metafiction | Musings of the Monster Librarian

Book Review: The Blonde Dies First by Joelle Wellington

The Blonde Dies First by Joelle Wellington

Simon & Schuster Books for Young Readers, 2024

ISBN-13 : ‎978-1665922456

Available: Hardcover, paperback, Kindle edtion, audiobook

In The Blonde Dies First, Joelle Wellington tries to subvert the teenage horror slasher movie. She takes an interesting approach, but ultimately there are too many loose ends, unrealistic situations, and undeveloped characters for the book to be successful in its approach.

The book follows a group of six teens living in the same neighborhood who have been friends since childhood: Leila, a would-be artist; Gael, a horror lover who has already directed a short film; Malachi, a black queer boy; Devon, twin sister to genius Drew; Drew, the skeptic, who attends private school, and Yaya, Devon’s longtime crush. Most of the friends are Black, with the exception of Leila.

When Drew announces her early graduation, Devon is crushed. Although they haven’t been close for many years, Devon makes plans to spend time with Drew and their friends before she leaves for college.

The friends go to a party with Drew, held by her school friend Avery in a tony part of town. During the party, he decides they should summon a demon using a Ouija board and an athame. Devon tamps down her misgivings and participate, but the friends are disturbed by the summoning attempt. Gael recognizes the ritual from a horror movie, Read Your Rites. Avery claims the athame is real, and that his mom contributed to the research behind the movie as part of her job as a museum curator.

Gael talks about horror movie tropes: the blonde dies first, the black queer guy dies next, then the asshole, the nerd, the independent girl, and the final girl. Sex will summon the movie’s demon, and the person who summons the demon has to be eliminated to get rid of the creature. The demon summoned in the movie has to go through these character tropes in a specific order and can’t go backwards.

Devon, who bleaches her hair, is the first to encounter the demon, at the convenience store where she works with the annoying Alexis.. It drives them out of the store and shoves Alexis, also blonde, into the street, where she is hit and killed by a car. The requirement satisfied, Devon survives. No one believes Devon, with the police insisting Alexis must have jumped in front of the car..

While the friends, especially Drew, don’t believe Devon at first, soon Malachi is attacked, but the demon takes his date instead. With two of them vouching for the demon attacks, Gael tries to figure out the rules the demon is following, based on the movie.

Gael assumes he’s the asshole and will be next, The others film him and Leila making out in Leila’s bedroom in hopes of summoning the demon,, but it turns out the demon wants Drew for that role . As they battle the demon, Leila falls down the stairs and breaks her ankle. While they’re waiting at the hospital, they spot the demon, who is still after Drew. Leila’s racist doctor follows them into a room and demands they leave, and the demon attacks and kills him instead of Drew.

These kids get away with a lot, even for YA fiction. Leila’s parents know they are smoking weed, drinking, and involved in some pretty risky behaviors that they never outright address. Because they are involved in a group chat with the other kids’ parents, all of them must be pretty aware of what the kids are into. It’s only when Leila breaks her ankle that the parents clamp down.

Drew and Devon’s mother has been planning a summer block party every year for years and it is the big summer event in the community. The friends are sure the block party will be the final act in their living horror movie and plan to face it together, but Drew and Devon have a blowout fight and Devon takes off to see Yaya, finally tells Yaya she likes her romantically. In a surprise twist, (spoiler) it turns out that Devon is the final girl, and Yaya is the love interest who is supposed to be killed at the end of the movie. In another surprise twist, the demon is controlled by entitled neighborhood creep Keith, whose gentrifier mother Kendra was a production assistant on Read Your RItes,(meaning Avery has nothing to do with the monster stalking them). Kendra has no qualms about Keith eating the friends to satisfy the demon and make the neighborhood quieter.

The story touches on issues but doesn’t really address them. After Alexis is hit by the car, Devon is hostile to the police in her interview. Her hostility and interactions with the police are a potential plot thread, but Wellington does not explore it. Kendra, determined to gentrify the community, who is generally disliked also threatens them with calling the cops.

This gentrification storyline could be stronger: trusted neighbors and friends give Kendra and Keith the benefit of the doubt, treating them as if they are annoying, not dangerous. There’s also room to explore privilege and entitlement further: Keith, in his 20s, is routinely excused for his predatory behavior towards Yaya, and Drew, usually a skeptic, humors Avery’s pushy, irrational actions. Alyssa Cole did a great job dealing with class, race, police hostility, and gentrification in When No One Is Watching. Wellington is not as successful here. But it’s an ambitious book: Wellington had to integrate a supernatural element, a metafictional approach to horror movie elements, and a fair amount of teenage and sisterly drama involving six kids. Despite the unwieldy number of characters and missed opportunities, she keeps the reader entertained and turning the pages.

Reviewed by Kirsten Kowalewski

Book Review: Temporary Planets for Transitory Days: Poems of Mykol Ranglen by Albert Wendland

( Bookshop.org | Amazon.com )

Temporary Planets for Transitory Days: Poems of Mykol Ranglen by Albert Wendland

Dog Star Books, 2020

ISBN: 978-1-947879-18-8

Available: Paperback, Kindle

Mykol Ranglen, adventurer, talented finder of rare Clips left behind by the Airafanes, keeper of secrets, and central character of Albert Wendland’s science fiction books The Man Who Loved Alien Landscapes (2014) and In a Suspect Universe (2018) has always been a poet. In the first book, he describes one alien landscape as “dazzle” running through “the dew-laced savanna” with “scents of basil and almond” as the grass makes “soft cracking sounds like static electricity.” In the second book, apocalyptic visions from his poems become real and threaten the safety of the woman he loves. So, it is no surprise that Wendland was inspired to write a third book, a collection of speculative poetry, supposedly written by this enigmatic character.

Temporary Planets for Transitory Days is a more concise version of ideas introduced in the novels. In all three books, Wendland looks at what might happen in futuristic human/alien worlds that continue to be influenced by past civilizations and mythologies. He imagines these worlds as places which have devolved. They are inadequate for living and never change because they are controlled by technology and lacking in what we might recognize as a humanizing touch. Creatives like Ranglen and his lover Mileen, a painter, are living in worlds that the reader can still recognize as having links to our times with “aircars” for speedy transportation, competitive people using “card-links” to make business contacts, and gangsters who traffic “the deprived and homeless.” At the same time, these new worlds are nightmarish developments of what might have once seemed like exciting possibilities such as teleportation (but with time glitches, so at what point is Ranglen in his relationship with Mileen in a certain place?) or the projection of the imagination into harmful and even deadly objects or scenarios that cannot be controlled (was someone killed by a unique type of aircar that only existed in a poem Ranglen wrote?).

The poems are divided into groups and include some that directly reference characters and events in the books, some that might be about the author’s actual life, and others that seem inspired by Wendland’s own reading and teaching as a professor of literature. There are even poems involving superheroes, Native American mythology, and vampires. Overall, Wendland and Ranglen seem to be attracted to writing about their eclectic, science-fiction infused personal interests as well as sudden, intense encounters and events that are best captured as poetic memories. In addition, the poems even predict Ranglen’s future because Wendland notes that these poems will lead to two more Ranglen novels “yet to be written.”

In the poem “Notes Toward a Supreme Science Fiction,” we learn what Wendland values most in writing science fiction: “The obsessed, the pursued, / And the space / In between.” He sees, as he says in “Negotiating a Dream” an opportunity when we might be able to “Maybe even appropriate/ Some other era’s / Lost stellar dreams.” In contrast, the love poems in the Planetary Love section of the book are more immediate, focusing on what loving someone means and how that love is an action and unifying force rather than being an exploration of complicated emotions. Ranglen talks about that “singular moment” when the “world of another person is open” (“In a Moment”) and about loving in a “language” “that came before words” (“The Touch”). The poem that defines Ranglen best has the same title as the first novel and appears toward the end of the collection. However, there is also an excellent introduction to the poetry that helps the reader for whom Ranglen is a stranger to understand, in broad strokes, the context of the poems as a whole.

If you want to experience a pleasant feeling of recognition, like a memory, read the novels first. If you decide to read the poems first, it would be worthwhile to avoid dipping into the book randomly so that the poems will unfold in a logical way, thus providing enjoyment and understanding through a narrative approach as spare and direct as the prose of the novels. Recommended.

Reviewed by Nova Hadley