Uses for Boys
Uses for Boys
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Paperback ©2012--
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St. Martin's Press
Annotation: Anna manipulates the boys in her life to get what she needs and develops a negative reputation that is further complicated by her friendship with a secretive girl and a boy from a loving family who imparts illuminating lessons about honesty.
 
Reviews: 4
Catalog Number: #5363885
Format: Paperback
Special Formats: High Low High Low
Copyright Date: 2012
Edition Date: 2013 Release Date: 01/15/13
Pages: 229 pages
ISBN: 1-250-00711-9
ISBN 13: 978-1-250-00711-7
Dewey: Fic
Dimensions: 21 cm.
Language: English
Reviews:
Starred Review ALA Booklist (Thu Nov 01 00:00:00 CDT 2012)

Starred Review Many girls will relate to the fact that there are no fathers in this story. Anna Bloom and her mother are everything to each other, for a time anyway. Then her mother starts falling for one man after the next, leaving young Anna alone for extended periods of time and marrying and divorcing in a vicious cycle. It's no wonder Anna starts to look to boys in order to define her own self-worth, and she mistakenly equates sex with love. Her first sexual experience comes at 14, and by 16, she has moved in with Joey (I want to take care of him) and dropped out of school. There's desperation in Anna's need for sex her need to mold boyfriends into the family she never had d her loneliness is palpable. By novel's end, readers will find themselves emotionally exhausted but hopeful. Scheidt's spare and poetic debut offers up pretty images for some decidedly unpretty situations (the unmade bed is peaked and stormy); at times, her prose feels as tightly wrought as a novel in verse. This is a story about where we come from and how, sometimes, we have to break free from the past in order to shape our own future. Scheidt could have easily spiraled into preachy territory here, but she never does. Lots of teens will see themselves in the pages of this beautiful, honest novel.

School Library Journal (Sun Dec 01 00:00:00 CST 2013)

Gr 8 Up-Scheidt paints a vivid and heart-wrenching picture of loneliness. The story unfolds as Anna is introduced to a series of men in her mother's life, men who come and go, as her mother becomes increasingly absent from home, and from parenthood in general. Anna's isolation lends itself to all of the behaviors one might expect: older boyfriends, early sexual experiences, experimentation with pot and booze. What's so special about this book is how Anna's behavior defies expectations. She is extremely tender and loving with the boys she dates (which makes one wonder about the title, since Anna's affection is nearly always genuine). She and her best friend, Toy, admire Audrey Hepburn and Billie Holiday; they exhibit taste and restraint in their second-hand stylishness. Anna isn't terribly reckless, all things considered, and she truly wishes her mother would come home for good. Eventually, she moves out and begins life as a dropout barista. Her apartment is spare, her life simple and steadfast. She falls in love, not only with Sam, but also with his large, warm, connected family. Her problems are not neatly resolved, to the author's credit, and readers feel the pain and uncertainty that come with disappointing someone you admire, and being disappointed by someone you love. This beautifully crafted novel is sweet and wonderfully straightforward. Give it to readers who loved Jessica Warman's Where the Truth Lies (Walker, 2010), Sara Zarr's Story of a Girl (Little, Brown, 2007), and Thalia Chaltas's Because I Am Furniture (Viking, 2009). Nora G. Murphy, Flintridge Sacred Heart Academy, LaCanada-Flintridge, CA

Reviewing Agencies: - Find Other Reviewed Titles
Starred Review ALA Booklist (Thu Nov 01 00:00:00 CDT 2012)
School Library Journal (Sun Dec 01 00:00:00 CST 2013)
Voice of Youth Advocates
Wilson's High School Catalog
Reading Level: 7.0
Interest Level: 7-12
Reading Counts!: reading level:5.2 / points:12.0 / quiz:Q62498
Lexile: HL670L
the tell-me-again times
 

In the happy times, in the tell-me-again times, when I’m seven and there are no stepbrothers and it’s before the stepfathers, my mom lets me sleep in her bed.
Her bed is a raft on the ocean. It’s a cloud, a forest, a spaceship, a cocoon we share. I stretch out big as I can, a five-pointed star, and she bundles me back up in her arms. When I wake I’m tangled in her hair.
“Tell me again,” I say and she tells me again how she wanted me more than anything.
“More than anything in the world,” she says, “I wanted a little girl.”
I’m her little girl. I measure my fingers against hers. I watch in the mirror as she brushes her hair. I look for myself in her features. I stare at her feet. Her toes, like my toes, are crooked and strangely long.
“You have my feet,” I say.
In the tell-me-again times she looks down and places her bare foot next to mine. Our apartment is small and I can see the front door from where we stand.
“Tell me again,” I say and she tells me how it was before I came. What it was like when she was all alone. She had no mother, she says, she had no father. All she wanted was a little girl and that little girl is me.
“Now I have everything,” she says and the side of her foot presses against the side of mine.
eight is too big for stories
But everything changes and I’m not everything anymore. We’re in the bathroom and she’s getting ready. His name is Thomas, she says, and he won’t like it if she’s late. She tugs at the skin below her eyes, smooths her eyebrow with the tip of her finger. I’m getting old, she says.
“Tell me again,” I say.
“Eight is too big for stories,” she tells me. She sweeps past me to pick out a dress and when she does, I know. I know this dress. It’s the dress she wore the first time, the dress she wore the last time she left me alone. It’s yellow and when I touch the fabric, my fingers leave marks.
“Stop that,” my mom says and steps out of reach. Then she sprays perfume between her breasts and I turn away. I know what comes next. She’ll go out and I’ll get a babysitter. She’ll wear perfume and put on nylons. She’ll wear high-heeled shoes. The babysitter will sit at our kitchen table and play solitaire.
“Why do you have to go?” I say.
“I’m tired of being alone,” she says and I stare at the wall of her room. The bathroom fan shuts off in the next room. Alone is how our story starts. But then I came along and changed all that.
“You’re not alone,” I say. My back is to her and on the wall of her bedroom are the photographs I know by heart. The pictures that go with our story. She always starts with the littlest one. The one of her mother.
“The last one,” my mom says, meaning it’s the last picture taken before her mother died. She died before I was born. “She was so lonely,” my mom says. Our story starts on the day that her father left her mother. It starts with my mom taking care of her mother when she was just a kid like me.
I can take care of you, I think. But already she has her coat on. She’s opening the front door because Thomas is waiting downstairs.
I look at another photo, the one of me at the beach sorting seashells and seaweed and tiny bits of glass. In it, I’m concentrating and wearing my mom’s sweater with the sleeves rolled up.
“Bye,” she calls and I look up, but the door is already closed.
 
he’s our family now
She goes out that night. She goes out the next night. I sleep alone in her bed and when she comes home, she packs a suitcase. She’s going away for the weekend, she says. She’s going away for the week. In between she comes home. She repacks. She washes her nylons and hangs them in the shower. She washes her face in the sink. I watch her in the mirror as she gets ready to go out again. She looks at her face from different angles. She pinches and pulls at her skin.
Then I meet this man. This Thomas. She brings him home like he’s some kind of gift.
And I’m told to be nice. I’m told to stand still. I’m made to wash my face.
I stand in front of him with my arms straight down at my sides. He’s in the kitchen, crossing in front of the light like an eclipse. Our kitchen table looks strangely small. Our ceilings too low. I’m watching the front door and willing him to walk back out of it. Instead he bends down until his face is even with mine.
“She looks just like you,” he says.
“You don’t look like anyone special at all,” I tell him. And I curse him. And I start a club to hate him. And I make a magic spell to get rid of him. And when she marries him, when we pack up our apartment and move into his house, when I change schools and have to eat the food he likes to eat, I don’t talk to him.
“Anna,” my mom says.
“What?” I say.
“Be nice,” she says. “He’s our family now.”

 
Copyright © 2012 by Erica Lorraine Scheidt



Excerpted from Uses for Boys by Erica Lorraine Scheidt
All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.

Anna remembers a time before boys, when she was little and everything made sense. When she and her mom were a family, just the two of them against the world. But now her mom is gone most of the time, chasing the next marriage, brining home the next stepfather. Anna is left on her own--until she discovers that she can make boys her family. From Desmond to Joey, Todd to Sam, Anna learns that if you give boys what they want, you can get what you need. But the price is high--the other kids make fun of her; the girls call her a slut. Anna's new friend, Toy, seems to have found a way around the loneliness, but Toy has her own secrets that even Anna can't know. Then comes Sam. When Anna actually meets a boy who is more than just useful, whose family eats dinner together, laughs, and tells stories, the truth about love becomes clear. And she finally learns how it feels to have something to lose--and something to offer. Real, shocking, uplifting, and stunningly lyrical, Uses for Boys by Erica Lorraine Scheidt is a story of breaking down and growing up.


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