Speak, which was first published in 1999, was Laurie Halse Anderson’s first novel for young adults, though she had previously written two children’s books and worked as a journalist. Although Anderson has written many subsequent books, Speak remains her best-known and most controversial work. In 2000, the book was selected as one of the American Library Association’s “Best Books for Young Adults,” but it has also regularly featured on the ALA’s list of 100 most banned and challenged books in the United States, reaching fourth place in 2020. 

Given its heavy subject matter, it is scarcely surprising that Speak has proved controversial, forcing teachers and adolescent readers to consider the uncomfortable reality that there may well be rapists and rape survivors sitting with them in the classroom. However, Speak’s unflinching examination of these difficult topics is also the source of its enduring popularity, and many readers will find themselves relating to Melinda as she experiences the everyday trials and humiliations of high school and confronts more serious issues like trauma, depression, and bullying.

Since writing Speak, Laurie Halse Anderson has revealed that the book is based on her own experiences, which she detailed in a poetic memoir called Shout, published in 2019. Shout, which reflects on the author’s own rape at the age of thirteen, may be regarded as a nonfiction companion-piece to Speak. One of the points Anderson makes in Shout is that the toxic culture of silence surrounding sexual assault places the burden on the victim and allows sexual assaults to take place and go unpunished. Silence is a major theme in Speak as well, as Melinda’s inability to vocalize what has happened to her leaves her unable to confront and process her trauma.  

In Speak, the exact depth and nature of Melinda’s trauma is revealed gradually, and due to her lively narration and internal monologue, it may be some time before the reader registers how silent she is outwardly. Melinda’s narration is episodic in nature, and her conversations with others are often represented as dialogue from a script or screenplay. This creative stylistic choice calls further attention to Melinda’s reluctance to speak, as there’s often a blank space where her line of dialogue ought to be. Melinda silence is accompanied by physical symptoms of anxiety as well: she bites her lips hard enough to draw blood and often feels as though her throat is burning or closing up. She refers to her “chewed-up horror of a mouth,” which looks to her as though it belongs to another person, someone she does not know. Her status as an outcast is connected with her mouth and her lack of a voice, as seen when she contrasts herself with the popular girls:

These are our role models—the Girls Who Have It All. I bet none of them ever stutter or screw up or feel like their brains are dissolving into marshmallow fluff. They all have beautiful lips, carefully outlined in red and polished to a shine.

Speak may be scathing about high school students, with their bullying, cliques, and cruelty, but its depiction of most adults and authority figures as callous and aloof is even more damning. As she develops as an artist and begins to heal from her trauma, Melinda has only one real adult role model: Mr. Freeman, her art teacher. Mr. Freeman is a flawed human being who often seems to be struggling to cope with his own disappointments. Despite this, he genuinely cares about his students and proves to be the most honest, likeable, and trustworthy adult in the book. He is the only adult who seems to sense or care that Melinda is dealing with a significant trauma, and in the end, he is the first adult Melinda confides in when she is ready to talk about her assault.

By contrast, Melinda’s parents are constantly bickering and seem to have little time for their daughter. Melinda and her parents remain disconnected and distant for most of the book, interacting minimally. Though her parents notice that Melinda’s behavior has changed in the last year, they don’t take it seriously and don’t attempt to determine the cause of her depression. When Melinda starts to pick at her wrist with a paperclip, for example, her mother simply tells her that she has no time for this and buys Melinda a book about suicide. Though Melinda’s parents struggle to understand her, their family dynamic seems to be improving slightly by the end of the novel, leaving hope that Melinda will one day be able to open up to them.

Aside from Mr. Freeman’s art class, Melinda’s life at school is fairly miserable. She is shunned by her peers and misunderstood by her teachers. Mr. Neck, her social studies teacher, is vicious, ill-mannered, and grossly unprofessional, using his class as an opportunity to bully the weak and air his xenophobic views on immigration. The teenage Andy Evans is clearly the villain of the piece, not only raping Melinda, but sadistically torturing her afterwards. However, the lack of empathy extended to Melinda by her peers and teachers only isolates her further, showing how survivors are often re-traumatized by the culture of silence that surrounds sexual assault. At the same time, Speak shows how understanding and empathy can contribute to healing, as when the graffiti in the girls’ bathroom shows Melinda that she is not alone. 

Throughout her freshman year at high school, Melinda struggles to make progress as a student, an artist, and a human being because she turns the violence of her rape, which she can hardly bear to acknowledge, against herself. She does not regard the rape primarily as a crime which has been committed against her, for which the criminal should be punished, but as a burden she must bear in silence and solitude, with a variety of pathological consequences for herself. Bereft of friends, Melinda draws strength from other sources, often imagining conversations in which trusted authority figures offer her the advice and comfort she yearns for. When she questions whether she truly was raped, Melinda imagines talk show hosts Oprah Winfrey and Sally Jessy assuring her that the rape wasn’t her fault. When she debates whether or not to confide in Rachel, she imagines Maya Angelou encouraging her to tell her friend the truth. These exchanges highlight Melinda’s loneliness but also show her inner strength as she tries to come to terms with her assault.

Melinda’s personal growth is also spurred on by her art projects, which are themed around trees. Over the course of the year, Melinda comes to see the tree as a symbol of herself, applying what she learns about trees, seeds, and gardening to her own healing process. Melinda ultimately realizes that the trauma from her assault is like a diseased branch on a tree: if left alone and untreated, it will eventually poison and consume her entirely. By the end of the novel, Melinda is resolved to not let this happen. As she finishes her final art piece—a picture of a tree that is damaged and imperfect yet still branching up toward the sun—Melinda finally acknowledges what has happened to her, declaring, “I can grow.”

Anderson sets Speak in her hometown of Syracuse, New York. Although the novel doesn't specify a date, the cultural references and slang suggest it takes place in the late 1990s. Most of the story unfolds within Melinda's mind. Readers gain deeper insights into Melinda's thoughts and feelings about her actions following her assault than her family, teachers, or peers do. This internal setting expands as Melinda begins to emotionally confront what happened and cope with her anger.

The primary setting is the school. We first meet Melinda as she rides the school bus on her first day of high school. Being the first student picked up, she strategically sits near the front, hoping to make eye contact with people she considers friends. However, she remains isolated as former "lab partners or gym buddies" glare at her, condemning her for calling the police to a party just days before. Melinda highlights her isolation, stating, "As we leave the last stop, I am the only person sitting alone." When entering the auditorium for freshman orientation, she notices that students are grouped into "clans" based on superficial social stereotypes such as "Jocks," "Country Clubbers," and "Cheerleaders." Unwelcome in any of these groups, Melinda is "clanless." She reflects, "I have entered high school with the wrong hair, the wrong clothes, the wrong attitude. And I don't have anyone to sit with," echoing her experience on the bus. The school is divided into insiders and outsiders, but no one is as completely marginalized as Melinda.

Classrooms and laboratories are unwelcoming spaces for Melinda, where she is bored by the incompetence and personal agendas of many of her teachers. She receives a demerit while trying to find her first class, foreshadowing her academic decline. Melinda becomes aware of how school bureaucrats distance themselves from students and treat them impersonally. Her angry classmates verbally confront and torment her with name-calling, mocking, and harassment. They also physically assault her by kicking, pushing, and pulling her hair.

The lunchroom is a hostile environment that Melinda avoids. She often eats outside the main room in a courtyard. However, this space also becomes unbearable when Heather ends their friendship due to Melinda's moodiness. Despite Melinda's protest that friends support each other during tough times, Heather returns to the Marthas who "swallow her whole and she never looks back at me. Not once." This coldness is intensified by the Valentine's Day hearts displayed on the cafeteria wall, which exclude Melinda.

The bright, white classroom of Merryweather In-School Suspension (MISS) features "uncomfortable chairs and a lamp that buzzes like an angry hive." Melinda and the other students are expected to sit quietly and stare at the walls. When Andy Evans, the boy who raped her, arrives, Melinda likens herself to a frightened Bunny Rabbit facing a predator. The MISS room heightens Melinda's distress by offering no protection, and Andy menacingly blows in her ear.

Melinda tries to avoid the gymnasium and its associated events, such as assemblies, pep rallies, basketball games, and the pressure to perform well in shooting foul shots. Other athletic areas, especially the tennis court, highlight her latent strength. Melinda often hides in the bathroom, where she cries and overhears derogatory conversations about her. However, the bathroom later becomes a place where she can finally reveal the truth she has been holding back. Melinda gains access to the teacher's lounge when she helps Heather decorate it for a Thanksgiving meeting, a probationary task for Heather's potential inclusion into the Marthas. The "small green room with dirty windows and a lingering smell of cigarettes" and a "bulletin board that hasn't been cleared off since Americans walked on the moon" leaves Melinda disappointed, reinforcing her belief that the faculty lacks respect and authority.

Melinda finds comfort in the art room, which she dubs "Cool Central," where her teacher, Mr. Freeman, boldly paints on the walls and large canvases. He encourages his students to pursue self-discovery by exploring creative ways to express their emotions. Accused of giving too many A's, Mr. Freeman writes his students' names on a wall with notes about their progress as a compromise with the bureaucratic system. A radio constantly plays music, and students have the freedom to snack while they create. Melinda only feels fear in this space when her attacker enters the room.

Mr. Freeman's blue Volvo serves as a sanctuary, protecting Melinda from the cold. Inside the car, she begins to tentatively express her confusion and anger. Mr. Freeman tells her that art is about emotion and that most people are dead inside. He offers his support, saying, "You're a good kid. I think you have a lot to say. I'd like to hear it." Melinda talks more to Mr. Freeman in the car than she does with anyone else.

The abandoned janitor's closet becomes a refuge for Melinda. Situated in an area of the school reserved for upperclassmen, humorously dubbed "Where No Freshman Has Gone Before," Melinda finds the closet while trying to avoid the stern Mr. Neck. She transforms the space into a sanctuary—"building a fort"—by cleaning it out and removing spiders. She brings in cozy items like a blanket and books, and decorates the closet with her artwork and a poster of Maya Angelou gifted by the librarian. Melinda describes, "My closet is a good thing, a quiet place that helps me hold these thoughts inside my head where no one can hear them." Ironically, this safe haven turns into a trap when Andy Evans discovers Melinda's isolation and attempts to assault her again.

Melinda's home offers both comfort and distress. Her bedroom still has elements of her childhood, such as bright roses and numerous stuffed toy rabbits, which her mother insisted on during a remodel when Melinda was younger. Melinda says, "My room belongs to aliens. It is a postcard of who I was in fifth grade," reflecting a "demented phase." In stark contrast, her friend Heather's room is organized and tidy, painted in lilac and adorned with sophisticated artwork and furniture, mirroring Heather's controlling nature and desire to be seen as an adult.

At home, Melinda's privacy is compromised as her parents can corner her to express their frustration about her grades and attitude. She often retreats to her room upon hearing her parents' car and pretends to be asleep. Melinda hides her mirror in her bedroom closet, where she sometimes goes to scream into old clothes. She also sits on the roof to think and escape, metaphorically trying to rise above her problems, but ends up biting through her lip and staining the snow with blood, symbolizing the lasting impact of her assault. Melinda begins to heal when she starts pruning the shrubbery that conceals her house, much like her silence hides her pain. By landscaping her yard, Melinda begins to confront her emotions and find ways to express them.

The party where Melinda was raped took place at a farmhouse on the outskirts of town. She and her friend Rachel went with Rachel's brother Jimmy to this upperclassmen party where Melinda didn't know anyone. The barn, filled with kegs and stereo equipment, isolates Melinda and makes her vulnerable as the partygoers drink beer and form cliques. A nearby wooded area provides Andy Evans the cover to pursue and overpower Melinda as she drunkenly wanders under the moonlight. Although Melinda is unable to speak when she calls 911, the farm's location is pinpointed by communication technology, trapping the partygoers and marking the beginning of Melinda's torment.

Melinda eventually revisits the spot under the tree where she was raped. She reflects on how this experience changes her: "I crouch by the trunk, my fingers stroking the bark, seeking a Braille code, a clue, a message on how to come back to life after my long under-snow dormancy." She likens herself to a seed that needs care, not judgment, and says:

I dig my fingers into the dirt and squeeze. A small, clean part of me waits to warm and burst through the surface. Some quiet Melindagirl I haven't seen in months. That is the seed I will care for.

Effert's, the store where Melinda's mother works, dictates the family's routine. Melinda's mother is absorbed in her job and believes Melinda should take an interest in the store's operations. Melinda resents being forced to help out during her Christmas break, pinning returned shirts in the basement because she is too young to be legally employed. She is frustrated that she has to buy clothes there because of her mother's employee discount. Melinda hides the store's jean labels with her baggy shirts, reflecting her negative body image post-assault.

Her father's insurance office is another restrictive environment that infuriates her, especially since her father slacks off while she stuffs gift calendars into envelopes for clients. Melinda struggles to complete her tasks quickly and efficiently, leading to her father's dissatisfaction. She accidentally cuts her tongue and bleeds, which brings back memories of her rape and makes her feel deflated: "All of the anger whistles out of me like I'm a popped balloon." Her father "is really pissed when he sees how many calendars I bled on" and "mentions a need for professional help," ironically missing the point that his daughter desperately needs counseling more than he needs skilled workers.

Melinda roams the various floors of Lady of Mercy Hospital after she falls asleep on a bus and disembarks at the wrong stop. She observes people in different waiting rooms and the cafeteria, eventually taking a hospital gown and sleeping in a secluded area. Melinda realizes that others are genuinely ill, possibly permanently, and that she is not. This realization helps her shift her thoughts toward healing. It also highlights how no one pays attention to Melinda or her visible physical decline. Medical staff, including those who stitch her bitten lips, do not question the deeper causes of her injury.

Melinda's first-person narration significantly enhances the literary power of Speak. Her monologue draws readers into the story, fostering emotional engagement and empathy for Melinda. Apart from Mr. Freeman and David, the audience appears to be among the few who truly listen and understand her. The cover illustration by Michael Morgenstern for Speak by Laurie Halse Anderson underscores this theme. Melinda's private narration allows her to express herself boldly and provocatively, free from the fear of humiliation or punishment. Her monologues are presented as brief passages with descriptive headers, resembling journal entries, school newspaper snippets, or quick phone calls. Sometimes, paragraphs are just a single sentence, reflecting Melinda's sense of isolation.

Anderson structures the novel into four sections, each representing a grading period of the academic year, which also align with the seasons. This framework helps illustrate Melinda's dramatic decline, with her grades falling as temperatures drop, and her gradual recovery as spring brings renewal. To manage the overwhelming experience of high school, Melinda counts down the days until graduation. Mirroring nature, she transitions from a state of frozen hibernation to one of growth and revitalization. In spring, her biology class's germination studies highlight that seeds are "restless" to sprout, paralleling Melinda's growing urge to speak out. Her newfound interest in gardening around her house indicates her emergence from self-imposed isolation.

Dialogue, and the absence of it, conveys critical information. Anderson often illustrates Melinda's lack of participation in conversations by formatting dialogue like a script. For instance, another character, such as Melinda's father, will be labeled "Dad:" followed by his dialogue. On a separate line, Melinda will be marked as "Me:", followed by blank space to show her silence. This absence or antagonistic nature of dialogue highlights how others refuse to engage with Melinda, often condemning her behavior and attitude. At times, Melinda responds with brief, staccato sentences, allowing her to participate minimally while keeping her true feelings concealed.

Melinda gradually reveals hints about her rape and the 911 call she made, building tension and suspense. Readers soon realize that something far more significant happened to her than what her peers believe. The complete story of her assault isn't disclosed until near the end. Through her sometimes tragic, sometimes humorous monologue, Melinda references her attack. Disillusioned by the academic system and school culture, she offers insights often masked as humor. She creates lists like "Guys to Stay Away From" and "The First Ten Lies They Tell You," showcasing her ability to understand the realities of her situation and her disdain for a rigid system that doesn't cater to students' needs. Regardless of how she shares information, Melinda highlights the surreal and absurd nature of high school life. The indecision over the school's mascot reflects the difficulty of resolving even minor issues, let alone significant ones like Melinda's. This mascot dilemma also highlights the lack of unity and identity at Merryweather High.

Anderson employs powerful figurative language to create vivid imagery and symbolism. Melinda states, "words fall like nails on the floor, hard, pointed." She describes April as "A warm, moldy washcloth of a month." Blood appears when Melinda cuts herself while working on her art project, licking envelopes, or scratching her wrists, symbolizing her wounded spirit. She makes Andy bleed, causing him to experience the pain and fear he inflicted on her. Snow and cold suggest a hushed silence and dormancy. References to plants, raking, and mulch reflect Melinda's connection with plants, as she declares, "I can grow" like trees. Flying and birds symbolize freedom, and an emotionally liberated Melinda says, "I feel like I can fly." The moon represents illumination as Melinda reflects on her situation, and its concealment symbolizes her rape, which Anderson subtly describes with Melinda's euphemistic phrase, "he hurts me," repeated three times.

Names play a crucial role in conveying meaning, even if they imply the opposite of what is intended. Merryweather is an ironic name because the high school is far from merry. The suggestion of pleasant weather might be Anderson's personal joke about the region's famously cold and snowy winters. Melinda invents names for her teachers based on their physical traits, aware that her classmates might give her names referencing her disheveled appearance and perceived betrayal. She respects Mr. Freeman and refrains from giving him an unflattering nickname. The students' first names reflect both common names from the late-twentieth century and some that indicate ethnic pride (Siobhan), a desire for individuality (Blitzen), and unique spellings (Rachelle). Heather's name might be inspired by the deceitful characters, all named Heather, in the dark comedy film "Heathers," which explores the sinister side of high school culture.

Secrets and alienation are central themes in Melinda Sordino's recount of her dreadful freshman year in high school. Silence engulfs her life. Following a recent traumatic event and subsequent ostracism fueled by misguided perceptions, Melinda is almost entirely mute in public. As she starts school, the pain is still raw, and she describes it as, "My throat squeezes shut, as if two hands of black fingernails are clamped on my windpipe." She experiences isolation both at school and home. Privately, she maintains a vibrant inner monologue, constantly commenting on the people and events around her, although her interactions with them are minimal and unsatisfactory.

Melinda's thoughts express her observations about the hypocrisy and deceit among both students and adults, reinforcing her inclination to remain silent. Her inner dialogue ranges from serious to sarcastic or humorous, revealing ideas and opinions she wouldn't dare to share publicly. She cynically questions the existence of a "Permanent Record" that follows students and faculty throughout their lives, hinting at her unspoken fear that her rape has permanently tarnished her reputation. She reflects, "Sometimes I think high school is one long hazing activity: if you are tough enough to survive this, they'll let you become an adult. I hope it's worth it." Melinda is intelligent and witty, referring to school orientation as "indoctrination," but feels disenfranchised. No one appreciates her except for her art teacher.

Melinda hints at having previously led a typical teenage life, spending time at the mall, socializing by the lake and pool, and chatting on the phone. However, after making a panic-stricken 911 call that abruptly ended a party and incited her peers' anger, she walked home alone, initiating her exile. She showered until the hot water ran out to cleanse herself of the rape's physical remnants, then secluded herself at home, watching "bad cartoons," symbolizing her withdrawal due to shock. Melinda is blamed for involving law enforcement at a party where most teenagers were drinking illegally, resulting in some arrests. The insecure Melinda passively accepts her peers' cruel decision to ostracize her in high school while silently guarding her secret. She possibly feels guilty for being drunk and partly responsible for the attack. She loses confidence and exhibits self-hatred. Although her thoughts are clear, when Melinda speaks aloud, her words are often disjointed and incoherent. She embodies the novel's theme of inarticulateness among its characters. "It is easier not to say anything," Melinda explains, "Nobody really wants to hear what you have to say."

Rather than alleviating her issues, silence only fosters hostility and exclusion. During a pep rally, a student, whose brother was arrested at the party, crudely insults Melinda. Unable to handle this relentless harassment, along with the typical academic and social pressures of high school, Melinda neglects her hygiene, refraining from bathing and wearing dirty clothes. She bites her lip until it bleeds, sometimes requiring stitches, as if to stop herself from speaking and potentially saying something wrong or inappropriate. Melinda's grades plummet because she skips classes and fails to complete assignments. Physical ailments also trouble her. She suffers from a stomachache on her first day of school. By keeping her secret, her pain worsens. Melinda confides, "It's getting harder to talk. My throat is always sore, my lips raw. When I wake up in the morning, my jaws are clenched so tight I have a headache." She wishes she could be enveloped in new skin like a burn victim.

Emotionally, she is depressed due to repressing her anger and has unseen psychological wounds and scars. Melinda perceives most males as "predators" and sees herself as a "wounded zebra." She is lethargic, disorganized, and struggles to concentrate. She describes herself as having two personas: one who wants to engage and another who is fearful of the world because, "You can never tell when people are lying. Assume the worst. Plan for disaster." She longs to share her secret but distrusts authority figures, fearing they won't believe her accusations. Melinda's world feels surreal, and she criticizes herself for her situation, lamenting, "Every time I try to talk to my parents or a teacher, I sputter or freeze. What is wrong with me?"

Vulnerability and the loss of innocence are key themes. Melinda identifies with seeds that face numerous threats to their survival. She names the phases of her art project the "Confused Period," "Spaz Period," and "Dead Period," reflecting how she views herself. Melinda carves linoleum blocks, symbolizing her effort to chip away at her insecurities. Relying on non-verbal communication, Melinda notes, "I am getting better at smiling when people expect it" and "I am a good actor." Ultimately, after several months, her conscious nightmare and thoughts become so unbearable that she can no longer avoid thinking about her rape. When she confronts the truth, the resilient Melinda is able to reclaim her voice, stand up for herself, and express her anger. She saves herself, triumphs, and is vindicated. Melinda becomes empowered and no longer lives on the periphery. Her alienation begins to fade as people recognize the truth. Melinda's experiences highlight the necessity for the community, whether a school or town, to address and help resolve issues.

The theme of immaturity runs throughout the novel, as seen in the students' actions. Melinda had many friends among the adolescent girls before the party. When Melinda desperately needs their support, they abandon her, leaving her feeling betrayed. These former friends, without asking Melinda why she called the police, both subtly and openly ostracize her. No one new, except Heather, including the foreign exchange students, befriends Melinda.

When her former best friend, Rachel Bruin, starts dating the boy who raped her, Melinda feels driven to speak up. Melinda cherishes her history with Rachel, "who suffered through Brownies with me, who taught me how to swim, who understood about my parents, who didn't make fun of my bedroom." Melinda confesses, "If there is anyone in the entire galaxy I am dying to tell what really happened, it's Rachel." Rachel distances herself from her recent past by renaming herself Rachelle to reflect her European heritage. She spends most of her time with the exchange students, learning to curse in foreign languages. Melinda cannot understand or communicate with these students, just as she struggles to talk with Rachel. Melinda attended the party with Rachel and her older brother Jimmy, both of whom are furious with her. When she sees Rachelle kissing Andy, Melinda remarks, "I can only see third-grade Rachel," who "braided pink embroidery thread into my hair that I wore for months until my mom made me cut it out." Melinda eventually talks to Rachelle but is forced to write notes when the librarian hushes them. While Rachelle initially shows empathy when Melinda reveals her rape, she becomes angry when Melinda accuses Andy. Later, in contrast to Melinda, and perhaps empowered by the information, Rachelle forcefully expresses herself to thwart Andy's plans to victimize her.

Melinda's two other former friends are more approachable and assist her when she needs it most. Ivy, who is artistic, compliments Melinda's bone sculpture with a straightforward "Good job, Mel." Ivy, who is afraid of clowns due to a traumatic experience, mentions therapy, indicating she might understand Melinda's need for counseling. They discuss Andy, and Ivy hints that she knows he has done some terrible things. Ivy encourages Melinda's graffiti art and urges her to read the responses. Melinda describes Nicole, an athletic girl, as a "Warrior Princess" who is friendly to everyone but her and is beloved by teachers and teammates. She admits, "Nicole is just not a [b——]. It would be so much easier to hate her if she were." Nicole and the lacrosse team eventually rescue Melinda from Andy and spread the word about the assault.

Heather is a lively new student "packing at least five grand worth of orthodontia" who has recently transferred from a school in Ohio. She is keen to make friends and is unaware that Melinda has become a social outcast. Heather is superficial, a conformist, and easily influenced. She is also pushy, trying to persuade Melinda to do things like redecorating her room. Although Melinda does not like Heather, she puts up with her because she feels lonely and "I need a new friend." "Just a pseudo-friend, disposable friend. Friend as accessory. Just so I don't feel and look stupid." Heather shares some personality traits with Melinda's mother. She schemes about which clubs and service activities to join and sets goals for each grading period. Melinda admits to readers that "I used to be like Heather."

Heather uses her voice to please others and eventually rejects Melinda in order to be accepted by the Marthas. She never truly listens to what Melinda is trying to communicate. While Melinda's physical appearance worsens, Heather adjusts her wardrobe to gain public approval. She denies herself food and exercises to become a size one to keep her role as a model at the mall. In the end, Heather's efforts are futile as the Marthas exclude her from their group. Heather notices Melinda's depression and suggests she seek treatment but does not offer real support, withdrawing her friendship and returning Melinda's friendship necklace.

Melinda's lab partner, David Petrakis, does not openly avoid her, and most of her school conversations occur with him. He seems to operate in a different realm of high school, one that disregards social status. A "Cyber-genius" who "is so brilliant he makes the teachers nervous," David fixes computer bugs in report card files for the school and creates databases to chart the most effective ways to achieve high college board scores. He also stands up for himself by leaving the social studies classroom when the teacher refuses to allow students to continue a debate about immigration. As David exits, he pauses to look at the American flag. Melinda notes that "He says a million things without saying a word" and "I have never heard a more eloquent silence." When David records the class and has his parents hire a lawyer to ensure free speech is upheld, Melinda declares, "David Petrakis is my hero." She hopes that he has a romantic interest in her, and moments like his invitation to a pizza party at his house might hint at a future relationship beyond friendship.

The novel's antagonist is Andy Evans, who is alternately referred to as IT or the Beast in Melinda's mind. He is a popular senior athlete who raped Melinda. Andy is narcissistic, frequently defies authority, ignores rules, and believes he is entitled to whatever he desires. Melinda's use of a pronoun instead of his name reflects her need to strip him of his identity. The term "Beast" highlights his predatory nature. As Melinda grows psychologically stronger, she finds the courage to write and say Andy's name to warn other girls and alert people about his crime. Andy exploits the four-year age gap between him and Melinda, as freshmen girls often look up to older male students. Unaware that his actions were morally and legally wrong, Andy constantly threatens and taunts her in detention and the hallways.

Andy embodies the themes of deception and false appearances. Observing Rachelle and Andy kissing, Melinda remarks, "His lips move poison." She recalls how, when she first saw him at the party, she thought he was as handsome as a "Greek God." Dancing in the moonlight with him, she naively believed his kiss meant that "I would start high school with a boyfriend, older and stronger and ready to watch out for me."

Angered by Melinda's warnings about him, Andy tries to attack her violently again. She successfully defends herself with a broken piece of a mirror and screams, "No!" Pressing the mirror against his throat, Melinda draws a drop of blood but restrains herself before causing serious injury. Andy is rendered speechless, as "His lips are paralyzed. He cannot speak." After his crime is exposed, Andy becomes a social outcast. Ignoring Melinda's long period of silence, he attempts to belittle her by saying she has a "big mouth" and that she lied about the rape because she was willing. No one believes him.

Melinda has mixed feelings about other students. She notes that the party was held at Kyle Rodgers's house but does not elaborate on him. Melinda comments on the power male students hold over females because they are athletes or hold other influential roles. For instance, Todd Ryder is the yearbook photographer, and students appease him to ensure they are included in decent pictures rather than unflattering candid shots. Melinda labels other students based on physical characteristics, such as calling Brendan Keller "Basketball Pole." She groups cheerleaders under "Girls Who Have It All," resenting their acceptance as role models. Comparing herself to them, Melinda speculates, "I bet none of them ever stutter or screw up or feel like their brains are dissolving into marshmallow fluff. They all have beautiful lips, carefully outlined in red and polished to a shine." Melinda assigns descriptive labels to students, like "Brave Kid," who challenges Mr. Neck by suggesting his son might not have been hired because he was unqualified or not a good worker. She overhears an "errant student" outwit the principal about loitering in the hallways.

Mr. and Mrs. Jack Sordino appear oblivious to their daughter's personal crisis. They are disconnected from Melinda's life and from each other, lacking the awareness to realize she might be on the verge of an emotional breakdown. The Sordinos do not provide Melinda with the nurturing or protection she needs. Melinda's childhood fantasy that her real parents are royalty who would rescue her in a limousine highlights her long-standing feelings of dissatisfaction and not fitting in. Conversations with her parents are often marked by long silences where she doesn't respond to their questions or statements. The primary mode of communication in the household is through notes left on the counter. Melinda describes their interactions as a three-character dramatic act, with her father doing an "Arnold Schwarzenegger imitation" and her mother "playing Glenn Close in one of her psycho roles," while she takes on the role of "the Victim." Melinda notes that her mother's "Death Voice," which once frightened her, no longer has any effect, and she frequently retreats to her room to escape her parents' arguments.

Both parents are heavily focused on their careers. Jack Sordino, ironically an insurance salesman, ignores his daughter's distress while attending to his beeper more than her voice. Her mother manages Effert's, a clothing store in downtown Syracuse, an area many consider dangerous. Melinda remarks, "Mom loves doing the things that other people are afraid of. She could have been a snake handler." From Melinda's perspective, her mother is a cold, chain-smoking workaholic. When Melinda cuts her wrist with a paperclip, her mother's unsympathetic reaction is, "I don't have time for this," dismissing the act by saying, "suicide is for cowards." Mrs. Sordino buys a book on teenage suicide for Melinda, believing it will solve her problems. Additionally, when Melinda misses the bus, her mother forces her to walk to school, inadvertently exposing her to Andy and causing a setback in her recovery.

Mr. Freeman appears to be the most intuitive and compassionate adult in Melinda's life. An eccentric individual who often disregards the strict expectations of authority figures, he encourages her to express herself artistically in ways beyond basic methods. This creativity mirrors Melinda's journey to reclaim her voice. Freeman could be seen as a father figure, especially since Melinda's real father is oblivious to her pain, a pain central to her art project. This project helps Melinda confront her denial about the rape and to actively seek help and justice. Mr. Freeman serves as Melinda's mentor and connection to sanity. He urges her to "Speak up for yourself—we want to know what you have to say." Despite his odd appearance, described as having a "grasshopper body, like a stilt-walking circus guy," he smiles at students and tells them his class is the "only class that will teach you how to survive." Mr. Freeman aims to help students discover their souls. With his support, Melinda learns to trust her thoughts, even if she struggles to voice them. His mural of a sunrise symbolizes his optimism.

Melinda's interactions with some faculty members show promise that she will recover and retain some interest in school. The librarian, kind and helpful, gives Melinda a poster of Maya Angelou. In gratitude, Melinda courteously checks out a stack of books. She learns about seed germination from Ms. Keen, a short "gelatinous figure, usually encased in orange polyester," who teaches biology. Melinda feels sad for Ms. Keen, suspecting she could have achieved more than teaching high school. Yet, the information Melinda absorbs helps her understand how she can achieve her own renewal. However, biology class also distresses Melinda. During a frog dissection, she watches her lab partner pin the frog, which reminds her of Andy restraining her. The sight of the silent, dead frog agitates her, causing her to emotionally relive her assault: a "scream starts in my gut—I can feel the cut, smell the dirt, leaves in my hair." Melinda faints and laments that doctors only stitched up her cut, believing that only brain surgery can erase her horrible memories of that night.

Other faculty members are antagonistic. Melinda refers to the teachers she despises not by name but by titles to show her disrespect. Principal Principal and the Guidance Counselor are more interested in finding fault with students than helping them. The counselor warns Melinda that she is not reaching her potential, but Melinda ignores her. Principal Principal and the Guidance Counselor consult with Melinda's parents and decide that a regimen of MISS detention, monitoring her class attendance and homework, and a stint in summer school will resolve Melinda's issues without investigating the complex reasons for the drastic changes in her academic performance and attitudes.

Mr. Neck is a prejudiced and sexist history teacher, "hired to coach a blood sport." With his "gray jock buzz cut" and a "whistle around a neck thicker than his head," he exudes an air of superiority, claiming to know all the answers due to his twenty-four years of teaching at Merryweather High. From their first encounter at orientation, he takes an instant dislike to Melinda. Misunderstanding her quick exit from the cafeteria after her shirt is struck by mashed potatoes, he scolds her, saying, "I knew you were trouble the first time I saw you," and arrogantly declares, "I can tell you what's going on in a kid's head just by looking in their eyes. No more warnings." Mr. Neck is very vocal about his opinions. When the ecology club protests against the tiger mascot, he loudly condemns what he sees as an attack on school spirit and identity. His narrow-minded intolerance for minorities and foreigners is evident when he starts a debate on whether U.S. borders should have been closed to immigrants in 1900. He initially silences students' opinions, only allowing them to speak under the threat of legal action. In a twist of irony, Mr. Neck denies Melinda credit for a comprehensive extra-credit report she wrote about the suffragettes' fight for women's voting rights. He penalizes her for not speaking during her presentation and disregards her attempts to return to normalcy. This report highlights Melinda’s effort to improve her grades and reengage in school activities.

Melinda finds her English teacher, whom she nicknames Hairwoman due to her half-black, half-orange limp hair that later changes to a buzz cut, quite perplexing. Hairwoman is socially withdrawn and avoids making eye contact with students. Melinda exploits Hairwoman's aloofness by stealing a pad of late passes, giving herself the freedom to come and go as she pleases. Hairwoman spends much of her teaching time on Nathaniel Hawthorne's literary symbolism, explaining to students that literature contains a code to uncover deeper meanings and messages. Melinda feels a connection with Hester Prynne from The Scarlet Letter and contemplates if Hester had ever said "no." She imagines they would get along, thinking she could wear an "S for silent, for stupid, for scared. S for silly. For shame."

Speak tackles numerous social issues, with dating violence being the primary concern among the characters. Melinda's ordeal is a distressingly common one for many teenage girls. Experts in the fields of medicine, psychology, and social work estimate that about one in five high school girls have been physically or sexually abused by someone they are dating. By the early 2000s, date rape statistics had surged, making the rates of sexual abuse and assault nearly the same for teenage girls and adult women. Besides assaults by romantic partners, many teenage girls fall victim to sexual attacks by casual acquaintances or strangers who may drug their drinks at parties or exploit their intoxication. Some girls are sexually abused by family members or trusted adults. Young women also face sexual harassment from peers, teachers, employers, authority figures, or men in their communities. Although most victims of sexual crimes are female, some males experience sexual harassment and assault as well. Additionally, sexism and gender-based discrimination are challenges teenagers face from peers, teachers, and school administrators.

Body image and self-esteem development are closely linked during adolescence. Melinda's neglect of her hygiene and appearance symbolizes her loss of self after being raped. Without intervention and counseling, she blames herself for Andy's assault and engages in self-destructive behaviors. Self-harm, including cutting and mutilation, is a social issue among many teenagers who lack healthy outlets for their anger and grief. Eating disorders often reflect teenagers' depression and frustration over social acceptance. Experts observe that preadolescent girls are typically confident, self-empowered, and creative, but as they enter their teenage years, they realize society does not accept females who deviate from traditional feminine expectations, leading them to alter their behavior and goals to fit in.

Ostracism is a significant theme in Melinda's life. The cliques at Merryfield High School exemplify a society that assigns people to groups based on superficial factors such as wealth, parents' professions, clothing, cars, athletic ability, and physical appearance. Those who do not fit neatly into these categories are marginalized and often feel powerless, angry, and confused. Like Melinda, these individuals may remain silent, even though their internal voices of protest are loud. Some students become scapegoats due to their differences or actions, such as reporting bullying or other issues to teachers, which their peers might see as betrayal. Teenage culture often promotes narcissism, apathy, and trivial judgments rather than compassion, altruism, and understanding.

Excessive drinking and partying, often involving drug use and casual sexual encounters with multiple partners, highlight teenagers' propensity for engaging in risky behaviors. This impulsiveness frequently leads to the destruction of lives and property. Influenced by a materialistic culture, many teenagers feel entitled to everything they desire, including other people. Consequently, their lack of respect for others often results in violence and hostile situations. Some teenage boys harbor negative attitudes toward fair treatment and opportunities for women and minorities, believing that members of these groups do not deserve respect and consideration. Many individuals, regardless of gender, struggle to differentiate between appropriate behavior and what is offensive.

Speak underscores the necessity of personal empowerment to navigate an ambivalent society. Melinda's message highlights the importance of individuals standing up for themselves and for those who cannot speak for themselves. Her story also illustrates how readers can effectively seek help and support others in need by actively listening to them.

In 2000, Speak was transformed into an audio format by Listening Library, featuring an unabridged narration by Mandy Siefried. The Spanish edition, Habla!, was translated by Maria Mercedes Correa and also released in 2000.

Critics frequently draw comparisons between the protagonist of John Marsden's So Much to Tell You (1990) and Melinda. Both characters have been rendered silent by trauma, though Marsden's protagonist is completely mute. In Michael Cadnum's Rundown (1999), the main character, Jennifer, falsely claims a rape attempt in a desperate bid for her parents' attention, who are as emotionally detached as Melinda's parents. Jennifer, like Melinda, withdraws from her surroundings. Many of Cadnum's young adult novels depict teens grappling with material excess and cultural extremes, leading to psychological distress due to their environments, families, and peers. His characters often have access to alcohol, drugs, and money, and their lives spiral out of control because of impulsive and poor decisions.

Miracle McCloy, the protagonist in Han Nolan's Dancing on the Edge (1997), constructs a fantasy world to escape the harsh realities of her dysfunctional family life. Hospitalization serves as an intervention, helping Miracle find her voice to express her unhappiness. Nolan's other works, such as A Face in Every Window (1999), share themes with Speak, including parental neglect and mental confusion. The main character in Lisa Rowe Fraustino's Ash (1995) is similarly isolated from mainstream society due to mental illness. Fraustino also edited the anthology Dirty Laundry: Stories About Family Secrets (1998), which explores how silences and omissions can be both harmful and beneficial through various short stories.

Postmodern high school culture is adeptly portrayed in Rob Thomas's novels Rats Saw God (1996) and Slave Day (1997). His characters, much like Melinda, are disillusioned and attend schools resembling Merryweather High, complete with cliques and trivial rules and activities. Thomas's characters often find creative outlets to express themselves as they are otherwise silenced.

The protagonist and other characters in Dori Jones Yang's The Secret Voice of Gina Zhang (2000) also experience silence, living on the fringes of their classmates and community, similar to Melinda. This novel illustrates how physical assaults can exacerbate muteness as a coping mechanism.

Adams, Lauren. Review of Speak. Horn Book Magazine, vol. 75 (September/October 1999): 605-606. Adams endorses Speak for its protagonist's "smart and savvy interior narrative" that "also nails the high-school experience cold." She concludes, "An uncannily funny book even as it plumbs the darkness, Speak will hold readers from first word to last."

"Anderson, Laurie Halse." In Something about the Author, vol. 95. Detroit: Gale, 1998. This entry provides a biographical sketch of Anderson and lists resources available before the release of Speak.

Brown, Jennifer M. "In Dreams Begin Possibilities." Publishers Weekly, vol. 246 (December 20, 1999): 24-25. Brown explains how Anderson was inspired to write Speak after a nightmare, discusses her other inspirations, and delves into Anderson's personal and professional life. Brown notes that Speak "is remarkable for both Melinda's strong voice—an ironic twist for a character who rarely Speaks but has a pungent internal monologue—and for its taut structure."

Carton, Debbie. Review of Speak. Booklist, vol. 96 (September 15, 1999): 247. Carton asserts that "Anderson perfectly captures the harsh conformity of high-school cliques and one teen's struggle to find acceptance from her peers." She concludes, "Melinda's sarcastic wit, honesty, and courage make her a memorable character whose ultimate triumph will inspire and empower readers."

O'Malley, Judy. Review of Speak. Book Links, vol. 9 (January 2000): 54. O'Malley recommends Speak because "The important subject of rape is often difficult to broach with teens" and "This novel powerfully addresses the 'unspeakable' nature of this crime in our society."

Sherman, Dina. Review of Speak. School Library Journal, vol. 45 (October 1999): 144. Sherman praises the book for its "sharp, crisp writing" and commends Anderson for her skill in "[expressing] the emotions and struggles of teenagers perfectly."

Smith, Sally. Review of Speak. Journal of Adolescent & Adult Literacy, vol. 43 (March 2000): 585-587. Smith's interpretative article argues that Speak is psychologically valuable, using Melinda as an example because her silence symbolizes what many young girls experience as they transition into adolescence and high school. Smith states that Anderson's "novel illuminates the experiences of adolescent girls . . . focusing on the need to shift the struggle away from the individual girl and place it within the school and community."