All the bright places / Jennifer Niven.

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NOW A NETFLIX FILM, STARRING ELLE FANNING AND JUSTICE SMITH!

The New York Times bestselling love story about two teens who find each other while standing on the edge. And d on't miss Take Me with You When You Go , Jennifer Niven's highly anticipated new book with bestselling author David Levithan!

Theodore Finch is fascinated by death. Every day he thinks of ways he might kill himself, but every day he also searches for--and manages to find-- something to keep him here, and alive, and awake.

Violet Markey lives for the future, counting the days until graduation, when she can escape her small Indiana town and her aching grief in the wake of her sister's recent death.

When Finch and Violet meet on the ledge of the bell tower at school--six stories above the ground-- it's unclear who saves whom. Soon it's only with Violet that Finch can be himself. And it's only with Finch that Violet can forget to count away the days and start living them. But as Violet's world grows, Finch's begins to shrink. . . .

"A do-not-miss for fans of Eleanor & Park and The Fault in Our Stars , and basically anyone who can breathe." --Justine Magazine

"At the heart--a big one--of All the Bright Places lies a charming love story about this unlikely and endearing pair of broken teenagers." --The New York Times Book Review

"A heart-rending , stylish love story." -- The Wall Street Journal

"A complex love story that will bring all the feels ." -- Seventeen Magazine

" Impressively layered, lived-in, and real ." --Buzzfeed

Excerpt provided by Syndetics

Finch I am awake again. Day 6. Is today a good day to die? This is something I ask myself in the morning when I wake up. In third period when I'm trying to keep my eyes open while Mr. Schroeder drones on and on. At the supper table as I'm passing the green beans. At night when I'm lying awake because my brain won't shut off due to all there is to think about. Is today the day? And if not today--when? I am asking myself this now as I stand on a narrow ledge six stories above the ground. I'm so high up, I'm practically part of the sky. I look down at the pavement below, and the world tilts. I close my eyes, enjoying the way everything spins. Maybe this time I'll do it--let the air carry me away. It will be like floating in a pool, drifting off until there's nothing. I don't remember climbing up here. In fact, I don't remember much of anything before Sunday, at least not anything so far this winter. This happens every time--the blanking out, the waking up. I'm like that old man with the beard, Rip Van Winkle. Now you see me, now you don't. You'd think I'd have gotten used to it, but this last time was the worst yet because I wasn't asleep for a couple days or a week or two--I was asleep for the holidays, meaning Thanksgiving, Christmas, and New Year's. I can't tell you what was different this time around, only that when I woke up, I felt deader than usual. Awake, yeah, but completely empty, like someone had been feasting on my blood. This is day six of being awake again, and my first week back at school since November 14. I open my eyes, and the ground is still there, hard and permanent. I am in the bell tower of the high school, standing on a ledge about four inches wide. The tower is pretty small, with only a few feet of concrete floor space on all sides of the bell itself, and then this low stone railing, which I've climbed over to get here. Every now and then I knock one of my legs against it to remind myself it's there. My arms are outstretched as if I'm conducting a sermon and this entire not-very-big, dull, dull town is my congregation. "Ladies and gentlemen," I shout, "I would like to welcome you to my death!" You might expect me to say "life," having just woken up and all, but it's only when I'm awake that I think about dying. I am shouting in an old-school-preacher way, all jerking head and words that twitch at the ends, and I almost lose my balance. I hold on behind me, happy no one seems to have noticed, because, let's face it, it's hard to look fearless when you're clutching the railing like a chicken. "I, Theodore Finch, being of unsound mind, do hereby bequeath all my earthly possessions to Charlie Donahue, Brenda Shank-Kravitz, and my sisters. Everyone else can go f---- themselves." In my house, my mom taught us early to spell that word (if we must use it) or, better yet, not spell it, and, sadly, this has stuck. Even though the bell has rung, some of my classmates are still milling around on the ground. It's the first week of the second semester of senior year, and already they're acting as if they're almost done and out of here. One of them looks up in my direction, as if he heard me, but the others don't, either because they haven't spotted me or because they know I'm there and Oh well, it's just Theodore Freak. Then his head turns away from me and he points at the sky. At first I think he's pointing at me, but it's at that moment I see her, the girl. She stands a few feet away on the other side of the tower, also out on the ledge, dark-blond hair waving in the breeze, the hem of her skirt blowing up like a parachute. Even though it's January in Indiana, she is shoeless in tights, a pair of boots in her hand, and staring either at her feet or at the ground--it's hard to tell. She seems frozen in place. In my regular, nonpreacher voice I say, as calmly as possible, "Take it from me, the worst thing you can do is look down." Very slowly, she turns her head toward me, and I know this girl, or at least I've seen her in the hallways. I can't resist: "Come here often? Because this is kind of my spot and I don't remember seeing you here before." She doesn't laugh or blink, just gazes out at me from behind these clunky glasses that almost cover her face. She tries to take a step back and her foot bumps the railing. She teeters a little, and before she can panic, I say, "I don't know what brings you up here, but to me the town looks prettier and the people look nicer and even the worst of them look almost kind. Except for Gabe Romero and Amanda Monk and that whole crowd you hang out with." Her name is Violet Something. She is cheerleader popular--one of those girls you would never think of running into on a ledge six stories above the ground. Behind the ugly glasses she's pretty, almost like a china doll. Large eyes, sweet face shaped like a heart, a mouth that wants to curve into a perfect little smile. She's a girl who dates guys like Ryan Cross, baseball star, and sits with Amanda Monk and the other queen bees at lunch. "But let's face it, we didn't come up here for the view. You're Violet, right?" She blinks once, and I take this as a yes. "Theodore Finch. I think we had pre-cal together last year." She blinks again. "I hate math, but that's not why I'm up here. No offense if that's why you are. You're probably better at math than I am, because pretty much everyone's better at math than I am, but it's okay, I'm fine with it. See, I excel at other, more important things--guitar, sex, and consistently disappointing my dad, to name a few. By the way, it's apparently true that you'll never use it in the real world. Math, I mean." I keep talking, but I can tell I'm running out of steam. I need to take a piss, for one thing, and so my words aren't the only thing twitching. (Note to self: Before attempting to take own life, remember to take a leak.) And, two, it's starting to rain, which, in this temperature, will probably turn to sleet before it hits the ground. "It's starting to rain," I say, as if she doesn't know this. "I guess there's an argument to be made that the rain will wash away the blood, leaving us a neater mess to clean up than otherwise. But it's the mess part that's got me thinking. I'm not a vain person, but I am human, and I don't know about you, but I don't want to look like I've been run through the wood chipper at my funeral." She's shivering or shaking, I can't tell which, and so I slowly inch my way toward her, hoping I don't fall off before I get there, because the last thing I want to do is make a jackass out of myself in front of this girl. "I've made it clear I want cremation, but my mom doesn't believe in it." And my dad will do whatever she says so he won't upset her any more than he already has, and besides, You're far too young to think about this, you know your Grandma Finch lived to be ninety-eight, we don't need to talk about that now, Theodore, don't upset your mother. "So it'll be an open coffin for me, which means if I jump, it ain't gonna be pretty. Besides, I kind of like my face intact like this, two eyes, one nose, one mouth, a full set of teeth, which, if I'm being honest, is one of my better features." I smile so she can see what I mean. Everything where it should be, on the outside at least. When she doesn't say anything, I go on inching and talking. "Most of all, I feel bad for the undertaker. What a shitty job that must be anyway, but then to have to deal with an asshole like me?" From down below, someone yells, "Violet? Is that Violet up there?" "Oh God," she says, so low I barely hear it. "OhGodohGodohGod." The wind blows her skirt and hair, and it looks like she's going to fly away. There is general buzzing from the ground, and I shout, "Don't try to save me! You'll only kill yourself!" Then I say, very low, just to her, "Here's what I think we should do." I'm about a foot away from her now. "I want you to throw your shoes toward the bell and then hold on to the rail, just grab right onto it, and once you've got it, lean against it and then lift your right foot up and over. Got that?" "Okay." She nods and almost loses her balance. "Don't nod." "Okay." "And whatever you do, don't go the wrong way and step forward instead of back. I'll count you off. On three. Okay?" "Okay." She throws her boots in the direction of the bell, and they fall with a thud, thud onto the concrete. "One. Two. Three." She grips the stone and kind of props herself against it and then lifts her leg up and over so that she's sitting on the railing. She stares down at the ground and I can see that she's frozen again, and so I say, "Good. Great. Just stop looking down." She slowly looks at me and then reaches for the floor of the bell tower with her right foot, and once she's found it, I say, "Now get that left leg back over however you can. Don't let go of the wall." By now she's shaking so hard I can hear her teeth chatter, but I watch as her left foot joins her right, and she is safe. So now it's just me out here. I gaze down at the ground one last time, past my size-thirteen feet that won't stop growing--today I'm wearing sneakers with fluorescent laces--past the open windows of the fourth floor, the third, the second, past Amanda Monk, who is cackling from the front steps and swishing her blond hair like a pony, books over her head, trying to flirt and protect herself from the rain at the same time. I gaze past all of this at the ground itself, which is now slick and damp, and imagine myself lying there. I could just step off. It would be over in seconds. No more "Theodore Freak." No more hurt. No more anything. I try to get past the unexpected interruption of saving a life and return to the business at hand. For a minute, I can feel it: the sense of peace as my mind goes quiet, like I'm already dead. I am weightless and free. Nothing and no one to fear, not even myself. Then a voice from behind me says, "I want you to hold on to the rail, and once you've got it, lean against it and lift your right foot up and over." Like that, I can feel the moment passing, maybe already passed, and now it seems like a stupid idea, except for picturing the look on Amanda's face as I go sailing by her. I laugh at the thought. I laugh so hard I almost fall off, and this scares me--like, really scares me--and I catch myself and Violet catches me as Amanda looks up. "Weirdo!" someone shouts. Amanda's little group snickers. She cups her big mouth and aims it skyward. "You okay, V?" Violet leans over the rail, still holding on to my legs. "I'm okay." The door at the top of the tower stairs cracks open and my best friend, Charlie Donahue, appears. Charlie is black. Not CW black, but black-black. He also gets laid more than anyone else I know. He says, "They're serving pizza today," as if I wasn't standing on a ledge six stories above the ground, my arms outstretched, a girl wrapped around my knees. "Why don't you go ahead and get it over with, freak?" Gabe Romero, better known as Roamer, better known as Dumbass, yells from below. More laughter. Because I've got a date with your mother later, I think but don't say because, let's face it, it's lame, and also he will come up here and beat my face in and then throw me off, and this defeats the point of just doing it myself. Instead I shout, "Thanks for saving me, Violet. I don't know what I would've done if you hadn't come along. I guess I'd be dead right now." The last face I see below belongs to my school counselor, Mr. Embry. As he glares up at me, I think, Great. Just great. I let Violet help me over the wall and onto the concrete. From down below, there's a smattering of applause, not for me, but for Violet, the hero. Up close like this, I can see that her skin is smooth and clear except for two freckles on her right cheek, and her eyes are a gray-green that makes me think of fall. It's the eyes that get me. They are large and arresting, as if she sees everything. As warm as they are, they are busy, no-bullshit eyes, the kind that can look right into you, which I can tell even through the glasses. She's pretty and tall, but not too tall, with long, restless legs and curvy hips, which I like on a girl. Too many high school girls are built like boys. "I was just sitting there," she says. "On the railing. I didn't come up here to--" "Let me ask you something. Do you think there's such a thing as a perfect day?" "What?" "A perfect day. Start to finish. When nothing terrible or sad or ordinary happens. Do you think it's possible?" "I don't know." "Have you ever had one?" "No." "I've never had one either, but I'm looking for it." She whispers, "Thank you, Theodore Finch." She reaches up and kisses me on the cheek, and I can smell her shampoo, which reminds me of flowers. She says into my ear, "If you ever tell anyone about this, I'll kill you." Carrying her boots, she hurries away and out of the rain, back through the door that leads to the flight of dark and rickety stairs that takes you down to one of the many too-bright and too-crowded school hallways. Excerpted from All the Bright Places by Jennifer Niven All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.

Reviews provided by Syndetics

Publishers Weekly Review

Voice actors Heyborne and Meyers team up for the audio edition of Niven's teen love story. Last spring, Violet survived the car accident that killed her sister. She has been barely getting by, and now, on the first day of the new term, she has climbed the bell tower at school and is thinking of throwing herself off. It is here that Violet encounters Theodore Finch, better known as "Freak" around school, who manages to talk her down. Saving Violet seems to have given Finch a new lease on life. He woos her, gets assigned to be her partner for a class project, and slowly brings Violet back to life. Both Violet and Finch take turns telling their story. Heyborne makes Finch sound warm, relatable, and sympathetic. When Finch turns manic, Heyborne picks up the pace, and his voice becomes frantic, harried, and ragged. For Violet, Meyers's voice is sharp and tight, almost pinched at times. She only sounds loose and comfortable when she's with Finch. When bad things happen and Violet's voice is cracking and near tears, listeners will become misty-eyed as well. Still, the story is not without humor, and the narrators nail the comedic notes, lightening the mood. This is an emotional book, and Meyers and Heyborne do an outstanding job infusing their performances with sentiment and warmth. Ages 14-up. A Knopf hardcover. (Jan.) © Copyright PWxyz, LLC. All rights reserved.

School Library Journal Review

Gr 10 Up-Violet Markey is on the ledge of her school's bell tower, six stories up, and frozen in terror. Theodore Finch, the Freak, stands on the ledge nearby. Before she can panic, he calms her down and gets her back on solid ground. He even lets everyone think she's the one who talked him out of jumping. Violet, until recently, was a popular cheerleader and Finch has a well-earned reputation for being manic, violent, and unpredictable. But Finch won't let their encounter rest. He's suddenly everywhere Violet goes and even signs her up as his partner on a "Wander the State" school project. As the two drive around Indiana, Violet begins to see the lame tourist attractions through Finch's eyes, and each spot becomes something unique and special. He pushes and challenges the protagonist, and seems to understand the effect her sister's death made on her. But though Violet begins to recover from the devastating grief that has cocooned her for almost a year, Finch's demons refuse to let go. The writing in this heartrending novel is fluid, despite the difficult topics, as Niven relays the complex thought processes of the two teens. Finch and Violet, with their emotional turmoil and insecurities, will ring true to teens. Finch in particular will linger in readers' minds long after the last page is turned. Give this to fans of Rainbow Rowell's Eleanor & Park (St. Martin's Pr., 2013), John Green's The Fault in Our Stars (Dutton, 2012), or Jennifer Hubbard's The Secret Year (Viking, 2010).-Heather Miller Cover, Homewood Public Library, AL (c) Copyright 2014. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Booklist Review

Violet and Finch meet on the ledge of their school's clock tower, both thinking about jumping. For frenetic Finch, who constantly alters his appearance, suicide is often on his mind, and the barrage of bullying he receives, from his classmates and his own father, doesn't help matters. Violet, on the other hand, is in a daze after the untimely death of her sister. They don't jump, but their chance meeting leads to a partnership on a geography project visiting Indiana roadside oddities. Their friendship grows into a sweet romance, and Violet feels invigorated she starts feeling engaged with her life and even takes up writing again, something she gave up after her sister died. Despite Finch's desperate desire, their burgeoning love is not enough to solve his wild, emotional ups and downs, behavior that's not called what it is bipolar disorder until very late in the novel. Niven's first novel for teens tackles a big topic with sensitivity (suicide-prevention resources are included), and teens will likely swoon over Finch and Violet's doomed oddball romance. HIGH-DEMAND BACKSTORY: With an author tour, a major promotional campaign, and a film adaptation already in the works, publishers are banking on Niven's YA debut to be a hit.--Hunter, Sarah Copyright 2014 Booklist

Horn Book Review

Theodore Finch, a moody "freak," and Violet Markey, mourning her sister's death, meet on their school's bell tower, both flirting with jumping. When they partner on a project to discover the wonders of Indiana, a tentative relationship begins. Told in distinct alternating voices, this novel will affect readers as much with its charming romance as with its heartbreaking portrayal of mental illness. (c) Copyright 2016. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Kirkus Book Review

Two struggling teens develop an unlikely relationship in a moving exploration of grief, suicide and young love. Violet, a writer and member of the popular crowd, has withdrawn from her friends and from school activities since her sister died in a car accident nine months earlier. Finch, known to his classmates as "Theodore Freak," is famously impulsive and eccentric. Following their meeting in the school bell tower, Finch makes it his mission to re-engage Violet with the world, partially through a school project that sends them to offbeat Indiana landmarks and partially through simple persistence. (Violet and Finch live, fortunately for all involved, in the sort of romantic universe where his throwing rocks at her window in the middle of the night comes off more charming than stalker-esque.) The teens alternate narration chapter by chapter, each in a unique and well-realized voice. Finch's self-destructive streak and suicidal impulses are never far from the surface, and the chapters he narrates are interspersed with facts about suicide methods and quotations from Virginia Woolf and poet Cesare Pavese. When the story inevitably turns tragic, a cast of carefully drawn side characters brings to life both the pain of loss and the possibility of moving forward, though some notes of hope are more believable than others. Many teen novels touch on similar themes, but few do it so memorably. (Fiction. 14 up) Copyright Kirkus Reviews, used with permission.