The End of the World and Beyond by Avi: A Review and Audiobook Giveaway

Congratulations to Susan Rice who won One Red Sock on last week's blog. 

REVIEW

I'm a pretty big Avi fan, so when I found The End of the World and Beyond in the Recorded Books catalog, I knew it was a book I'd want to pass along. (I heard Avi speak at the SC Reading Association conference and still quote his thoughts on revision.)

This story of twelve-year-old Oliver Cromwell Pitts takes place in 1725. When the book opens, he is a prisoner on board an English ship taking him to the colonies. Instead of being hung for thievery, Oliver has been sold into slavery. The book is told in first person, uses the language of the times, and is aptly narrated by James Langton. Here is a brief link to the recording so you can get a taste of the book. 

Before boarding the ship, "Goodwill," he and his beloved older sister, Charity, are separated. Finding her is Oliver's driving goal throughout the story.

While on board, Oliver is padlocked to six other prisoners. Their ordeal to survive with chains around their necks, is described in detail. At one point Oliver observes, “Truth is always held up as a shining ideal. ...truth can also be horrific." He develops new empathy for Negroes who are slaves for life. Although his future is dismal, he hopes he'll be able to be freed after his years of service.

The boat docks in Annapolis where the captain proceeds to sell the prisoners. As much as it is an anathema to him, he realizes he must sell himself or become the property of the city. Since he is young, he is passed over and feels shame over being sold for a lot less than the other felons. Locked up for a time because no one purchases him, he concludes that London jails and American jails are both awful: Misery has no geography, and he "remains a tethered bird in a locked cage."

Eventually, he his bought by a cruel master, Mr. Fitzhugh, an alcoholic tobacco planter. Oliver is released from jail and into an unknown, dreadful world. Even on the way to the tobacco farm, escape was always in his mind. "But fear overwhelmed me. My iron collar showed I was an enslaved felon." When he realizes that many people were attempting to running from their masters he observes that this doesn’t speak well of America. 

Oliver's antagonist, Mr. Fitzhugh, is shown vividly through his dialogue and actions. He threatens Oliver, “You are my property... I only do what I want, when I want. If you try to stop me, I’ll kill you." Fitzhugh's ever-present loaded pistol and knife in his belt demonstrate how he is the epitome of being a malicious bully.  

When Oliver gets to his master's house he feels as if he is at the end of the world. There he meets the other servant, a Negro teenager named Bara. Fitzhugh says to Oliver, "Consider yourself lucky. Bara will never get free."

Oliver observes that Bara "is self-contained. It was if most of what he had was within and he had little desire of letting anything out." Bara shows Oliver how to survive Fitzhugh's cruelty and advises him not to resist. "He becomes enraged at resistance. He wants you to fight back." He also suggests that the master will make someone helpless so that he becomes even more helpless as he believes the lies.

Oliver's discovers that his sister Charity is in Philadelphia and his desire to find her leads him to several reckless decisions. Bara is frustrated with him, but together they make a difficult and harrowing escape. When the two part, Oliver feels as if he is saying goodbye to his brother. In fact, Bara was the best friend and mentor Oliver needed. The book chronicles Oliver's physical and psychological maturation.

The ending will surprise you. But, take my word for it, this is a terrific book and classroom resource. It will open middle grade and young adult readers' eyes to slavery and indentured servitude before the Revolution. 

GIVEAWAY

Leave me a comment by August 15 and leave me your email address if you are new to my blog. Start following this blog or share it on social media and you will earn an extra chance to win. 

Two O'Dwyer and Grady Books and One Giveaway

Congratulations to Linda Townsend and Barbara Younger for winning copies of Run to the Light from last week's blog.

Eileen Heyes, a North Carolina author and writing instructor, sent me these two companion books. Based on her father's stories about his life in the movies during the depression, these books will appeal to readers in grades 4-7. Their fast pace and easy readability make them great choices for reluctant readers.

REVIEW OF ACTING INNOCENT 

Billy O' Dwyer and Virginia Grady are eleven-year-old actors. For them, home is a movie studio and their days are filled with make-up, costumes, and re-takes--rather than with school. From the beginning the reader sees two kids who not only know how to act for the camera, but know how to put on an act for adults. 

They are also super sleuths. When a movie actress is found dead and Billy's friend and mentor, Roscoe Muldoon, is declared to be the killer, Billy and Virginia decide to prove Roscoe's innocence. In a light and breezy style that moves the story along, the pair find clues, pursue red herrings, and are instrumental in finding the real murderer. 

REVIEW OF TOUGH ACT TO FOLLOW

The partners are at it again. This time, they discover a skeleton while looking through an abandoned house for props for a skit. The mystery is not a whodunit like in Acting Innocent, but rather who is the rightful heir to the house and the treasure that the deceased owner (John Wilkinson) squirreled away? 

The duo are divided. Virginia becomes convinced that Eddie Talbott who worked for Mr. Wilkinson because his rich, son, J.J, deserted him, should get the property.  Billy--who keeps wanting the investigation to be over and gets dragged in deeper by Virginia's love for sleuthing--feels sorry for J.J. who has been estranged from his father for several years. 

On top of that, they're not even sure what the treasure--which Mr. Wilkinson wrote about in a poem--really is. The story includes fake wills, a dangerous boat chase, and of course, discovering the treasure.

The two young thespians provide enough drama to make this a page turner that both boys and girls will enjoy.

GIVEAWAY

I am giving away both of these titles through Talking Story, the quarterly newsletter which Joyce Hostetter and I co-publish for educators and media specialists. Our winter issue is on Dormant Readers (also known as reluctant readers) and will come out next week. (Click here if you wish to subscribe). Leave me a comment here and I'll enter your name once. Leave a comment through the newsletter and I'll enter your name a second time. A winner will be drawn on January 21. 

DRIVE: A Review and Two Giveaways!

Congratulations to Clara Gillow Clark and Dorothy Price who won the downloadable version of Eyes on the Prize from last week's blog.

The night that I stayed up late to finish reading Joyce Hostetter's fourth book in the Bakers Mountain Stories series, DRIVE (Calkins Creek, 2018), I texted Joyce: "This is going to be a hard book to review. There are too many wonderful things to say about it. Somehow you're able to catch the heart of emotions so well. I'm still crying."

The funny thing is that I almost didn't read the book. I'd read several drafts and thought that I knew the story. Boy, was I wrong!

After all the brainstorming, outlining, and drafting that I'd read, Joyce added layers of characterization, sensory details, and plot points that deepened the story. Having read those earlier drafts, I look back and see how she added flesh to the bones of her story--and I got to see a book develop and grow. 

One other interesting background note. When Joyce was brainstorming DRIVE, I had just given up writing Half-Truths from two points-of-view. I told Joyce of my struggles to make each character act and sound differently from the other. There's no mistake: Joyce pulls this feat off beautifully. This is a story of twin sisters vying to hold onto their sisterhood at a time when they're growing up and apart.

REVIEW 

PROLOGUE- Ellie

Mommy says Ida was born ten whole minutes ahead
   of me
and I spent the first years following after her,
doing what she did
and trying to be as good as she was.

Then, when Daddy came home from war
with hurts we couldn't see
and moods he couldn't predict,
the uncertainty hit Ida hardest of all.
She pulled back like a turtle inside its shell,
slowing down while I sped up.
I soon realized I liked running ahead,
hearing people cheer for me.

But sometimes, it was Ida they'd be bragging on,
And when they did,
I always felt that I was losing.
Life became a competition that one of us had to win.

And I was determined that the winner would be me. (p. 5)

********

Competition. This theme pervades the book as Ellie and Ida prepare to enter their first year of high school. As the reader meets the girls, we see how Ellie thinks she's not as good as Ida and aches for a normal family:

I wanted a father who didn't get frazzled over a bad dream or loud noises. And a mother who wasn't always aching over her husband. I didn't actually want another family; I just needed to not be embarrassed by the one I had. (p.28)

Ida, who describes herself as the quiet one, avoids the spotlight and feels as if Ellie has the drive to succeed but she doesn't. 

...I stared at the red velvet curtain on the stage and thought how I never got to pull it open and shut. It was the only job I ever wanted in any play we ever did. But thanks to being a twin, I almost always had to be out front, doing something cute with Ellie and feeling like a country bumpkin in the shadow of a movie star. (p.29)

I loved seeing the sisters from each other's POV. This is Ida talking about their different reactions to their father:

Ellie wasn't scared of Daddy the way I was. She was more like Ann Fay. Bold. Always acting like there was no mountain so tall she couldn't climb it. No race so fast she couldn't win it. And no daddy so mean she couldn't charm him. (p.42)

In this section, Ellie thinks about taking Latin in school.

Ida wouldn't want me to because then we wouldn't have all our classes together. But that also meant I wouldn't always be compared to her. I could have a class that was all my own. A hard one that she couldn't show me up in.  (P.59)

Ida feels lost and shy in their new school but Arnie, a fellow freshman, reaches out to her. Ellie who is used to being the strong twin, sees Ida with Arnie and suddenly realizes that Ida might not need her anymore. What's worse is that Ellie has a huge crush on Arnie. This conflict leads to more tension and misunderstanding between the sisters. 

Throughout the book the word drive is used in a number of ways. One of the plot threads is Ellie's passion for racing and the Hickory Motor Speedway. Whereas Ida can't stand the noise and grit of the races, Ellie thrives on the excitement and exhilaration of watching the cars zoom around the track. Unfortunately, this love for a thrilling adventure leads to a devastating accident. Without a spoiler, let me simply say that Ida is the only one who can bring Ellie out of the no-man's land of her near-death injury. 

Joyce interlaces history throughout this skillfully written story.  The 1952 presidential election, the threat of communism, and the Korean conflict are all important backdrops to the drama taking place in the little town of Hickory. 

But that's not what made me tear up. Forgiveness, love, character growth, individual accomplishments against high stakes--all of these made me root for both Ida and Ellie, as I'm sure you will too. Although written for the upper middle grade reader, adults will also resonate with the coming-of-age theme interwoven into DRIVE. 

As I told Joyce, I'm a lot like Ellie. I think many of us will see a little bit of ourselves in the two sisters. And isn't that what a great book is about?

*******

EPILOGUE- Ida

After Daddy came home from war
with wounds we couldn't see
and moods he couldn't predict,
I pulled back and let Ellie take the lead.

I didn't mind so much if she wanted to run on past
and steal the show from me.
I didn't need to be seen or heard the way she did.
Art was my voice.

But then in her race to be first
Ellie crashed
and I had to go around her--
to face scary unknowns
and accept good things that came my way.

I think we both learned
that life is not a race with one of us winning
and the other losing.
We can drive on our own separate tracks
without competing.
And when we do
We'll each come out a winner. (p. 342)

GIVEAWAY and AN AUDIOBOOK WISH

Since so many of Joyce's fans read my blog, Boyds Mills Press kindly agreed to give away TWO copies of DRIVE. Leave me a comment by October 11 with your email address if you are new to my blog. If you want additional chances to win, share this on social media or follow my blog and I'll add your name twice to the hat--but make sure you tell me what you did. 

And while I'm on the topic of Boyds Mills Press--who wants the Bakers Mountain Stories to be published in audio format? I think they'd be perfect! If you agree with me, please join me in tweeting @boydsmillspress. 

You Heard it Here First: Cover Reveal for DRIVE by Joyce Hostetter

I am honored to share the cover reveal for DRIVE, Joyce Hostetter's newest middle grade book that will be released in September by Calkins Creek. In this interview she gives you a glimpse of the backstory behind the latest in the Bakers Mountain Stories as well as the nitty gritty research she did. Take it away, Joyce!

Photo credit: Wendy Hostetter Davis

Synopsis

Ida and Ellie Honeycutt are identical twins whose personalities and internal drives are quite different. Ellie likes action and loves going to the local stock car speedway with its thrilling competitions. Ida, who hates the noise, dirt, and danger of racing, prefers quiet evenings at home pursuing her love of art.

Ellie tends to lead and Ida is mostly content to let her do so. They find security in their expected roles but entering high school gives them more separate experiences and forces them to function independently of each other. However nothing can stop them from falling for the same charming boy and finding themselves at increasing odds with each other.

Then a car accident forces them into new roles, affirms their unique identities, and leads them back to their deep loyalties to each other.

Carol: How did you arrive at the concept for DRIVE? 

Joyce: After my publisher suggested a prequel to BLUE (which eventually became AIM), I decided to create a series which is now known as the Bakers Mountain Stories. Five books seemed like a satisfactory number of volumes and would give each of the neighborhood youngsters a chance to tell his or her story.  (Ann Fay Honeycutt narrates two books, BLUE and COMFORT since she unknowingly kicked off the series!)   

Next in line were the twins. Of course I could have given them each their own separate books to narrate but being lumped together was also a twin dilemma I could utilize.  Mostly I wanted to explore their individuality in the context of the same story line. So I decided to write DRIVE from both of their voices and let their differing viewpoints create the conflict.  My goal was to have the reader pull for both of them even when they were at odds with each other.

Carol: Why did you call the book DRIVE?

I’ve always thought that, if I wrote a sequel to COMFORT, I’d want to share a bit of North Carolina’s NASCAR history.  The Hickory Motor Speedway opened in 1952, the year my story takes place, and we’ve had a number of exceptional drivers emerge from our area. Ned Jarrett grew up in the community and ran his first race at our speedway on the night that it opened. Jarrett represented racing so well via his competitive drive, his deep integrity, and his trailblazing career in NASCAR broadcasting. Including him as a character in the story was a real honor for me.

The historical backdrop for DRIVE is The Cold War, The Korean Conflict, and the presidential race between Dwight Eisenhower and Adlai Stevenson. Ultimately, I see this book as being about competition, the drive to succeed, and what it means to win. 

In any competition, we tend to see winners and losers. But one person or party taking first place doesn’t have to mean loss for others. Winning is the result of facing challenges with integrity, admitting our mistakes, and learning more about ourselves and what makes us valuable—no matter what the outcome of the contest. In DRIVE Ida and Ellie discover what makes them each unique and a winner in her own right.

Carol: What challenges did you encounter while writing DRIVE?

Writing from two viewpoints is always more complicated than I imagine it will be. Each character’s story must be fully fleshed out while complementing the other’s.  There’s so much to cover— scenes they share, separate scenes, more characters to flesh out, and interior monologue and a story arc for each protagonist. My biggest challenge was getting it all in and making it work together without bogging the story down. Based on editor feedback I did some major rewriting which changed the story a lot. The heart of the story was unchanged but the narrative for reaching resolution was quite different.

Also regarding challenges—I have to say that securing a contract to write a novel before it’s actually fleshed out sounds like a writer’s dream. But this presents its own struggle.  Deadlines always arrive more quickly than I like!

Carol: What kind of research did you do?

I read about the twin experience, of course, but conversations with multiple sets of twins were the most helpful in understanding the complicated mix of deep love and intense competition that exists between many of them. I also interviewed local NASCAR legend, Ned Jarrett and spent lots of time at the library reading our local newspaper from 1952 & 1953.

YouTube was great for giving me glimpses of the 1952 presidential election and aspects of the Cold War. I also watched quite a few NASCAR documentaries and attended my first stock car race at Hickory Motor Speedway.

Hickory Motor Speedway

Carol: You mentioned five books in Bakers Mountain Stories.  So far you have AIM, BLUE, COMFORT and DRIVE. What’s next?

Something that starts with an E, of course. I anticipate the title to be EQUALITY since that was a big theme of the sixties. The youngest Honeycutt child, Jackie (a boy) will turn fourteen in 1960 and will experience some history making moments. I can’t wait to see the storyline evolve as I discover ideas while researching. Just getting started on that now!

Thanks so much Carol for listening and sharing DRIVE with your readers!

And without further ado, take a look at this beautiful cover!

One of the ways we can support our favorite authors is by pre-ordering their books. Guess what? DRIVE is now available on Amazon and Barnes and Noble for pre-order! In 2018 you'll have the opportunity to win the ARC off my blog when I review it--but why wait? Order your copy now!

Behind the Scenes of REFUGEE: An Interview with Alan Gratz and Giveaway-Part II

Congratulations to Connie Saunders and Jennifer Ervin for winning FIRST TIMES from last week's blog.

As promised last week, Alan Gratz  has returned to share some of the intricate process of writing his middle grade novel, REFUGEE. 

Alan autographing a copy of REFUGEE
for the Cousins Club. 

INTERVIEW

CAROL: How much time did you spend researching REFUGEE? Was that typical for all your books?

ALAN: I spent a month or two researching REFUGEE, which is typical for me.

CAROL: Why did you pick the topic?

ALAN: Writing about refugees was something I wanted to tackle. I empathize with the plight of refugees in today's world, and wanted to do something to bring that situation to the attention of school children, the way Linda Sue Park did with water in Africa and A LONG WALK TO WATER.

CAROL: At what point in that process did you realize you were going to use three different characters in three different time periods? Did you plan it or did it “just” happen? Did you know the ending when you started writing? 

ALAN: I knew I was going to write a story about three different kids in three different time periods when I began researching and outlining the book. That decision--to tell three stories--took a while to come up with on its own. But as soon as I realized I could not only show parallels between each story, but actually link the three main characters and their families across time, that's when I knew I had a novel!

CAROL: Each POV is a complete story. Did you write the 3 POV separately or concurrently the way the book appears?

ALAN: I outlined each separately, all the way out--first Josef's story, then Isabel's, then Mahmoud's--although Isabel's story was created knowing what happened to Josef, and Mahmoud's knowing what happened to the other two children. Once I had all three stories outlined, then I wrote the book linearly. That is, I wrote Josef's first chapter, then Isabel's first chapter, then Mahmoud's first chapter, and so on and so on.

CAROL: What system do you use to keep the research, plot lines, and characters straight? 

ALAN: I had a system I had developed over the years, but that has now been replaced by the awesomeness that is Scrivener. Scrivener is a great program for writers that allows you to store all your research and outline and story notes and character sketches in the same file with your manuscript--and it doesn't take a million years to load. You can click between separate screens very easily. It even has an outlining feature with faux note cards on the screen, but I prefer to do that by hand on the big pin board in my office. I'm a heavy outliner, and Scrivener allows me to keep all of my pre-writing notes in one place and at my fingertips when I'm writing.

CAROL: You make writing look easy. 😀 How many drafts? 

ALAN: Including my outline--which, again, is pretty extensive--I did eight drafts of Refugee. The first drafts see the bigger things hammered out, and see major changes to the book's structure and characters. Beginning with the fifth draft, I'm focusing on much more specific problems. By the final drafts, I'm doing line editing. After the manuscript was finished, the Author's Note went through many more revisions than the book, as I tried to stay on top of all the changes happening in American politics and policy--both for the Syrian story AND, to my surprise, the Cuban story!

CAROL: This isn’t your first multi-POV book. What have you learned in the process of writing books from several POV? 

ALAN: With multiple POV books, you have to be very careful to make sure that each POV character has a unique voice and character. Ideally, you want the reader to know whose story they're reading just by the narration and dialogue, even without names or chapter titles. So I do a lot of work on the front end to develop my POV characters, and make sure they have rich, detailed lives off the page as well as on!

GIVEAWAY

Leave me a comment for a chance to win this amazing book. If you left a comment last week, I'll add another entry. MAKE SURE you leave me your email address if you are new to my blog! Random.org will choose a winner on September 28. Like last week, if you also leave a comment through Talking Story, I'll give you another chance (PLUS there are other great books on this topic in the Refugee issue!).

Not On Fifth Street: An Interview with Kathy Cannon Wiechman

As promised last week, here is my follow up interview with Kathy Wiechman, author of NOT ON FIFTH STREET.

CAROL: Just like in LIKE A RIVER, you wrote NOT ON FIFTH STREET from two points of view. What led to that decision? 

KATHY: NOT ON FIFTH STREET is about a rift between two brothers. When I was a kid and got into a dispute with one of my siblings, my mother always said "There are two sides to every story." And she wanted to hear them both. I felt the only way to give Pete and Gus an equal chance to tell their sides was to write it that way. Since doing that had worked well for me in LIKE A RIVER, I felt comfortable doing it again.

CAROL: Unlike RIVER, Gus’s POV doesn’t follow after Pete’s. You go back in time and show the reader what everything looked like from Gus’s POV. What led you to writing it in that manner? Why didn’t you flip-flop chapters between the two?

KATHY: Part of Pete's worry in Part 1 was due to him not knowing where Gus was or if he was all right. If I had alternated chapters, the reader would have known more than Pete about Gus's circumstances and wouldn't be able to commiserate with him about it, and I think empathy with the POV character is always one of an author's goals. I felt it was a good way to add to the suspense in Part 1.

CAROL: This conflict between Pete and Gus is crucial to this story. How did you come up with that? 

KATHY: When I wanted to write a book about the '37 flood, I knew the flood itself wouldn't provide enough conflict. I grew up in a house with six siblings, my husband grew up with six siblings, and together we raised four children. I am quite familiar with sibling rivalry and the rifts that can cause conflict in a large household. It felt natural for the brothers' feud to be the key to the story. When I began my first draft, the first line I wrote was "Pete had never seen his brother so mad." In the final draft, that line appears in Chapter 2, but I let those words set the mood for the story.

CAROL: Did using your father’s story make writing this book more or less difficult?

KATHY: I was surprised at how much more difficult it was to get into Pete's head because he was based on my dad. I created Pete and he had to be Pete, not Dad. But that was tough to do. The part that was easier was knowing Dad's story so well, I always knew what would happen next. I also spent a lot of time in my grandma's house as a child, and I could always picture my setting so clearly, from the homemade picnic table in the sunroom to the back bedroom overlooking the garage to the mantel clock in the living room.

CAROL Can you give us some idea of how much is fiction and how much is fact? Obviously the flood and the fact that your father evacuated his family was fact. What else?

KATHY: Much of what Pete does, like taking the motor out of the refrigerator, my dad did. And like Gus, he was listed as missing. And my grandmother dug in her heels about evacuating because she didn't know where he was. His family did have his name mentioned on the radio as missing, and that call was put out by WLW from Cincinnati. Dad was not 14 or 15 like Pete and Gus. He was 20, but my Uncle Bill who marked the garage wall with the height the flood reached was only 12.

CAROL: How has life changed for you since receiving the Grateful American Prize?

KATHY: My day-to-day life is the same. I write or work on some part of the process every day. It might be research or promotional, but it's for my books. What has changed is my connection to the phenomenal team of people with the Grateful American Book Prize, who believe, as I do, that knowing American history is essential for today's young people. This group pays attention to what I am doing and they continue to help promote LIKE A RIVER even two years after it won the award. And the cash prize that came with the prize helps to fund my research trips.

CAROL: What’s next?

KATHY: I am working on another Civil War novel. This one takes place in Wilmington, North Carolina during the final months of the war. And I am doing a bit of preliminary research for a possible sequel to LIKE A RIVER.

******

For a chance to win my ARC, please leave me a comment along with your email address if you are new to my blog. A winner will be chosen on August 17. 

My husband's uncle, Robert Toupal, is
always eager to read well-written historical novels. He often
greets me with, "Got any new books?"

Liberty: A Review with a Focus on Writing Craft

Congratulations to Jessica Jacobson, a new blog subscriber, who won SOLDIER BOYS from last week's blog. 

When Alan Gratz, a prolific NC author, presented a workshop at SCBWI-Carolinas in 2010 on Plot and Pacing, my blog was only a few years old and I was learning how to review books. Fast forward to 2016, and I've decided to integrate writing craft instruction as much as possible into my reviews.  

LIBERTY (Scholastic, 2016), by Kirby Larson is the third in her Dogs of War series for readers in grades 3-7. As Gratz stated in the opening of his workshop, a good story must include conflict. "Kids won't read boring stuff." Authors must entertain early and set the tone of the book. How's this for the opening paragraph of LIBERTY:

Thomas Edison said, to invent, you need a good imagination and a pile of junk. Fish Elliott had both. Unfortunately, he also had Olympia. Fish heard her before she even poked her braided head through the loose board in the fence between their yards. (p.1)

What tone does that set?

Without one iota of info-dump, Larson shows the reader that Olympia isn't allowed to attend Fish's school because she's a Negro; his sister, Mo, works at Higgins Industries, which builds landing craft; his pop has enlisted in the war; Fish is battling the lingering effects of polio; and he's determined to rescue a dog from a mean neighbor.

Not bad for ten pages.

Gratz, using material from Vogler's Writer's Journey, talked about the importance of internal and external goals, which are both resolved at the end. For Fish, his internal goal is to have his father not see him as a cripple. "Fish would do whatever it took to be the kind of son that his father really wanted." (p 28). His external goal is to keep Liberty, the dog he rescues more than once.

Larson added depth to her story by incorporating an important secondary character. Erich is a German soldier and a French prisoner of war near Algiers. Sprinkled throughout Fish's story which takes place in New Orleans, the reader learns about Erich's goal: "He was going to do whatever it took to stay concealed, to stay hidden. He could not let anyone see the Erich within.... It was his only chance of surviving." (p. 37) 

Gratz said that the decision to act occurs in the first 25% of the book. Fish almost gives up on gaining Liberty's trust. "He wasn't going to find Liberty. It had been silly to think he would. Just like it was silly to think he could fix his leg." (p. 51)  After Olympia chides him that he shouldn't give up, he goes inside to do his secret leg strengthening exercises. His sister comes home bragging about one of Fish's contraptions that inspired a new idea at the plant and Fish is empowered. "He'd done something that would make Pop proud." (p. 57)

As Gratz pointed out using the Wizard of Oz, Act 2 includes the adventures along the yellow brick road. For Fish, that includes losing Liberty, riding a bike for the first time since he'd been diagnosed with polio, and interviewing Mr. Higgins at his plant for a school project.

Mr. Higgins rested against the railing. "They said we couldn't do it. But last year we deliver seven thousand LCVPs and a thousand LCMs...." He clapped Fish on the back. "Two things I've learned, Fish." He held up a plump finger. "Don't let others set the bar for you." A second finger. "And if you think you can't, you're right." (p. 121)

For Erich, clear across the ocean, his adventure begins when he sneaks aboard a transport that was taking Germans to a prison camp in the United States. "What's the worst they could do if they catch you?...Send you to prison camp?" his friend says (p. 90). When Erich arrives in New Orleans, the reader is on the hook. How will these two characters--who have no connection to one another-- meet? 

The climax of the book, as Gratz says, should be the moment that was promised in the beginning; the moment when the internal and external goals come together. In LIBERTY, that means both Fish and Erich performing heroic feats for Liberty's final rescue. Since I want you to read this book, I'm not including any spoilers! But in this tease, Fish recognizes similarities between Erich and some of his favorite people: 

Fish glanced over at Erich. He's eyes were as blue as Roy's. His smile as warm as Mo's. It was hard to think of him as an enemy. Maybe he had been. Maybe he still was, in some ways. But they were allies, too, over Liberty. (p. 185)

Erich gives Fish a carving of Liberty:

Fish stared at in wonder. It was Liberty in miniature perfection. He'd got her ears, her face, her shape, just right. "For me?" 

"Inside each piece of wood waits its true self, waiting to be revealed by the carver." Erich turned away from Liberty's pen. "This is true for people, too. We do not know what lies within until we are prodded into action." (p. 186)

This book for boys and girls will introduce younger readers to segregation and World War II in a gentle, yet provocative and meaningful manner. This would be an excellent classroom resource but sorry, I'm not giving my copy away. I have grandkids who are ready for this book; another novel commandeered for The Cousins Club!