Nothing Like You, by Lauren Strasnick, is more of a novella than a novel, clocking in at 38k words. Strangely, this is both its strongest, and weakest, element. While somewhat underwritten, yet rather repetitive, Nothing Like You is not a bad book. In fact, it's rather good.
But (and there's the "but" I know you were waiting for) -- it feels like an unedited Sara Zarr novel. Sara Zarr, author of two of my favorite books -- Story of a Girl and How to Save a Life (by the way, when is that woman going to win a Printz?) -- is an expert on crafting characters quickly without sacrificing depth and development. She is a minimalist in the best sense of the word. And while Lauren Strasnick is so, so close to having Zarr's skill, she's not quite there.
I've also read, but not reviewed, Strasnick's Her and Me and You (which has a gorgeous cover), and it suffers from the exact same problems as Nothing Like You. It is underwritten whenever the "novel" starts to get interesting and overwritten in the boring scenes. I understand, some authors like to hit on theme, over and over and over again, but a little bit of subtlety goes a long way.
In case you're interested, I'm listening to what could quite possibly be the weirdest song ever -- The Chipmunks Christmas Song Slowed Down, aptly named The Chipmunks ft. Satan. It did not effect the writing of this review in any way. And there will be spoilers. Just warning you now. It's fault if you aren't reading carefully. This is a website dedicated to books.
Nothing Like You opens with Holly, our main character, losing her virginity in the backseat of a guy's car. This guy is Paul. You will soon discover that he is a douche. That is not a spoiler. If you cannot tell that Paul is a douche from the first few chapters, despite the rose tinted glasses Holly wears for most of the novel, I have nothing to say to you.
Now, Holly feels like a teenage girl. She has flaws. She has traits. I can sympathize with her. Her mother recently died from breast cancer and unlike the protagonist of a certain other book who's mother died from cancer, she does not go batshit insane and undo her characterization from the previous book by going fucking crazy and plotting to ruin her best friend's life. Ahem. Anyway, Holly is a good character. I have no qualms with her, other than that I don't know how she can’t see past Paul's douchery. But I will excuse that, simply because I know I'm seeing the novel outside of Holly's POV.
Her character arc is also convincing in that she learns from her mistakes, suffers (unduly if I may say so, but rather realistically), and rises up to grab life by the balls and -- no, that last clause does not happen. There is no "positive" ending to this novel. It's bittersweet, if that.
My only problem with Holly's arc is that I don't feel it ties her mother angst properly to the rest of the novel. The two arcs don't mesh well. In fact, either one could almost suffice as the main plot, but in a novel so short, it feels like they're competing for popularity. And that there are also three other subplots -- well, you can see how there's too much here.
Main Plot -- Fucking the school D-bag who has a GF and feeling guilty
Sub Plot -- Mom just died from cancer
Sub Plot -- Crushing on best friend who sleeps with a lot of girls
Sub Plot -- Dad is sad
Sub Plot -- Going to a psychic
Sub Plot -- Le gasp, I just became BFF with the GF of the d-bag I'm fucking and I feel even more guilty
This is a lot to cram into barely 40k. And most of it doesn't even complement each other. What does avoiding a psychic have to do with losing a parent to cancer? Nothing. There's no overall "mystical" air to the novel. I understand that it's simply a way to hit us over the head, once again, with the fact that Holly doesn't want to face the death of her mother and that she'd rather avoid it or face it with fake love, but my god, there are other, more subtle ways to do it. And we repeat this more than three times. I am not dumb. I got it the first time.
Take a movie like American Beauty, which has a million sub plots carefully woven together to create a coherent story. Those sub-plots build upon each other and complement each other. They form a nice web. Most of the sub plots here do not build upon each other and do not lead into one another. If mapped, one plot would lead you to Canada from LA and the other to NY from Birmingham.
Believe me, I know a lot about comfort sex, but that plot would have made so much more sense along with the --
...
...
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-- Give me a second, I just had a brilliant idea.
Okay. Remember that flashback to the beach vacation with the blonde guy Holly was crushing on when she was 12? The Paul sub-plot just feels so disconnected from this novel because it doesn't really touch into the heart of Holly's problem (and the other sub-plots) -- she misses her damn mom.
What if that blonde guy -- Jason, btw -- came back with his mom, Astrid, to help Jeff (Holly’s dad) acclimate to being alone? Not much of a stretch. And he came back twenty-six, hotter, tanner, and married? And the girl he's married to? Nicest girl in the world. In fact, she can just be an older Saskia for all I care.
And here we have it -- a connection to the main sub-plot. And it's more scandalous, which, in turn, makes it more interesting.
Part of the problem here is that I did not understand Holly's attraction to Paul outside of his grungy smoking ways. And that's not much to be attracted to, if I'm going to be honest. I'll admit it, a well written bad boy -- cough, Prince Zuko -- is awesome. Paul is just underwritten and douchey. I know nothing of his motivation or attraction to Holly when the novel starts outside of getting a quick fuck and when it ends, I'm even more confused. At first, we're to understand that Paul is only fucking Holly because Saskia won't put out. Then, we come to find (from this BFF bit that grows between Saskia and Holly) that he's lying. He's been fucking Saskia for a long, long time and that's really all they do. Any real motivation Paul had flew right out the window because there's no way I'm going to believe he actually likes Holly when all they do is fuck. They never have a real conversation. So, he's just a douche bag. That's it. No characterization at all. Or, he’s really, really creepy. And, yes, Paul is a creep. But that’s never developed either.
And Saskia isn't any better.
I would attempt to describe her character, but that's asking too much of me. She's nice. And... that's it. Really. Nice and waifish and giving and kind and selfless. So, yeah. That's her in a nutshell. Sure, there's an attempt to delve into her character, but it's not well done. In fact, I'd call it sloppy. We're given two or three throw away lines about how hard Saskia has it at home, trying to keep her depressed brother from killing himself. And that could go somewhere -- I mean, think of the brilliance of that mirroring theme! Holly's mom, the most important person in her life, died painfully by forces out of her control. Saskia's brother, the most important person in her life, wants to take his own life. Unfortunately, this never goes anywhere.
I won't touch on the other characters. They're briefly mentioned and given a smidgen of characterization, but not much.
In addition to that, I feel like Holly loses too much. Like, in a desperate attempt to make everything crash down upon her main character, Strasnick pulls the rug, the ground, and the entire Earth out from under Holly who's already reeling from the death of her mother in an attempt to make you realize that, yes, cheating is bad, and bad things happen to cheaters. Though nothing happens to d-bag Paul. At all. Seriously. We're still doing this in the 21st century? The guy gets off scot-free and everything happens to the chick? I understand that this is a realistic contemporary novel, but this is also a NOVEL, where anything can happen. And I feel like the novel would have taken a much stronger route by rejecting the "homewrecker" ending and letting Holly keep a little bit of her dignity. I mean, jeesh, she didn't even start seeing the guy when he had a girlfriend.
Now, on for the positives. This novel is very quotable, as in, the prose is very, very good. Seriously, go to any other review and you will find awesome quotes to fill your little emo notebooks for days. I know you’ve kept them safe after you watched “Perks of Being a Wallflower.”
To further this positivity, Nils is a good character. Well, partially. I mean, he grows. But we're never given any depth into his thoughts or his motivation. But this is easily explained. Holly is so self centered and introspective, she never tries to contemplate the motives of the other characters. Not once does she think on her relationship to Nils from his POV. Or any other character, really. She lacks the ability to empathize, or Strasnick lacks the ability to write a character who can. Murakami does a helluva a lot of navel-gazing, but even his characters pull their heads out of their asses long enough to contemplate the emotions and thoughts of their friends, family, etc...
Now, onto Nils. He's the best friend. He kisses Holly. He's kind of a "manwhore." Eventually, he ditches Holly when he finds out she fucked a guy in their special shack. When she was drunk. And unstable. I'm surprised this girl didn't try to kill herself, to be honest. She lost everything. Everything. Months after she lost her month in one of the most painful ways imaginable. I wish Nils, of all people in this novel, had been more understanding. Yes, I wish Holly had gotten the guy. Or something. Anything.
Let me repeat -- I don't mind depressing endings. I like American Beauty. It is one of my favorite movies and it is the most depressing movie ever (besides Grave of the Fireflies). The ending is not justified here. There's no balance. No wrap up. It just ends. And while Story of a Girl pulls the same bullshit -- we'll just end here in an attempt to seem realistic because life (har har) is messy with no real ending -- it just feels wronger (sp?) here. Story of a Girl kind of works because it takes place during a much shorter length of time. This skips a few months and expects the reader to fill in the blanks. I'm sorry, Strasnick, I'm not going to do your work for you. My imagination is not for rent. You decided to write 40k. You could've written 60k. I call that lazy.
Now, last thing – I liked the parts where Holly felt her breasts. No, not like that, perverts. She feels her breasts to check if she has cancer. She’s freaked out about it, as I’d expect her to be. Much better than the creepy breast fetish a certain goth MC has after her mom dies from cancer. This gives a personal, unique incite into Holly’s head and where she is, emotionally – as in, she’s emotionally fucked up.
So, this gets 3.5 stars for the rushed ending, underwritten characters, and the astounding "meh" I felt as I was reading most of it. It feels like something I'd write when I'm depressed. And I don't think that's a good thing.
FYI: My god, this book led me to the Greenday -- aka, whiney alt adult rock -- section of YouTube. Actually, it makes perfect sense. Rise Against and Greenday and Vampire Weekend are the perfect soundtrack for this novel. Kind of good, kind of bland, kind of whiny, but reliable in that you know what you're going to get and it's going to be pretty consistent. Background noise. That's it. Not *shudders* Nicki Minaj but definitely not Q-Tip. More like Lupe Fiasco. Good, but not awesome.
This book is the Lupe Fiasco YA. That is all.