Saturday, September 7, 2013

Stranger with My Face Critical Review

Cliché's Are Not A Stranger
Stranger With My Face is about seventeen-year-old Laurie who learns she has an evil twin sister bent on taking her place in life. The book is laden with clichés that make the book predictable but Lois Duncan uses those same clichés to hold the readers attention.
The first of the major clichés encountered in the story is that of a good and evil twin. The concept is first introduced when Laurie learns she was adopted and has a twin Laurie asks her parents why they adopted her instead of her sister Lia.

You weren't alike,” Mother said. “You looked just alike—both of you so beautiful with big, solemn eyes and all that thick, dark hair. The people at the agency wanted us to take you both, and despite what Dad says, I really think we might have done it. It seemed wrong to separate twin sisters. I picked you up and cuddled you, and I knew I never wanted to let you go. It was as though you were meant to be ours. Then I handed you to Dad to hold and picked up the other baby, and—and--”
And what?” I prodded.
I wanted to put her down.”
Why did you want to do that?” I asked in bewilderment.
That's what Dad kept asking me. I couldn't explain it to him then, and I can't to you now. It was instinctive. She felt alien in my arms. I knew I would not be able to love her.” (73)

However, the way Lia acts around Laurie makes readers wonder if her mother's feeling was incorrect. After all, Lia hasn't done anything evil. Laurie's friends think they see her when they really see Lia, but that's not necessarily because Lia is being malicious. One could argue she's exploring her sister's world when she's seen. The only other person to claim Lia was evil was Laurie's friend, Helen. And her basis for the claim was how Lia was looking at her when she woke up in Laurie's pitch black room. And Laurie seems to enjoy her time with Lia.

Perhaps I could say that it was a bit like falling in love. When I first started going with Gordon, he was all I could think about. I got up in the morning with his name on my lips--“Gordon--Gordon--today I will see Gordon!”--and I fell asleep at night with his face superimposed upon the inside of my closed lids. Now it was Lia's face—my face—that filled my consciousness. What I was experiencing was, in a way, like falling in love with myself. (102-03)

During that time, Laurie learns a lot about her biological mother and the hard-knock life her sister grew up in.
Eventually, Laurie finds out her mother was right about Lia after she and her friend Jeff get trapped in a cave because of Lia. She and Jeff discuss the incident and Lia once they're rescued. During the conversation, Jeff interprets something Lia said and Laurie quotes.

I don't understand why she hates me,” I told him helplessly. “'We're are the two sides of the a coin—'”
The dark and the light side.”
Coins aren't that way,” I said.
But people are.” (177-78)

Laurie had interpreted the quote “We're are the two sides of a coin” as another way of saying they were twins. The new interpretation only reinforces what Laurie, Jeff and the readers now know: Lia is evil. As the story progresses, readers learn that Lia is a murderer several times over, not someone who is only beginning her evil reign.
At one point Meg, Laurie's eight-year-old adopted sister, asks Laurie about Lia's motivation in teaching Laurie how to astral project.

What I don't understand, though, is why she wanted so much for you to learn how to go away.”
Why, because—because--” To my surprise, I found that I was unable to come up with an answer. I had accepted Lia's insistence without questioning it. (217)

Immediately readers see Laurie try to figure out Lia's the motivation. And readers get a chance to hope that Laurie will figure it out, as many readers already had and prevent Lia from fulfilling her plan. Laurie doesn't figure it out until after Lia has taken over her body.
Lois Duncan has clichés spilling over in Stranger With My Face. These clichés make the book predictable but she tells the story in a way that allows readers to believe she'll subvert them and create a completely different story. Although she doesn't, she manages to keep readers attention to the end.

Work Cited

Duncan, Lois. Stranger with My Face. New York: Dell Pub., 1982. Print.

Wednesday, September 4, 2013

Young Adult: A Movie Critical Review

An Anti-heroine Audiences Love to Hate

In Young Adult, anti-heroine Mavis Gary returns home to reconnect with old flame Buddy Slade, despite knowing he's married and a new Dad. As disgusted as views are with Mavis' homewrecking goals, they cannot help sympathizing with her.

Audiences feel a mixture of disgust and pity for her from the beginning. They're disgusted with how she lives: she neglects her dog Dolce, ignores calls from her editor and drinks a lot. And yet we pity her situation: she's lonely, which is demonstrated by the fact she sleeps with a guy she doesn't connect with, her email and a phone message reveals she's only one book away from ending a series she's been writing for years and not by her choice. Then she gets an email from Buddy Slade announcing the birth of his daughter. The photo of a baby, audiences later learn, that could have been hers and Buddies almost two decades earlier if she hadn't miscarried, and probably spurs her decision to get Buddy back.

Mavis doesn't delay once she's made her decision. She packs and leaves with her lover still asleep in her room. Once she's checked into her hotel, she calls Buddy and leaves a message that lets him know she's in town and would like to meet up. She then goes to a bar, where she runs into former classmate Matt, whom she'd never given the time of day to in High school. She confides her plan to Matt and the following conversation ensues:

MAVIS. Buddy Slade and I are meant to be together and I’m here to get him back.
Matt laughs, assuming this is a joke.
MATT. Really? Awesome. Buddy Slade, huh? I’m pretty sure Buddy’s married. With a kid on the way.
MAVIS. No, the kid’s here. She had the baby. I don’t care though. I have baggage, too, you know?
MATT. Wait, are you not joking?
MAVIS. I know people won’t understand, but things like this happen. They do happen. Usually they happen in slow-motion. Like, two people are meant to be together and then they slowly get rid of what’s keeping them apart. They get divorced,they reconfigure. And everyone’s cool with that, right? Society’s okay with that-- if you take your time like a goddamned emotional glacier.

Again audiences are disgusted with Mavis but must admire her ability to go after what she wants and sticks to her guns when someone tries to discourage her. How many times has an audience member given up on a goal because of an obstacle or discouraging word and envies Mavis' fortitude?

Another trait Mavis has that audiences admire is that she doesn't get flustered. This is beautifully shown when Mavis is checking into her hotel. Instead of getting flustered when she gets caught in a lie, she remains unaffected.

FRONT DESK GIRL. Is that a dog in your bag?
MAVIS. Nope.
She’s surprised by her own lie.
FRONT DESK GIRL. We actually allow small pets with a cleaning deposit.
MAVIS. In fact, I do have a dog, but he’s in my vehicle.
The bag wriggles wildly, betraying Mavis instantly.
FRONT DESK GIRL. Okay. I’ll put that you have a dog.

We see her calm again when she's caught writing in a book at a bookstore.

ASSOCIATE. Are you writing in there?
MAVIS. I’m the author. I’m signing it.
The associate still looks concerned that his merchandise is being vandalized.
ASSOCIATE.You’re Jane MacMurray?
MAVIS. No. Jane MacMurray just created the series. I wrote the book. I’m Mavis Gary. Crane. See?
She points to the flyleaf, which does indeed read: “Story by Jane MacMurray. Written by Mavis Gary-Crane.”

Although audiences may not use her nonchalance for different reasons than Mavis, they can imagine how much embarrassment they could have saved themselves if they'd had Mavis' ability to remain unflustered.
As the story progresses, the audience sees evidence that Mavis may be mentally ill. In one scene Mavis tells Matt about her date with Buddy:

MAVIS. Good, good. It was eye-opening though. Buddy-- he’s clearly not happy.
MATT. He told you that?
MAVIS. He implied it. You can tell he’s suffering. He looks completely exhausted. He told me he feels like a zombie.
Mavis takes in Matt’s childhood bedroom. A twin bed. A record collection. A desk strewn with Testor’s hobby glue, paint, and disembodied toy figurines.
MATT. I was there, and I suspect he was being flip.
MAVIS. It’s a pretty strong statement to make. A zombie is a dead person, Matt.

The audience can assume she's purposely misconstruing what he said to further her belief that she and Buddy could get back together. A more aware audience member may suspect something else is going on or that she didn't misconstrue but simply doesn't understand the true meaning of the saying. Either way, the former suggests an obsession with Buddy. The latter suggest a lack of societal awareness. In another scene, Mavis is at Buddy's house, visiting his wife Beth. During the visit Mavis asks about a chart with various expressions on it:

MAVIS. What’s that chart?
BUDDY. Beth teaches special needs kids.
MAVIS. Ah.
BETH. A lot of my kids learn emotions cognitively. It doesn’t come naturally to them the way it does for you or me. So we need to show them: This is what happy looks like. This is what anxious looks like. And so on.
Mavis is fascinated with the chart.
MAVIS. How about, like, neutral? What if you don’t feel anything?
BETH. That’s kind of how they are a lot of the time, so. Yeah. Don’t need to teach it.

This allows the audience to infer that Mavis frequently feels neutral and that is like the children Beth teaches. This revelation in no way excuses Mavis' behavior but it does deepen her character in a way that softens her, especially when she confesses to her parents that “I think I'm an alcoholic” and confesses to Matt, “I'm depressed,” and both parties disregard it. At one point, Matt even jokingly tells her “You're mentally ill.”
Despite the implications in such scenes, author Diablo Cody do not make excuses for what Mavis says and does. Their is no apology presented when Mavis asks her mother mother, “Have you seen it? Up close?” The it being Buddy Slade's daughter or when Mavis tells the Macy's employee she needs an outfit to make an impression on the wife of her “former flame.” They show Mavis how she truly is, which is part of her appeal.

Mavis Gary is unlikable and her goals despicable. Their is no reason to like Young Adult. However, due to some admirable traits in the character, some hints in the story and a blunt characterization, audiences can sympathize with anti-heroine Mavis Gary.




Work Cited
Cody, Diablo. Young Adult. N.d. MS. Http://www.scribd.com/doc/94237185/Young-Adult-Final-Script#download, n.p.
Young Adult. Dir. Jason Reitman. Perf. Charlize Theron. Paramount, 2011. DVD.