(cover art by vimark/Max Mitenkov and Joel Tippie)
Katherine Teegen Books 2013
In the year 2051, who has a pulse?
With the help of her mysterious classmate Dylan Gilmore, Faith Daniels discovers that she can move objects with her mind. This telekinetic ability is called a “pulse,” and Dylan has the talent, too.
In riveting action scenes, Faith demonstrates her ability to use her pulse against a group of telekinesis masters who are so powerful they can flatten their enemies by uprooting streetlights, throwing boulders, and changing the course of a hurtling hammer so that it becomes a deadly weapon. But even with her unusual talent, the mind–and the heart–can be difficult to control. If Faith wants to join forces with Dylan and save the world, she’ll have to harness the power of both.
It’s hard for me to figure out where to start. There was so much about this book that I disliked, which is very unfortunate, because it seems like a great premise.
That’s the first thing I think; the premise isn’t entirely clear. Faith gets superpowers and then what? Everything is a secret and even we as readers don’t find out what’s going on. Carman keeps stacking everything mysterious, but without occasionally revealing anything. This gets very frustrating very quickly. I’ve finished the book and I’m still not sure what the main premise was. Everything just goes on, and on, and on, without any kind of ending. The end of the book also didn’t seem like anything had ended.
It is not just the main plot that’s missing, anything else that happens seems to only be fueled by teenage hormones and sex drive. Every single teenager in the book does whatever they do because they have a crush on another character. Often it’s the primary incentive, though sometimes it’s secondary.
Emotions that the characters feel often seem fake or shallow. They acknowledge an emotion and then just move on, like it never happened. This makes it really hard to connect to the characters in the book. They just do, but don’t seem to feel.
Apart from that, all the clichés have been pulled out for this book. Every so many pages, there is a cliché way of describing someone, or of something that happens. So much so, that I’ve written this down at three separate occasions when I was taking notes.
At the end there’s a part in the book that bothers me quite a bit. I’m still not sure why authors think it’s ok to write this, or why they would think it’s cute. When someone is in a coma, or otherwise unconscious, it is NOT ok for some random person to kiss them! Let alone on the mouth! Then adding that the motivation for A is to kiss B, so that at least A has kissed B, while B is still alive. No. Just no.