I’m always amazed at how Ellen Hopkins can convey so much in so few words, residing in a gray area between prose and poetry.
Her latest novel in verse, “Sync,” does exactly that as it switches between twins Storm and Lake during the pivotal year before they age out of the foster system. Separated years ago, the two write to each other in an effort to maintain their unparalleled bond. In the process, we learn about their home life before the state of California took custody, and the placements — good and bad — in between.
Shortly after turning 17, their case workers organize a reunion. It’s enough to recharge their “sync,” but the joy from their brief reconnection is short-lived.
Storm winds up in juvenile detention when he takes justice into his own hands to avenge his girlfriend, the single good thing in his day-to-day life. And when Lake is caught in bed with her fellow foster and girlfriend, the two see no other choice but to run away and try living on their own.
This may be a young adult novel, but the themes are definitely for mature audiences.
Between sexual assault, homophobia, suicide, homelessness and all manner of child abuse, there are a lot of emotionally and psychologically challenging elements in “Sync.” On top of that, Hopkins tackles topical issues from the teens’ perspective: the lack of options for a rape survivor to seek justice or get help without having to undergo an invasive and often scarring process; the ways the justice system meets poverty and other societal disadvantages with punishment over reform, perpetuating recidivism; arguments about critical race theory and whether books like Toni Morrison’s “Beloved” should be taught in school. The last of these being particularly pertinent for an author whose books are no strangers to bans and assigned reading lists alike.
As with most of Hopkins’ narrators, Storm and Lake are observant and introspective, making them relatable, thought-provoking and fun to read.
Another thing Hopkins excels at is bringing you down to the lowest low before managing to end on a high note. While “Sync” avoids veering into trauma porn, it does occasionally get pretty brutal — particularly about two-thirds of the way when Lake and Storm’s fast descent toward rock-bottom goes from 45 to 90 degrees — but the hopeful ending is worth it.
If you came for the poetry, temper your expectations — there’s not as much structural play or use of poetic devices in “Sync” as in Hopkins’ earlier YA novels, like her debut and highly acclaimed bestseller “Crank.”
But if you came for a stirring page-turner that sparks conversation, “Sync” is definitely a winner.
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