YA or STFU

The Decoding of Lana Morris, by Laura and Tom McNeal

McNeal, Laura and Tom (2007). The Decoding of Lana Morris. NY: Knopf. 304 pages.

Lana Morris, sixteen, is a resident of a group foster home run by Veronica (whom Lana calls “The Ice Queen) and her indulgent, good-looking, but often absent husband Whit. Because Veronica’s house is locally known for its special needs residents–or “snicks,” as Veronica calls them–Lana is pretty much an outcast at school. Her only friend–and I use the term loosely here–is the next-door neighbor, a teen boy whose influence has allowed Lana minimal acknowledgement by a group of high school toughs. It is on a joyride with these toughs (Lana rides in the trunk, natch) that Lana comes upon an exquisite box of drawing paper in a dusty second-hand store. When Lana tries out the drawing kit, she discovers that not only can she draw better than she ever imagined, but also that what she draws comes true (cue “Simon,” for all you Saturday Morning Cartoon folks).

Lana’s first drawing, an unflattering picture of Veronica, seems to lead to the Ice Queen’s car accident and the subsequent loss of her arm. This is a dubious boon, as Veronica’s incapacitation forces Lana to take the reins in the household. Whit, on whom Lana had nursed a strong crush, turns out to be little help and, as the novel runs its course we discover the man Lana throught would be her salvation is nothing more than a charming cad.

Booklist called this novel a Cinderella story, and this is true to a certain extent. Lana does manage to wrest herself and her makeshift family of “snicks” from the clutches of Veronica and company and gets them all placed in a much more commodious home. I’m not spoiling the ending here, from the very first introduction of the character who ends up fostering Lana and “snicks,” you can totally tell what’s coming.

I’m surprised that I enjoyed this novel. On its surface (and, really, in the summary above) it seems like an “issue-novel”-slash-fairy-tale; however, the authors introduce a couple of moral grey areas that complicate what could have become a pretty black and white narrative. That this story written by co-authors wasn’t structured in the typical alternating-chapter dual voice is notable as well; for a book written by two minds (four hands?), the narrative holds together well.

You’re probably wondering what the title means, especially since the cover art features an incongruous dandilion, its seeds blowing in the wind. Well, its a clever (too clever, really) play on Lana’s last name (Morris = Morse) and Whit’s promise/threat to “decode” Lana Morris (Morse). Needless to say, it never happens. Snap!