The Fault in Our Stars by John Green – A Review

January 12, 2014 § Leave a comment

If you’re into Young Adult Fiction, chances are that one author made it happen. To paraphrase another editor, what writers like J.K. Rowling and Suzanne Collins started, John Green finished with his small but exquisite collection of novels about adolescent life that tell it like it is. But how and why has Green succeeded in winning the hearts of so many, when many more before him have tried and, if not failed, then not succeeded on the same scale? How did a young author from the American Midwest write novels that got the entire world (including a good number of adults) to fall in love with fiction for youths all over again?

 

Surely you've seen this cover around?

Surely you’ve seen this cover around?

Put simply, Green knows his teens. With his background as a youth chaplain and drawing from his own days at boarding school, he’s created a world of beautifully rendered youths who go about life, love and sometimes, death. His characters harbour deep crushes on the opposite sex, played out through snappy comebacks, thoughtful insights and intellectual referencing (think Walt Whitman, Gabriel Garcia Marquez and even wholly original Mathematical theorems). More often than not, they encounter a crisis, which forces them to re-examine the beliefs they’ve held all along, whether about themselves or about the people around them. And it’s in re-evaluating their lives that Green draws the reader in: we, too, with the characters, are brought around to a new perspective that stays in our minds and lingers in the heart long after the story is over.

Amazingly, Green has built a strong following of his works based on these few similar plot elements, so what exactly works so well for him? To me, it’s the understanding he displays, not just of what it means to be a teenager, but also what it means to be human. After all, the questions of love, life and death don’t only plague us during teenhood, but continue to haunt us even as we grow older. Green’s teens, despite their age, bring to the story reflections that somehow make sense even to adults. There are life lessons that we should already know but don’t – love the person, not the idea of them, for instance – or new interpretations to things that we take for granted – the cliché, for example, that remembering the dead through writing will somehow immortalize them in memory. Together with his band of wisecracking, painfully insightful, prematurely mature youths, Green manages to reach out and touch us deep within a place that we may have long forgotten about or assumed could no longer be moved.

John Green (left) with the young stars of the film.

John Green (left) with the young stars of the film.

Green’s latest novel and most successful work to date, The Fault in Our Stars, deviates slightly from the pattern described above. His protagonist is not a boy but a girl, Hazel Grace Lancaster, and from the onset her fate is never anything but determined – “her final chapter inscribed upon diagnosis”, as the novel puts it. She starts the story not attracted to anyone, and in fact determined not to be, because in her mind terminally ill people like her are “grenades” who will eventually blow up and hurt the people around her for life. Against all odds, however, Hazel meets Augustus “Gus” Waters, a stunningly good-looking cancer survivor who falls in love with her and whom she grows to love in return.

As we have come to expect of Green’s protagonists, Hazel is wonderfully fleshed out, if not in body, then at least in character. She is smart and well-read, and finds in Gus an intellectual opponent worthy of verbal sparring. Their conversations are an enjoyable cocktail of philosophical musings, nods to authors both famous and fictional and inside jokes (“Okay? Okay.”). Perhaps such humorous wisdom is due to their accelerated adulthood; both teens are forced to grow up far too soon with the cancer clock looming over them, constantly and conspicuously ticking away their life. Yet ironically, in numbering their days, Green has created characters that are more vivid and full of life than one would expect cancer patients to be (incidentally, a stereotype that Green hoped to correct in writing this book).

The first official poster for the highly anticipated film adaptation.

The first official poster for the highly anticipated film adaptation.

The pair’s budding relationship, as the upcoming movie poster puts it, is “one sick love story”. Gus is inexplicably (to Hazel, at least) attracted to Hazel from the first, and refuses to distance himself from her despite her warnings: “All efforts to save me from you will fail”. The two gradually bond over their mutual love of Hazel’s favourite novel, the fictitious An Imperial Affliction, and Gus, in a gorgeously Cinderella moment, plays fairy godfather when he spends his cancer wish from the Genies (a play on the real-life Make-a-Wish Foundation) on trip for himself and Hazel to Amsterdam to meet the novel’s famously reclusive writer, Peter Van Houten. From there, the pair’s romance is sealed and sees them through the second half of the story as an unexpected discovery turns Hazel and Gus’s lives upside down forever.

This story is unmistakably a tragedy, and Green himself acknowledges as much through the title’s nod to Shakespeare’s Julius Caesar, and explains further via the character of Van Houten, who notes in a letter to Gus that “there is no shortage of fault to be found amid our stars”. Both Hazel and Gus are marked with a sense of fatality through their battles with cancer and respond in different ways: Hazel desires to live an ordinary life without hurting anyone, whereas Gus fears oblivion and not leaving a significant legacy behind. Yet, there is also love among the ruins, through Gus’s unflinching devotion to Hazel, and the latter’s eventual reciprocity (“I fell in love the way you fall asleep: slowly, and then all at once”); Hazel’s words, which also close out the book, carry a promise of eternal commitment to Gus.

As with Green’s other novels, The Fault in Our Stars contains the perfect blend of likable characters, witty humour, poignant scenes, topped off by Green’s splendid writing. In addition, it offers a reassurance somewhat to the fear of mortality, through the reversal of a age-old mantra: that while we are in the midst of death, we are too in life.

This review was written by Nicola Cheong, a guest writer for The Novelettes. Thank you Nicola!

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