The extraordinary, groundbreaking novel from Laurie Halse Anderson, with more than 2.5 million copies sold!
The first ten lies they tell you in high school.
"Speak up for yourself--we want to know what you have to say." From the first moment of her freshman year at Merryweather High, Melinda knows this is a big fat lie, part of the nonsense of high school. She is friendless, outcast, because she busted an end-of-summer party by calling the cops, so now nobody will talk to her, let alone listen to her. As time passes, she becomes increasingly isolated and practically stops talking altogether. Only her art class offers any solace, and it is through her work on an art project that she is finally able to face what really happened at that terrible party: she was raped by an upperclassman, a guy who still attends Merryweather and is still a threat to her. Her healing process has just begun when she has another violent encounter with him. But this time Melinda fights back, refuses to be silent, and thereby achieves a measure of vindication.
In Laurie Halse Anderson's powerful novel, an utterly believable heroine with a bitterly ironic voice delivers a blow to the hypocritical world of high school. She speaks for many a disenfranchised teenager while demonstrating the importance of speaking up for oneself.
Speak was a 1999 National Book Award Finalist for Young People's Literature.
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|Publisher:||Farrar, Straus and Giroux|
|File size:||953 KB|
|Age Range:||14 - 17 Years|
About the Author
Laurie Halse Anderson is a New York Times bestselling author of books for kids of all ages--including Fever 1793, Chains, Twisted, and many others. Known for tackling tough subjects with humor and sensitivity, her work has earned numerous national and state awards, as well as international recognition. Two of her books, Speak and Chains, were National Book Award finalists. Anderson was honored with the 2009 Margaret A. Edwards Award given by the YALSA division of the American Library Association for her "significant and lasting contribution to young adult literature."
Anderson was born in Potsdam, New York in 1961. Growing up, she loved reading and listening to family stories. She graduated from Georgetown University in 1984. Before becoming a full-time writer, she was freelance journalist, and then worked part-time at a bookstore to earn money while working on her fiction. Mother of four and wife of one, Laurie lives in northern New York, where she likes to watch the snow fall as she writes.
Laurie Halse Anderson is a New York Times-bestselling author whose writing spans young readers, teens, and new adults. Combined, her books have sold more than 8 million copies. She has been nominated three times for the Astrid Lindgren Memorial Award. Two of her books, Speak and Chains, were National Book Award finalists, and Chains was short-listed for the prestigious Carnegie medal. Laurie was selected by the American Library Association for the 2009 Margaret A. Edwards Award and has been honored for her battles for intellectual freedom by the National Coalition Against Censorship and the National Council of Teachers of English.
In addition to combating censorship, Laurie regularly speaks about the need for diversity in publishing. She lives in Philadelphia, where she enjoys cheese steaks while she writes.
Read an Excerpt
By Laurie Halse Anderson
Farrar, Straus and GirouxCopyright © 1999 Laurie Halse Anderson
All rights reserved.
FIRST MARKING PERIOD
WELCOME TO MERRYWEATHER HIGH
It is my first morning of high school. I have seven new notebooks, a skirt I hate, and a stomachache.
The school bus wheezes to my corner. The door opens and I step up. I am the first pickup of the day. The driver pulls away from the curb while I stand in the aisle. Where to sit? I've never been a backseat wastecase. If I sit in the middle, a stranger could sit next to me. If I sit in the front, it will make me look like a little kid, but I figure it's the best chance I have to make eye contact with one of my friends, if any of them have decided to talk to me yet.
The bus picks up students in groups of four or five. As they walk down the aisle, people who were my middle-school lab partners or gym buddies glare at me. I close my eyes. This is what I've been dreading. As we leave the last stop, I am the only person sitting alone.
The driver downshifts to drag us over the hills. The engine clanks, which makes the guys in the back holler something obscene. Someone is wearing too much cologne. I try to open my window, but the little latches won't move. A guy behind me unwraps his breakfast and shoots the wrapper at the back of my head. It bounces into my lap — a Ho-Ho.
We pass janitors painting over the sign in front of the high school. The school board has decided that "Merryweather High — Home of the Trojans" didn't send a strong abstinence message, so they have transformed us into the Blue Devils. Better the Devil you know than the Trojan you don't, I guess. School colors will stay purple and gray. The board didn't want to spring for new uniforms.
Older students are allowed to roam until the bell, but ninth-graders are herded into the auditorium. We fall into clans: Jocks, Country Clubbers, Idiot Savants, Cheerleaders, Human Waste, Eurotrash, Future Fascists of America, Big Hair Chix, the Marthas, Suffering Artists, Thespians, Goths, Shredders. I am clanless. I wasted the last weeks of August watching bad cartoons. I didn't go to the mall, the lake, or the pool, or answer the phone. I have entered high school with the wrong hair, the wrong clothes, the wrong attitude. And I don't have anyone to sit with.
I am Outcast.
There is no point looking for my ex-friends. Our clan, the Plain Janes, has splintered and the pieces are being absorbed by rival factions. Nicole lounges with the Jocks, comparing scars from summer league sports. Ivy floats between the Suffering Artists on one side of the aisle and the Thespians on the other. She has enough personality to travel with two packs. Jessica has moved to Nevada. No real loss. She was mostly Ivy's friend, anyway.
The kids behind me laugh so loud I know they're laughing about me. I can't help myself. I turn around. It's Rachel, surrounded by a bunch of kids wearing clothes that most definitely did not come from the EastSide Mall. Rachel Bruin, my ex — best friend. She stares at something above my left ear. Words climb up my throat. This was the girl who suffered through Brownies with me, who taught me how to swim, who understood about my parents, who didn't make fun of my bedroom. If there is anyone in the entire galaxy I am dying to tell what really happened, it's Rachel. My throat burns.
Her eyes meet mine for a second. "I hate you," she mouths silently. She turns her back to me and laughs with her friends. I bite my lip. I am not going to think about it. It was ugly, but it's over, and I'm not going to think about it. My lip bleeds a little. It tastes like metal. I need to sit down.
I stand in the center aisle of the auditorium, a wounded zebra in a National Geographic special, looking for someone, anyone, to sit next to. A predator approaches: gray jock buzz cut, whistle around a neck thicker than his head. Probably a social studies teacher, hired to coach a blood sport.
Mr. Neck: "Sit."
I grab a seat. Another wounded zebra turns and smiles at me. She's packing at least five grand worth of orthodontia, but has great shoes. "I'm Heather from Ohio," she says. "I'm new here. Are you?" I don't have time to answer. The lights dim and the indoctrination begins.
THE FIRST TEN LIES THEY TELL YOU IN HIGH SCHOOL
1. We are here to help you.
2. You will have enough time to get to your class before the bell rings.
3. The dress code will be enforced.
4. No smoking is allowed on school grounds.
5. Our football team will win the championship this year.
6. We expect more of you here.
7. Guidance counselors are always available to listen.
8. Your schedule was created with your needs in mind.
9. Your locker combination is private.
10. These will be the years you look back on fondly.
My first class is biology. I can't find it and get my first demerit for wandering the hall. It is 8:50 in the morning. Only 699 days and 7 class periods until graduation.
OUR TEACHERS ARE THE BEST ...
My English teacher has no face. She has uncombed stringy hair that droops on her shoulders. The hair is black from her part to her ears and then neon orange to the frizzy ends. I can't decide if she had pissed off her hairdresser or is morphing into a monarch butterfly. I call her Hairwoman.
Hairwoman wastes twenty minutes taking attendance because she won't look at us. She keeps her head bent over her desk so the hair flops in front of her face. She spends the rest of class writing on the board and speaking to the flag about our required reading. She wants us to write in our class journals every day, but promises not to read them. I write about how weird she is.
We have journals in social studies, too. The school must have gotten a good price on journals. We are studying American history for the ninth time in nine years. Another review of map skills, one week of Native Americans, Christopher Columbus in time for Columbus Day, the Pilgrims in time for Thanksgiving. Every year they say we're going to get right up to the present, but we always get stuck in the Industrial Revolution. We got to World War I in seventh grade — who knew there had been a war with the whole world? We need more holidays to keep the social studies teachers on track.
My social studies teacher is Mr. Neck, the same guy who growled at me to sit down in the auditorium. He remembers me fondly. "I got my eye on you. Front row."
Nice seeing you again, too. I bet he suffers from post-traumatic stress disorder. Vietnam or Iraq — one of those TV wars.
I find my locker after social studies. The lock sticks a little, but I open it. I dive into the stream of fourth-period lunch students and swim down the hall to the cafeteria.
I know enough not to bring lunch on the first day of high school. There is no way of telling what the acceptable fashion will be. Brown bags — humble testament to suburbia, or terminal geek gear? Insulated lunch bags — hip way to save the planet, or sign of an over-involved mother? Buying is the only solution. And it gives me time to scan the cafeteria for a friendly face or an inconspicuous corner.
The hot lunch is turkey with reconstituted dried mashed potatoes and gravy, a damp green vegetable, and a cookie. I'm not sure how to order anything else, so I just slide my tray along and let the lunch drones fill it. This eight-foot senior in front of me somehow gets three cheeseburgers, French fries, and two Ho-Hos without saying a word. Some sort of Morse code with his eyes, maybe. Must study this further. I follow the Basketball Pole into the cafeteria.
I see a few friends — people I used to think were my friends — but they look away. Think fast, think fast. There's that new girl, Heather, reading by the window. I could sit across from her. Or I could crawl behind a trash can. Or maybe I could dump my lunch straight into the trash and keep moving right on out the door.
The Basketball Pole waves to a table of friends. Of course. The basketball team. They all swear at him — a bizarre greeting practiced by athletic boys with zits. He smiles and throws a Ho-Ho. I try to scoot around him.
Thwap! A lump of potatoes and gravy hits me square in the center of my chest. All conversation stops as the entire lunchroom gawks, my face burning into their retinas. I will be forever known as "that girl who got nailed by potatoes the first day." The Basketball Pole apologizes and says something else, but four hundred people explode in laughter and I can't read lips. I ditch my tray and bolt for the door.
I motor so fast out of the lunchroom the track coach would draft me for varsity if he were around. But no, Mr. Neck has cafeteria duty. And Mr. Neck has no use for girls who can run the one hundred in under ten seconds, unless they're willing to do it while holding on to a football.
Mr. Neck: "We meet again."
Would he listen to "I need to go home and change," or "Did you see what that bozo did"? Not a chance. I keep my mouth shut.
Mr. Neck: "Where do you think you're going?"
It is easier not to say anything. Shut your trap, button your lip, can it. All that crap you hear on TV about communication and expressing feelings is a lie. Nobody really wants to hear what you have to say.
Mr. Neck makes a note in his book. "I knew you were trouble the first time I saw you. I've taught here for twenty-four years and I can tell what's going on in a kid's head just by looking in their eyes. No more warnings. You just earned a demerit for wandering the halls without a pass."
Art follows lunch, like dream follows nightmare. The classroom is at the far end of the building and has long, south-facing windows. The sun doesn't shine much in Syracuse, so the art room is designed to get every bit of light it can. It is dusty in a clean-dirt kind of way. The floor is layered with dry splotches of paint, the walls plastered with sketches of tormented teenagers and fat puppies, the shelves crowded with clay pots. A radio plays my favorite station.
Mr. Freeman is ugly. Big old grasshopper body, like a stilt-walking circus guy. Nose like a credit card sunk between his eyes. But he smiles at us as we file into class.
He is hunched over a spinning pot, his hands muddy red. "Welcome to the only class that will teach you how to survive," he says. "Welcome to Art."
I sit at a table close to his desk. Ivy is in this class. She sits by the door. I keep staring at her, trying to make her look at me. That happens in movies — people can feel it when other people stare at them and they just have to turn around and say something. Either Ivy has a great force field, or my laser vision isn't very strong. She won't look back at me. I wish I could sit with her. She knows art.
Mr. Freeman turns off the wheel and grabs a piece of chalk without washing his hands. "SOUL," he writes on the board. The clay streaks the word like dried blood. "This is where you can find your soul, if you dare. Where you can touch that part of you that you've never dared look at before. Do not come here and ask me to show you how to draw a face. Ask me to help you find the wind."
I sneak a peek behind me. The eyebrow telegraph is flashing fast. This guy is weird. He must see it, he must know what we are thinking. He keeps on talking. He says we will graduate knowing how to read and write because we'll spend a million hours learning how to read and write. (I could argue that point.)
Mr. Freeman: "Why not spend that time on art: painting, sculpting, charcoal, pastel, oils? Are words or numbers more important than images? Who decided this? Does algebra move you to tears?" (Hands raise, thinking he wants answers.) "Can the plural possessive express the feelings in your heart? If you don't learn art now, you will never learn to breathe!!!"
There is more. For someone who questions the value of words, he sure uses a lot of them. I tune out for a while and come back when he holds up a huge globe that is missing half of the Northern Hemisphere. "Can anyone tell me what this is?" he asks. "A globe?" ventures a voice in the back. Mr. Freeman rolls his eyes. "Was it an expensive sculpture that some kid dropped and he had to pay for it out of his own money or they didn't let him graduate?" asks another.
Mr. Freeman sighs. "No imagination. What are you, thirteen? Fourteen? You've already let them beat your creativity out of you! This is an old globe I used to let my daughters kick around my studio when it was too wet to play outside. One day Jenny put her foot right through Texas, and the United States crumbled into the sea. And voilà — an idea! This broken ball could be used to express such powerful visions — you could paint a picture of it with people fleeing from the hole, with a wet-muzzled dog chewing Alaska — the opportunities are endless. It's almost too much, but you are important enough to give it to."
"You will each pick a piece of paper out of the globe." He walks around the room so we can pull red scraps from the center of the earth. "On the paper you will find one word, the name of an object. I hope you like it. You will spend the rest of the year learning how to turn that object into a piece of art. You will sculpt it. You will sketch it, papier-mâché it, carve it. If the computer teacher is talking to me this year, you can use the lab for computer-aided designs. But there's a catch — by the end of the year, you must figure out how to make your object say something, express an emotion, speak to every person who looks at it."
Some people groan. My stomach flutters. Can he really let us do this? It sounds like too much fun. He stops at my table. I plunge my hand into the bottom of the globe and fish out my paper. "Tree." Tree? It's too easy. I learned how to draw a tree in second grade. I reach in for another piece of paper. Mr. Freeman shakes his head. "Ah-ah-ah," he says. "You just chose your destiny, you can't change that."
He pulls a bucket of clay from under the pottery wheel, breaks off fist-sized balls, and tosses one to each of us. Then he turns up the radio and laughs. "Welcome to the journey."
My Spanish teacher is going to try to get through the entire year without speaking English to us. This is both amusing and useful — makes it much easier to ignore her. She communicates through exaggerated gestures and playacting. It's like taking a class in charades. She says a sentence in Spanish and puts the back of her hand to her forehead. "You have a fever!" someone from class calls out. She shakes her head no, and repeats the gesture. "You feel faint!" No. She goes out to the hall, then bursts through the door, looking busy and distracted. She turns to us, acts surprised to see us, then does the bit with the back of the hand to the forehead. "You're lost!" "You're angry!" "You're in the wrong school!" "You're in the wrong country!" "You're on the wrong planet!"
She tries one more time and smacks herself so hard on the forehead she staggers a bit. Her forehead is as pink as her lipstick. The guesses continue. "You can't believe how many kids are in this class!" "You forgot how to speak Spanish!" "You have a migraine!" "You're going to have a migraine if we don't figure it out!"
In desperation, she writes a sentence in Spanish on the board: Me sorprende que estoy tan cansada hoy. No one knows what it says. We don't understand Spanish — that's why we're here. Finally, some brain gets out the Spanish — English dictionary. We spend the rest of the period trying to translate the sentence. When the bell rings, we have gotten as far as "To exhaust the day to surprise."
I make it through the first two weeks of school without a nuclear meltdown. Heather from Ohio sits with me at lunch and calls to talk about English homework. She can talk for hours. All I have to do is prop the phone against my ear and "uhhuh" occasionally while I surf the cable. Rachel and every other person I've known for nine years continue to ignore me. I'm getting bumped a lot in the halls. A few times my books were accidentally ripped from my arms and pitched to the floor. I try not to dwell on it. It has to go away eventually.
At first, Mom was pretty good about preparing dinners in the morning and sticking them in the fridge, but I knew it would end. I come home to a note that says, "Pizza. 555-4892. Small tip this time." Clipped to the note is a twenty-dollar bill. My family has a good system. We communicate with notes on the kitchen counter. I write when I need school supplies or a ride to the mall. They write what time they'll be home from work and if I should thaw anything. What else is there to say?
Excerpted from Speak by Laurie Halse Anderson. Copyright © 1999 Laurie Halse Anderson. Excerpted by permission of Farrar, Straus and Giroux.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
Table of Contents
FIRST MARKING PERIOD,
WELCOME TO MERRYWEATHER HIGH,
OUR TEACHERS ARE THE BEST ...,
OUR FEARLESS LEADER,
THE OPPOSITE OF INSPIRATION IS ... EXPIRATION?,
STUDENT DIVIDED BY CONFUSION EQUALS ALGEBRA,
NAME NAME NAME,
MY REPORT CARD:,
SECOND MARKING PERIOD,
GO______________ (FILL IN THE BLANK)!,
ALL TOGETHER NOW,
PEELED AND CORED,
FIRST AMENDMENT, SECOND VERSE,
COLORING OUTSIDE THE LINES,
DEATH BY ALGEBRA,
NAMING THE MONSTER,
RENT ROUND 3,
MY REPORT CARD,
THIRD MARKING PERIOD,
DEATH OF THE WOMBAT,
COLD WEATHER AND BUSES,
CUTTING OUT HEARTS,
OUR LADY OF THE WAITING ROOM,
CLASH OF THE TITANS,
HALL OF MIRRORS,
SNOW DAY — SCHOOL AS USUAL,
A NIGHT TO REMEMBER,
MY REPORT CARD:,
FOURTH MARKING PERIOD,
THE WET SEASON,
MY LIFE AS A SPY,
NO JUSTICE, NO PEACE,
ADVICE FROM A SMART MOUTH,
THE BEAST PROWLS,
OPRAH, SALLY JESSY, JERRY, AND ME,
HAIRWOMAN NO MORE,
LITTLE WRITING ON THE WALL,
Praise for SPEAK,
HERE'S THE THING ...,
LAURIE HALSE ANDERSON SPEAKS ABOUT SPEAK ..,
A COMMENT ABOUT CENSORSHIP,
SEXUAL ASSAULT SURVIVOR RESOURCES,
Reading Group Guide
• Discuss the title of the novel and its significance. What roles do silence and truth play in the story?
• Is there a relationship between speaking and listening? Can one exist without the other?
• What is friendship? Describe the important elements of Melinda’s relationships with Heather, Ivy, Nicole, and Rachel. Is she ever really friends with any of them? Can friendship mean something different to different people? Cite different passages in the novel as evidence of your opinion.
• Melinda says: “It is easier not to say anything. Shut your trap, button your lip, can it. All that crap you hear on TV about communication and expressing feelings is a lie. Nobody really wants to hear what you have to say.”Do you agree with her? Why or why not? Do the events in the novel support or negate her statement? Does her outlook change at any point in the novel? How so?
• What keeps Melinda silent? What is she afraid of?
• Discuss the social hierarchy of Merryweather High. What role does the concept of identity play in the novel? Why is belonging to one of the many clans so important to Heather and so unimportant to Melinda?
• Why does Melinda isolate herself from her friends? Is she justified in doing so?
• Melinda nicknames many of the other characters throughout the novel. Discuss the significance of this habit and how it contributes to the development of the story and your experience as a reader.
• Why do you think Melinda refers to Andy Evans as IT in the beginning of the novel? At what point does she start to call him by name? Why?
• In what places is Melinda able to find sanctuary at school? How do the characteristics of these places provide a window into her character?
• What does Melinda learn in art class? What does the tree she spends the year creating finally come to symbolize?
• How does David Petrakis contribute to Melinda’s quest to find her voice? How does Mr. Freeman influence her? What role do her parents and the other adults in the novel play in Melinda’s journey?
• Despite her internal sense of humor, Melinda seems depressed to the outside world. In what ways is her depression evident? How do the people around her react to her behavior? Do you think they respond appropriately? How would you respond?
• What role does rumor play in the story? Discuss how rumors and truth can be connected. Is one more powerful than the other?
• Reflect on Melinda and Rachel’s written conversation they have in the library. Discuss Rachel’s reaction to what Melinda tells her. Why do you think she behaves as she does? Does she believe Melinda?
• How does nature manifest itself in the story line and contribute to meaning? Discuss how the changing of the seasons could be argued to mirror Melinda’s ability to speak.
• Is it possible to speak without spoken words? Why or why not? Identify passages in the novel to support your position.
• Discuss the ending of the book and the relevance of the last scene. • What finally allows Melinda to speak?