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If you’ve been keeping up with the Top 100, it should be little surprise that I’m a fan of young adult fiction in all media. Perhaps that’s just a rationalization for the fact that I’m a big sentimental softy; a kid at heart.
But I maintain that a well-done coming of age story is probably the most important type of story you can tell. Green’s first novel won a Printz Award (the YA equivalent of the Newbery), and also a fair share of headlines thanks to some school counties banning it. This is the lightest of the full novels that Green has written, and it features his most memorable protagonists this side of TFiOS. Colin Singleton is a former child prodigy who only dates girls named Katherine (of which there have been nineteen). The pair of them, along with Gutshot teen Lindsey Lee, come face to face with Gutshot’s incresingly grim prospects (a nice parallel to Colin, who believes he’s washed up). And it all builds to the type of climax that you always hope to encounter in books, a hilarious and tense sequence that ties several threads together like a great Seinfeld episode. My biggest nitpick with AAoK: Green’s attempt at including actual math to back up Colin’s attempt to find the “Unified Theory of Katherines” is complete hokum, totally distracting and bothersome (and obviously not written by a mathematician). Their journey to the Waffle House through snow drifts, racing against equally horny guys to get to the cheerleaders, is the greatest literary quest story since The Odyssey. So, with Paper Towns, Green put a laser focus on that specific theme — that people, even pretty girls, are complex and multitudinous, not simple things that we can project simple images onto.
The story is about the disappearance of Margo Roth Spiegelman, and the impact it has on the community. The book thoughtfully explores the different meanings of the phrase “paper towns” as Quentin becomes obsessed with finding Margo.
As with all of Green’s writing, the prose is sharp and funny, never dawdling too long but never missing out crucial details.
The story is about two boys named Will Grayson whose paths cross in an unexpected way, and who inadvertently alter each other’s lives. When I read Todd VanDerWerff’s glowing review of The Fault in Our Stars upon the book’s release in 2012, I was intrigued.
In short, The Fault in Our Stars is an immensely wise and reflective novel, penned by a genius at the peak of his craft.
YA was all I read when I read for fun back in the day lol I wish I had more free-time now to read more of his books. I like this comment so much (and completely agree with it) I rewrote one of the paragraphs in the intro to this article.


This is an important question that I think everyone, even big people, would love properly answered. I’m a sucker for coming of age stories — particularly thoughtful, male-oriented (or otherwise non-girly) stories.
John Green takes many of the emotions and struggles of youth, and turns it into something compelling for all ages.
The adaptation of his fourth and most recent novel, The Fault in Our Stars, was a summer box office hit. It’s a blend of youthful hijinks and philosophical ponderings, all seamlessly flowing together.
He goes on a summer road trip with his best friend Hassan, who is probably my favorite character in the Green oeuvre. As he encounters his new setting, Colin tries to get over his nineteenth Katherine breakup while figuring out a mathematical model to predict how long future Katherine relationships will last.
But unlike most of Green’s other books, this is a mostly silly and light affair; it’s a brisk and entertaining read. I’ve read it a good four or five times, and I read it whenever I’m feeling sick or bummed out or have just read something sad.
They get a call that a bunch of cheerleaders are snowed into a Waffle House with their friend. Again, his knack for great openings shines: the nighttime suburban rampage between quiet Quentin and wild Margo is absolutely electric.
And its philosophy digs deep: The three sections of the book (“Strings”, “Grass”, and “Vessels”) consider how objects essential to the plot are metaphors for the complexity of life.
First, even though I love David Levithan (his Every Day is one of the top ten YA novels of the past decade), alternating back and forth between his writing and Green’s makes Levithan’s bitter, dry prose seem particularly unpalatable.
I’m sure it was a fun writing exercise, but as a final product, it felt unfocused in an unsatisfying way. It’s a bit of a tearjerker, yes, but it’s also utterly unlike any other “sick kids” book you’ll ever encounter. I wanna read it first because I don’t want it to influence my impression on the book.
Super entertaining so far, though it’s impossible not to notice its similarities to The OC. I like Where the Wild Things Are, but I really really like the airplane made of dough in this one. If you look at a few things I’ve written about, you’ll see the YA-oriented media in music, movies, TV, books, and more is not always the most thoughtful stuff. The book itself was (according to Amazon) the #65 most popular book in the world in 2012, #13 most popular in 2013, and is basically a lock to be the #1 most popular book of 2014.


The book is fantastic, though a bit long, getting bogged down towards the end of the story as it spirals to its inevitable conclusion.
Snarky, complicated, Muslim, and obsessed with Judge Judy, Hassan is the spiritual guide to the reluctant Colin.
JP and Tobin spend the rest of the story slobbering over this horny fantasy come to life, while The Duke (a female), spends the rest of the story deconstructing the sexism of society’s cheerleader fetish. But unlike Alaska, Towns sticks the landing, with a truly great and thought-provoking ending, full of both revelations and ambiguity. My favorite part of the book is the way it captured the roller coaster of teenage existence: everyone has their share of highs and lows, and the Green and Levithan never let their characters off easily.
My wife’s friend lent me the book, and I whizzed through it in two sittings, reading about half the book in each sitting.
He made a strong impression on me with Abundance of Katherines, maybe because I found the premise to be very interesting and connected with Colin’s need to quantify the un-quantifiable. If you like these, you will also LOVE this incredibly fun, interesting way to get kids to learn about animals! Green’s prose makes it all go down smoothly, but I finished LFA by telling myself that I’d just read the first half of the book from now on. Archie, the character, is an icon unto himself, with the kind of mainstream success that "bigger" publishers covet.Archie's digest volumes continued to appear in grocery store checkout lines for years after spinner racks (and therefore, most comics) were removed from the stores in question. Nobody turns a phrase quite like John Green — from his Tumblr-famous “I was drizzle and she was a hurricane” passage to his description of “bufriedos” (deep fried burritos). It grapples with the cancer story stereotypes that everyone hates so much, and ends up becoming a soul-stirring rumination on impermenance. I think Looking for Alaska’s appreciation for philosophy makes it the thought-provoking YA I wanted, but I agree that the second half is weak. He has been featured in radio shows, syndicated comics strips (something that few characters who originated in comic books can boast--notably Superman and Spider-Man), and feature-length films as well as being a cultural touchstone for films like Chasing Amy and spawning a small army of imitators and spinoffs.
For me, Alaska was just such a compelling character that to kill her off made the book almost not worth reading anymore. It went through a number of name changes and format tweaks over the years, until Stan Lee grabbed the name of this book and settled on it as the name for the reinvented company around the same time as Fantastic Four #1 was published and the company became a true comics juggernaut. What's heartbreaking about this particular book is that there are rumors that dozens of copies were reportedly thrown out or destroyed by the family of EC Comics publisher William Gaines in the '50s.



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