The finely drawn characters capture readers’ attention in this debut.Īutumn and Phineas, nicknamed Finny, were born a week apart their mothers are still best friends.
There’s a tiny place for love here, but readers familiar with Hopkins’ Burned (2006) or with signs of serious depression will anticipate the tragic ending. The origins that the text identifies for Tony’s sexuality prevent his being a standard-bearer for gayness in literature, but the three main characterizations ring true. Each distinct first-person story slowly reveals its grim secrets, stinging from start to finish. The therapists broach some psychological issues, but Aspen Springs is more behavioral than psychiatric, awarding levels of privilege for acts of progress. Vanessa (razors), Tony (drugs) and Conner (gun) tried to “close out / the ugliness, close / out the filthiness, / close out all light.” They begin treatment at Aspen Springs residential center in pits of numb despair, unhappy to have failed and lacking human connection. In sharp, searing free verse divided into two-page chapters, Hopkins sketches three adolescents who have just attempted suicide.
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