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Gone by Michael Grant

Gone (original 2009; edition 2009)

by Michael Grant

Series: Gone (1)

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2,4841552,459 (3.91)121
Authors:Michael Grant
Info:Katherine Tegen Books (2009), Edition: Reprint, Paperback, 576 pages
Collections:Your library

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Gone by Michael Grant (2009)


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So good! Can't wait to read the rest of the series! ( )
  olegalCA | Nov 24, 2015 |
This book took me forever to read... =
So, a friend of mine told me this was really really good and he really liked it, and, usually, i totally trust his judgment. But 3 weeks into this book and still unfinished? Well.... i was having doubts...
So, i usually adore post-apocalypse/apocalyptic books, something about this one fell flat.
I think it was the age range... you know, middle school kids are not that mature. It's a fact of life. Ok that's generalizing, let me rephrase, there aren't that many mature 14 year-olds in one place...
...Yeah i know... they're mutants, they mature faster... well still...
I liked the characters though! I did! I liked Astrid and Edilio =) I didn't like that he made you like the bad guys too.... cause i didn't really want to like them... but ones name was Panda!!! What kind of heartless person names a bad guy Panda!!!?!?!?!
Lol, anyway... the story was good, inventive, original (ohmigosh i love using those words!!!) i mean, it was a good story.
One day everyone over the age of 15 just disappearing and the kids (some of whom have mutant-like powers) have to fend for themselves against a rivaling school and insane antagonist (who's.... 14...)?? Lord of the Flies anyone?? That's really what i was getting reminded of a lot. Lord of the Flies. Only.. you know... less weird...
I think besides the age range, the only other real issue i had was the sometimes incredibly awkward dialogue. Sometimes it was really good! Others... not so much... because a lot of times the dialogue didn't stay true to the age of the kids. I mean, they're kids, they're gonna use contractions and slang. There were too many instances where someone would say something like;
"But we are all out of food."
um... i don't know about you... but most 14-year olds i know would say we're.
So, pros and cons, the usual stuff.
I will read the next one, because this wasn't a bad book. Just had some things i had problems with. Actually i'm rather curious as to what happens in the next book ;) ( )
  glitzandshadows | Oct 12, 2015 |
The last dystopic fiction I read was Emily St. John Mandel's Station Eleven, which came right after I read Amanda Ripley's nonfiction The Unthinkable: Who Survives When Disaster Strikes. Not even a week later, someone in the Feminist Theory group on LibraryThing linked to an essay about dystopias envisioned by men versus women. This confluence of factors made me think I didn't want to read many more end of the world tales written by men.

This is the essay: http://www.nytimes.com/2015/07/26/books/review/its-the-end-of-the-world-as-she-k...

I normally don't put much stock in ideas about "women write X and men write Y." I think trends in books' publication and reception are much more gender-related than the plotlines people choose. But this essay really spoke to me. As Sloane Crosley explains,

"Shelley, Mandel and van den Berg aren’t in denial of the brutalities of a lawless world. Nor are they more nostalgic than their male counterparts. After all, the unnamed man in “The Road” is plenty moved when he comes across relics of civilization, and Taylor Antrim’s new novel, “Immunity,” weaves disease and depravity into social satire. But it seems as if these women are familiar with Margaret Atwood’s observation that what women fear most from men is murder and what men fear most from women is humiliation. These writers don’t need to destroy the world in order to imagine what it might be like to feel unsafe in it. The threat of violence is not something that’s new to them, and thus they’re less likely to fixate on it in narrative form, opting instead for stories about psychological preservation. It’s hard not to think that women just might be better prepared for the end of the world.

"By presenting physical danger as a given and not the main event, these authors are free to move the spotlights elsewhere and create multilayered stories."

(The essay is worth reading in full, but this is the main point that I kept coming back to when I heard about new dystopic novels being published, and the point that kept me from adding them to my list of books to read.)

Gone falls into this category. Gone is like a cross between Stephen King’s Under the Dome and William Golding’s Lord of the Flies. But the main thing I took away from it is exactly this. Men who want the world to be violent before the apocalypse – Orc and Caine – make the world violent afterward. To men who do not want the world to be violent, like Sam, this is the apocalypse. Violence is new to them. For the first time, a constant threat of violence pervades their lives, and that’s the plot of the story. How does a man live under constant threat of violence? How does a man live never knowing what powerful men are going to do next, what will set them off, what will make them lash out against you?

You could ask a woman. We already know.

This book could have been fascinating if it had really been about Caine’s politics. If we got to move past the specter of violence and instead grapple with how teens, natural rebels, react to another teen’s authoritarian regime, I would have been in. But we never get there. Instead we get magic powers and more violence and hierarchy based on the kids’ powers’ capacity to harm others. Which I get. If you develop a superpower that can kill people, you have power over them. But that isn’t interesting the way that another plotline would be about creating a makeshift government and dealing with that as a teen naturally predisposed to chafe against authority. Group power dynamics in the real world are more complex than brute force beats all. Shouldn’t they be more complex than that in the apocalypse? ( )
  sparemethecensor | Aug 29, 2015 |
Could barely put this down. It moved swiftly and intelligently toward a plausible (plausible for the basic premise of everyone over 14 disappearing and all those left with special powers) ending ( )
  Stembie3 | Jun 14, 2015 |
In this dystopic future, all of the adults (aged 16+) have disappeared. Children and teens are in charge and trouble ensues!

This reader was disappointed in the writing and character development (lack thereof).... got the jist of the story and stopped there. Quarantine: The Loners is a superior (although violent) alternative. ( )
1 vote mjspear | May 6, 2015 |
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Wat doe je als alle volwassenen spoorloos verdwenen zijn?
For Katherine, Jake, and Julia
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One minute the teacher was talking about the Civil War. And the next minute he was gone.
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Amazon.com Product Description (ISBN 0061448788, Paperback)

In the blink of an eye.

Everyone disappears.


Everyone except for the young. Teens. Middle schoolers. Toddlers. But not a single adult. No teachers, no cops, no doctors, no parents. Gone, too, are the phones, internet, and television. There is no way to get help.

Hunger threatens. Bullies rule. A sinister creature lurks. Animals are mutating. And the teens themselves are changing, developing new talents—unimaginable, dangerous, deadly powers—that grow stronger by the day.

It's a terrifying new world. Sides are being chosen and war is imminent.

The first in a breathtaking saga about teens battling each other and their darkest selves, gone is a page-turning thriller that will make you look at the world in a whole new way.

(retrieved from Amazon Thu, 12 Mar 2015 18:21:44 -0400)

(see all 3 descriptions)

In a small town on the coast of California, everyone over the age of fourteen suddenly disappears, setting up a battle between the remaining town residents and the students from a local private school, as well as those who have "The Power" and are able to perform supernatural feats and those who do not.… (more)

(summary from another edition)

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