Last post I mentioned my intention to tackle Jaclyn Moriarty’s recently released (well, recently released in the U.S.) novel, A Corner of White. I actually finished it up the day after writing that. While I wish I could make my books last, I usually gulp them down in one or two sittings. I’d categorize myself as member of species Biblio devourus rather than Biblio savorus. Can you tell I just finished a term paper on evolution and biological classification?
Back to A Corner of White. The story utilizes two braided strands. One takes place in modern day Cambridge, England. It mainly follows Madeleine Tully, a fourteen-year-old girl who has trouble adjusting to life after she and her mother run away from their luxurious life with Madeleine’s father. Madeleine’s mother took only a sewing machine with her when she left, leaving her struggling to make ends meet through mending clothes. As the novel is narrated in omniscient third-person, this strand of the narrative also includes some scenes between the two other students with whom Madeleine is homeschooled, Jack and Belle. Through Jack’s perspective, Madeleine is initially characterized as mysterious and ethereal, causing readers to wonder if she might be connected to the magical world of the other narrative.
This magical world of the second narrative strand is called “the Kingdom of Cello.” It does have many similarities to our world – televisions and trains and high school physics. However, it also has some notable differences. While Cello does have much of the same technology, they still rely heavily on fax machines. The organized sport of choice, deftball, revolves around some sort of supercharged, skyrocketing root vegetable. The biggest difference, however, is the Colors in their world. Rather than simply a visual phenomenon, they’re natural disasters: Violent Purples, fatal Yellows, waves of Red that send everything haywire. The protagonist of this strand of the novel is fifteen-year-old Elliot Baranski. He’s nearly single-minded in his determination to rescue his father, Abel. Elliot believes his dad has been abducted by Purples (although most of the town believes Mischa, the fetching high school science teacher who disappeared simultaneously, to be a far more likely cause of Abel’s disappearance).
It wasn’t until probably a third of the way through this 400-page novel that I felt myself becoming fully engaged. I always have trouble switching between narrative strands. As soon as I found myself beginning to understand Madeleine, I was yanked back to Elliot, and vice versa. The story really took off for me once Madeleine and Elliot started communicating – writing letters to each other via a Crack between Cello and the World. In Madeleine’s world, the Crack is located in a parking meter. This leads her to believe that her penpal is some fantasy-enthusiast who takes role-playing a little too seriously. Through Elliot’s letters to Madeleine, Moriarty is able to explain some of the idiosyncrasies of Cello to readers. I also greatly enjoyed Madeleine’s letters to Elliot. In them, she critiques Elliot’s description of his life and kingdom as though it’s entirely made-up, the humor being that of course it is completely made up, but to the readers, not the characters. Through events in both worlds, Madeleine and Elliot come to rely upon each other.
I would give this book a solid four stars. I thought it did a great job setting up the worlds, plot, and characters for the next book in the trilogy. I also thought it did a great job showing character growth. Both Madeleine and Elliot start the novel as somewhat unsympathetic characters, but gradually become more aware of themselves and others. Although A Corner of White got off to a slow start due to two very disparate narrative strands, it eventually picked up the pace and became a compelling read in a world I can’t wait to revisit.
Which book cover do you like best, the U.S. or the Australian? Let me know in comments!