I love you ain't that the worst thing you ever heard

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The Whole Truth by Kit Pearson and its sequel And Nothing but the Truth are a pair of middle grade historical novels set in British Columbia in the 1930s.

The main character is Polly Brown, who begins the story age ten, relocating from Winnipeg to the Gulf Islands to live with her grandmother following the death of her father—an event that's the subject of secrecy between her and her older sister Maud. Shortly after arriving at their grandmother's, Maud leaves for boarding school, leaving Polly to adjust alone to her new life on a small island and deal with the carrying the secret by herself. The second book picks up a couple of years later, when Polly also needs to leave the island for secondary schooling and struggles to adjust to being away while more big changes come to her family.

I read a few of Kit Pearson's books as a kid, and when she came up in conversation recently with a friend, I decided to check out some of her more recent novels. I don't know how her older books would hold up to a re-read for me, but I ended up having a mixed reaction to these two.

They were largely pleasant reads. They're well-written, and if spending time in upper middle-class circles in 1930s western Canada appeals, there are a lot of detailed descriptions of clothes, food, and rural seaside life to enjoy. As someone with an interest in that part of the world but who doesn't have family history there, I appreciated this look into the period.

These books feel like they're in the tradition of Anne of Green Gables, Pollyanna, A Little Princess, Heidi, etc.—stories I associate with girls changing the world around them, whether through action or because of their positivity. But that's not really the deal with Polly, who's a very passive character and doesn't seem to bring anything unexpected to her new community. It's also not a Secret Garden or Goodnight, Mr. Tom situation where it felt like Polly herself was changed by her new home, aside from benefiting from more money and opportunities. Things just kind of work out for her while the least dramatic version of eventful situations unfold around her.

I think what particularly didn't land for me was this sense of complacency with regard to the arc of the moral universe. Polly is shown recognizing injustice and then just...never does anything about it. Her grandmother racially discriminates against a neighbour, and Polly disagrees but then lets it lie. We don't see her ever interacting with the neighbour, or even with the neighbour's son, who's a schoolmate. She has the instinct to give money to a homeless man, but then stops when her teacher scolds her and doesn't help anyone again. She never takes a stand or makes any sacrifice, aside from the one time when it's strongly self-serving, but other characters praise her for seeing the world clearly with her artist's eye, in a way that implies that just seeing is enough and that things will work themselves out over time (at least for those who happen to be the loved one of someone with money and property).

While I was reading, I often found myself thinking how glad I was that the author was avoiding the most predictable conflicts I kept thinking were coming, but by the end of the second book, I looked back and felt like something critical was missing. I don't need big culminating moments in historical coming-of-age novels—I absolutely love A Tree Grows in Brooklyn and could write a whole essay on how it shares a sliver of the same flaw but how all of its positives outweigh that for me—but I needed just a little something more to care about these characters and their fortunes.

( An Excerpt )

ETA: Spoilers in the comments