“The Panopticon” is the title of a daring first novel by Scottish poet Jenni Fagan, and it describes a halfway house/rehab facility from whose center the administrators can look into the living quarters ““ including the bathrooms ““ of every youthful inhabitant, male and female. The story’s central character, Anais, is an angry, sexually-active 15-year-old juvenile delinquent who clings to her eroding humanity while completely mistrusting the adult world after dozens of failed foster home assignments and the murder of a prostitute mother-figure by a customer. To her, the Panopticon is simply a continuation of the “experiments” the authorities (and life) have always put her through, trying to break her will. She has been sent to this detention home deep in the woods after allegedly beating a policewoman bad enough to put her in a coma. Anais, who is usually stoked on whatever drugs are available ““ and in the Panopticon, the drugs are freely shared via windows and shoestrings ““ cannot remember the beating despite frequent police interrogations. But the truth is almost irrelevant, since Anais is such a nasty habitual offender that the authorities seem willing to hold her responsible for the policewoman’s condition in retribution for her other offenses. Anais finds her natural “family” at the Panopticon. The lost children who inhabit the facility bond to survive, much like those in “Lord of the Flies,” or “A Separate Peace,” but with more sexual agility, and fiercely protect their own against administrators, guests, and outsiders whom they encounter when allowed out on tightly-scheduled free time. The authentic Scottish dialect is not at all hard to follow, and the writing is snappy, gritty, and profane, with humor often softening the nearly-unceasing misery facing these children . Fagan leads us into all the dark and personal places where her characters live, and we watch them as they abuse themselves and others, casually turn from one drug to another, and curse the irresistible life in which they seem forever trapped, without giving thought to the consequences of their actions or their futures, for they cannot imagine living long enough for either to be meaningful. The book is alternately depressing, sad, and joyful. You will come away from “The Panopticon” desperately wishing someone would “save” Anais, but frustrated at her own inability to keep the demons at bay.
reviewed by: Lawrence A. Katz