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Gone, by Michael Grant
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The first in New York Times bestselling author Michael Grant's breathtaking dystopian sci-fi saga, Gone is a page-turning thriller that invokes the classic The Lord of the Flies along with the horror of Stephen King.
In the blink of an eye, everyone disappears. Gone. Except for the young. There are teens, but not one single adult. Just as suddenly, there are no phones, no internet, no television. No way to get help. And no way to figure out what's happened. Hunger threatens. Bullies rule. A sinister creature lurks. Animals are mutating. And the teens themselves are changing, developing new talents—unimaginable, dangerous, deadly powers—that grow stronger by the day. It's a terrifying new world. Sides are being chosen, a fight is shaping up. Townies against rich kids. Bullies against the weak. Powerful against powerless. And time is running out: on your birthday, you disappear just like everyone else. . . .
Michael Grant's Gone has been praised for its compelling storytelling, multidimensional characters, and multiple points of view.
- Sales Rank: #30915 in eBooks
- Published on: 2009-05-13
- Released on: 2009-05-19
- Format: Kindle eBook
From School Library Journal
Grade 7 Up—"One minute the teacher was talking about the Civil War. And the next minute he was gone." Just vanished—along with everyone else over the age of 13 in a 20-mile radius around Perdido Beach, CA. The children left behind find themselves battling hunger, fear, and one another in a novel strongly reminiscent of William Golding's Lord of the Flies. Things go from bad to worse when some of the children begin exhibiting strange powers, animals show signs of freakish mutations, and people disappear as soon as they turn 14. Though an excellent premise for a novel, Gone suffers from a couple of problems. First, it is just too long. After opening with a bang, the initial 200 or so pages limp along before the action begins to really pick up. Secondly, based on the themes of violence, death, and implied sexual intimidation, this is clearly written for an older teen audience who may not appreciate the fact that no one in the book is older than 13. In spite of its faults, Gone is a gripping and gritty read with enough creepy gruesomeness to satisfy readers who have a taste for the macabre. Give this one to the readers who aren't quite ready for Stephen King or Dean Koontz.—Jane Henriksen Baird, Anchorage Public Library, AK
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From Booklist
*Starred Review* It’s a scenario that every kid has dreamed about: adults suddenly disappear, and kids have free reign. In this case, though, it’s everyone 14 and older who disappears, and the harsh reality of such unreal circumstances isn’t a joyride after all. A girl driving with her grandfather plunges into a horrific car wreck; gas burners left on ignite a home with a young child trapped inside; food and medical supplies dwindle; and malicious youths take over as the remaining children attempt to set up some form of workable society. Even stranger than the disappearance of much of humanity, though, are the bizarre, sometimes terrifying powers that some of the kids are developing, not to mention the rapidly mutating animals or the impenetrable wall 20 miles in diameter that encircles them. This intense, marvelously plotted, paced, and characterized story will immediately garner comparisons to Lord of the Flies, or even the long-playing world shifts of Stephen King, with just a dash of X-Men for good measure. A potent mix of action and thoughtfulness—centered around good and evil, courage and cowardice—renders this a tour-de-force that will leave readers dazed, disturbed, and utterly breathless. Grant’s novel is presumably the first in a series, and while many will want to scream when they find out the end is not the end, they’ll be glad there’s more in store. Grades 6-9. --Ian Chipman
Review
“If Stephen King had written Lord of the Flies, it might have been a a little like this novel.”
Most helpful customer reviews
139 of 158 people found the following review helpful.
How do you revisit a classic plot?
By Geoff Arnold
"The Lord of the Flies" was one of the most unsettling books that I read at school (over 45 years ago!). It combined the horrifying realization of the Milgram experiments - that decent, ordinary people could behave in unspeakable ways with the minimum of a contextual shift - with an entirely believable set of characters in an all-too-plausible situation. I could identify with them, see friends (and rivals) around me who would react as Golding's creations had done. And the basic plot seemed wholly original: it wasn't one of the classic patterns that writer after writer had taken a crack at.
So how would you update it for the 21st century? How do you achieve the sudden enforced isolation of a group in an alien environment? In an era of GPS and satellite communications, it's hard to disappear, impossible to isolate. "The Truman Show" suggested a way that might work for one person, and "Gone" borrows some ideas from this world-in-a-bubble, but as the idiom goes "that doesn't scale". How about the characters - and the audience? And who is the audience, anyway? Golding wrote his masterpiece as an allegory for all ages, but that's a rare achievement.
Michael Grant decides to focus on the "young adult" audience, which means that the book has to compete in a world of "Buffy", reality TV, and videogames. In keeping with the zeigeist, the isolation of the young protagonists is achieved through a science fiction device: a "rapture of the adults". And the games begin.
OK, so I'm not the target audience of this book, but no matter. If adults can cross over to "Harry Potter", I don't see why I can't enjoy "Gone". And I did. Mostly. The first half of the book is really strong: some great scenes that Golding would have enjoyed. There are touches of Stephen King, and some wholly convincing character development. The childcare and McDonalds subplots are wonderful. I care about these people.
After that, things start to drift out of focus. We have a variety of "supernatural" plot elements which are never adequately related to any kind of underlying truth. It's OK for an author to leave the reader in a state of uncertainty; here it feels as if the author is uncertain - or perhaps he wants to keep his options open. There are a couple of "deus ex machina" moments which seem horribly out of place, although they would certainly provide opportunities for some cool CGI in a TV adaptation. (I'm sorry, that sounds cynical.) The inexorable march to the climax (announced with a count-down timer on each chapter) takes us to an interesting nexus which leaves far too many things unresolved. For the next book? For the TV series?
I'm glad I read this book, and I really enjoyed bits of it. There's a lot of good writing, and great plot potential. I wish that the author had shown more confidence in the strength of his core ideas, and hadn't felt the need to toss in so many distractions. Another Amazon reviewer wrote "Gone has just about everything in it...suspense, action, mystery, romance, supernatural sci-fi...all that good stuff." Exactly. A little less would have helped.
58 of 67 people found the following review helpful.
Wow! Fantastic!!
By Rachael Stein
Welcome to the FAYZ, short for Fallout Alley Youth Zone. There's no one who's over the age of fourteen; they've all "poofed," they're just gone. But the strangeness only starts there. There's a circular wall, or maybe dome, surrounding the land within a ten-mile radius from the nuclear plant. The wall is impenetrable and burns you if you touch it. There are strange mutations in the animals, such as seagulls with talons, winged snakes, and talking coyotes. Some kids have also developed strange powers. The rules of the world are changing, and Sam is running out of time before he turns fourteen and is bound to poof.
The kids from Coates Academy come down to the town of Perdido Beach, and one of them, named Caine, basically takes over. He acts as if he's benevolent, but people are dying, and it's because his sheriff and Captain Orc's little gang of bullies keep beating people up who break the rules imposed on them by Caine. And while some of these rules are actually valid, others prevent people from gaining any power to oppose Caine.
Sam, Quinn, Edilio, Astrid, and Little Pete find themselves thrown together for survival. Sam knows that something is off about Caine, and he also has a power to shoot fire from his hands. They are constantly running from Caine or one of his allies. They eventually meet a girl Lana, who is a healer, and discover that Little Pete has special abilities of his own. When they save a bunch of kids with power from Caine, who had them imprisoned with their hands cemented in blocks, the kids join their movement to take Caine down. The struggle escalates, and all their lives are at stake.
When I first read the summary for this book, I was extremely intrigued. This new world is almost like a parallel universe. I really enjoyed the references to Harry Potter, Star Wars, Hollywood, Agent Orange (the bad), and other literary works. Reading into Astrid and Sam trying to figure out where they were and what was happening to their world was very stimulating. There is a lot of exciting action in this novel, and even though the kids' powers sometimes seemed like they were taken from the movie The Incredibles, I still enjoyed it. I wanted to cheer and scream at the ending of the novel, and I really hope there will be a sequel to this book. Gone was simply an amazing book; I don't think I can stress that fact enough, and I recommend it to everyone. This book is very thick, and I hope its length will not discourage anyone from reading this fantastic story.
34 of 38 people found the following review helpful.
Love the Plot, Dislike the Characters, Hate the Ending
By Ana Mardoll
Gone / 9780061909641
Where do I start with this review? I wanted so badly to love this book, but halfway through I told my husband, "I love the plot, but I can't stand the characters." Still, I was perfectly prepared to give this book a give 4- or 5-star recommendation... until the last 20 pages. Light spoilers ahead.
The plot is everything you could want from a dystopian sci-fi YA novel. On the first page, everyone in town over the age of 14 disappears completely, and it's immediately up to the remaining kids to figure out how to survive in a world that becomes increasingly creepy. The children are obviously ill-prepared to take care of, say, all the abandoned babies in town, and the result is dark, gritty, and satisfyingly creepy. In addition to all this, the town is also enclosed in a mystical soap bubble, and the town threatens to be overrun by talking coyotes and flying rattlesnakes. Seriously, this is an awesome plot.
But the characters...! This book feels like it was written by taking a bunch of recent popular YA books and trying to Frankenstein the characters together out of various YA tropes. There's Sam "Harry Potter" Everyman, a nice, strong, solid, dependable, totally average guy with a propensity towards heroics and to whom everyone instinctively looks up. There's Astrid "Percy Jackson" Sexy-Smart, whose job is to provide exposition and romantic angst and who is literally referred to in-text as both a "Genius" and a "Barbie" doll. (Astrid, being female, will not be allowed to do anything useful in the novel that doesn't entail snogging the protagonist or looking after small children.) And, of course, there's the ineffectual Sidekick Guy who spends the whole novel sulking because he's not as cool as his protagonist buddy. (Why do authors keep Sidekick Guy active as a trope? I truly cannot remember the last time I read a YA novel and thought, "That was good, but it needed more sulking.") And, of course, mid-way through the novel, the Bad Guy shows up and takes over the town through virtue of his Nicolae Carpathian powers of persuasion, a la that preppy kid in "The Enemy". Maybe I've just been reading too much YA lately.
It's not that I can't handle stock characters, but I'm just not sure that I like the way the author writes his characters. For instance, he seems to be aware of the fact that YA as a genre is in dire need of more women and minorities, and I really want to give him credit for trying to fix that. There seem to be as many named female characters here as there are male ones -- a major feat in YA novels -- and there's also an autistic character and a minority character from Honduras. On the other hand, I'm not sure that "realistically depicting prejudice" in a novel should translate to throwing around racist and ablist slurs every few pages, and I'm additionally fairly certain that a good depiction of minorities doesn't start-and-stop at making the autistic character a glorified MacGuffin and the Honduras character someone who can fix and do just about everything, but always does so at the protagonist's beck-and-call.
The female characters suffer this problem as well: despite having incredibly useful powers like genius intelligence, anti-gravity powers, and super-speed, they never really grow beyond support roles in the text. Which is odd, because you'd think that a Genius would be better used for strategy than being a nanny, and you'd think a Speedster that runs faster than the human eye can track would be able to shiv a few key characters. And some kind of award needs to go to Diana, for being the worst-written female character I've read this year: an intelligent young woman who knows full well that the villain is going to humiliate, hurt, abuse, and kill her, but sticks with him over the good guys not because she loves him, but because "The bad girl ends up with the bad boy." No, really, that's her reason. It's like an author's note in-text got incorporated into the dialogue by accident.
Then there's the ending. I realize going in that this is a series and that means cliff-hangers, but this book is a particularly egregious example. The bad guys roll up into town with a literal army, try to murder a preschool full of infants and toddlers, get fought to a position of weakness by the good guys, and then are allowed to limp off into the sunset because it's apparently the right thing to do. The villains are in perfect position to relaunch a counter-strike the next day if they so choose, and in the meantime none of the main questions surrounding the plot and its mysteries are answered or resolved in any meaningful way. Really, ninety percent of the novel could have been spent with everyone sitting on their hands for all the impact it has on the ending, and that's not fair to a reader, in my opinion. I expect something more climactic at the end than just Status Quo Resumes, Please Buy More Books.
And, you know, I liked the plot so much that I might be tempted to buy the next book, but considering the complete dodge on this ending (and considering I've been here before with "The Maze Runner"), I rather cynically believe Book 2 will do nothing more than maintain a holding pattern. There's got to be a better way to do a series than to just have the first twenty pages in Book 1 count and everything between page 21 and the final book is just killing time.
To attempt to sum up: I liked the plot idea, but hated that nothing ever seemed to be done with it. New supernatural elements were piled on every ten pages or so (mutating animals! x-men superpowers! multi-universe soap bubbles!) but none of them were resolved, explained, or brought to completion. I wanted to like the minority characters, but I disliked the fact that they all seemed flat, stale, and underutilized in favor of Protagonist McEveryman and Whiny Sulksman. I was looking forward to the ending, but was thoroughly annoyed to find no resolution whatsoever and a blatant attempt to restore status quo despite all the protagonists knowing full well that isn't going to work out. I'm very disappointed in this novel.
~ Ana Mardoll
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