Katsoulis, Gregory Scott. All Rights Reserved. Harlequin Teen, 2017.
When teaching poetry, my students and I pause and discuss our favorite (school appropriate) words. There doesn’t have to be a deep, philosophical reason behind the favoriting of a word—perhaps it’s simply fun to say. Some of my favorite words include umbrella, melancholy, and cacophony.
If I lived in the dystopian world of All Rights Reserved, I would likely pay a hefty sum of money for using any of my favorite words.
Speth Jime lives in a world tightly controlled by greedy corporations, litigation happy lawyers, and stringent copyright laws. In Speth’s society, citizens receive a cuff they must wear around their wrist from their fifteenth birthday onward. The cuff records the words they speak and the gestures they make and charges the wearer appropriately. The phrase “find me”, for example, costs over eleven dollars. Citizens are also charged for hugging, holding hands, nodding, and kissing. Corporations own every word and gesture, and debt is seemingly unavoidable. Most teens live alone as their parents enter indentured servitude to pay the money they owe.
On Speth’s fifteenth birthday, her friend Beecher commits suicide moments before Speth is due to give her first speech and plug various sponsors. His actions convince Speth to keep silent and not engage in any gestures or actions that would cost money. Speth’s guardian, friends, and siblings are shocked—Speth will be unable to work or purchase goods if she chooses not to speak. This is further complicated when Speth’s older sister and the family’s bread winner, Saretha, is barred from working outside the home. As Speth strategizes various ways to save her family, she notices a growing movement of “Silents”—fellow adolescents who have chosen not to speak. Will Speth be blamed for their disobedience? Will she find a way to keep her family afloat? Will she be able to maintain her silence?
In a genre saturated with dystopian books, All Rights Reserved manages to stand out as a unique read. I was drawn into Speth’s world immediately, as the various nuances and rules seem eerily similar to today’s world. For example, Speth cannot ring her friend’s doorbell as she would be required to watch and react to an ad beforehand. This reminded me a great deal of watching an ad before a YouTube video or logging onto a website and dealing with many pop up ads. And, as an English teacher, I couldn’t help but smile at the references to classic dystopias sprinkled throughout the novel—Ayn Rand and 1984 are both subtly incorporated.
I had few complaints about Katsoulis’ novel—it was engaging and fast-paced. There were moments, though, where I hungered for more detail and explanation. Some areas of Speth’s world—the park at the book’s opening, for example—seemed to lack sensory detail. And some characters were briefly touched on, then forgotten. I was particularly captivated by Speth’s rebellious teacher, Mrs. Soleman, who is given a pivotal scene and then never mentioned again.
I plan to recommend All Rights Reserved to my students as we prepare for our upcoming dystopian literature circles. Even if you don’t teach dystopia, there are plenty of reasons to include All Rights Reserved in your classroom library or curriculum. The novel can start great conversations about rhetorical devices and advertising techniques—how do advertisers attempt to manipulate Speth and other citizens? How do advertisers manipulate us today? Students will come away from the novel with a greater appreciation for words and our ability to communicate freely, which is an extremely positive side effect.