There are kids who went through school experiences like mine who will never watch football, and there are those who end up playing for Arsenal. Okay, who will end up with season tickets. Stockholm syndrome will only take you so far.
Enough about what I am now. That comes later.
Everyone keeps talking about this as a story about bullying -- sure, there's a little bullying here. But mostly, that's like saying that Hannibal Lecter enjoys an unconventional diet. What happens to Andrew Waggoner is so far beyond bullying -- it's flat out assault (but with a psychological component that matches bullying). After a Halloween dance, Waggoner is forced into the woods by the school bullies and is assaulted. Somehow, his trauma links him to some long-dormant forces who take the opportunity to reassert themselves. One manifestation of the mystical/magical works with (compels? coerces? convinces?) Waggoner to take his revenge against those who permanently scarred him mentally and physically.
And over the next 12 months, that's just what happens -- Waggoner and/or his mystical companion (it's never clear exactly how much is done by each) exact their revenge -- Waggoner vacillates in his commitment to this project, and comes close to stopping on many occasions. In the midst of this, he becomes a writer and makes a friend based on shared interest, rather than just being social pariahs. In short, he starts growing up.
Meanwhile, the ancient forces tied to Waggoner are in open conflict with the dominant, more modern/contemporary, forces/beliefs. The school -- and the students' lives -- become the major battleground for them, the final conflict coming on the anniversary of the attack that changed Waggoner's life forever.
I kept seeing the school as the school from <b>Sing Street</b> (except, in the West Country, not Dublin -- but roughly the same era), which I know is inaccurate, but I couldn't stop myself. Pop music plays a large role in the story, and as it's set in the early 80's I didn't have to google most of the songs (there were a couple of tunes that didn't make it to Idaho that long ago) -- which was a plus for me, and probably most readers.
You can tell (well, you can guess) that Cornell and Waggoner had similar experiences in their early lives -- the language he uses to describe the bullying speaks to that. But more than that, the way he describes how the bullying shaped him, both then and when Waggoner reflects on those events from the vantage point of adulthood, resonated with me, and will with many readers.
The characters -- bullies, victims, other children, or adults -- were all wonderfully constructed. I'm not sure that I liked any of them (including Waggoner), but I was drawn into this world, and was very invested in what happened to each of them.
This was intense, gripping, strangely something (I want to say beautiful, but that doesn't seem right) -- there's a <i>je ne sais quoi</i> about <b>Chalk</b> that inspires and repulses at the same time. I know I haven't done a good job describing this book -- I'm trying hard not to ruin anything for future readers. It was one of the more affecting, compelling books I've read this year. Cornell does a masterful job of mixing our reality with his fantasy -- as he's shown in the <b>Shadow Police</b> and <b>Lychford</b> books -- this time you add in a layer of childhood horror and wonder to that combination.
This is something special, you won't read much like it.