From Publishers Weekly
In Many's (These Are the Rules) humorous and, at times, tender novel, 16-year-old narrator Neal Thackeray has the summer to make a documentary to pass his film class. His girlfriend, "Emily-No-Nonsense-Straight-Up-Front-Johnston," would rather he think about business school and condominiums, and his mother just hopes he can hold a summer job. But Neal finds film exciting, especially when it allows him to revisit murky memories of his late father. The only person he can really talk to is Claire, a free spirit whose family owned the estate where his father worked. When he learns that her family might be forced to put the estate up for sale, Neal decides to use the property as his documentary subject. By returning to the grounds, he hopes he may be able to figure out the man his father was. While readers will find Neal instantly likable, his narration is full of clunky sarcastic asides that distract from the plot (e.g., after Neal gives readers a random pop quiz, he says, "Did you choose 'd'? You win one of these fine plastic kazoos"). Other devices, however, such as Neal's flashbacks to times with his dadAand especially his description of the funeral parlorAor the film storyboards that open many of the chapters, are handled more skillfully. They work to demonstrate both the depth of Neal's longing for closure with his father and his changing perspective on the world as his interest in filmmaking grows. Ages 12-up. (May).
Copyright 2000 Reed Business Information, Inc.
From School Library Journal
Grade 6-9-Neal's life is unraveling the summer between his junior and senior years. He has negotiated an incomplete from his film teacher, providing he can produce an acceptable documentary video by the time school reopens. He is still recovering from the death of his father several years earlier, and his girlfriend spews endless criticism and advice about his "failures" to plan and be goal-oriented. Being fired from his summer job with a construction company is further "proof" of his inadequacy to Emily and to his mother. Then he is reacquainted with Claire, who works for the same company and who still lives on the estate where Neal spent his early childhood while his father was the caretaker. The ends tie up in a complex and rather spectacularly tidy denouement. Neal rediscovers the artist within himself, saves Claire and her painter mother from having to sell the now-rundown estate, makes the overdue documentary and earns rave reviews, and realizes that Claire is a better match for him than his reformer girlfriend. The narrative intercuts first-person reportage with video-sequence narration. The ideas and ideals are compelling. However, the pat resolution will frustrate readers who want more literary nuance in their plot lines. An interesting counterpoint to Walter Dean Myers's Monster (HarperCollins, 1999), in which more momentous-but no less emotional-events are also seen and told as though on film.
Francisca Goldsmith, Berkeley Public Library, CA Copyright 2000 Reed Business Information, Inc.