl" is supposed to be fat, or if it's code for "not painfully skinny"); Fred is Gay. Some of you might say, correctly, that those are not personality traits. I agree! But you wouldn't know it from this book.
Did I mention Jess is Black and Pearl is Fat? Well, this book will remind you, just about as often as I did.
This is also an oddity of a book in that it ends so fast that it really feels incomplete. This is at once the book's best quality; because it's not interesting in crafting an optimistic or uplifting story, it doesn't have to narrativise Grady's pain. It's just allowed to exist. As a result, it can also really dig into some extremely uncomfortable and unusual topics for any novel, especially a YA one. But it also feels aimless and disturbing for the sake of it, and could never fully escape a cloying sense of shock value and horror for the sake of horror.