FICTION

The Wrap-Up List

240p. Houghton Harcourt. 2013. Tr $15.99. ISBN 978-0-547-82410-9.
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Gr 7–9—Gabriela, a sweet 16-year-old, has just received a Death Letter giving her one week to complete her very own "Wrap-Up List." When a letter arrives, Death informs the recipient how much time is left to accomplish one's goals, and grants a few last requests before one's Departure. Every Death has what's called a Noble Weakness-a good deed that, if carried out, will free the doomed individual from Death. If the person requests a Pardon on the Wrap-Up List, the Death will give the recipient a Hint. Solve the Hint and achieve the correct Deed, and one can be Pardoned. Gabriela's goals are to try to get some of her friends their first kisses, along with a first kiss for herself from a longtime crush. With only a week to go, they soon find themselves plotting to discover Hercule's, Gabriela's Death, Weakness. In the process, she finds herself bonding with Hercule and learning more about herself and her family than she would have ever learned on her own. Missing details throughout the story might confuse reluctant readers. Explanations of Gabriela's surreal world are left unsaid, and there are time line discrepancies. Although Death and Departures are briefly mentioned, they are never fully explained in detail. Fans of Lois Lowry's Giver quartet will most likely appreciate this imaginative tale.—Krista Welz, The North Bergen Public Library, NJ
An intriguing premise draws in readers from the start. In Gabriela’s world, 1 percent of deaths are “departures”: “First, you’re contacted by one of the Deaths, the creatures who oversee the process, usually with a letter saying ‘Dear So-and-So, your days are numbered.’ Then you correspond, deciding how much time you need and what you want to wrap up before you’re taken.” Deaths also give hints about their “Noble Weakness”—“a good deed that, if [accomplished], forces them to let you go.” Between Gabriela’s “Wrap-Up List” and her Death’s clues, Steven Artson has crafted a novel that combines the personal significance of a bucket list with the slightly unhinged energy of a scavenger hunt. Gabriela’s narration is thoughtful and observant: “I return to my room, leaving my parents [to figure out if] they can . . . remember what they were arguing about . . . (I’ve learned that this isn’t a necessary component of their disagreements. They have great faith in their annoyance even when they can’t recall its origin.)” The Deaths—eight-foot-tall supernatural creatures who move as if they’re walking underwater—are vivid creations. Hercule, Gabriela’s Death, is a special delight, thanks to his general air of grievance and comically rendered hauteur. “And when I say extra-rare,” Hercule says, ordering a steak, “I’d like the chef to simply consider cooking it.”

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