Long Way Down cover

Long Way Down

Jason Reynolds (2017)

An entire novel in one elevator ride, sixty seconds of verse that asks one impossible question: is revenge ever worth it?

EraContemporary
Pages306
Difficulty☆☆☆☆ Accessible
AP Appearances2

Why This Book Matters

Long Way Down was a finalist for the National Book Award, the Printz Award, and the Carnegie Medal simultaneously — a trifecta essentially without precedent for a debut verse novel for young adults. It introduced a generation of reluctant readers to the possibilities of verse fiction while forcing a national conversation about gun violence, retaliatory cycles, and who literature is written for. It has been adopted in schools across America as both a literature text and an entry point for discussions about community violence that no other format had been able to open.

Firsts & Innovations

One of the first YA verse novels to engage with inner-city gun violence from an unambiguously inside perspective

Demonstrated that a 306-page verse novel with no chapter divisions and no resolution could be a commercial and critical success

Among the first books to reach male readers of color who had rejected reading as an institution while fully embracing it as an experience

Cultural Impact

Finalist for the National Book Award for Young People's Literature (2017)

Adopted in middle and high school curricula across America as both literature and discussion framework for gun violence

Credited by librarians and teachers with being the book that got specific non-reading students to read — the access point

Expanded the formal possibilities of YA literature: after Long Way Down, verse novels for young adults proliferated significantly

Sparked debate about whether an unresolved ending is appropriate for a YA novel — a debate Reynolds has engaged directly, insisting the discomfort is the lesson

Banned & Challenged

Challenged and banned in multiple school districts for depictions of gun violence, neighborhood drug culture, and language. Some districts removed it specifically because of the unresolved ending, arguing it 'glorifies' violence by not explicitly condemning it. Reynolds has pointed out that requiring the Black experience of violence to end in condemnation before it can be taught is itself a form of the problem the book is diagnosing.