If I Stay – Gayle Forman

Bok 1 av 2
Sjanger:
Samtid/young adult/ungdom
Utgitt: 2009
Format: E-bok
Oversatt av:
Illustrert av: –
Forlag: Speak
ASIN: B0020BUWX2
Sider: 212
Kilde: Kjøpt selv
Bokas hjemmeside

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Forlaget om boka:
In the blink of an eye everything changes. Seventeen ­year-old Mia has no memory of the accident; she can only recall what happened afterwards, watching her own damaged body being taken from the wreck. Little by little she struggles to put together the pieces- to figure out what she has lost, what she has left, and the very difficult choice she must make. Heartwrenchingly beautiful, Mia’s story will stay with you for a long, long time.
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Dette er en av de virkelig store bøkene innen sjangeren «contemporary YA». Det kan virke som om «alle» ya-bokbloggere har lest den, og nå har interessen blusset opp igjen grunnet filmatiseringen med Chloe Grace Moretz. Samtidslitteratur for YA er ikke noe jeg er spesielt bevandret i, men denne var god. Så god at selv om jeg ikke hadde tenkt til å lese oppfølgeren, så fortsatte karakterene å danse rundt inni hodet mitt helt til jeg kastet inn håndkleet og kjøpte den neste også.

På omslaget står det at denne boka er passende for Twilight-fans. Det er nok til at jeg har oversett den så langt. Jeg føler liksom ikke at jeg har så mye å hente i bøker som sammenlignes med Twilight. Men denne gangen tok jeg feil, og jeg synes kanskje at referansen var noe malplassert utifra det jeg vet om Twilight. Mia er 17 år, og kommer fra en musikalsk familie. Det er bare det at mamma og pappa er rockemusikere, mens Mia tiltrekkes av celloen. Det kan jeg forstå, jeg har det på samme måte selv, jeg har bare ikke lært å spille (enda). Så hun er liksom litt annerledes i familien, har alltid følt seg litt utenfor, uten at foreldrene har gjort noe galt eller noe sånt. Det er en fin familie – og hun har begynt å date en hun selv anser som usannsynlig, nemlig rockefyren Adam.

It had taken me a few months to believe that Adam wasn’t taking the piss out of me, and after that we’d started having these little conversations in the corridor.
Still, his attention baffled me. It wasn’t that Adam was such a popular guy. He wasn’t a jock or a most-likely-to-succeed sort. But he was cool. Cool in that he played in a band with people who went to the college in town. Cool in that he had his own rockery style, procured from the thrift stores and garage sales, not from Urban Outfitters knockoffs. Cool in that he seemed totally happy to sit in the lunchroom absorbed in a book, not just pretending to read because he didn’t have anywhere to sit or anyone to sit with. That wasn’t the case at all. He had a small group of friends and a large group of admirers.
And it wasn’t like I was a dork, either. I had friends and a best friend to sit with at lunch. I had other good friends at the music conservatory camp I went to in the summer. People liked me well enough, but they also didn’t really know me. I was quiet in class. I didn’t raise my hand a lot or sass the teachers. And I was busy, much of my time spent practicing or playing in a string quartet or taking theory classes at the community college. Kids were nice enough to me, but they tended to treat me as if I were a grown-up. Another teacher. And you don’t flirt with your teachers.

Så skjer det som ikke skal skje: En bilulykke som dreper moren og faren momentant og plasserer både Mia og lillebroren Teddy i livsfare. Mia observerer kroppen fra utsiden. Det er opp til henne om hun skal leve eller dø.

And there was so much noise. A symphony of grinding, a chorus of popping, an aria of exploding, and finally, the sad clapping of hard metal cutting into soft trees. Then it went quiet, except for this: Beethoven’s Cello Sonata no. 3, still playing. The car radio somehow still is attached to a battery and so Beethoven is broadcasting into the once-again tranquil February morning.

Jeg opplever Formans språk som elegant og passende. Det er noe poetisk over det hele, for eksempel med referansene til musikk i beskrivende av lydene over, men så blir det heller aldri svulstig. Hun legger ikke nødvendigvis fingrene i mellom:

I see Dad first. Even from several feet away, I can make out the protrusion of the pipe in his jacket pocket. «Dad,» I call out, but as i Walk towards him, the pavement frows slick and there are gray chunks of what looks like cauliflower. I know what I’m seeing right away but it somehow does not immediately connect back to my father. What springs into my mind are those news reports about tornadoes or fires, how they’ll ravage one house but leave the one next door intact. Pieces of my father’s brain are on the asphalt. But his pipe is in his left breast pocket.

Ulykken kommer tidlig i boka, resten er en strøm av tilbakeblikk mens hun befinner seg i en tilstand der hun hverken er levende eller død. Spørsmålet er om hun kan klare å leve videre når hun har mistet så mye. Vi får et innblikk i alt hun hadde, i alle de fine øyeblikkene med familien, men også forholdet til Adam. Adam lever fortsatt. Han er ødelagt av ulykken. Forholdet deres har ikke vært bare enkelt i det siste, de er så forskjellige, men allikevel så like. Ambisjonene hennes kræsjer med hans. Han kommer fra en helt annen verden. Hvordan skal hun fortsette uten familien?

Da jeg begynte tenkte jeg at dette var dømt til å bli en enorm klisjé, men så viste det seg umulig å legge boka fra seg. Den er ikke spesielt lang, og plutselig var den over. Som jeg skrev innledningsvis, så var ikke egentlig dette ei bok jeg trodde jeg kom til å lese oppfølgeren til, men det viste seg å være bare tull. Mens jeg leste, tenkte jeg vel mest at det egentlig ikke trengs noen oppfølger til denne; at den står på solide bein på egen hånd og at det ikke er nødvendig å grave videre. Forlaget påstår: «Heartwrenchingly beautiful, Mia’s story will stay with you for a long, long time«, og det stemte jaggu for en gangs skyld. Det var noe med denne fortellingen som gjorde at karakterene ble med meg videre.

Anbefales.

kortsagt-ifistay

Film-trailer:

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Om forfatteren:
Gayle Forman (f. 1970) er en amerikansk forfatter. Hun har jobbet som skribent i Seventeen Magazine, der de fleste av artiklene hennes handlet om unge mennesker og sosiale problemer. Senere freelancet hun for blant annet Elle, Cosmopolitan, Glamour og The Nation. Etter å ha reist verden rundt med ektemannen Nick, debuterte hun med reiseskildringen You Can’t Get There From Here i 2005. Hennes første roman for unge voksne kom i 2007 og fikk tittelen Sisters in Sanity. Det store gjennombruddet kom i 2009 med If I Stay, men hun har siden da gitt ut flere bøker. Hun bor i Brooklyn, New York med mann og to døtre.
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