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|genre=General Fiction
|summary= A good solid plot, but the characterisation is weak. Good enough to make me want to see how it would play out, but I couldn’t help feeling it needed a tighter edit and stronger characters.
|rating=3.5
|buy=No
|borrow=Maybe
}}
Kerryl Shaw lives far away from the urban twenty-first century on a remote Yorkshire farm – a somewhat idealised one that survives . The farm is high up on a few hens and two or three cows hill and it's a few sheepfamily endeavour - grandparents, mother, Kerryl. The kind of farm that might have been profitable in the 1950s There's a market town below but by the time Kerryl has arrived should have been struggling. A teenage boy not pulling his weight, now that 's family is concentrated on the grandparents are old farm and the father is dead, would not be met hard but beautiful living associated with exasperated indulgence. There are no stock-hands, no farm managers, no applications for subsidies, or worries about the tax return. Maybe the unwelcome wind turbine covers the costs of the rest of it. AlreadyKerryl, in settingthough, itis a fiercely bright girl - she's feeling won a little unrealplace at Cambridge University and is looking forward to going. But maybe we can forgive that… Or notShe loves poetry. What is really good about Paradise Girl But this ambition is put on a very back burner when a new and deadly virus sweeps the plotworld. It is plausibleWith a ten-day incubation period, it begins in Africa, holds tight to the farm makes its way into Europe and then, finally, hops the market town below it and focusses entirely on Channel to Britain. Suddenly Kerryl, the eponymous our ''Paradise Girl''. Only she's is no longer living in paradise. A new Barely anyone survives the virus has erupted in Africaand, with when a 10-day incubation period with no symptomsstranger finds his way to Kerryl's farm, transmissible by close proximityhe infects the family and soon, and deadly within a few daysKerryl is the only one left alive. It mutates from host  She tries to host and spreads too rapidly for any kind of containment or vaccinationkeep up the farm. Africa is devastatedAnd she deals with her isolation by writing a diary, then Europe, and so addressing it makes its way to England and to "Adam", an isolated Yorkshire farmimaginary figure representing her ideal boyfriend. It's a modern variant But the isolation preys on Kerryl and it blurs the black death – only worsedistinction between fact and fiction. This timeSoon, Adam becomes real to her and, virtually no-one recovers. This could be as communications with the plague to end all plagues. Exceptoutside world break down, Kerryl comes to believe that the texts she is still alivereceiving really do come from Adam. And she believes that her twin brother is still out there somewhere tooarranges a meeting... Thinking her own end cannot be far away she starts to write  I like a good dystopian YA novel - a couple young person living through the breakdown of journalssociety always makes for a good story. And we're all worried about a deadly virus that defeats science, one aren't we? Think of which is about Before…how this came our reactions to beavian flu scares and the like. The other is 'now': the day to day story of the few days she has leftParadise Girl'' captures this existential threat exceptionally well and it pits one, rather romantic but also determined, young girl against it.Who wouldn't root for Kerryl? As a plot – the spread of the virusA dedicated romantic with no boys left to crush on, what else is Kerryl to do but channel her adolescent emotions into an imaginary boy? And left all alone in the politicking that goes on around itworld, why wouldn't she come to think of him as real? But what ''is'' the web-chatter of truth about Adam and those who mysterious, impossible texts? I don't believe what they're being told. All of that rings true. The underlying thread of what happens next on the farm as the family become infected. That do spoilers so I can also buy into. 't tell you, but I struggle with the idea will say that the virus is so infectious that ending of ''Paradise Girl'' has an element of ambiguity about it can be spread . A clever choice by birds, Featherstone because it really makes you think. Perhaps a little too romantic for some and by humans in close contactthere are one or two plot holes, but that no other animals are affected. It's also uncertain as to whether the disease 'Paradise Girl'' is infectious or contagiousa gripping read and will find an appreciative audience. But again we can set all of that aside. The tension of the first half holds out well; the second section becomes less and less believable sadly…
I say sadly, because I don't think it need do so. My real problem is our diarist. If the characterisation of Kerryl were stronger, the plot holes would almost fix themselves. The segments that don't belong, she'd no longer allow to stand.
I have to confess that I am not the target-audience for this book; I am no longer a young adult by any stretch of the imagination. That might colour my judgement. On the other hand, I do remember being a seventeen year old girl, teased (if not quite bullied) at school. I remember being the kind happier in the library than on the hockey field. I remember studying English Lit along with the modern languages and hoping I'd do enough to get into university. I was never Cambridge material and I didn't keep a diary – but I did write a lot of letters at that age, and I did have holiday romances so some of those letters would have been embarrassing ''love letters'' although to be fair they were to real people. Therein lies my problem with ''Paradise Girl''. I simply do not believe in the central character. For a book focussed entirely on one character's experience that's a big problem.
Kerryl is smart. She's 17. She's been offered a place a Cambridge. But for all her ability to quote Milton and Auerbach and Browning and Keats and Marvel…she comes across like a 14-year-old who has just discovered that boys are ''hot'' and ''fit'' and might have ''an awesome six-pack''. She is told that she's good at descriptive writing, but there's no evidence of it in her diary. She thinks she's alone now, she's using her diary to record what is important, and there is one scene where it becomes clear that one of her reasons for wanting to live is the beauty of the moor…but there's no passion or romance in any of her talk of it. This is a girl steeped in the moors. She'd either be redolent with the Brontës, Plath and Hughes, or she'd be esteeming Yorkshire's answer to Gilbert White, Frank Elgee. She'd be full of the thrill of the romance of the place, or watching it closely.
Or, because she's been brought up on the farm, she'd be hard-bitten by the reality of it. She might well believe in the Hob and the Bridestones, because it's safer than not believing, but she'd be more practical about the hardships. When the world starts falling apart, she wouldn't be throwing food away, even if she didn't fancy it right now.
Given that she's the one who's shown an interest in the farm, has got up at dawn to do her share of the chores, she'd know more about the technicalities than she seems to – though to be fair – cack-handed as she is, she makes a reasonable fist of it.
It's the Bridget-Jones-girly-ness of her that rings so false. She wouldn't dress up to go into town for supplies. She probably wouldn't even own the kind of underwear that comes into play. She can drive a tractor, can (probably) fire a gun, but baulks at having to wring a hen's neck or remove its innards? I can see that there's a thread of plot which might be used to explain the inconsistencies…but it's not played strongly enough…if these things are out of character, they're not shown to be so…and if I understand the plot properly they should be.
All the same, it is the plot that holds it together. The use of language is out of place with the characterisation and there is no sense of place, but other than a wobble in the middle that had me scribbling ''What? Really?'' the plot will keep you turning the pages to find out what happens.
On balance, it's a really good story, not very well told. I think it might sell better as a TV screen play than as novel.
If dystopian fiction is your keep-me-awake cup-of-tea, then we can recommend [[Black Moon by Kenneth Calhoun]]