Ages 14+ – Deals with drugs/sex.
While Crank shows us how easy it is to be pulled in by the monster, Glass shows just how hard it can be to climb out of its grasp.
Kristina, aka Bree, is now living with her mother, raising her baby, Hunter, and working towards her GED. Not very fun, and most definitely not as fun as the monster, which seems to continue calling her name. So, of course, she hatches a plan to reunite with the monster. After all, what harm could it do, and besides, this time, she’s going to stay in control.
At least, that’s what she tells herself. But with the monster, there is no control and soon she’s spiraling even deeper than before. This time, there might not be a way out.
Especially not when everything about the monster is so sweet, a devil in disguise. Without the monster there’d be no Trey, no freedom, no fun. There’d only be going through the repetitive motions of life, of being a mother, of working. When the monster turns out to be more sour than she thought, she’s forced to make decisions, and she seems to only make the wrong ones, but she doesn’t care anymore.
This time, it’s going to take the extreme to stop her. To keep her alive.
“Six months since we met up
again we are inseparable,
an intricate weave.
No longer do I believe
this is a temporary fling.
More like total commitment.
More like I have walked
down the aisle, holding
hands with the monster.”
― Ellen Hopkins, Glass
Overall: I love how, at the same time, Hopkins paints Kristina in such a negative light, and makes it so obvious that every bad decision/action she makes is, indeed, bad, while also making it impossible for us to completely dislike her. I sympathized with Kristina, though just about every thing she did infuriated me. She knows what’s right, but still can’t help but do the wrong thing. She wants to be with her baby, take care of him, but, mostly because of the meth, she can’t. She wants to make things right with her mother, but she doesn’t. She wants to let go of the monster, but it’s grip refuses to let up.
It’s not like Kristina is a bad person, she didn’t start out as one, at least that’s not how it seems. In Crank, Kristina hides behind herself, using Bree as a shield, an excuse, a way to be bad without the guilt. But she feels the guilt anyway. Bree is just a way to show how out of control she feels, as if she’s not the one living her life. However, in Glass, Kristina is more potent, and Bree stays in the background, and I saw this as Kristina’s attempt at staying in control, of feeling in control, when she really wasn’t.
I would recommend this book. It’s beautiful and ugly at the same time. I’d say that this book focused more on the drugs and sex than Crank did, so it might not be a great read for anyone younger fourteen, depending on maturity level.
Check out the Author:
If you haven’t already, check out Crank:
In Crank, Ellen Hopkins chronicles the turbulent and often disturbing relationship between Kristina, a character based on her own daughter, and the “monster,” the highly addictive drug crystal meth, or “crank.” Kristina is introduced to the drug while visiting her largely absent and ne’er-do-well father. While under the influence of the monster, Kristina discovers her sexy alter-ego, Bree: “there is no perfect daughter, / no gifted high school junior, / no Kristina Georgia Snow. / There is only Bree.” Bree will do all the things good girl Kristina won’t, including attracting the attention of dangerous boys who can provide her with a steady flow of crank.
If you have already read Crank & Glass, check out Fallout:
Hunter, Autumn, and Summer—three of Kristina Snow’s five children—live in different homes, with different guardians and different last names. They share only a predisposition for addiction and a host of troubled feelings toward the mother who barely knows them, a mother who has been riding with the monster, crank, for twenty years.