With or Without You by Zane Riley (July 21, 2016); 348 pages. Available from Interlude Press here.
So, ever since I reviewed Go Your Own Way by Zane Riley (here), I have been waiting for the release of the sequel, With or Without You, and guess what? It’s here!
If you’ve not read my review of GYOW, pop over there and do that first, or be, at least, forewarned: I’m going to talk about this like a sequel, as if these characters and this situation are familiar because, to me, they are. And I’m happy to see them get more book space.
(Oh, and probably: spoiler alert for book 1.)
With or Without You picks up where Go Your Own Way left off: Lennox McAvoy—a nominally homeless, rather crass high school senior—is living with (and falling for) the relatively-privileged Will Osborne. Lennox was living in a residence motel after being dumped there by an uncaring grandfather and The System (which, after releasing him from a pretty abusive juvie situation, slapped an ankle monitor on him and told him to go be successful… without going too far). Will’s family has taken him in, but they discover that keeping him safe and well-behaved and at “home” is a bit like trying to hold on to a wisp of smoke with nothing but a tissue and a rubber band; Lennox just won’t be contained that way.
Lennox has a dirty mouth and no filter, and absolutely no tolerance for folks (like Will’s dad) who neither trust nor particularly like him. Like a good Harvard Business School grad, he’s proactive: when he senses someone’s not going to treat him with the respect or understanding he needs, he acts like a jerk and pushes them away before they get the chance to hurt him.
Ironically (in the O. Henry sense, not the Alanis Morissette sense), the people Lennox trusts least (Will, Will’s dad and Will’s stepmom) are the most likely to help him stay safe and get him through high school and into college. Ironically (in the O. Henry sense, but maybe a little in the Morissette sense here, too), those folks are so wrapped up in their own ideas of what’s right and good that they do a bit of metaphorical foot-shooting and end up suffocating the kid with their good intentions.
Will pushes Lennox to apply for college at a very expensive, very exclusive music school (Lennox plays several instruments and composes music and is an incredible musician, after all, and Will… really, really isn’t), and it brings out the fear that underlies Lennox’s bravado. What if he bombs the interview or the audition? What if he doesn’t even get that far? What if Will goes away to college in New York as planned, and Lennox is left alone with nothing, holding his… gonads… and has to join the army?
Or what if he gets in after all, but can’t afford to go?
While Will’s in this up to his eyeballs, and has a lot of figuring out to do (how do you support someone without imposing your own values on them?), this book feels like Lennox’s story. Lennox has to learn to trust everything: Will’s dad, his stepmom Karen, Will, and even himself and his own abilities. He also has to learn to let go (his best friend Lucy is leaving him behind, moving to Boston with her new girlfriend). Finally, he has to learn to settle down into happiness and not screw it up just because he’s afraid and wants to ruin stuff before something or someone else does it for him. He is, in the classic sense of irony (and, okay, in Morisette’s sense, too) his own worst enemy.
Not that there aren’t enough really bad enemies out there for him anyway. His own grandparents reject him and keep him from seeing his little sister (his grandparents are white and he’s the child of a Black woman and a white man); the authorities don’t really care who or what he is, as long as his ankle monitor doesn’t indicate he’s gone outside his permitted zone; the racist homophobes at the motel where he was living just want to beat on somebody (he’ll do); Will’s dad kind of thinks he’s a punk, an opinion which may or may not be driven by some privileged racism.
This is a smart and compelling follow-up to Go Your Own Way. (It’s great as a sequel, but can also be read on its own, without having read the first book.) Lennox is tough to love; Will, though his motivations are probably more familiar to most middle-class readers than those of Lennox, is also tough to love much of the time. In fact, almost everybody in this novel (I’m giving Karen a pass) is a well-meaning jerk of one sort or another. (Okay, and the racist homophobes don’t get passes, but they also don’t get to be included here… they’re just jerks, not at all well-meaning.) All of them are interesting and compelling, complex enough as characters to pull you in and make you care what happens to them.