The Cemetery Girl: The Pretenders (Jo Fletcher Books) is a collaboration between Christopher Golden and Charlaine Harris, with illustrations by Don Kramer. A mix of crime and the supernatural, this is the first volume in a new series. Whilst it does appear to plough a furrowed field, there are some nice touches to the book with its characterisation and cast list.
After being thrown unceremoniously thrown into a cemetery, a woman must begin to build her identity from the little she knows. Deciding to play dead, she begins to fashion an identity for herself through borrowing items, from coats to names. Calling herself Calexa, she fashions a makeshift place to stay in a mausoleum and forays into the non cemetery world. Her ‘accident’ has left her with the ability to commune with the dead, giving her a foot on both worlds. A Charon of justice.
Removing someone’s name and memory is a fairly regular concept. However Golden and Harris seems to use it as a way of introducing Calexa, taken from a grave, to the reader and to play with our conceptions of the character whilst also seeing what she can get away with rather than to destroy her. Using the elderly and the caretakers, the authors move her from being morally dubious to part of a community where the needs are bartered to some extent. She, and her growing community, are social ghosts, seen but forgotten to society, seemingly held to a place by a sense of unknown purpose.
In contrast the teenagers’ clique who do not seem to understand themselves, perhaps the jocks of this world, seem unable to grasp their own moral or ethical roots. Using magic as an outlet to their social madness, their lives seem driven by media representations of the world rather than an actual understanding of their actions or that there are consequences to them. What does appear is the need for trust for the community to work, rather than using the desperate for an unknown goal. The authors briefly muse on the empty ritual actions with the apparent absence of faith in an afterlife, as if the cosmos is one large façade.
Calexa appears to begin building trust in herself and the new found society. From this she begins on her own journey to renewal and rebirth. I am sure that more clues will appear in future books but for now Lucinda will need to keep scanning the papers. Harris and Golden leave the reader curious, with some fragments to go on, and a way forward with the right visual tone set up by the artists.