When Imogen (she/they) attends their first Pride, nothing goes as hoped. Overwhelmed by the noise and masses of people, they are left by their “friends” to recover from a meltdown in a café. While her dad thinks this is exactly what she should have expected to happen, Imogen decides that it shouldn’t have to be, and they set up an activist society with the goal of putting on a Pride festival that is accessible to everyone.
The book’s narration is split between Imogen and Oliver, an initially reluctant member of the activist society. Their individual viewpoints and developing friendship are what really drive the plot. Watching Imogen and Oliver’s friendship grow as they learn to appreciate and support each other’s challenges and ambitions was my favorite part of reading.
Often, one character will set up a secret in their chapter, only for it to be revealed to the other (and to the reader) in their friend’s respective chapter. This device felt a little overused, but each individual reveal was still exciting, and I liked how the foreshadowing made the reading experience feel very safe without being predictable.
Apart from being queer, another important part of Imogen’s identity is that they are autistic, and that side of their characterization is superbly written. Imogen is a believable, relatable, 100% their own character, with no lazy stereotypes entertained.
Something to be Proud Of is an exciting addition to the LGBTQ+ centered YA lineup. If you want a queer book where the focus is friendship and activism, you should try this one.
Review by Camille Boelt Hindsgaul
Something to be Proud Of
Anna Zoe Quirke
Little Tiger, 2024
Paperback, £8.99
ISBN: 9781788956901
In her introduction, Crossan states that “poetry belongs to us all”, and the book is particularly aimed at readers who would not otherwise think poetry was for them. Crossan has provided light commentary before most poems: suggested interpretations, author bios, even personal anecdotes. These make the reading experience feel less isolated, gently guided without anything getting over-explained. I did, however, find the occasional footnotes (actually, more so the stars indicating them within the poems) a bit distracting.
Bayron’s writing shines the most when the focus shifts to individual scenes that show either the horrific cruelty exercised by Mersailles’s leadership on its people, or the sweet and tender intimacy between Sophia and her two female love interests. Bayron masterfully brings the reader into the action and the emotions of the characters. It is an intense experience, but a captivating one.
