I remember feeling enthralled by Werlin's Impossible, and I'd hoped this book would give me the same feeling.
Nope. Not even close.
I found Extraordinary to be very poorly written. There was no tension, no suspense. We knew every detail from the beginning, thanks to the "conversations with the faerie queen" that were not only unnecessary, but frustratingly rendered. The dialogue was choppy, flat, and irritating. It's not a spoiler to say, "Oh, Mallory is manipulating Phoebe!" because we're told so, blatantly, on the first page. Any bit of information was wrung out in those sections. It was condescending. It made me feel stupid. It was like somebody took my hand and said, "Okay, now, this story is going to somewhat involve a faerie realm! You only know this world, the world of reality, so I'd better lead you through everything just in case you don't understand or get confused or have the slightest bit of trouble."
Werlin's depiction of seventh graders is laughable. For example, no seventh grader says, "Because, frankly?" Try "honestly" or "seriously." Phoebe's seventh-grade thoughts are incredibly self-aware. Her reasoning is that of an adult or at the very least a high schooler, not a child. However, Werlin's portrayal of adults in the novel is equally poor. Phoebe is supposed to have a huge revelation over her mother's love for her. Yet, she spends the entire novel calling her mother by her first name, Catherine, for no apparent reason. That is, when adults are even present in the story, which only happens when it's convenient for Phoebe.
Whoever wrote the summary clearly tried to give this book a Twilight-esque appeal, with a dangerous, forbidden, supernatural love. In actuality, Ryland's manipulation is boring, not thrilling. I mean, it's not supposed to be thrilling. It's supposed to be wrong and awful, but when we know he's manipulating her, that wrongness is flattened, made meaningless. We don't feel outrage or even pity--feelings that give us a righteous thrill, that make us and keep us invested. We just don't care. I didn't really care about Phoebe--I couldn't reconcile the inconsistencies in her character enough to make her thought process seem reasonable. But again, as is all too common these days, we can blame that on the *SUPERNATURAL.* All poor character development is forgiven because there was magic involved. Of course.
And in the end, when I learned Werlin took her inspiration from Maguire's Wicked and, more importantly, from the song "For Good"? I was astonished, and then angry--coming from those two sources of inspiration, this story could have been really good. But because Werlin had made it REALLY CLEAR from the get-go that Mallory wasn't being a genuine friend, all of that possibility was lost. It was as though Werlin thought she didn't actually have to build a relationship between Mallory and Phoebe. She didn't leave any room for true conflict or forgiveness or friendship. Saying (paraphrased), "Mallory was the sister Phoebe never had" doesn't make it their friendship automatically close or even real. It just makes it empty, something Phoebe wanted but ultimately never really earned. At least, not within the pages of this book.
There's a nice sentiment in saying, "Everyone has the capability to be extraordinary." It's true. But it's a pity we had to sort through a mess of a novel to get there.