About 6 h 30 min · at 30 minutes a day, about 13 days
Estimated from the page count of this edition. Dense books can take longer than the estimate.
About the book
At Awago Beach, Rose and her younger summer friend Windy swim, rent horror movies and watch the older teenagers around the local store. But Rose's parents are arguing, and her mother is withdrawing from the holiday routines Rose remembers. As Rose takes an interest in Dunc, the boy behind the store counter, she and Windy begin to disagree about the people they observe.
Reader notes
Quiet and melancholy, the YA graphic novel lingers over ordinary summer days and uncomfortable conversations. Jillian Tamaki's blue-toned drawings leave room for beaches, gestures and silences. The girls' limited understanding matters as much as the events around them, and the dialogue includes strong language.
How it reads
Writing style
Atmospheric · Dialogue-driven · Spare
Tone
Atmospheric · Intimate · Melancholic · Wistful
Structure
Linear
Driven by
Atmosphere · Character · Relationships
Point of view
First person
Setting
Awago Beach
Reading complexity
Writing
2 / 5
Ideas
3 / 5
Structure
2 / 5
Background knowledge
1 / 5
About this profile
Collected’s assessment, not reader ratings. Complexity runs from 1 (least demanding) to 5 (most demanding).
Writing
How much attention the sentences and language require.
Ideas
How much interpretation or abstract reasoning the book asks of you.
Structure
How much you need to keep track of speakers, timelines and connections.
Background knowledge
Prior knowledge needed to follow the book, beyond what it explains.
Emotional intensity
Emotional pressure, from gentle (1) to intense (5). Separate from difficulty.
Themes
Coming of age
Family
Friendship
Identity
Mental health
Sexuality
Content notes
Violence
Mild
Sexual content
Mild
Swearing
Strong
Substance use
Mild
Abuse
Mild
Self-harm or suicide
Mild
Standing and awards
Highly regarded
Eisner Awards, 2015
Printz Award honor, 2015
Los Angeles Times Book Prizes finalist, 2014
Angoulême International Comics Festival nominee, 2015
Questions readers ask
Is it hard to read?
No, the linear story, spare dialogue and blue-toned drawings make it approachable. The emotional complexity comes from what Rose and Windy only partly understand, with gestures and silences carrying meaning alongside their conversations.
Is it a light summer read?
Not really, the beach days, swimming and rented horror movies sit alongside parental arguments and Rose's mother's withdrawal. The pace is measured, and the mood is quiet, melancholy and wistful rather than carefree.
What content should I be aware of?
Strong language in the dialogue is the clearest concern. There are also mild elements involving abuse, self-harm or suicide, sexual content, substance use and violence, alongside emotionally uncomfortable family conversations.
How central is the friendship?
Rose's friendship with the younger Windy is central to the coming of age story. Their disagreements about the older teenagers they observe bring their limited understanding into focus, alongside Rose's interest in Dunc and the strain within her family.
How long is it?
320 pages in the First Second 2014 paperback edition.
Which edition is shown here?
First Second · 2014 · paperback. ISBN 9781596437746.
How long does it take to read This One Summer?
About 6 hours 30 minutes at 50 pages an hour, based on the 320-page First Second edition. Dense books can take longer.
About the author
Mariko Tamaki
Mariko Tamaki is a Canadian writer and artist whose career spans literary graphic novels, adaptations of the Lumberjanes comics, performance work, and writing for Marvel and DC. Her best-known books often follow adolescents trying to understand feelings that resist the explanations offered by families, schools, friends, and romantic partners. In Skim, This One Summer, and Laura Dean Keeps Breaking Up with Me, private uncertainty unfolds within intense social environments, from compulsory mourning and family strain to the isolating pull of an unreliable relationship. Tamaki’s storytelling is typically character-centered and economical, using spare, conversational dialogue, shifts in atmosphere, and close observation to convey what her characters cannot readily say. Rather than treating adolescence as a sequence of lessons, she attends to its ambivalence: the gap between recognizing a harmful or painful situation and knowing how to move through it. That patient attention to emotional perception gives her work its particular clarity.