Publisher: Wednesday Books Genre: Young Adult, Coming of Age Pages: 448 Format: Hardcover Buy Local My Rating: 4/5 stars
If you’re looking for an extraordinarily unique, dark twist on a classic story, look no further than Christine Riccio’s Better Together. Jamie and Siri are sisters separated at a young age and completely devoid of contact for over a decade due to their parents’ nasty divorce.
In a twist of luck (or fate) the two sisters are reunited at the same “rediscover yourself” retreat and hatch a devious plan: the two will switch places and confront their respective parents.
However, not everything goes as planned, and it’s going to take a lot more than switching places to understand each other, find themselves, and ultimately face the complexities of family.
It has been almost a year since my very first post with The Spellbinding Shelf where I discussed one of my favorite young adult novels, Again but Better by Christine Riccio. Now, coming full circle, I decided to review her newly released second novel, Better Together. While very witty, I have to admit that initially I was not completely sold on the plot—mostly because it wasn’t my usual type of young adult novel. The whimsical magic reminiscent of The Parent Trap and Freaky Friday are classically engaging, but I was not as enthused with those themes. Perhaps due to my hesitancy, I ended up being disengaged, and the combination of short and rather uneventful chapters left me searching for more.
Despite some of these shortcomings, I was pleasantly surprised with Riccio’s capability to take a traditionally lighthearted storyline and investigate the twisted, dark, and traumatizing difficulties of divorce, dysfunctional families, and the impact of parents’ choices on their children. Indeed, there were moments in the book where, while I was craving more action, I couldn’t ignore the insight and attention to how both Jamie and Siri processed their emotional baggage. Riccio does an amazing job detailing the struggles of both characters who have completely different personalities and means of handling their past to move towards their future. There were multiple times in which I had to underline prominent messages or found myself laughing at the page as Riccio nicely combined comedy, romance, and sardonic tones with the seriousness of her overall topic.
Most importantly, Better Together was primarily written during the pandemic—a heaviness that is translated in its pages as the reader slowly feels the suffocation and eventual release of tension most everyone has felt over the past year. In this manner, I appreciated Better Together not only because of its mix of tragedy and comedy, but also its overall feeling of angst and the eventual, much needed, feeling of relief.
“People like you must create. If you don’t create, Bernadette, you will become a menace to society” – Paul Jellinek, Where’d You Go, Bernadette
In Maria Semple’s novel Where’d You Go, Bernadette, Bernadette Fox is a menace, both to herself and society. A lost soul, she finds a unique solution to rediscovering her creativity and the family whom she’s been neglecting by literally running away to Antarctica. As a woman right about Bernadette’s age, I am drawn to books and films that portray the protagonist in the throes of a breakdown or midlife crisis. It is highly satisfying to follow along on a character’s journey of self-discovery, and Where’d You Go, Bernadette is no exception. As an architectural-genius-gone-recluse after several setbacks, I thoroughly enjoyed her path to enlightenment.
So, when they announced a film version starring Cate Blanchett in the titular role, I was cautiously optimistic. In truth, I would probably pay to watch Blanchett read the back of a cereal box, but I had my reservations about this particular book-to-film adaptation. As Semple’s novel is largely a collection of emails, letters, and police reports, I was unsure how writer and director Richard Linklater would translate that to the screen. In addition, the novel’s success is credited to the strong, multi-dimensional characters. As it turns out, I had some cause for concern. Be warned, there are spoilers ahead!
Blanchett rose beautifully to the challenge of portraying the quirky, vulnerable, and misguided genius Bernadette Fox. For me, Blanchett was Bernadette—with huge, dark sunglasses and a scarf draped over her hair, she was the epitome of the reclusive genius. She wears all of Bernadette’s absentmindedness, and eccentricities as portrayed in the novel as easily as she dons her rubber rain boots and fishing vest.
Some of Blanchett’s best scenes, in my opinion, are the ones in which she composes frantic emails to Manjula, the identity thief posing as a Delhi personal assistant. The filmmakers make the wise decision to have Bernadette use voice to text email to communicate her exhaustive requests while she plods about her decrepit home making the odd repair, and sopping up rain from the constant roof leaks. The witty, and mostly manic, monologues from the novel surrounding planning her daughter Balakrishna’s (Bee) gift trip to Antarctica are hilarious. Most telling are the verbal detours that Bernadette takes in the form of tirades about Seattle and the gnats (otherwise known as the other parents). These rants, to a non-existent Manjula, reveal so much about Bernadette’s insecurities, paranoia, and anti-social behavior.
It is that true-to-the-novel attitude that works in telling Bernadette’s story. A fine example comes in the form of the video essay: after a chance meeting with a fan of her architectural work, Bernadette discovers a biographical video essay to commemorate one of her biggest accomplishments and heartbreaks, the Twenty Mile House. Done documentary-style, the video gives the audience a much-needed glimpse into Bernadette’s architectural past, offering an explanation as to why she has chosen to hide herself, and her talent, away. At one point in the film, the video and Elgin’s real-time discussion with a shrink about Bernadette’s self-destructive behavior toggle back and forth—this editing choice makes his concern for Bernadette all the more believable.
With Blanchett’s larger-than-life Bernadette, the other characters of the novel get short-changed, in my opinion. Bernadette’s husband, Elgin, played authentically by Billy Crudup, gets a bit of a makeover. In the novel, he is a self-absorbed Microsoft workaholic with little time for Bernadette and her shenanigans. His frustration leads to an affair with his assistant, Soo-Lin, who in the film is relegated to just being overly involved. The filmmakers choose to present him as more kindhearted and loyal, which works for the movie’s happy ending.
Emma Nelson as Bee has some important scenes which establish the mother-daughter bond that is so evident in the novel. Unfortunately, in the movie, that bond manifests itself as mostly defending Bernadette’s actions. The two actresses however, are at their best when driving through the rain singing along to “Time After Time” by Cyndi Lauper. Bernadette’s love and affection for Bee is clear here, and evokes enough vulnerability to balance out her quirky recluse persona. She again taps into this vulnerability when the two lock eyes during Bee’s school performance. I found those scenes to be more affecting than the film’s parting, in which Bernadette’s letter to Bee from the novel becomes a voicemail message—Bernadette rambles into the telephone receiver as Elgin and Bee look on. While the reunion is sweet, I much preferred the novel’s ending that features Bernadette’s letter filled with hope, love, and the promise of a new future for all three of them.
A pivotal character that is far more prominent in the novel is Audrey Griffin, the gnat from Galer Street School which Bee attends. Played by Kristen Wiig, Audrey, like Elgin, is a little more palatable in the film than in the novel. The thorn in Bernadette’s anti-social side, Wiig provides the film with some standout moments from the novel including the injured foot, and the no trespassing billboard. Wiig does a good job of balancing out Audrey’s detestable personality with a vulnerability that comes through in an important moment during the escape. After Bernadette jumps out of her bathroom window, she and Audrey patch up their differences in a revealing and funny way that I preferred to the novel’s. Add the backdrop of Audrey’s filthy home thanks to the mudslide (as funny on film as it is in the novel) and you have a great scene between two confused women.
Overall, as a film about a woman rediscovering herself, Where’d You Go, Bernadette is a success, in my opinion. It is wildly funny, and touching where it counts—thanks mainly to the strong lead performances, particularly Blanchett’s. Where the novel surpasses the film is in its development of the supporting characters and their contributions to the story. As you often see with a book-to-film adaptation, the novel offers more depth than its movie counterpart. Not a runaway hit, but still good fun.