A Review of The Silver Kiss
I find it's a little difficult to write about a book that has meant a lot to me over the years. The Silver Kiss is a story that resonates with me and, from the time I read it in the early 1990s as a junior high school girl, has made me an eager fan of the author, Annette Curtis Klause.
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The Silver Kiss is about a teenage girl, Zoë, and a vampire named Simon. Both are lonely people, both are entangled in dire familial events, and both become caught up in a struggle to rid the world of the vicious vampire who made Simon what is is, long ago. The writing is strong and direct, but not blunt or casual. Characterizations are realistic and enigmatic so that the people in the story are immediately interesting. And the villain is great: clever and evil and startling.
The story has its own steady pulse. This pacing effect is achieved primarily by means of alternating the viewpoints of the two narrators, chapter by chapter. Zoë, then Simon, then Zoë again. There is a little narrative overlap to allow each character to respond individually to events they both experience. But the plot moves forward as events unique to each character's storyline occur in each chapter, changing the status quo and often evoking a response from the other character in the following chapter.
The structure is appealing. This pattern is efficient but it also helps the reader see that there's always more than one perspective in every story. It shows us that all the perspectives can weave their respective stories together into a larger narrative.
This novel is a brave endeavor because it addresses the realities—and possibilities—of death in a young adult world. Like any good work of speculative literature, it moves the discussion into the realm of the fantastic (in this case, a realm which includes vampires). Yet The Silver Kiss remains firmly anchored in our own world because much of its exploration of death revolves around the immanent death of Zoë's mother, who is slowly dying of cancer. Cancer is as unromantic and unfantastic as you can get. This is not a thrilling novel about vampires so much as a solemn novel about what it means to live and die well, whether one is mortal or monstrous.
One of the novel's major strengths is the way it explains its rules for vampirism. It remains self-aware of its place in a genre. Zoë compares vampire movie lore, for example, with what she learns from Simon about how to kill his kind. From Simon's experiences, reactions, and his verbal account of his own history, we learn how vampires function in the world and how they are created. But the author is wise enough to leave much of vampire nature unexplained or inexplicable. Vampirism isn't a science in this story, nor is it a formulaic state of being. It is brutal and magical and sad.
Another strength is the limited use of slang in dialog and narration. The book is set in a specific time and place, but isn't so locked into the late 1980s-early 1990s era that a reader has to sift through the timeline details to relate to the story. Many young adult novels I've read don't age well because they are so focused on being contemporary with a specific moment in youth culture that the culture quickly leaves the book behind (and the book, even if it deals with timeless themes, then becomes laughably quaint and supremely uncool). The Silver Kiss, however, emphasizes ordinary word meanings and demonstrates another facet of literary self-awareness in that Simon, who is originally of another century and country, admits to the difficulty he has with adapting to changes in language and mainstream culture. I read this kind of character consciousness in this particular context as the author's tactful message to the reader that she isn't trying to invade or demean the world of teens. Rather, she is trying to tell a story which will hopefully appeal to more than one generation of young adult readers.
The appeal of this story—for me, at least—centers upon the wisdom Zoë gains throughout the book and ultimately expresses in the final chapter. Her private reflections serve as an appropriate dénouement and Simon's final choices give Zoë and the novel necessary closure. The closure is not like a door swinging shut, but is rather like one opening wide upon an ultimately hopeful future. The reader is left with the characters' resonant love—a good thing to take away from a story. Haunting , enchanting, and graceful, this novel is well worth many readings.
Labels: nonfiction, Read What You Want to Write
















