Insurgent,
Veronica Roth’s second offering of the post-apocalyptic Chicago run by factions
picks up moments after the cliffhanger ending of Divergent.
The problem with the text, almost from inception, is that the series attempts
to mimic the recent success of texts in the genre (think Hunger Games here) by becoming
a trilogy. While the rise of Tris and the secret of her Divergent nature kept
the pages turning in the first installment, barely anything keeps you moving
through this one. She comes out, reveals herself, and is suddenly not that
scary as others stand at her side and display the same characteristics.
Tris is hurt—she was shot during the simulation attack on Abnegation—and
Roth reminds us of this fact nearly every page, along with the fact that she is
divergent, that Erudite wants divergents, wants power, wants control, and has a
secret. The Erudites are intelligent, they wear glasses for style, the Amenity
are happy, etc. We are reminded of these facts as often as Roth needs to fill
up a few extra pages to keep the publisher happy.
Yet, as we read along, the answers are strung out. Roth, for whatever reason, takes an age to
give them to you. As we bother Marcus again and again, asking the deposed city
leader what his secret information is, one cannot help but think about Bella
fawning over Edward in the Twilight series. We wait, the conceit is about
making the book long more than tight knit. Thus Tris visits every facet of the
city—holing up with each faction (including her own and the factionless) as she
works to unwittingly instill societal change at the tender age of sixteen. As
messiah, she is destined to save us all, but we don’t know why and after a
while I stop caring why.
She reminds us of her love for Tobias, and despite having
reflected on the hot and heavy moments many times in the first installment,
Roth digs into the romance novel cheese with each and every teenage snog session.
Perhaps this is what the teenage mind wants, but even when Tris selflessly
sacrifices herself to Erudite, one knows Tobias will appear, her savior will
lay a wet one on her, and she will drop a gun do to PTSD style trauma while
uttering complaints about shoulder pain. At times one feels like we are
watching reruns of Dawson’s Creek on the WB instead of reading an attempt at
literature as Roth returns to these common plot motifs time and time again, and
in the end a predictable socialist revolution takes place—the poor and the
oppressed, the workers, the factionless take over and lead the city further
down the chaotic rabbit hole. Already you can see that the end is near for
Tris, she is doomed to die, to suffer at her young age, a martyr to the idea
that humans can be more than overly selfish creates through divergence.