I don't think I've read a so-called "problem novel" before (unless The Fault in Our Stars counts?). Part of this is the fact that I never really delved into YA fiction, or contemporary for that matter. I've only been acquainted with this "genre" through my research of banned books. But Anderson can tell you all about that.
Did the book bother me? Not really. The general idea and fears of what it dealt with did bother me a little at the beginning, and after I read the first section I did not pick it up again for the rest of the day. In fairness, I had not gotten to the description of the incident in the book yet, and for all I know my uneasiness came from realizing I was reading a book that I was (sadly) afraid, much like the publisher's blurb, to describe what it really is about. I did not mind the fact it took a while to explain, as it makes sense with how Melinda did not want to remember and I was able to focus on her state of mind as an effect of the experience. I also thought the explanation was handled well; yes, alcohol was involved, which perhaps simplifies the matter, but the stream-of-consciousness style both edits out the more explicit parts and makes the whole description intensely personal.
In general, I believe "problem novels" are not just important for the people who go through these situations. Yes, it is true that this book could help (and it has) girls in Melinda's situation, but others can certainly get something out of it has well: empathy for those in this situation and knowledge of the issue, which can help them prevent it. So, no, I don't believe "problem novels" are gratuitous or depressing. If you ban them, you just prove the issues in them are unspeakable (see what I did there?).
I love the style Speak is written in. It's a bit like a diary or snippet format, broken into many small scenes that are then grouped into each of the grading periods of the school year. Each paragraph is actually its own block of text, and the scenes are short and broken up with titles. Melinda is quite distant, which is only to be expected, and it conveys how she views the world while still giving a clear picture of it.
The most surprising part about Speak was, actually, that Melinda is quite funny. This might be a given considering that being an outsider would lead her to bitter sarcasm, and I think it was an important facet to the novel because it contradicts the claim that these sorts of books are just depressing. It was actually really enjoyable reading; I found myself recognizing things she commented on (the class questioning whether algebra is used in real life and whether symbols are intended in novels), and even though she often relegated people into groups and stereotypes, that is how outsiders can see things. The people she really got to know were more complex.
Despite Melinda's distaste for English class, there are quite a few symbols in Speak, although I won't go into great detail here because I know they've been covered elsewhere. That said, I never quite felt the tree metaphor, as it mostly relies on what her dad says at the end which is not directly related to her art.
A lot of metaphor is used when Melinda describers her trigger points and memories of the encounter. The rapist, Andy, is often called "IT" and described like an animal. But while it is subtle, there is more of a story with Andy that makes him a (sadly) believable character than an evil monster. He is clearly someone who was never told that taking advantage of a drunk girl (or any girl) was wrong--moreover, he doesn't understand that it is wrong. And after he got some once, he got cocky and looked for more.
On the other hand, I do sort of wish there was more of a wrap-up to this. All the girls, noticing this behavior, began to turn on Andy and it's assumed that after the end, what he did will be be known. Still, the novel does not dive into the big part of the recovery: the trials, sentencing, and other aftermath...and unfortunately, not everyone is lucky enough to track down who raped them and get justice. I also think seeing Andy's testimony could help readers understand why rape really is a crime, and why the way he was thinking is wrong. Still, the novel accomplishes its main goal--telling authorities about sexual assault--which is an important first step in the process, and the novel did not end with a "yep, that's it, it's all over now" tone, indicating that this is merely a turning point.
[Anderson did write a novel, Catalyst, which takes place at the same high school a year later. The main character does talk to Melinda briefly, and she says that Andy was charged and put on probation--not jail--and has to register as a sex offender.]
The pregnancy/STD issue is also glossed over, only mentioned by Melinda's concerned ex-best friend when Melinda tells her of the incident. Melinda's account mentions no protection--but then again, it's possible one was slipped on because her account is choppy due to being drunk. But if not, she was conveniently fortunate.
Speak was written 15 years ago, in 1999. It's a pity it took that long for a book like this to be published. Has the world gotten better since then? Maybe. There has been a rise in advocacy for rape prevention and rape survivors, but there are also middle schoolers making rape jokes (I remember hearing the "it's not rape if you like it" one several times between giggling kids), and I just read the comments in this article which made me want to punch something. At any rate, it is at least true that most Americans receive sex education before eleventh grade (unlike Melinda's school; I was quite shocked at that).
Speak was daunting and hard to read in places, but ultimately it was worth it, even if I feel more as if I am appreciating it at a distance rather than really feeling connected.
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