All that Jenny knows about her biological father can be summed up in two words: Donor #142. About seventeen years ago, Jenny's mother used a sperm bank to become pregnant, then fell in love and married. Her husband adopted Jenny, and they went on to have three more children together. They have been great parents, focused on creating a "team" atmosphere in their home. But that does not change Jenny's sense that something is missing. She is the non-athlete in the family, the artist among the non-artistic, the odd one out. Now, at the end of her sixteenth summer, Jenny wants to find out why. She wants to experience a sense of connection to something--or, more particularly, someone. She wants to feel the closeness her twin sisters have with each other. So, when Jenny finds out about a national registry for children born from sperm bank donors, she signs on. Within days, she has found someone she never knew existed: her half-sister Alexa. The two seem to have that deep sibling connection that Jenny wants and all seems well. Then Alexa suddenly arrives for a visit, and Jenny finds that even this stranger connects better with her family than she can. Maybe Jenny's problem with her family is not genetic after all. Emily Franklin has created an engaging novel about a topic that has received wide media attention. Jenny, like most adolescents, is a bit self-centered; she is nevertheless a likeable character. The twist at the end of this book leaves the reader wondering if a sequel will follow. Reviewer: Heidi Hauser Green
Other Half of Meby Emily Franklin
Unlike her three younger siblings, Jenny knows her biological father only as Donor #142.
As Jenny's 16th summer
JENNY FITZGERALD HAS been outside the huddle, trying to fit in to her sports-obsessed family. The only time she knows the score is when she's holding an egg-carton palette and painting on a canvas, but even then she feels as though something is missing.
Unlike her three younger siblings, Jenny knows her biological father only as Donor #142.
As Jenny's 16th summer draws to a close, she feels more alienated than ever. But then a chance meeting with gorgeous über-jock Tate leads Jenny to reach out to someone else who might know exactly how she feels. With Tate by her side, Jenny searches for a genetic relative in the Donor Sibling Registry and discovers that she has a half sister, Alexa. Jenny hopes their budding relationship will fill the gaps in her life, but when Alexa shows up on her doorstep for a surprise visit, the changes in Jenny's world are much bigger than she could ever have imagined.
From the Hardcover edition.
Gr 8 Up
Artistic Jenny, 16, feels out of place because the rest of her family is graceful and athletic in ways she is not. She knows that she was conceived via Donor 142 before her mother married and had twins, and wonders how her biological father's DNA helped determine who she is. Through a Web site that her new boyfriend, Tate, brings to her attention, Jenny finds Alexa, also a Donor 142 child. The magic of first love and all those initial insecurities are in counterpoint to Jenny's need for Alexa to give her the feeling of belonging that she sees in her half sisters' relationship. The self-knowledge she gains to understand her life leaks into her painting. Art is vital to her and she hopes to be accepted in a show held annually by the gallery where she works in exchange for studio space. Franklin offers readers an engaging protagonist whose humor and unusual situation highlight the lonely and displaced feelings common to many teens. Resolution is not easy or smoothly achieved, and the painful encounters with parents and siblings, as well as with Tate and Alexa, gradually lead Jenny to use her art to express her new view of the world. The blend of romance, artistic expression, and angst about belonging in a family provides some depth, yet this is essentially a lighthearted tale.
Carol A. EdwardsCopyright 2006 Reed Business Information.
- Random House Children's Books
- Publication date:
- Product dimensions:
- 5.70(w) x 8.30(h) x 0.90(d)
- Age Range:
- 14 - 17 Years
Read an Excerpt
The Other Half of Me
By Emily Franklin
OPEN ROAD INTEGRATED MEDIACopyright © 2007 Emily Franklin
All rights reserved.
I am not alone. Of course I'm aware that those are words people tell themselves at precisely the moments in which they feel completely alone. But I'm trying to shrug that off as I stare at the blank wall in front of me and try to picture what should go there. Fine, so it's not an entire wall—it's a canvas on a wall in an art studio—and I have precisely twelve minutes to paint something before Sidney Sleethly, the director of Downtown Studios, kicks me out for the day so other, "real" artists (read: ones who sell things and therefore make him money) can take over my tiny space.
He likes to be called Sid because he worships punk rock icon Sid Vicious, but this man is a far cry from that kind of crazy-cool. In fact, the only reason I tolerate being tolerated by Sleethly is because his studio, with its cavernous rooms, floor-to-ceiling windows, and various walls on which to display art, is the only place I truly feel at home. Even if within that feeling of homeyness (a word I can't stand since it reminds me of needle pointed pillows and stale sugar cookies that look good but taste like crap) is a morsel of loneliness.
All in all, though, I'm not a lonely person, at least not in that crying, snot-on-the-sleeve, I-just-watched-some-parent-child-reunion-on-daytime-TV way. I'm just alone, as in unaccompanied for another ten minutes before I slog through the belt of late-summer rain to pick up my sisters from camp. After that I'll go back to my house, where it's impossible to be alone, and not only because of my sibling overload (twin sisters and a brother). The idea of personal space (not to mention personal freedom) isn't high on my parents' list of goals (and yes, there's an actual list on the fridge). Number three on the list—"Try until you get it right"—was added by my mom and dad after one of our theme dinners (this one was fajitas and virgin margaritas on the lawn, complete with a piñata my mother made in a fit of craftiness). Everyone (everyone includes me; my brother, Russ; my sisters, Sierra and Sage, aka the whiny twins; and my ultracheerful and khaki-loving parents) had to wear floppy sombreros and listen to lame mariachi music. The evening wouldn't have been so bad (in fact, the food my dad cooked was pretty tasty) if only I hadn't had to deal with batting at the piñata.
Unlike the rest of the Fitzgerald clan, I am not, as they say, athletically inclined. Or as my gym teacher commented to my mother, "Jenny's lack of skill is only outdone by her lack of enthusiasm in class." Basically, if there's a field, a ball, and an implement with which to hit that ball, I suck. Russ (short for Russet—he's two years younger, but way ahead of me in the high school social sphere with his cool jocky friends and sporting talent) hit the fish-shaped piñata blindfolded and backward. Sierra and Sage, their long straight hair swinging in graceful ponytails, whacked the thing until it nearly burst. My parents hit it no problem, and just when you could see the candy poking out from inside, it was my turn. I knew everyone had tried to prep the piñata for me, making it so easy I couldn't fail.
And yet I did. No matter how long I stood there, I couldn't make the bat connect with the papier-mâché fish. I couldn't make the candy spill out. I couldn't be what everyone wanted me to be: another sporty, varsity-playing Fitzgerald. With all due respect, I am the I in team. After the piñata incident, I wasn't that surprised to see the addition of "Try until you get it right" on the list of family goals taped to the fridge.
I'm centered enough not to fall apart over seeing that on the list, even though it was added right after I stormed out of the family fun with the piñata still relatively intact. I watched from my bedroom as Sierra spun Sage around until she could hardly stay upright and yet managed to aim the bat perfectly at the mangled fish, bonking it only once, to cause a shower of rainbow-colored candies to fall on our green lawn.
Maybe that's what I should paint now on the canvas. A green lawn with dots of pastel candies on it. It's kind of a cool image, a rain-wet lawn with splotches of colors, some hidden amid the grass. Or maybe I should draw something outside my suburban existence, some cityscape or a foreign country's teeming streets. I can't decide. Before thoughts of my crowded house get to me, I turn back to the canvas. Blue? Blech. No one likes to look at blue art. It's too done, too easily readable.
What if I mix cerulean with light gray? I test out a couple of colors on my palette, which in this case is a recycled egg carton. Real palettes cost money, and the good one I have is kept in my closet at home. I figure I'll use it and the white-boar-bristle brushes I saved for but haven't tried out when I consider my work worthy, which at this point I don't. Not that my paintings are bad. This one is taking shape, sort of an arching design in muted colors that gives way to the bright hues I'm adding now. The indigo fuses with the deep red, which resembles the color of a certain boy's delicate-looking lips. I'm actually thinking that my work isn't totally awful, when ...
"Dear Diary, Today I made a piece of art that looks as though a first grader got hold of my brush." Sid Sleethly's mocking voice disrupts my last few minutes of quiet, causing my paintbrush (and my ego) to slide down. He is notoriously obnoxious (the British accent only makes it worse), and this moment doesn't do anything to disprove that. Still, I've become accustomed to the way he acts. After climbing the ladder of art success in the 1980s in New York and then oozing back down, one is bound to have a severe attitude problem.
"Now look what you've done," I say under my breath, wiping off the spot where green has intruded into the red and blue.
"I'm only being honest with you. Isn't that what all artists want, brutal honesty?"
I like being classified with "all artists," but other than that, Sid's words get under my skin.
"I could do without the brutal part." I start to clean the brushes, dipping them in turpentine, which stings my nostrils and makes my eyes water. Or maybe that's just an emotional reaction to his comment. Granted, I know this particular painting isn't fantastic, but I'd like to think ...
"You probably think that this work is"—Sid flings his hand in the general vicinity of my painting like he's trying to diffuse an unpleasant smell—"on its way to being something. But it's not."
Instead of arguing with him, I blush and clench my stomach muscles and mouth so as not to reveal anything. I don't have the time for arguing, anyway. My studio time is limited and my parents demand my presence at dinner, even now, in what's left of summer. I also have to shuttle my sisters from their day camp, so leaving now is key if I'm going to make it on time. Besides, I hate arguing in my defense. Part of me thinks that when everything works, it's without the aid of words. You're just supposed to know what's right, or what people need.
"Thanks for the advice, Sid," I say with enough sarcasm that I feel a bit better but not enough that he can call me on it.
"You will thank me one day, Jenny Fitzgerald. All art needs criticism in order to grow, and, well, yours might need extra since all it is right now is your vision of what you think other people want you to be." When he uses my full name like that, it drives home the fact that he hasn't sold one of my paintings and that none of them really requires my signature at the bottom.
Without saying anything more, Sid (thankfully) leaves me in the mess of my paints and the muck of his harsh words, which feel particularly harsh today because of my suspicion that they're true.
Outside, the rain pelts my head, soaking my hair and my carefully selected not-too-tight white T-shirt. I can only imagine what I look like, and it can best be described as someone who belongs on the cover of a "men's interest" magazine. I cross my arms over my chest and wonder if I can just pull up at Camp Cedar and beep or if I have to actually go inside and physically claim my sisters. Usually they get a ride with my mom, but in an attempt to encourage my "family bonding time" (Mom's words, not mine), I have been enlisted as the twins' chauffeur.
Driving is pretty new to me still, so I automatically go through the list of what I'm supposed to do before backing up—put on seat belt, adjust rearview mirror, check side mirrors, and look for oncoming cars. All fine—that is, except for the glimpse of myself in the rearview mirror: my normally average hair (Russ says it's the color of toffee) is a shade darker and slicked to my face, and my nose is running. Lovely.
I turn up the heat in the car in the hope it will dry my shirt by the time I get to Camp Cedar, which is all of eight minutes down the road on the far side of town (town being Cutler, Connecticut, your typical white-steepled New England historic vale). Of course, the heat makes the windows fog, causing my hair to get that weird peach fuzz frizz on the top, and my shirt is no less wet than it was before.
Even though I want to be that artist girl who is so wrapped up in her paint box and deep thoughts that she doesn't think at all about her looks, I'm just not. However, I don't care that much. My clothes are splattered with various hues from my artistic renderings, and my hair doesn't change per the latest fashion mags, but I'm not oblivious to looking decent (or trying to), either.
For example, right now I care quite a bit how I appear. Not only do I have to snag Sierra and Sage from a bevy of preteen beauties, but I have to do so in front of a certain someone. A certain someone I can't look in the eye or admit to admiring, at least not out loud. There's a part of me that still believes if you say things out loud, it's as though you're not only admitting them, but giving in to something beyond your control, and I'm loath to do that.
I drive through the wide gates, with the Camp Cedar sign on my right, and turn the windshield wipers down. It's not even raining anymore, so I'm more self-conscious. I look as though I decided to take a shower with my clothes on. Stunning. I unbuckle my seat belt and sigh. The day is never complete unless Sierra and Sage have dumped on me, and considering how pathetic I look right now, they'll have plenty of ammunition.
I get out of the car and approach the main building at Camp Cedar. The organization has two parts: the coed day camp, where I went years ago, which is housed in an old Sound of Music–style lodge; and a gymnastics and dance program for older campers, where twelve-year-old Sierra and Sage perform ballet and do backbends that I could never do.
Kids holding various pieces of sporting equipment lounge around the benches outside, waiting for lifts home. This reminds me of how close I am to going back to high school—the countdown is at two weeks. Still, it feels as though any minute now the humidity-heavy trees will give way to the first signs of fall foliage, and I can't seem to quiet that slightly nervous voice inside telling me to make the most of what's left of my summer.
I scan the groups of campers but don't see my shiny, perky sisters. (They are tall for their age and tend to stick out, not like sore thumbs but like movie ingenues.) I have to go inside the building and bring this one-girl wet T-shirt contest to the masses. Silently, I thank the clothing gods who enabled me to choose dark shorts today rather than khakis that would showcase my red-and-white-polka-dot underwear (note: must remember to do laundry). Then, bracing myself for the worst, I walk through the front doors, past gawking boys and giggling girls who clearly notice that my arms are crossed over my chest for a reason. Or maybe I'm just paranoid.
"Nice boobs, Jenny!" Sierra yells from down the hall. She has Sage on her arm. Both of them are long-limbed and poised in their dance-floaty skirts and leotards, but they are not above laughing at me when I approach.
"Do you want a ride home or not?" I ask, dangling the car keys. It would be such great revenge to just turn around, walk away, and strand them in town. But then I'd probably feel guilty, not to mention risk getting in trouble. Ditching the twins isn't exactly "family bonding."
"You have to take us home," Sierra says.
"And you have to cover yourself!" Sage tacks her sentence on to Sierra's so it sounds like one fluid expression. They always seem to know what the other one is thinking and feeling. It kind of makes me jealous. I definitely don't have someone who is forever understanding me. "Mom'll ground you if you leave us here," she adds.
I would never really leave them to fend for themselves, especially not in their dance gear, but I squint at them to make it seem like it's a possibility. "Give me a shirt and I'll think about it."
Sage rummages through her backpack and produces a fine light blue shirt, but Sierra shakes her head. "Don't lend her that. It's your best one."
"Yeah, God forbid your other sister needs a favor." I sigh and reach for the tiny T-shirt, which will still be revealing, but at least not see-through.
"It's not that, Jenny," Sage protests. "It's just, like ..." She doesn't even have to nudge Sierra to get her to complete the thought.
"You always get stuff on your clothes." Sierra looks at me and crumples her mouth.
"Am I really that bad?" I ask, laughing at myself. I let my hands drop to my sides, then notice that a couple of the guy counselors are checking out my rack and immediately cover myself again. I notice that my clothing is splattered with oil paint, stained from solvents, and generally in the wrinkled category. The twins are right. I am such a mess. "Forget it." I hand Sage her T-shirt. It's only big enough for a preteen anyway. "Let's just go."
"Here," Sage says in an effort to make amends. "Take my backpack."
"I'm not your Sherpa." I flick her away.
"I was asking you to carry my bag so you could block your ..." Sage gestures to my boobs.
"Oh." I'm so used to being left out of their twinliness that the few times a year they try to be nice, it slips right past me. "Well, I'm fine. I can handle the stares."
Sierra giggles and tosses her long, glossy golden hair over her shoulders. My wet hair is still plastered to my forehead. If I were produce, I would be rotting right now. Using my fingers like a comb, I try to sweep the hairs away. "What's so funny?" I ask Sierra, whose laughter has inspired Sage to giggle, too, in that annoyingly high-pitched preteen way that sends shivers down my arms.
Sierra laughs harder as we walk past the gym and the dance studios with their mirror-covered walls and ballet bars. "I have to ask. Did you do it on purpose?"
"Excuse me?" I stop and pivot so I'm facing them. Sierra and Sage tilt their heads and raise their eyebrows as though they are the cleverest almost-thirteen-year-olds in the world.
I'm so annoyed and bursting with frustration I could scream, but I don't. Instead, I say, "Yeah, that's right. I purposely hosed myself down with the sink sprayer at the art studio so I could humiliate myself when I came to pick you up from your stupid day camp."
Sage and Sierra are duly put in their places. However, as they blush I realize they're blushing not only because I scolded them, but also because I have gained an audience of onlookers.
"I think you made your point," Sage says, gesturing to the campers, counselors, and parents who heard my brief speech.
"Let's go," I say, and walk out. I'm fuming, but not so much that I don't find relief when the crowd starts thinning out.
And I'm certainly not so lost in my annoyance that I miss him—a certain someone—lurking off to the side of the corridor. I try to pretend that he's not there in the same way I have tried to blink him away for the past two years. But it's a Herculean task, trying to forget how he smiles out of the side of his mouth, or not to notice how his brown hair has flecks of gold in it now. His skin is tan, too, most likely due to the hours and hours he spends outside, coaching peewee football. Blush creeps across my face. Maybe he didn't hear my tirade. Maybe he was doing whatever it is jocks do at the end of the day. High-five? Drink Gatorade? Stretch?
Excerpted from The Other Half of Me by Emily Franklin. Copyright © 2007 Emily Franklin. Excerpted by permission of OPEN ROAD INTEGRATED MEDIA.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
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Meet the Author
Emily Franklin is the author of the YA series The Principles of Love and The Chalet Girls. She lives in Massachusetts with her husband and two children. You can visit Emily at www.emilyfranklin.com.
Most Helpful Customer Reviews
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This book is a teen love story with substance. I found the story relatable and interesting. But it was a bit predictable. I would recommend this to a friend.
Jenny's a painter in a family full of sports lovers. She can't catch a ball to save her life. Is it any wonder she feels like an outsider in her own family?
While she has always known that she's the product of a sperm donor, it never really made much difference until she reads an article about tracking down relations. Now she can't let go of the idea.
Could there be a sibling out there, just like her? Is Jenny brave enough to meet her half-sister once she finds her?
Finally, Jenny believes she's found the part of her that's been missing for years.
Emily Franklin's written another notable drama full of high angst where the main character struggles to find her identity.
I thoroughly enjoyed this book. The subject is the real life consequences of going outside the usual ways of conceiving a life. The heroine is the product of artificial insemination from an unknown sperm donor and her situation is portrayed honestly. She is loved by her family but feels 'different'--not uncommon when one is a teen. This book reminded me why I'm glad I'm in the Middle years of my life. g Anyway, the author didn't pull any punches and didn't restrict her story to the strait-jacket of PC-ness. Well done!
I think it started off alright then when it got to the middle it was extremely good, i couldnt put it down but i havnt finished it yet and its a little boaring at page 166-173.