After receiving a copy of this book from GoodReads friend Lucy, I was immediately drawn to the Publisher’s Weekly quote declaring the book to be “for fans of The Hunger Games”. Such comparison quotes, while attention grabbing and common practice amongst publishers, immediately set up a certain level of expectations, even in the most cynical of readers. While I haven’t actually finished reading The Hunger Games yet (I’ll get round to it eventually, I swear!), I began this book with the same expectations I have for every dystopian novel – strong world-building and a real threat & sense of danger. There are books that make me consider discarding use of the flawed star rating system for reviews. Sometimes it’s close to impossible to summarise the qualities of a book into a simple rating out of 5, 10 or however one chooses to do so. A book can be a relatively enjoyable and competently written piece of work that would otherwise deserve a solid rating, but a certain element, event, etc, can bring its rating tumbling down. This happened to me with Sarah Beth Durst’s “Ice” and it happened with “Enclave”. But before I get to why I cannot give this book anything higher than one star, I shall discuss other elements of the book that succeed and fail.I’m sure you’re all sick of me going on and on about this but the foundations of a strong dystopian novel lie in its world-building. Unusual or disturbing events can’t just happen for shock value. They need to be rooted in the origins of the society, grounded in reason, meaning the reason of this world. This fundamental lack of reason within the world-building in “Enclave” left more than a few questions unanswered. The underground society Deuce lives in does not name its young, known as brats, until a specific age, which is never mentioned. Why? There doesn’t seem to be any specific reasoning behind this rule and seems too impractical to fit in with a world that works to prove itself as fundamentally practical. There are hints of a cult-like mentality to the ruling class of the world but it’s barely touched upon and leaves us with half-built reasoning. Children are sanctioned into one of three groups – warriors, builders or breeders – yet the reasons for specific grouping once again seem at odds with the necessary practicality & needs of this society. One breeder, Deuce’s friend, is seen as ideal for his calling because he is handsome, but I failed to see why this would be a relevant quality in a world where death & disease are rampant. Other extremely questions go unanswered – how does this enclave have clean water after generations underground? How does Deuce go from a lifetime underground to full on exposure to sunlight and only get slightly burned with no damage to her eyesight? The writing itself is adequate, if simple, and has well-paced action scenes, although the overall pacing is erratic. Certain scenes are evident padding and clumsy plotting, which coupled with several under-developed plot points proves to be somewhat frustrating. No character other than the heroine is given adequate time to develop beyond basic tropes, although I did warm to Deuce somewhat throughout the first half of the novel. However, it is one particular character and how others react to him that soured things for me.A little more than midway through the novel, Deuce is kidnapped by a gang who make their intentions towards her clear – they intend to use her for breeding purposes, forcefully if need be. Later we are introduced to Tegan, a fellow kidnapped woman who has been raped repeatedly and given birth to stillborn children. After altercations with the story’s main monsters, the Freaks, the head of the gang, Stalker (yes, really), decides he will go along with Deuce, Tegan and main love interest Fade in order to have a better chance of surviving. Fade and Deuce agree to this, despite Tegan’s protests that she does not feel safe around the leader of the gang of rapists who repeatedly violated her for years. Later on, Stalker pushes Deuce against a tree and kisses her.Deuce willingly reciprocates.I’ve made my thoughts clear on the ‘bad boy’ trope in YA; I don’t like it. I understand the fantasy behind being the one girl who changes the rebel but ultimately I think it’s a problematic trope that is all too often used as an excuse to have the love interest treat the heroine like dirt, often being rough with her and belittling her. Patch from “Hush Hush” held his love interest against a bed and talked about how much he wanted to kill her after stalking her, harassing her and generally making her feel uncomfortable and unsafe. Stalker is the leader of a gang of rapists. It is hinted at in the book that he has raped women before. It is also implied that he may have raped Deuce during her kidnapped period. He is presented as a potential love interest to Deuce.The aim of a good dystopian novel is to create a sense of dread. I have seen rape mentioned in other dystopian novels and within the constraints of this world where humans die young and need to reproduce quickly, it makes sense that a patriarchy dominated society would view women in such a manner. However, I have never seen rape used so casually and tossed aside so simply by a character and an author in a YA novel. There is a cruel lack of empathy for Tegan in “Enclave”. Even within the constraints of the novel’s world, one ruled by social Darwinism, to force Tegan to interact daily with the man who stood by & let her be raped repeatedly, possibly ordering the rapes himself or even engaging in the horrific act himself, is baffling at best and disgusting at worst. As the novel progresses, Tegan grows (lazily from a characterisation point-of-view) from a victim into a ‘strong’ young woman who can fight back, but all I could think about was how her rape was used in such a cavalier fashion. Deuce, who started off with such potential (even if she did fall into the typical romantic plot tropes with mysterious bad boy Fade), does not question Stalker or his past actions. Instead, she lays some of the blame on Tegan. The dismissive attitude she has towards a victim of multiple rapes is abhorrent. At one point she asks herself how Tegan could have been so weak as to allow the events to happen. Deuce’s general attitude is that life is tough, and if she can suck it up and get on with her life, so can Tegan. Even within the context of the novel, this felt wrong on every level. Deuce, who had previously shown moments of true empathy, becomes someone who sympathises more with a rapist than the victim of rape. I shouldn’t even have to explain why this made me sick. And that’s why I can’t give this book anything more than one star.I don’t expect every book in the world to be a beacon of social justice and feminism; that would be stupid. What I do expect is for a book to follow the rules it sets for itself. “Enclave” fails on this thanks to its inconsistent and confusing choices in its world-building, which seem to exist more for shock value than any real sense of reason. It’s a mediocre novel that becomes disgusting when something as serious, life changing and horrific as rape is used so clumsily. Rape is NEVER the woman’s fault. She’s never ‘asking for it’ and she’s certainly never deserving of pity or scorn because she was unable to fight back. Bad boys are problematic enough, but making a rapist not only a sympathetic character, one who receives a degree of sympathy from the heroine not rewarded to the victim, but a potential love interest is flat-out inexcusable. 1/5.