You know how a great book sucks you under and keeps you there for hours and you come up sputtering and breathless, wondering where you are? Ann Brashares’ new book, The Here and Now (Delacourt Press, April 2014) is not like that. It is an interesting premise and a fast read, but I skimmed through it. At 256 pages, I couldn’t really dive any deeper.
The Here and Now is a tale of time travel. A faction of people from a harrowing ‘future earth’ come back and colonize the present in order to escape the horrible conditions of the future. They follow strict rules to keep from being discovered: they keep to themselves, avoid ‘intimate’ contact with others, try to fit in as best they can. These rules are enforced (sometimes violently) by the leaders of the group of travelers. Prenna, our teenage protagonist, falls in love with Ethan, a ‘time native’, and the two of them start to unravel the precarious chain of events that lead to the dystopian future Prenna has escaped.
It’s a great plot, if only marginally developed. I was with Brashares the whole way, but it was also flat and lifeless. There was no meat on the bones; no flesh on the characters. They remained cardboard cutouts, manipulated around the plot. Ironically, there was no past or background given for any of the characters, particularly Ethan, the ‘time native’. With no motives and no glimpse into the psyche of the characters, it was awfully hard to become emotionally involved and, at times, to understand the cause and effect of events.
This book could have been great, another Divergent or Hunger Games for YA readers. Instead, it feels rushed and undeveloped. I got something out of it, but it wasn’t the experience I was hoping for. I haven’t read The Sisterhood of the Traveling Pants series, the immensely popular YA books by Brashares, but The Here and Now falls short of its potential, despite its great concept and gripping plot. If I could go back in time, I’d advise Brashares to slow down; give us the time to immerse ourselves in this world she has created. But we need the whole world, not just the plot.