It’s almost 3 a.m. and storming like crazy outside, and quite likely because I didn’t take a magic sleep pill before it got too late (because I didn’t want to fall asleep before the end of the book), I can’t sleep. Oh, and also I keep thinking about Patch.
When MorganMorganMorgan told me to read Hush, Hush by Becca Fitzpatrick, I was more interested in making her remember the song from the 80s where the crazy-haired blonde girl stands up in the middle of the theater, much to her overbearing (and not all that cute, IMHO) boyfriend’s chagrin, and sings “hush, hush, voices carry.”
I actually stood up at the table in Chic-Fil-A, as if the mere stance would force her to remember the obscure scene. Had I remembered any other words, I would’ve broken out in song right there while the unassuming patrons chowed down on their chicken sandwiches. (Thank God for small favors, I suppose).
Having read the book tonight, I’m now convinced MorganMorganMorgan should have simply slapped me, told me to sit down, and just listen to her about the darn book. Warning: this review contains spoilers.
Hush, Hush tracks the story of Nora and Patch, once their paths become entangled with one another. Nora is typical, atypical teenager, I suppose: good student; good person; would do anything for her mom or her BFF; misses her dad (who passed away before the book begins); and struggles with all her might not to fall for Patch. Trouble is, she’s not all that strong.
Patch, on the other hand, is anything but typical: doesn’t intentionally draw attention to himself, but doesn’t fade into the background either; comes across as a “bad boy” initially simply due to the mystery that surrounds him; and, oh yeah, he can make people think things. Turns out, he’s a fallen angel, and from what I can tell, wasn’t ever really an “angel” even before he fell. At one point, he asks Nora to see him for who he is, not who he was. Who doesn’t sometimes wish that? Who he is is the fallen angel who doesn’t want his wings back but, rather, desperately wants to be human forever. And Nora just might be the key. Of course, he’ll have to kill her first. Wait, what?
Patch has this ability to sort of get inside Nora’s head – make her think things, see things the way he wants her to – in order to further his agenda with her. It gets her into some tight spots to say the least. It’s quite manipulative and, I’m sure if I think on it real deep I’d be offended. But right now all I can think is I probably wouldn’t fight all that much if he had me pinned down … or against a counter … or a wall. Sigh.
As the story develops and we learn more about who Patch was, we also learn he’s not the only non-human entity roaming the streets of Coldwater. You know there’s never just one. And so the story goes Nora (and you) questioning whether Patch is trying to kill her … or save her from the others. In the end, all’s well that ends well. Well, sort of. Patch gives up his greatest desire to be human in order to save an even greater one, Nora. He says to her, “What good’s a body if I can’t have you?” When I read that just a few short hours ago, I swear I audibly gasped. Now, I can’t help but be reminded of this:
Of course, in my head, I hear: “If I can’t have you, I don’t want no body, baby.” Ba-da-bump. I’d like to blame the corny 70s-80s music references on the time, but truth be told I think it’s the hubs’ fault. He always planting things like music or movie references in my head. Huh, just like Patch. Ok, not really. Darnit.