Review of the Day: The Nest by Kenneth Oppel
By Kenneth Oppel
Illustrated by Jon Klassen
Simon & Schuster Books for Young Readers
On shelves October 6th
Oh, how I love middle grade horror. It’s a very specific breed of book, you know. Most people on the street might think of the Goosebumps books or similar ilk when they think of horror stories for the 10-year-old set, but that’s just a small portion of what turns out to be a much greater, grander set of stories. Children’s book horror takes on so many different forms. You have your post-apocalyptic, claustrophobic horrors, like Z for Zachariah by Robert C. O’Brien. You have your everyday-playthings-turned-evil tales like Doll Bones by Holly Black. You have your close family members turned evil stories ala Coraline by Neil Gaiman and Wait Till Helen Comes by Mary Downing Hahn. And then there are the horror stories that shoot for the moon. The ones that aren’t afraid (no pun intended) to push the envelope a little. To lure you into a false sense of security before they unleash some true psychological scares. And the best ones are the ones that tie that horror into something larger than themselves. In Kenneth Oppel’s The Nest, the author approaches us with a very simple idea. What if your desire to make everything better, everyone happier, released an unimaginable horror? What do you do?
New babies are often cause for true celebration, but once in a while there are problems. Problems that render parents exhausted and helpless. Problems with the baby that go deep below the surface and touch every part of your life. For Steve, it feels like it’s been a long time since his family was happy. So when the angels appear in his dream offering to help with the baby, he welcomes them. True, they don’t say much specifically about what they can do. Not at the beginning, but why look a gift horse in the mouth? Anyway, there are other problems in Steve’s life as well. He may have to go back into therapy, and then there are these wasps building a nest on his house when he’s severely allergic to them. A fixed baby could be the answer to his prayers. Only, the creatures visiting him don’t appear to be angels anymore. And when it comes to “fixing” the baby . . . well, they may have other ideas entirely . . .
First and foremost, I don’t think I can actually talk about this book without dusting off the old “spoiler alert” sign. For me, the very fact that Oppel’s book is so beautifully succinct and restrained, renders it impossible not to talk about its various (and variegated) twists and turns. So I’m going to give pretty much everything away in this review. It’s a no holds barred approach, when you get right down to it. Starting with the angels of course. They’re wasps. And it only gets better from there.
It comes to this. I’ve no evidence to support this theory of mine as to one of the inspirations for the book. I’ve read no interviews with Oppel about where he gets his ideas. No articles on his thought processes. But part of the reason I like the man so much probably has to do with the fact that at some point in his life he must have been walking down the street, or the path, or the trail, and saw a wasp’s nest. And this man must have looked up at it, in all its paper-thin malice, and found himself with the following inescapable thought: “I bet you could fit a baby in there.” And I say unto you, it takes a mind like that to write a book like this.
Wasps are perhaps nature’s most impressive bullies. They seem to have been given such horrid advantages. Not only do they have terrible tempers and nasty dispositions, not only do they swarm, but unlike the comparatively sweet honeybee they can sting you multiple times and never die. It’s little wonder that they’re magnificent baddies in The Nest. The only question I have is why no one has until now realized how fabulous a foe they can be. Oppel’s queen is particularly perfect. It would have been all too easy for him to imbue her with a kind of White Witch austerity. Queens come built-in with sneers, after all. This queen, however, derives her power by being the ultimate confident. She’s sympathetic. She’s patient. She’s a mother who hears your concerns and allays them. Trouble is, you can’t trust her an inch and underneath that friendliness is a cold cruel agenda. She is, in short, my favorite baddie of the year. I didn’t like wasps to begin with. Now I abhor them with a deep inner dread usually reserved for childhood fears.
I mentioned earlier that the horror in this book comes from the idea that Steve’s attempts to make everything better, and his parents happier, instead cause him to consider committing an atrocity. In a moment of stress Steve gives his approval to the unthinkable and when he tries to rescind it he’s told that the matter is out of his hands. Kids screw up all the time and if they’re unlucky they screw up in such a way that their actions have consequences too big for their small lives. The guilt and horror they sometimes swallow can mark them for life. The queen of this story offers something we all can understand. A chance to “fix” everything and make the world perfect. Never mind that perfect doesn’t really exist. Never mind that the price she exacts is too high. If she came calling on you, offering to fix that one truly terrible thing in your life, wouldn’t you say yes? On the surface, child readers will probably react most strongly to the more obvious horror elements to this story. The toy telephone with the scratchy voice that sounds like “a piece of metal being held against a grindstone.” The perfect baby ready to be “born” The attic . . . *shudder* Oh, the attic. But it’s the deeper themes that will make their mark on them. And on anyone reading to them as well.
There are books where the child protagonist’s physical or mental challenges are named and identified and there are books where it’s left up to the reader to determine the degree to which the child is or is not on such a spectrum. A book like Wonder by R.J. Palacio or Out of My Mind by Sharon Draper will name the disability. A book like Emma-Jean Lazarus Fell Out of a Tree by Lauren Tarshis or Counting by 7s by Holly Sloan won’t. There’s no right or wrong way to write such books, and in The Nest Oppel finds himself far more in the latter rather than former camp. Steve has had therapy in the past, and exhibits what could be construed to be obsessive compulsive behavior. What’s remarkable is that Oppel then weaves Steve’s actions into the book’s greater narrative. It becomes our hero’s driving force, this fight against impotence. All kids strive to have more control over their own lives, after all. Steve’s O.C.D. (though it is never defined in that way) is part of his helpless attempt to make things better, even if it’s just through the recitation of lists and names. At one point he repeats the word “congenital” and feels better, “As if knowing the names of things meant I had some power over them.”
When I was a young adult (not a teen) I was quite enamored of A.S. Byatt’s book Angels and Insects. It still remains one of my favorites and though I seem to have transferred my love of Byatt’s prose to the works of Laura Amy Schlitz (her juvenile contemporary and, I would argue, equivalent) there are elements of Byatt’s book in what Oppel has done here. His inclusion of religion isn’t a real touchstone of the novel, but it’s just a bit too prevalent to ignore. There is, for example, the opening line: “The first time I saw them, I thought they were angels.” Followed not too long after by a section where Steve reads off every night the list of people he wants to keep safe. “I didn’t really know who I was asking. Maybe it was God, but I didn’t really believe in God, so this wasn’t praying exactly.” He doesn’t question the angels of his dreams or their desire to help (at least initially). And God makes no personal appearance in the novel, directly or otherwise. Really, when all was said and done, my overall impression was that the book reminded me of David Almond’s Skellig with its angel/not angel, sick baby, and boy looking for answers where there are few to find. The difference being, of course, the fact that in Skellig the baby gets better and here the baby is saved but it is clear as crystal to even the most optimistic reader that it will never ever been the perfect baby every parent wishes for.
It’s funny that I can say so much without mentioning the language, but there you go. Oppel’s been wowing folks with his prose for years, but that doesn’t mean you can’t enjoy a cunning turn of phrase when you encounter it. Consider some of his lines. The knife guy is described like “He looked like his bones were meant for an even bigger body.” A description of a liquid trap for wasps is said to be akin to a, “soggy mass grave, the few survivors clambering over the dead bodies, trying in vain to climb out. It was like a vision of hell from that old painting I’d seen in the art gallery and never forgotten.” Or what may well be my favorite in the book, “… and they were regurgitating matter from their mouths and sculpting it into baby flesh.” And then there are the little elements the drive the story. We don’t learn the baby’s name until page 112. Or the very title itself. When Vanessa, Steve’s babysitter, is discussing nests she points out that humans make them as well. “Our houses are just big nests, really. A place where you can sleep and be safe – and grow.”
The choice of Jon Klassen as illustrator is fascinating to me. When I think of horror illustrations for kids the usual suspects are your Stephen Gammells or Gris Grimleys or Dave McKeans. Klassen’s different. When you hire him, you’re not asking him to ratchet up the fear factor, but rather to echo it and then take it down a notch to a place where a child reader can be safe. Take, for example, his work on Lemony Snicket’s The Dark A book where the very shadows speak, it wasn’t that Klassen was denying the creepier elements of the tale. But he tamed them somehow. And now that same taming sense is at work here. His pictures are rife with shadows and faceless adults, turned away or hidden from the viewer (and the viewer is clearly Steve/you). And his pictures do convey the tone of the book well. A curved knife on a porch is still a curved knife on a porch. Spend a little time flipping between the front and back endpapers, while you’re at it. Klassen so subtle with these. The moon moves. A single light is out in a house. But there’s a feeling of peace to the last picture, and a feeling of foreboding in the first. They’re practically identical so I don’t know how he managed that, but there it is. Honestly, you couldn’t have picked a better illustrator.
Suffice to say, this book would probably be the greatest class readaloud for fourth, fifth, or sixth graders the world has ever seen. When I was in fourth grade my teacher read us The Wicked Wicked Pigeon Ladies in the Garden by Mary Chase and I was never quite the same again. Thus do I bless some poor beleaguered child with the magnificent nightmares that will come with this book. Added Bonus for Teachers: You’ll never have to worry about school attendance ever again. There’s not a chapter here a kid would want to miss.
If I have a bone to pick with the author it is this: He’s Canadian. Normally, this is a good thing. Canadians are awesome. They give us a big old chunk of great literature every year. But Oppel as a Canadian is terribly awkward because if he were not and lived in, say, Savannah or something, then he could win some major American children’s literary awards with this book. And now he can’t. There are remarkably few awards the U.S. can grant this tale of flying creepy crawlies. Certainly he should (if there is any justice in the universe) be a shoo-in for Canada’s Governor General’s Award in the youth category and I’m pulling for him in the E.B. White Readaloud Award category as well, but otherwise I’m out to sea. Would that he had a home in Pasadena. Alas.
Children’s books come with lessons pre-installed for their young readers. Since we’re dealing with people who are coming up in the world and need some guidance, the messages tend towards the innocuous. Be yourself. Don’t judge a book by its cover. Friendship is important. Etc. The message behind The Nest could be debated ad nauseam for quite some time, but I think the thing to truly remember here is something Steve says near the end. “And there’s no such thing as normal anyways.” The belief in normality and perfection may be the truest villain in The Nest when you come right down to it. And Oppel has Steve try to figure out why it’s good to try to be normal if there is no true normal in the end. It’s a lesson adults have yet to master ourselves. Little wonder that The Nest ends up being what may be the most fascinating horror story written for kids you’ve yet to encounter. Smart as a whip with an edge to the terror you’re bound to appreciate, this is a truly great, truly scary, truly wonderful novel.
On shelves October 6th.
Source: Galley sent from publisher for review.
Like This? Then Try:
- Skellig by David Almond
- The Night Gardener by Jonathan Auxier
- Juniper Berry by M.P. Kozlowsky
Professional Reviews: A star from Kirkus,
Filed under: Best Books, Best Books of 2015, Reviews, Reviews 2015
About Betsy Bird
Betsy Bird is currently the Collection Development Manager of the Evanston Public Library system and a former Materials Specialist for New York Public Library. She has served on Newbery, written for Horn Book, and has done other lovely little things that she'd love to tell you about but that she's sure you'd find more interesting to hear of in person. Her opinions are her own and do not reflect those of EPL, SLJ, or any of the other acronyms you might be able to name. Follow her on Twitter: @fuseeight.
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