Hi all. Once again we have a contribution from Georgia McBride's network. Georgia works tirelessly for the benefit of the reading lives of children and adolescents She is the operator of Georgia McBride Media Group (GMMG). This is the home of Month9Books, Tantrum Books, Swoon Romance, and Tantrum Jr.  This post is written by Chris Ledbetter, one of authors in the Month9Books. Take it away Chris.

As a former teacher, I can say with certainty that the quickest way to get a student to eye roll one eye while the other one glosses over into a haze… the quickest way for them to fall into a dribble-on-their-desks, sleep-through-the-bell, and be-late-to-next-class slumber… is to tell them the lesson is about history. That’s not completely true. But close enough.
 
I can hear the groans now. And the teeth sucking. And the sighs. Wait… is that my own PTSD? But I digress.
 
Everyone knows that if you don’t learn history you are doomed to repeat it. Usually, that only applies to the bad things. Or at least, that’s the selling point. Repeating good things is not necessarily doom, last I checked. I wish I could be doomed to good, positive things. Sign me up!

​History has many lessons to teach our youth. (And frankly, our older generations, as well.) But it’s all about the delivery system and, dare I say, the presentation. The best restaurants use healthy amount of pizzaz in their plating of food, and for good reason. To some youth, reading about history is like sitting down to a plate piled high with nice, perfectly healthy vegetables. Your parents can sing the praises of the veggies until their cheeks turn a nice shade of azure, and those sad little veggies still won’t taste better and they will have zero cool factor and even less street cred.
 
Seriously, who wants to be that kid who pulls out a baggie of celery stalks and baby carrots when everyone around them is mowing down pizza and fries? But as I said, it’s all in the delivery and presentation. Now, there are actually sneaky ways to get your kids to eat veggies. They’re hidden in juice box blends, apple sauce, and even pasta.

​Lesson: You have to Make Veggies Fun Again.
 
And that is how we can get youth, reluctant or not, to consume history… we hide it in plain sight behind an expertly eye-catchy and well-designed cover, and within a tightly plotted, unputdownable story with unforgettable characters. Who doesn’t love a good story? It’s like when you eagerly anticipate talking to your favorite uncle at Thanksgiving because you love the tall tales. And he’s got a million of ‘em. The very best history teachers are the ones who can teach it in such a way that the people throughout history become characters, each being the protagonist hero or heroine in their own plotline. That’s what makes them truly come alive.
 
Similarly, the YA author’s job in historical fiction, as well as any other story, is to transport the reader, dropping them in to a lush, fully realized, three-dimensional landscape with characters and stories so compelling that the reader completely forgets that they’re reading about history. They’re learning without even knowing it, similar to how Karate Kid learned his martial art craft by waxing the car and painting the fence.
 
Sometimes a YA story will dive into the head of a historical figure to offer a close view of what it might have been like to be that person in that period. Other times, authors will create a character that bears witness to real historical events. The end result is that the reader arrives at the end of the story with a deeper understanding of time, place, context, and significance. In that way, it’s similar to sliding on a virtual reality viewer and taking a walk through a particular moment in history… all the while having fun. It’s just like when you serve your child their favorite spaghetti and meatball dish made with veggie-infused pasta and of course, a primo red sauce chockablock with veggies they never even saw coming. 

Thanks Chris. Chris tries to practice what he advises in his new novel, The Sky Throne. It has been released this April, 2017. It is described as a YA Zeus origin story. You can read about it and by it here.

I really think Chris is on to a good idea. We have several other guest contributors who have addressed making the history and YA connection in early posts. My colleague and occasional coauthor, Dr. Paul Binford has written twice for the blog. His first post was Revisiting Emmett Till’s place in Mississippi State History and his second was Before the Dust Settles. Another post that builds on historical fiction is by Mary Warner. Her post helps us see how our students can help make voices from the past come alive: Discovering (Rediscovering) Karen Hesse’s Witness and Its Multi-genre Potential.

To finish up this week's post I am providing a slide show of several non fiction or works of historical fiction that I think are fantastic. Enjoy.

This week's Dr. Bickmore's YA Wednesday is a contribution by one of our past contributors, Angela Insenga. Previously, Angela wrote an engaging post about "bridging the classics with YA texts." You can read it here.  This week she writes about service learning and some of its connections to YA. I will turn it over to Angela. 

My first foray into Service Learning projects (SLPs) had nothing yet everything to do with YA.  I developed a grant-funded project for first-year college STEM majors wherein they chose a service site from a “menu” of community partners I had fostered; analyzed the needs of their participants; and created a program that highlighted STEM concepts.  The catch: their perspective audience comprised first through fourth graders, some of whom were studying the solar system and others who were learning basic concepts in Biology.  Thus, each of the seven SLP teams grappled with developing an age-appropriate program aimed at reinforcing the students’ existing curriculum.  Randy Stoecker’s Liberating Service Learning and the Rest of Higher Education Civic Engagement taught me to privilege community need in any Service Learning endeavor, so I sought to teach students to synthesize STEM knowledge with an awareness of how their participants communicate and interact—science meets rhetorical situation, if you will.  

​Some students were surly during the planning and coaching phases of the project, unsure of how to proceed with their one-hundred-dollar budget; others were nervous about being around little kids (“They are sticky!” one young woman groused); some thrived, immediately creating hands-on projects blended with scientific explanations; and still others appeared apathetic to the whole gig, staring at me incredulously.  But on site, like a match to dry tinder, my first-year college students took to their participants, who greeted them with an enthusiasm that was inspiring (REAL college students are fascinating to 2nd graders). The design of each program allowed them to discuss the existing school curriculum while guiding students through tactile, engaging activities.  They made star jars while learning how stars are born and die; they learned about bacteria and then made hand sanitizer at carefully orchestrated stations around the room; they watched a student-made video on the life cycle of a sunflower and then drew their favorite stage; they heard about the phases of the moon and tried to create them by taking bites out of Oreo cookies; and they learned about planets before making their own. At one point, while I was acting in the role of the sun so that eight students could orbit around me, I looked across the crowded lawn to see the most reluctant of my students laughing with a shy and withdrawn second grader as they decided who would be Mercury and how Mercury might behave as it orbited. Would it tuck in its arms and crouch down?  How might it spin?  And should it shiver and shake or blow steam?  I saw SLPs at work, doing community good for kids who would remember better because they had interacted as they learned. Though my time with these first-year students ended after two months, I could not shake the magic experienced in those classroom spaces.  I wanted more of it and fast.  

Because I first encountered YA in community schools while watching students pass a battered copy of Twilight back and forth or watching a kid try to hide Hopkins’s Glass in the spine of his literature anthology (an impossible feat if you have seen that hefty tome), it made sense to move my YA students “into the wild,” where they could work with both adolescent and “new adult” readers. As I had done before, I fostered site partners. Because this was my department’s first SLP in an upper-division English major course in over a decade, I was careful to choose physical sites close to or on campus:  Ingram Library on my campus; the Lambda chapter at UWG, and the Newnan Carnegie Library.  I also made contact with a virtual partner, LibriVox.  Each student received a “spec document” for each potential project that explained the option’s purpose, provided the site partner’s contact and needs, and offered concrete ways to get started.  Groups then chose their sites. I followed the same planning phase model as I had with the STEM students:  YA groups met independently and with their site partner(s); I met with each group twice to coach and troubleshoot; and they deployed their projects.  Throughout the two-month process, then, students achieved benchmarks while they prepared.
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Each group encountered obstacles during this process.  Some had interpersonal conflict as they sought to plan, and others struggled to find a common meeting time.  They fought to choose texts they wanted to donate or discuss.  They held fiery debate over how best to present materials to their audience.  They (and I!) wrestled with technology. In sum, they behaved like budding professionals, learning how to negotiate their way towards a successful program.  

​And successful they were. The LibriVox group settled on creating a dramatic reading of Frank Baum’s The Wonderful Wizard of Oz.  They created voices for over 100 characters, even enlisting a dramatically-inclined friend to coach and participate.  Their rendition of the text is now part of LibriVox wide-ranging library of free audiobooks. Ingram Library’s SLP folks created two book display cases that emphasized YA within Women’s History Month and did so again during Sexual Assault Awareness month. After researching our current YA holdings, this group also proposed a comprehensive list of YA “must haves” for ordering with my department’s yearly library allocation.  The group working with Lambda settled on etiquette for their discussions of Julie Ann Peters’s germinal novel, Luna.  They met four times with Lambda members to discuss “chunks” of reading.  And, finally, the group working with Newnan Carnegie created a program on YA graphic novels in which participants learned the history of graphic novels and fashioned themselves as graphic novel characters at Makerspaces.  The best creation won art supplies and graphic novels. As before, I felt more like a witness than a professor, noting this time the advanced performance as they considered nuances and acted swiftly to solve challenges.  

Since Service Learning emphasizes process learning, I experienced intermittent fears that the ELA content central to my class would get lost. After all, this SLP served as a large portion of the grade in —25%— and my learning outcomes emphasize reading, writing about, and discussing YA literature.  But, repeatedly, my worries were allayed, since each community partner’s needs foregrounded literature in unanticipated ways.  At Ingram Library, the examination of cover art became an imperative while building eye-catching displays. Students in this group also had to locate powerful “pull-out” quotations that might attract patrons to their book cases. They had to decide how to choose and group texts in keeping with that month’s theme. In Newnan, my students had to conceive of ways to share content, not teach it, a difficult rhetorical shift, since all of them were enrolled in teacher training courses that included field work. The book club had to develop guiding questions for each meeting to foment discussion, and they collaborated to decide on doing much more listening to Lambda members than pontificating about the trans* teen experience. And the LibriVox volunteer group had to read Baum’s novel, annotate it carefully to parse out roles, and demonstrate clear articulation in audio submissions sent in for review by LibriVox mentors.  In each case, my students encountered ELA content in context. Language and image came to the fore naturally, in keeping with the site partner’s needs. They saw their discipline working beyond the brick and mortar classroom.

Beginning next year, my university will have an official “Service Learning” designation for courses that include community work.  I will request that my YA class is one of them. Just as practitioners and scholars in the field teach our students that age-appropriate literature affords teachers and parents with an opportunity to talk with young people about literature instead of at them, I now wish to show my students how YA can do its good work in various community arenas.  I’m tired of only telling them. 
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Do you use Service Learning in YA? Tell me about it! I want to learn from you. ainsenga@westga.edu

It is a great privilege for Dr. Bickmore’s YA Wednesday to host a blog post by Lesley Roessing. Lesley is a YA advocate who posts frequently on Facebook.  I have been following her for a long time. We have been friends on Facebook, but we have yet to have a “live” face to face conversation. This is a perfect example of how social media brings people together who share common interests. I am sure that one day we will find each other at the same conference or YA event and have a great conversation. I was pleased when she suggested a post that discussed one of my literary heroines, Nancy Drew.  Yes, I read every single one that was in print when I was in the fifth and sixth grade. I loved the wonderful adventure of these book as well as the Hardy Boys, Trixie Belden, and a host of other novels in the “pulp fiction” category. I know that many people consider the quality of these books as less than literary. I believe that is beside the point. These books and many others never stopped me from reading other, more challenging books; instead,I am still reading a wide range of novels in the "solve the caper" genre—including Donald E. Westlake, Jo Nesbo, Walter Mosely, Michael Connelly, Sue Grafton, J. A. Jance and a great many more (is it a little crazy that I rest from reading YA titles by reading?).

Furthermore, Lesley’s post reminded me about how these same books were influential in the reading lives of my three daughters. All of them read a great deal growing up and continue to read as adults. (I think there might be a possible guest blog post from them about their childhood and adolescent reading habits.) I was never a big fan of all of those Sweet Valley High books that kicked around the house, but they helped make great readers. I know that you will enjoy Lesley’s post and I hope it not only sends you down memory lane, but will encourage you to include her suggestions in your classrooms and library shelves. 

​Now, its your turn, Lesley.

I, Lesley, became the strong, independent woman I have become because of five people: my mother and father and Nancy Drew, Jo March, and Anne Shirley. My parents were the children of immigrants, but even in the ‘50’s and early ‘60’s, even though they never went to college, held high expectations for me as a teen; they expected high grades in academic subjects and they constantly told me I could be anything I wanted, even President. However, without the added models of my fictional female teens, I don’t think that I would have believed them.

Besides Nancy, Jo, and Anne, there were not many strong female teen characters in the 1960’s. There were biographies of famous adult women but those didn’t provide an adolescent with teen examples. Luckily, there were numerous Nancy Drew casebooks—and I owned and read them all, Anne of Green Gables appeared in eight novels, and I read and re-read Little Women innumerable times. I am sure there were others characters who inspired me but have faded in memory, but I distinctly remember WWND (What Would Nancy Do?) always in the back of my mind. Nancy Drew was independent,  with a supportive family, and supported by her friends, intelligent, determined, and spirited. Although the series was created by Edward Stratemeyer, there were definite female influences on the character and story lines. Mildred Wirt Benson, the first Carolyn Keene, was the ghostwriter of the first eight novels as well as many others, and, after he died, Edward Stratemeyer’s daughters took over the syndicate, and Nancy.

​While these characters were inspiring to an adolescent reader, they did not face, and conquer, the same problems as I: mean girls, feelings of alienation, membership in a minority group, negative body image, small town to big college transition. My peers faced such challenges as physical differences and physical difficulties. 

Adolescent problems have only intensified—or maybe my awareness of adolescent problems has increased. I was not aware of any peers who were affected by death or trauma, who suffered the challenges of mental illness or learning differences, who were bullied, faced racism, or were suicidal. In my small town, I was unaware of any refugees or those who questioned their sexuality or gender identification.  Peers were not publically shamed and, since there was no Internet, there was no cyberbullying to contend with.
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In contemporary novels, strong female characters demonstrate resilience over a variety issues and concerns—facing challenges, traumas, and adversity in diverse forms. These are characters who mirror the issues that are faced by current adolescent girls and who provide models and maps for navigating those problems. Characters who are their own persons, make hard choices, and have defined their moral codes, sometimes against the majority, sometimes at great cost.

​One of the most unforgettable characters is Kendra in Scars. At age 15 Kendra begins remembering years of childhood abuse and feels that she is being stalked by her abuser whom she cannot remember. She uses art and cutting as a way to cope but finally finds the strength to face the former abuse, recall her abuser, and save herself and her mother. In Call Me Hope, Hope is constantly verbally-abused by her mother. Inspired by Anne Frank, the young adolescent builds a support system and confronts her mother and helps her to change. Another character who learns to manage the trauma caused by family abuse is 16-year old Sarah (Still Life with Tornado) who, with the help of her ten-year-old, twenty-three-year-old, and forty-one-year-old selves, exposes the family secrets so she can become whole again.

​Mina (The Lines We Cross) is a Muslim refugee whose family encountered considerable trauma and death in Afghanistan, during their escape by boat, and throughout their stay in a detention camp. Moving to a new town in Australia, Mina, a high school junior, stands up for refugee rights against Aussie Values, an organization that believes that Australia is accepting too many refugees—especially Muslim refugees, an organization created by her boyfriends’ parents. For younger readers, the main character of Amina’s Voice, a Pakistani-American Muslim girl, faces the challenges of fitting in middle school and a diverse community which includes some Islamaphobic members.

​There are characters who are suicidal but are able to overcome those tendencies and decide to live, which is the challenge. One such character is Ally (Forget Me Not), shamed and cyber bullied after compromising photos of her are texted throughout her school. In My Heart and Other Black Holes, Aysel plots her suicide, worried that she has inherited her father’s violent tendencies. Spending time with her suicide partner, she finds strength as she realizes that she does not want to die and does not want Roman to die either. In All the Bright Places Violet Markey is able to save herself from suicide but is not as fortunate in saving Finch, the boy who helped her find a reason to live. Finding strength through others, Vicky Cruz (The Memory of Light) works through her suicidal depression with the help of her hospital therapy group.

​Adolescents who are grappling with the repercussions of rape often also are forced to contend with the additional torment of shaming by their peers. Some Boys features an adolescent who has been raped and shamed but stands up for herself, even again the rapist’s best friend. In this provocative novel Grace and Ian narrate alternating chapters, and when Ian questions the way she dresses, Grace asks why her clothing choices should matter or be assumed to send a message. In All the Rage Romy has been assaulted by the sheriff’s son. No one believes her allegations and, by coming forward, she is bullied by her former friends. As other girls become hurt, Romy has to decide how hard she will fight to be believed.  A victim of teen prostitution, 13-year-old foster child Dime (Dime) finds her strength and the courage to make a plan to leave what she thought was love and security to save a baby. 

​Transgender girls face a multitude of challenges, many external, some internal, as they define who they are. One of my favorite books is If I Was Your Girl. After attempting suicide, Amanda Hardy has transitioned, transferred schools, and moved in with her father to start a new life. But when she shares her secret, she learns that not all “friends” can be trusted, but she also learns that it is not always who you think who are the dependable friends and truly strong girls. In other novels, two delightfully strong girls are Lily (Lily and Dunkin) and Grayson (Gracefully Grayson) who have accepted themselves and expect others will also as they live life on their own terms.

Mean girls are an adolescent girl’s nightmare, but strong girls of all ages learn to handle them as does gutsy Piddy Sanchez (Yacqui Delgado Wants to Kick Your Ass) and immigrant Kasienka (The Weight of Water).

For younger adolescent readers, there are characters who deal with physical differences, learning differences, or developmental disorders, such as Kiara (Rogue) who has Asperger’s syndrome and learns to use her “special ability” to help her new neighbor Chad, a victim of parental abuse, and seventh-grader Rachel (Braced) who is diagnosed with scoliosis and is required to wear a body brace 23 hours a day. Middle school student Molly (Finding Perfect) learns to manage OCD as does high school junior Samantha McAllister (Every Last Word).

​Sometimes families present the challenges. Other novels that feature strong or resilient girls are Skyscraping, the story of Mira, a high school student, who discovers her father is gay and that her parents are in an open marriage. After her father is diagnosed as HIV-positive, she learns to accept her family as they are. In another type of family crisis, Claire (Falling Over Sideways) deals with bullying at school and, at home, learns to support a father who has experienced a stroke. Male authors can create strong female characters; challenging the advantages of strength, Parker Grant (Not If I See You First), who copes with blindness and her father’s recent death, learns not to be too strong and to let others help her. 

Readers also meet strong girls in a multitude of memoirs, such as Positive: A Memoir, the narrative of Paige Rawl. Born HIV positive, Paige was bullied by middle school classmates after her best friend shares her secret and coaches, her counselor, and administrators refuse to intervene, resulting in a suicide attempt. Positive is really a story about surviving bullying rather than surviving illness and the courage to face the world and share a journey.

I have to say that my favorite strong girl is the half Japanese-half Black Mimi who faces racial prejudice and sexism in Marilyn Hilton’s Full Cicada Moon. The year is 1969, Neil Armstrong will be walking on the moon, and Mimi plans to become an astronaut. She enters the 8th grade Shop class in her Vermont school and is told that Shop is for boys; Home Ec is for girls. Sensing she needs this education for her future profession, she persists—and is suspended. When Mimi returns to school, her female classmates join her in a Shop class sit-in. An 8th grade biracial feminist fighting stereotypes!

​The “new” Nancy Drew is still strong, intelligent, determined, and spirited, but she isn’t solving mysteries; she is surviving the complex issues of contemporary life.

Below is a slide show of all of the book titles that Lesley covers in this post. You could probably use it as a source for several book talks with students.
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A middle school teacher for twenty years, Lesley Roessing is currently Director of the Coastal Savannah Writing Project and Sr. Lecturer at Armstrong State University where she works with teachers and teaches Bibliotherapy. She is the author of Bridging the Gap: Reading Critically & Writing Meaningfully to Get to the Core; Comma Quest: The Rules They Followed. The Sentences They Saved; No More “Us” & “Them: Classroom Lessons and Activities to Promote Peer Respect; and The Write to Read: Response Journals That Increase Comprehension. Lesley is a columnist for AMLE Magazine and editor of Connections, the journal of the Georgia Council of Teachers of English.
 
Lesley can be contacted at: lesleyroessing@gmail.com
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Thanks for following.

This is the second time I have been able to host a contribution from Marshall George. In the first post he discussed the relevance of calling this books we talk about "adolescent literature" or "Young Adult Literature." What's in a name? It is one that is worth visiting again. You can find his first post here. Marshall has been one of the primary contributors to scholarship around this field for about 20 years. If you don't know his work, you should. If you don't know where to start, I suggest you start with a call to action that he wrote for the CEE Commission on the Study and Teaching of Adolescent Literature in 2004. Thanks, Marshall for another timely and important post.

​When I was in middle school and the first two years of high school (late 1970s early 1980s) I remember that most of the texts we read in our English Language Arts were short stories, with the occasional poem thrown in. We always read a play (and in 9th and 10th grade I think we read two- one Shakespeare, and one contemporary). All of these texts were found in a literature anthology that was 3-4 inches thick and weighed 10 pounds at least.  The color of the anthologies’ covers changed from year to year, but the structure inside did not. At the time, I was neither aware of nor interested in how these texts were organized or if my teachers grouped the texts together with any purpose in mind. I loved reading, and read whatever they assigned with energy and gusto (Ms. Jobe, my middle school ELA teacher might dispute this characterization, but I am sticking by my assertion).
           
While I started teaching in an era when prescriptive curricula and high stakes standardized testing were not yet a thing, I still utilized an anthology and organized my curriculum the way those anthologies were organized- around literary genre. Every year, we started with a short story unit and moved through units focusing on drama, poetry, some nonfiction, and a novel or two (one of which was usually an abridged version actually in the anthology). I am contrite to say that the focus of our study was mostly on literary form (read literary terms and devices) and formalist analysis. For the first several years of my career, I taught much as I had been taught and organized my curriculum pretty much as those I studied in high school myself were organized. Somewhere along the way (sadly, I cannot remember where so that I can give credit where credit is due) I learned about a thematic approach to ELA curriculum design. Suddenly, curriculum development became fun. I began to create multi genre text sets that included novels, short stories, poems, and nonfiction texts that shared a common theme, topic, or context. My unit titles had names like “Facing the Challenges of Family and Friendship” or “Learning from Change and Challenge” instead of “Short Story Unit.”
 
When I got to NYC in the late 90s and started visiting middle and high schools here, I found that, while not using anthologies in their ELA courses, teachers for the most part were organizing their curricula by genre study. Some “progressive” principals had outlawed the anthologies that had been used in years gone by, and many teachers (especially old timers) had them hidden in classroom closets so that they could refer to them when developing their curriculum. My observations were similar to those documented by Arthur Applebee:  most literary study focused on novels (YA lit in the middle schools and canonical lit in the high schools).  Schools had book rooms full of paperback novels, but very few collections of short stories, poems, or essays. Teachers who wanted to include these genres often found them wherever they could (often in those closeted anthologies hidden away in their classrooms or somewhere online), photocopied them, and used them either in stand-alone units (the poetry unit is almost always in April, National Poetry Month) or as stand-alone texts to “shake things up” when they finished teaching a novel. Occasionally, the short stories, poems, and essays were linked to the current novel study. Sadly, I find this to be true in many NYC schools today, twenty years later.
 
I do a fair bit of consulting with schools around NYC and often work with teachers as they plan instructional units. When I talk to them about organizing their study of literature around big ideas and themes, they almost always like the approach but are perplexed about where to find short stories, poetry, and informational texts (CCSS’ new name for genres we historically called nonfiction) that appeal to the young readers in their classes. This frequently encountered “problem of practice” is what led me to write this blogpost.
 
Following is a brief annotated bibliography of collections of poetry and short stories (and a few essays), primarily written for adolescents and young adults, that I have found to contain a wealth of great literature. I encourage teachers at all levels (elementary, middle, high school, college, and teacher education) to consider organizing their literature curriculum thematically, at least some of the time, and to commit to incorporating short stories, poems, and essays written for young people. In the 1990s and early 2000s, Joan Kaywell, in her four-volume series, Adolescent Literature as Complement to the Classics, encouraged us to pair works of adolescent literature with classic canonical literature. Similarly, I feel that stories, poems, and essays written for adolescents and young adults can and should serve as complements to novels (middle grades, YA, contemporary adult fiction, and classics) as well as other short stories and poetry that were not specifically written for young people. These texts can be read as a scaffold before reading a longer text, they can be read alongside the novel to provide support around a concept or idea found in the longer work, and they can be read after the reader has finished the novel to allow for intertextual analysis or to extend a discussion. 

I debated about how to organize this section. While my first instinct was to group the works by genre (old habits die hard), I immediately realized that was antithetical to the whole premise of this blog post. I then considered trying to organize the collections by themes, since I believe strongly in thematic “big idea” curriculum design. However, I feared that by doing so I might place a collection in a “box” that works for my thinking or one context, but might stymie the creativity of a teacher or professor using this post as a resource for their own situation. Thus, in an effort to move outside of the traditional and limiting boxes that I have criticized in this post, yet to have some sort of order, I decided to go with alphabetical order of author’s first names.
 
This list has developed over time. I learned about some of the texts from the teachers with whom I work, the preservice teachers that I teach, my colleagues in the world of adolescent and young adult literature, and good old Amazon.com. Each year when I teach my course, Adolescent Literature in Our Multicultural Society at Hunter College-City University of New York, I require students to read at least one anthology of short stories or poetry and to integrate a minimum of three genres into the thematic unit plan that they create in the course.
 
I have provided a very brief annotation for each of the twenty collections, with a hypertext link from the title to a published review that provides a more thorough description of the book along with a brief critique in most cases. In no way do I consider this a complete list of collections of short stories and poetry written for adolescent and young adult readers. I had to trim the list and made every effort to include works that represent the experiences of the incredibly diverse youth who inhabit our classrooms today. I hope that readers will add to this list in the comment feature of this blog so that we can all continue to learn about texts that will enhance our libraries and reading lists and will allow us to provide literary windows and mirrors to all of our students in their reading of multiple genres. Even if we still have some genre study units (and I do think they are OK sometimes), let’s create others that blend multiple genres and allow for intertextual analysis across genres.

​Out of Bounds:  Seven Stories of Conflict and Hope by Beverley Naidoo
 
This collection of fictional short stories about young people living under Apartheid in South Africa reveals the depth of the oppression and injustices faced in that country from 1948-2000.
 
Sudden Flash Youth: 65 Short-Short Stories edited by Christine Perkins-Hazuka, Tom Hazuka, and Mark Budman
 
Each of the sixty-five short stories in this collection has no more than 1000 words. The narratives tell the stories of challenging moments of change that occur during adolescence and young adulthood. The authors are a mix of writes for adolescents and young adults and adults.
 
Outside Rules: Short Stories about Nonconformist Youth edited by Claire Robson
 
This collection of fourteen stories focuses on the experience of “outsider teens” as they try to negotiate relationships with their peers while being true to themselves and their identities. 

​Tough Boy Sonatas by Curtis L. Crisler
 
This collection of 38 poems provides an “unflinching narrative” that tell the stories of young men and boys who struggle to live in the industrial suburbs of Chicago.
 
The Full Spectrum:  New Generation of Writing about LGBTQ and Other Identities edited by David Levithan and Billy Merrell
 
This multigenre collection includes poems, short stories, and (mostly) essays written by young adults in their teens and early twenties and focuses in the experiences of young people who identify as LGBTQ or other identities.
 
First Crossing: Stories about Teen Immigrants edited by Don Gallo*
 
This collection of stories written by popular YA authors explores the realistic (though fictional) experiences of teenage immigrants as they face the challenges of relocating to America. 

​Owning It: Stories about Teens with Disabilities edited by Don Gallo*
 
This collection of stories written by popular YA authors explores the experiences of young people with physical, psychological, and cognitive challenges. 
 
Visions: 19 Stories by Outstanding Authors for Young Adults edited by Don Gallo*
 
This collection of short stories written by popular YA authors focuses on a wide variety of common experiences and issues faced during adolescence and young adulthood. 
 
13: Thirteen Stories that Capture the Agony and Ecstasy of Being Thirteen edited by James Howe
 
The title pretty much says it all. These stories are written by popular middle grades and YA authors. 

​Behind the Wheel: Poems about Driving by Janet S. Wong
 
These 36 poems about the early experiences of driving and learning to drive are simultaneously poignant and hilarious- something most teens (and adults) from “driving cultures” can identify with (in NYC, most teenagers do not learn to drive while they are still in high school).
 
Cool Salsa:  Bilingual Poems on Growing Up Latino in the United States edited by Lori Carlson
 
This bilingual collection of poems explores the experience of growing up as a bicultural, bilingual Hispanic youth in America.
 
Face Relations: 11 Stories about Seeing Beyond Color edited by Marilyn Singer
 
This collection of short stories written by diverse well-known authors of books for adolescents and young adults explores the challenges of racism in today’s world and offers glimpses into ways that young people are embracing diversity rather than letting it divide them. 

​Am I Blue?  Coming Out from the Silence edited by Marion Dane Bauer
 
This collection of original short stories is written by popular YA authors and explores the experiences of growing up LGBTQ or having parents who identify as LGBTQ.
 
Every Man for Himself: Ten Stories about Being a Guy edited by Nancy E. Mercado
 
This collection of short stories, written by popular male authors of adolescent and young adult literature, provides insights into the trials and tribulations of being a young guy. The authors use a mix of humorous and serious tones to engage readers.
 
A Maze Me: Poems for Girls by Naomi Shihab Nye
 
This collection of 27 poems by a beloved poet offers young readers a window into the common experiences faced by girls over the age of twelve and a mirror into their own souls. 

​19 Varieties of Gazelle:  Poems of the Middle East by Naomi Shihab Nye
 
In sixty narrative poems, this gifted poet shares with her adolescent and young adult readers the varied experiences of youth across the Middle East. 
 
What are You?  Voices of Mixed Race Young People by Pearl Fuyo Gaskins
 
In this sensitive multigenre collection of interviews, essays, and poetry, over 40 mixed race young adults relate their experiences growing up in the United States. Their racial identities represent a wide blend of cultures: European, African, Asian, Native American, Jewish, Arabic, Caribbean, Hispanic, and Pacific Islander.
 
Firebirds: An Anthology of Original Fantasy and Science Fiction edited by Sharyn November
 
This collection of sixteen original stories written by a range of award winning science fiction and fantasy writers is intended for young adults and adults alike.

Girls Got Game: Sports Stories and Poems edited by Sue Macy
 
For this collection, nine American women authors of books for adolescents and young adults wrote stories or poems about girls engaging in a variety of sports and athletic activities. The book also includes bios of each author, focusing on their own real life experiences playing a sport.
 
Everyday Struggles:  The Stories of Muslim Teens by Sumaiya Beshir
 
This collection of short stories was written my Muslim teenage girls for their peers. The stories they share provide insight into their thoughts and feelings about the unique challenges they face as developing Muslim women.
 
* I feel that I would be remiss if I did not give a shout out to Don Gallo, who I consider the father of the YA literature short story anthology. The three collections included in this list are but a sample of the numerous collections Don collaborated on with many of the greatest writers in our field. Do an Amazon search to find many other titles. Many thanks, Don. G.

Marshall George can be reached at mg2003@hunter.cuny.edu  

Thanks for following. I hope you are as inspired as I am to include some of these books in your next YA literature course. If you are a librarian or a teacher, I hope some of these find their way to your shelves.

Several years ago, I heard Simone Elkeles speak at an ALAN conference. I was impressed with her enthusiasm and the direct way she talked about how adolescents deal with intimate relationships, between parents, siblings, friends, or those individuals they are romantically attracted to, whether they understand how to articulate their feelings or not. I began to follow her career more closely. I asked teachers and librarians about how Simone’s books faired in their classrooms and libraries. Well, the news is great. Her books are always being read. Her books automatically reach the readers who are interested in realistic, contemporary romance. In addition, many of the main characters of her books are kids that adults consider are only existing in the margins of school or society. Kids who are being pulled in to gang activity or trying to leave it. Kids who might function on the playing field, but not seem to succeed academically. Kids, who might appear popular in school, but are dealing with difficult family situations.

Those of us who have worked with adolescents realize that most kids are actually pretty good kids. If anything, they manage remarkably well in the face of challenges that they silently endure. Despite what some parents might think, these adolescents are less naïve than they appear. They know who uses foul language, who is in or on the edge of the drug culture, or who is sexually activity. What Elkeles seems to understand is that most adolescents are dying for someone to engage them in conversations that acknowledge their struggles, questions, and awareness of the reality they are rapidly trying to navigate. Her novels, while they deal with romance, are often about adolescents navigating the liminal space between childhood and adulthood (Bickmore and Youngblood 2014). In many ways, it seems that Elkeles has looked at these students through a Youth lens (Sarigianides, S. T., Lewis, M. A., & Petrone, R. 2015) as she writes about them with respect and understanding.
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I am not saying that some kids and parents won’t find problems with some of the situations or language that occurs in the book, but these concerns should be contextualized. Not every student or family shares the same values nor ideological outlook on how literature does or does not help students. I am one that believes kids should read what they want. Of course, I also believe that parents should be talking openly with their children from the get go. If that were the case, realistic fiction that is open and frank, just as Elkeles writes, wouldn’t be as problematic. Instead, Elkeles work would be more celebrated. When you get done browsing the information below, check out the interview at the bottom of this blog entry.

I just finished Wild Crush, the second book in the Wild Card series. I like the way the book was centered around members of a football team and their significant others. You should explore Elkeles' blog to find out about other cool things associated with the series.

The Perfect Chemistry series falls within the star-crossed lover genre. As I stated before, Elkeles work is widely read and reviewed by many on Amazon, Goodreads, and several blogs. For this series, I included a link to review from the Mother, Gamer, Writer blog. 

For the Leaving Paradise series. There were several review options. I chose to link to the blog Kimberly’s Novel Notes. Here is the link for these reviews.

I found another readers blog that reviewed Elkeles’s Ruined series. The Reading after Midnight Blog written by Paula Stokes. The review of the ruined series is here.

Please find the interview with Simone below:

References:
Bickmore, S. T., & Youngblood, K. (2014). ‘It's The Catcher in the Rye… He said it was the kind of book you made your own': Finding Holden in Contemporary YA Literature. English in Education, 48(3), 250-263. doi:10.1111/eie.12049

Sarigianides, S. T., Lewis, M. A., & Petrone, R. (2015). How Re-thinking Adolescence Helps Re-imagine the Teaching of English. English Journal, 104(3), 13.  

Last year, during the winter holiday season, I started posting Dr. Bickmore’s YA Wednesday Weekend Pick on Fridays. It has now been a half year, 26 weeks, of posting books and it is time to do a review. This post will also give you a few more titles for your summer reading list. I started by selecting books that I believe deserve more attention. Generally, these are books that I would like to include in a class—if there were world enough and time. Of course, there never is enough room in a college course for everything. I am tracking the weekly picks on a single page within Dr. Bickmore’s YA Wednesday blog. That page is entitled Weekend Picks and on that page, I put the date and link the cover image to a book review. Sometimes, I write a small blurb, but, unbelievably, I have other work I need to be completing. When I have decided on a book to highlight, I post it on my Facebook, Twitter, and Instagram accounts (I hope you are following so you get each post). My hope is that teachers and librarians might make this growing list available to students as a source of recommended books. In addition, I hope an academic or two might consider including these books in their courses.

The books I have chosen can be placed in several categories.

The first category is rather small. It is comprised of books by authors who are new to young adult literature. Sometimes I find them through a presentation at the ALAN Workshop- The Art of Holding On and Letting Go, a publishers recommendation--Girl in Pieces, or an author or an agent contacts me--Edna in the Desert. 

I mark the beginning of the modern era of Young Adult Literature as 1967 the year of The Outsiders and several other foundation texts. Fifty years have now past, and there now so many YA titles being published across multiple genres that it is hard to stay current. Many of us focus on a set of authors, a specific genre, or books nominated for awards. In the abundance of publication that is producing so many great books, I often feel that some of the early texts that helped established the field are being forgotten. To help counter this a bit, I often select books that I believe should be included in our courses and, certainly, in classroom libraries. Here are a few selections I have made from this category of "classic" young adult literature. May of these older books that I have selected have been: Roll of Thunder, Hear My Cry; Homecoming; and, one of my personal favorites, Berries Goodman, an early novel by Newbery winner Emily Cheney Neville. 

Another category are books that I believe are standing the test of time. Some are award winners, some are by major authors, and some are books that I believe should stay on the shelves and, ultimately, in the hands of adolescents. Many of these are books that I haven’t seen referenced in a while or that I believe deserve continued attention. In this group are: Freaky Green Eyes, Fallen Angels, Copper Sun, Inside Out and Back Again, and The Realm of Possibility. 

Sometimes, I just pick a book that has been on my mind because of current events, or represent themes that I have been thinking about, or books that seem to be important in the current educational times. For example, Thirteen Reason Why has been in the news because of the Netflix original there has been more discussions of teen suicide and bullying. Regarding how I think books and themes; I frequently think about books that might help preservice teachers think about how they might introduce discussions of race in their future classes. Some of the books in this group include: Stella by Starlight, Chains, and Garvey’s Choice. In the current political climate, there are so many educational issues in the news that it is hard to know which one to think about. However, I found myself wondering about how schools will continue to work with LGBTQ students in the DeVos era of educational leadership. As a result, I have been thinking about books like, From the Notebooks of Melanin Sun. 

Once again, thanks for following the blog. 
For easy access the main blog page is here. The main blog page usually holds about six entries. It is easy to browse entries by the month by clicking on any month in the archive column on the main page.
The link to the weekend picks is here and each image is linked to a review..
The link to the contributors page is here. Currently, the contributor's page runs from the oldest at the top to the most recent at the bottom. Each contributor's post has the authors name and the title is hyperlinked to the page.

This week's guest contributor is Dr. Shelly Shaffer, an assistant professor of Literacy at Eastern Washington. This is not her first time post. She contributed last summer when she wrote a post about using YA to discuss school shootings. You can find that post here. This week she discusses how she uses YA literature, in a variety ways, with preservice teachers. Thanks, Shelly, for helping once again.

I, Shelly, love reading YA books. I am probably like most of you who constantly look for any excuse to read a YA book. This includes reading when I’m riding, eating, waiting, listening, and even teaching. I always have a book on my phone--Bone Gap; in my bag--Boys Without Names; in my backpack--Surviving Santiago; and in the Puppy Room--Girl in Pieces (there is a new litter of bulldogs). At each place, I find a different book—that at any time—could take me on a new adventure or into a different point of view. Like some of you, I enjoy reading so much that I have been criticized by family members for being antisocial because I have been known to read at family functions. I cannot help it; I cannot wait to find out what happens on the next page or in the next chapter. I have always been this way, and since becoming an English teacher in 2001 and a professor of literacy in 2015, things have gotten worse (or better-depending on your point of view). Piles and piles of books sit on shelves, on the floor, and in boxes—waiting to be read. 

Through my experience reading YA novels, I have discovered that they are not only great reads. These texts are also extremely useful. A couple of the reasons YA texts are so appealing and versatile are: 1) they can support and/or replace curriculum in K-12 schools; 2) they help young adult readers by addressing difficult issues in ways that support and respect them; 3) they are becoming more and more mainstream; 4) they can spark important discussions about difficult topics; and 5) they can be used to help adults understand the experiences of youth in authentic ways. With these many reasons for reading YA literature, I have found ways to incorporate YA into almost every course that I teach, not limiting YA literature solely to my YA or Children’s literature courses. YA literature provides a different experience than simply reading theoretical and research-based texts or participating in other sorts of class activities. Reading a book is valuable because the reader is able to step into the character’s shoes and walk around for a while. This experiential learning (Dewey, 1938) can be especially valuable for future teachers because they are often not familiar with cultures other than their own. Understanding the experiences of students can help future teachers imagine what the lives of future students may be like. 

In a recent course I taught that focused on the impact of inequality on education, I incorporated several YA texts to support the curriculum. The catalog description for the course is:

This course explores concepts, principles, history and practice of educational equity and inequity, as well as, their function in the United States. Issues addressed are: ethnicity and race, socioeconomic status, gender and other inequalities within the society and the impact of those inequalities on the achievement gap among American K-12 students. The major goal of this course is to facilitate the journey to help students become a culturally responsive professional. (Eastern Washington University, 2017)

Students in the course connect research and theories, such as out-of-school knowledge and literacies (Gutierrez, 2008; Martinez-Roldan & Franquiz, 2009; Moll, Amanti, Neff, & Gonzalez, 1992), inequality in schools (Kozol, 1991), poverty (Jensen, n.d.), the school-to-prison pipeline (Caraballa, 2016; Christle, Jolivette, & Nelson, 2005; Wald & Losen, 2003), Pedagogy of the Oppressed (Freire, 1970), and culturally responsive pedagogy (Brooks & Brown, 2012; Gay, 2010) to a YA book club text. I chose YA texts to aid future teachers in visualizing who their future students may be and how inequalities might impact their future students’ education. The book club assignment was the culminating assignment for the course and included an online discussion, in class discussion, and a written paper reflection. 

The YA texts addressed in the book clubs met the catalog requirements of addressing “ethnicity and race, socioeconomic status, gender and other inequalities within the society” (Eastern Washington University, 2017). As Cook (2016) suggests:

Teachers must give serious thought to the books they choose. My advice here is: know what you want students to analyze, push against, and to value, and carefully select texts that will allow them as individuals, and your class as a community, to approach those ideals. (p. 24)

Following Cook’s suggestions, the following YA texts were chosen: All American Boys (Reynolds & Kiely, 2015), Gabi, A Girl in Pieces (Quintero, 2014), The Absolutely True Diary of a Part-Time Indian (Alexie, 2009), Girlchild: A Novel (Hassman, 2012), and Out of the Pocket (Konigsberg, 2008).

In book talks, I describe each of the texts while holding up each book. All American Boys by Jason Reynolds and Brendan Kiely tells the story of two high school boys, an African-American and Caucasian-American. In the first chapter of the book, the African-American boy, Rashad, is beaten up by a cop for allegedly attempting to shoplift. Quinn, a Caucasian-American student witnesses the beating. Isabel Quintero’s, Gabi, A Girl in Pieces tells the story of Gabi Hernandez’s senior year. From helping her friends through their problems to dealing with her drug addicted father and ultra-religious aunt, Gabi’s story is told through diary entries, poetry, Spanglish, and phone conversations. The Absolutely True Story of a Part-Time Indian by Sherman Alexie explores the experiences of Junior, a Native American high school student who attempts to break away from life on the Spokane Indian Reservation in order to go to school in an all-White farm town named Reardan. Tupelo Hassman weaves the story of Rory Hendrix as she struggles to break the cycle of poverty in which she lives in Girlchild: A Novel. From a trailer park in Reno, Nevada, readers experience the devastating story of Rory’s life as Rory searches for a way out. In Out of the Pocket, Bill Konigsberg writes the tale of Bobby Framingham, a high school quarterback who is gay. When he comes out to one of his friends, the entire world soon finds out that he is gay, and this revelation causes issues with Bobby’s teammates, coach, and scholarship.

These brief descriptions of each book allow students to quickly understand the main idea for each book and then write down their choices for book club in order of preference. Afterward, I try to match students to their top choice for texts, and the rating systems helps me to gauge preference. 

All American Boys

In All American Boys, while Rashad is in the hospital, news of the beating reaches school. The teachers and students must decide how they are going to deal with the situation. This book illustrates the way that events outside of school impact in-school activities and teaching. Not only do Rashad and Quinn attend the same high school, but the younger brother of the cop also attends the same school—and is Quinn’s best friend. At school, some teachers choose to ignore the situation completely, such as the basketball coach who tells students to leave it off the court, but that is really difficult when Quinn, Guzzo (Officer Paul Galluzzo’s sibling), along with several of Rashad’s best friends are all on the team. Other teachers struggle with their conscience while trying to meet the needs of all students. Students divide along racial lines, supporting either Rashad or Paul, the cop.

This book complicates many issues, demonstrating that it’s not always right or wrong, black or white, family or friend. Future teachers who read All American Boys in this course consider how power and perception influenced Officer Paul Galluzzo’s decision to beat Rashad. With Rashad’s baggy pants and dark skin, Officer Galluzzo immediately concludes that Rashad was stealing when he saw Rashad leaning toward his duffle bag in the store. Along with this text, students watch a video describing how African-American parents teach their children, especially their sons, how to act when pulled over or stopped by a cop. The majority of the students in my classes are White and do not realize how privileged they are. I share a story of my son, Jeffrey, a nineteen year old White male, who was following our car on a recent trip from Washington to Montana. We passed a couple of state patrol vehicles after crossing into Idaho. My husband and I looked at each other and said, “Jeffrey’s going to the get pulled over. Watch.” Not five miles later, the patrols caught up to Jeffrey, flashed their lights, and pulled him over. He was a teenage driver, with a car full of teenagers, profiled by the cops. However, because of his White, privileged background, it had not even crossed his mind that he would be pulled over. He was not doing anything wrong, but because of his age, he looked “wrong” to the cops. This example demonstrates how many K-12 students in our class may feel on a daily basis due to discrimination just because of the color of their skin or their ethnicity. By reading and discussing All American Boys, my future teachers were able to imagine the experience of students who experience inequality due to discrimination by people in authority.
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Reynolds and Kiely also illustrate complicated family dynamics through All American Boys. Future teachers may not realize that students’ parents may have been killed or injured in war, like Quinn’s dad. Quinn felt additional pressure from his mother and the community to be a hero like his dad. Quinn was living with his mother in a single parent household, trying to “be the man” of the house even though he was still in high school. Because of Quinn’s dad’s death in Afghanistan, Paul Galluzzo takes Quinn under his wing and acted like a father figure. This is a major influence on Quinn, and when he sees Paul beat up Rashad, Quinn cannot decide what to do even though he believes Paul was wrong. On the other hand, Rashad’s family was intact, but not without its own complications. Readers discover that Rashad’s dad and brother are at odds with each other because his brother is an activist, fighting for equality in a movement similar to the Black Lives Matter movement. Rashad’s dad is a former police officer who injured another young man while on duty, in a manner similar to Paul Galuzzo’s. Rashad’s father’s victim ended up in a wheelchair. Family issues such as these are important in the lives of our students, and future teachers’ exploration of these issues through a novel like All American Boys, in a university classroom setting, helps create more culturally responsive teachers. 

​Gabi, A Girl in Pieces

In Gabi, A Girl in Pieces, Gabi’s complicated family life may not be known to teachers at her school, and without understanding of these issues, teachers may misunderstand Gabi as a person. Future teachers can learn to consider issues beyond the classroom that affect students’ performance in class. Although Gabi is able to deal with her issues effectively, not all students are able to persevere in the face of such difficulties. First, her meth addicted dad has been on and off of drugs throughout her life. With this in mind, Gabi pretty much lives in a single-parent household. Gabi’s mother holds onto the hope that her husband will “get clean,” but despite the support of his family, he cannot and he eventually dies from his addiction. Her aunt is ultra-religious throughout the story, but Gabi eventually learns that her aunt is in love with a married man and her religious zeal is a cover for her own insecurities. All of these family issues affect Gabi, and future teachers can develop an awareness of students’ complicated home lives through the window of Gabi, A Girl in Pieces. This awareness can help future teachers to build more equity into their curriculum.

Not only is Gabi’s dad an impact on her life, but the expectations of her mother affect her, as well. Gabi struggles with not being “Mexican” enough or “American” enough. She is trying to fit in with both cultures, but feels like she does not fit into either. Her dreams of attending Berkley are impacted by her mother’s insistence that going away to college is a thing “bad girls” do. Future teachers may not realize that tensions exist between Latino and American culture. Without the tools to bridge transcultural worlds, a young Latina, like Gabi, may feel isolated and alone (Zayas, Gulbas, Fedoravicius, Cabassa, 2010); she feels like she does not fit into either culture, and pressure from teachers at school and parents at home may add to the distress she feels.

Sex and sexuality also impact the plot in Gabi, A Girl in Pieces. Cindy, Gabi’s best friend, is pregnant. Gabi feels personal tension throughout the story as she comes to terms with her own sexuality. She wants to be a good girl in the eyes of her family, but she dreams of having sex. Also, Gabi is mad at Cindy for getting pregnant by not being safe when she had sex with German, but readers (and Gabi) discover partway through the story that Cindy was raped by German. This part of the plot can help future teachers to explore and discuss attitudes about sex and gender roles in Latino culture. Both of these ideas may not come up in a K-12 classroom directly, but indirectly these attitudes may affect the way Latino students respond to situations inside and outside of class. Not only do attitudes toward sex and gender influence students as they come of age and discover themselves, Latino students may be affected by these roles through their family structure and dynamics, as well.

Gabi complains throughout the book about her weight. She feels like she is a fat girl and is unhappy with how she looks. She eventually decides to use her writing to raise body awareness: “I wanted the zine to make people think about how girls are raised to think about our bodies and who gets to decide how we think about them” (Quintero, 2015, p. 204). Later in the book, Gabi’s confidence becomes evident to readers when she says,

Then I looked myself straight in the eyes and said, ‘Gabi, get over it. You look spectacular. You look amazing, so stop your bitching or do something that makes you feel better.’ I took a deep breath and took off my shorts and shirt and stepped out on the beach like I owned that shit and didn’t give a fuck about all the skinny girls around me. After a while, I didn’t feel like an outsider and nobody made comments or even cared about what I looked like. The other think about being fat is that you spend too much damn time worrying about being fat and that takes time away from having fun. But I decided today would be different. And it was. (Quintero, 2015, p. 273)

Gabi is able to become more confident in herself throughout the story, and this occurs as she realizes her own worth. Future teachers can gain insight into students’ struggles with self-image through Gabi’s diaries. 

The Absolutely True Diary of a Part-Time Indian

Sherman Alexie’s story addresses many issues of family and belonging in the novel The Absolutely True Diary of a Part-Time Indian. Like Gabi, in Gabi, A Girl in Pieces, the main character, Junior struggles with not being “Indian” enough because he chooses to attend the all-White school in Reardan. Junior’s life is split into two pieces, as illustrated and discussed throughout the novel. Junior’s struggle to fit in with his culture while trying to fit in at school is difficult. Junior’s friends and family on the reservation feel that Junior is trying to be better than them because he is going off the reservation for school; however, Junior knows that he must do what is best for his future. The theme of fitting into multiple cultures is a common theme in The Absolutely True Diary of a Part-Time Indian and Gabi, A Girl in Pieces. During class, we listen to the spoken word poem “Beneath Two Skies” (Hepworth, H2010). This poem discusses the problems that Myrlin Hepworth experienced growing up with a White father and Latino mother. He felt like he did not fit into either culture. Future teachers are able to connect the poem to the book club text and to the possible experiences of their future students. This activity helps to illustrate the tensions so many students feel while trying to navigate school culture and home culture or a mixed culture background. Acknowledging that many students are trying to obtain balance between cultures helps to create more equity in classrooms.

Junior’s life on the reservation is shaped by alcoholism and death. He often writes and draws about people he has loved and lost to both. For Junior, this is just part of his life; even though he does not want these things to be in his life, the circumstances of the reservation make this a reality for Junior and the others living there. The circumstances students encounter in their home lives can affect them at school. Future teachers see into Junior’s experiences and realize that Junior’s experience could be the same experience students in their classrooms may be having. Drugs, alcohol, and trauma affect students’ lives. These difficult issues are overwhelming, but in the course, future teachers are able to discuss how they could address such problems if they are encountered in their future classrooms. Suggestions include accessing community resources and making these available for students.
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This book also addresses issues of poverty and fitting in. Junior compares his own clothes, bought at Kmart, to the brand name clothes of his White classmates. This tension reveals the feelings that students from low SES may feel at school, and future teachers can imagine how Junior’s feelings may be similar to those of other students from low SES who may be in their future classes. Our university is located in a town where there is very low SES and nearby, a school with one of the lowest SES rates in the State of Washington serves students. For many education students, living in poverty is a foreign concept. Reading books that deal with poverty helps create a window into life for a students in this situation. Some future teachers begin to realize that students in their future classrooms may come to school hungry or in dirty clothes, not because they do not care, but because they do not have a choice. 

Girlchild: A Novel

Tupelo Hassman’s novel, Girlchild, also addresses poverty. The main character, Rory, is White and lives in a trailer park outside of Reno, Nevada. Rory dreams of escaping the trailer park, and throughout her childhood, she imagines joining the Girl Scouts. She reads and rereads the Girl Scout manual, trying to gain insight, and Rory often measures her actions against the Girl Scout manual. Like Junior in The Absolutely True Diary of a Part-Time Indian, Rory dreams of escaping her poverty, of escaping the trailer park, and of moving beyond the limits of her current life. In class, we discuss connections students can make to Rory’s experience. I share my personal experience of teaching in Arizona where I taught at a school that served very low SES students. While teaching there, many parents refused to fill out FAFSA forms for their students to apply to college because the parent did not want the child to attend college. We learned that the parents relied on the income the child earned-either through their welfare check or job. If the child left to go to college, the parent feared this income would be lost. Barriers to school success such as this exist in many households, and poverty affects students in many ways that may or may not be observable to teachers. Future teachers may not realize the barriers to college and breaking the cycle of poverty. Through course discussion surrounding this text and research articles, they are able to get a clearer idea of what poverty means and how it affects students.

Rory is smart and excels at school. Her grandmother tells her that she can get out of the trailer park, but when Rory gets close to succeeding, she purposely fails because she is afraid of leaving behind her mother. An example of this occurs when Rory becomes the spelling bee champion. She is at the spelling bee, when she sees her mother in the audience and decides to misspell the word. Even at her young age, she observed that she did not fit in with the “sweater set” and fear took over. Future teachers can learn from Rory’s experience that students may not perform at their full potential due to unseen circumstances. When students perform poorly because it is not expected by their family or peers, teachers should try to discover what barriers are affecting the student. All students benefit from high expectations, and future teachers should work toward establishing high expectations for all students. Understanding students’ motivation can help teachers to be more culturally responsive. 

Out of the Pocket

Out of the Pocket by Bill Konigsberg explores the experiences of a young man who is quarterback of the high school football team, dating one of the prettiest girls in school, and on the short list for several colleges to play football. It seems like everything is going great for Bobby Framingham, but beneath the surface, Bobby knows that he is living a lie. He is gay, but nobody knows. When they find out, his world comes tumbling down. Future teachers in my course must consider the fact that students in their future courses may be “out,” “in the closet,” or still “questioning” their sexuality. Because young adults often struggle with their identities, this source of stress can be extremely difficult.  

Bobby’s struggle illustrates the strain between developing a personal identity and doing what other people expect. Young adults struggle with becoming themselves while meeting expectations of others. The book also explores the societal consequences Bobby encounters after being outed. Teammates no longer want to share the locker room with him. Opposing teams become more aggressive on the field. Scholarships are pulled. Like characters in the other texts, Bobby’s decisions are impacted by his culture, which is defined by sports. Konigsberg’s insight into navigating the world of sports while being gay provides future teachers with an idea of difficulties young LGBTQ+ students face in school. Being sensitive to students’ exploration of their sexuality can help future teachers to meet the needs of their students. 

Conclusion
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These five novels are just a small sampling of novels that could provide a window into cultural diversity in classrooms. By reading a YA novel in conjunction with theory and research addressing “ethnicity and race, socioeconomic status, gender and other inequalities within the society” (Eastern Washington University, 2017), future teachers gain insight into the diverse lives students may lead. Reading YA novels move future teachers beyond simple understanding to empathy. By reading novels in addition to more academic texts, the experiences of students are humanized. Future teachers become familiar with students’ lives in a way that they cannot by only reading theory and research; rather, YA novels provide a space where theory and research are modeled and demonstrated. I suggest using YA novels as supplementary texts to methods courses, courses focused on equity pedagogy, and in other educational settings. I believe that these texts can provide a way for future teachers to apply and analyze theories and research they have learned about in class in authentic ways. 

References

Alexie, S. (2007). The absolutely true diary of a part-time Indian. New York, NY: Little, Brown & Company.

Caraballa, L. (2016). A matter of justice: Sharing responsibility for dismantling the school-to-prison pipeline. Retrieved from   http://blogs.ncte.org/index.php/2016/06/matterjusticesharingresponsibilitydismantlingschoolprisonpipeline/

Christle, C. A., Jolivette, K., & Nelson, C. M. (2005). Breaking the school to prison pipeline: Identifying school risk and protective factors for youth delinquency. Exceptionality, 13(20, 69-88.

Cook, M. P. (2016). Using young adult literature to question stereotypes, society, & self. Multicultural Education, 24(1), 19-24.

Dewey, J. (1938). Experience and education. New York, NY: Simon & Schuster.

Eastern Washington University. (2017). Retrieved from http://catalog.ewu.edu/

Freire, P. (1970). Pedagogy of the oppressed. New York: NY: Seabury Press.

Gay, G. (2010). Culturally responsive teaching: Theory, research, and practice (2nd ed.). New York, NY: Teachers College Press.

Gutierrez, K. D. (2008). Developing a sociocritical literacy in the third space. Reading Research Quarterly, 43, 148-164.

Hassman, T. (2012). Girlchild: A novel. NY: Picador.

Hepworth, M. [Myrlin]. (2010, July 9). Myrlin Hepworth "Beneath Two Skies" @ Arizona State [video file]. Retrieved from https://www.youtube.com/watch?v=ncp6KgiJO3A
 
Jensen, E. (n.d.). How poverty affects classroom engagement. Retrieved from http://reading4all.com/entries/page/1156

Konigsberg, B. (2008). Out of the pocket. New York, NY: Dutton.

Kozol, J. (1991). Savage inequalities: Children in America’s schools. New York, NY: Crown Publishers, Inc.

Martinez-Roldan, Carmen and Franquiz, Maria. (2009).Latina/o Youth Literacies: Hidden Funds of Knowledge. In L. Christenbury, R. Bomer, & P. Smagorinsky (Eds.) Handbook of Adolescent Literacy Research (pp. 323-342). New York: The Guilford Press.

Moll, L. C., Amanti, C., Neff, D., & Gonzalez, N. (1992). Funds of knowledge for teaching: Using a qualitative approach to connect homes and classrooms. Theory into Practice, 31(2), 132-141.

Reynolds, J. and K. Brendan. (2015). All American boys. NY: Atheneum Books.
Wald, J. & Losen, D. (2003). Defining and redirecting the school-to-prison pipeline. New Directions for Youth Development, 2003(99), 9-15.
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Zayas, L. H., Gulbas, L. E., Fedoravicius, N., & Cabassa, L. J. (2010). Patterns of distress precipitating events, and reflections on suicide attempts by young Latinas. Social Science & Medicine, 70(11), 1773–1779. doi:10.1177/13-63461512463262

Dr. Shelly Shaffer can be contacted at sshaffer1@ewu.edu 

​Thanks for following.

The 2017 CEE conference was a rejuvenating event. It was well organized and plenary sessions were inspirational.  Thanks to all involved. There so many that help behind the scenes, but a special thanks goes to Mollie Blackburn and Kristen Suchor. The fact remains that the small nature of this conference makes a big difference. I learned something new from every discussion session or panel presentation. The side conversations at meals and between sessions are important for my work and for the opportunity to expand my thinking about ideas both old and new.

It was rewarding for me to connect with others who have an academic interests in literacy education that are different from mine. I need the infusion of new ideas as I plan a new methods class or work on a new syllabus for a graduate course. I appreciate the intellectual stimulation.
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It is also a place to make connections with people who do similar work. I loved the discussions at the two commission meetings on the Study and Teaching of Adolescent Literature.  A host of ideas were discussed and we have a new Facebook page to help us stayed connected between conferences. If you have a new article, a new book, an academic book review, or a call for proposals, we want to hear about it and post it on this page. The commission is doing what it can to sponsor new work, report on projects, support collaborations, and to invite practicing teachers and librarians into this academic space. 

Among the people at the conference were a large group of people who have previously contributed to this blog. I am going to list their names here with a link or links to their previous contributions. I appreciate their work, their ideas, and their willingness to share with others. I hope you take a few minutes to click on a few links. I think you will still find what they had to say worth revisiting; especially if you are planning a YA course this fall.
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Mark Letcher, Alan Brown, Crag Hill (2nd), Myra Infante-Sheridan, Sharon Kane (2nd and 3rd), Patricia Dunn, Gretchen Rumohr-Voskuil (2nd and 3rd),  Sophia Sarigianides, Mark Lewis, Marshal George, Michelle Falter, and Rob Petrone.

The number of discussion and breakout sessions focused on YA literature was rewarding. It was a great time and wish I could have been at every session. I thought it would be interesting for readers to see how academic types are thinking about Young Adult literature. This hints at various studies, pedagogies, and theoretical approaches.
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Some of the books I heard discussed during these sessions and other conversations are the following:

Wonder                                              R. J. Palacio
March                                                 John Lewis, Andrew Aydin, and Nate Powell
All American Boys                            Jason Reynolds and Brendan Kiely
Still Life with Tornado                     A. S. King
The Hope U Give                             Angie Thomas
Ghosts                                               Raina Telgemeier
Probably Still Nick Swanson          Virginia Euwer Wolff
13 Reasons Why                              Jay Asher  
Out of My Mind                                Sharon M. Draper
Shine                                                  Lauren Myracle

Understanding Ourselves in Relation to Others through Young Adult Literature
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A large body of young adult literature helps adolescents to be aware of the challenges that many of their “atypical” peers face, and the related discussions and reflections about the literature equip learners to move away from stereotypes and gain deeper and nuanced understandings of the lives some of their peers lead. The session invites discussion about the power of YA narratives to foster empathy

Stephanie Thompson, Kaplan University
Ashley Boyd, Washington State University
Janine Darragh, University of Idaho
Crag Hill, University of Oklahoma

​Literary Characters Who Demonstrate Compassion and Critical Consciousness Can Mentor Readers
 
Stories can help readers investigate issues of diversity and equity as characters grapple with social issues and injustices in their fictional worlds. Panelists will discuss how they help students apply principles of powerful literacy and critical literacy while analyzing literary characters who show compassion and/or critical consciousness.
 
Sharon Kane, SUNY at Oswego
Anne Fairbrother, SUNY at Oswego
Tania Ramalho, SUNY at Oswego

The Role of English Educators in Fostering Critical Approaches to Reading, Defining, and Approaching YAL
 
This panel provides a frame for young adult literature (YAL) involving market-based, reader-based, and content-based definitions. We argue that content-based definitions are most useful in establishing (com)passionate interpretive practices in the classroom that allow students’ intersectional identities to be taken up as a resource for literary interpretation.
 
Mark A. Sulzer, University of Cincinnati
Amanda Haertling Thein, University of Iowa

​Analyzing and Complicating Children’s and Young Adult Literature
 
Presenters in this combined session will review methods for and affordances of incorporating multicultural children’s literature and pop culture into K-12 classrooms. Specifically, presenters will consider the potential for such pedagogical approachers to welcome and value students’ diverse experiences, identities, and cultures in schools.
 
Margaret Robbins, University of Georgia
Chaz H. Gonzalez, University at Buffalo
Nichole A. Barrett, University at Buffalo

I hope that all of these presentations end up as a blog post in the near future. It would be great to share their power point presentations and highlight the books they referenced in this space. All of these presenters are people worth following. I am sure that many of them will be doing something interesting at NCTE in St. Louis in just a few mont

Thanks for following.

This week's guest post is an example of a type that I love to see, a university professor and a former student working together. The issue is also important as Alli Behrens, from Whitehall public schools in Montana, and Dr. Rob Petrone, from Montana State University, discuss the importance of Contemporary YAL with settings in rural America. Many of us who work with students in urban and suburban settings can easily loose track of how many students are attending schools is rural settings. Once again, the fact that so many good examples of this topic can be found in the large body of YAL shows us the value of exploring and using these books in the classroom.

You don’t want to spend the rest of your life milking cows. Did I not know this? Of course I needed college to get out of Red Bend! I remembered it every second of the day! But I’d never realized Mom knew it too. I’d never heard her say it, say so bluntly, that I needed to escape. She sounded desperate…
Front and Center by Catherine G. Murdock

​I (Alli) grew up in a small town in Northeastern Arizona, an island of houses and dirt roads in a sea of Ponderosa Pine trees. It is a town that climbs up hillsides and spills into a canyon; a town that booms in the summer and has streets lined with empty houses in the winter; a town founded on logging, now searching for new industry; a town of ranchers, teachers, waitresses, builders, and vacationers.
 
A town I knew I would one day leave.
 
Like DJ, quoted above, from the YA novel Front and Center, and numerous young people in rural communities, I believed to be successful, I had to escape. A “good” future could only be found in the world outside my hometown. To stay was to fail. So, I (and many peers) left after high school graduation with no intention to return except for Christmas and 4th of July.  
 
In many ways, my departure began in the pages of novels. As a child and teenager, I read voraciously, devouring book after book—classics and young adult alike. Those pages provided a window into worlds vastly different from the place I called home, worlds that seemed far more exciting and superior to my own.  
 
Now, several years and a thousand miles from my hometown, I recognize a gap in the reading of my youth. I’d hardly ever read—or even knew about—books, especially YA, that depicted the rural people and culture I grew up knowing—and not as historical caricatures of hardy homesteaders but as contemporary, multi-dimensional people and places.
  
Where were the books about kids like me?
 
Now, as an English teacher in a rural school, I have become invested in finding those books for my students.

Literacy scholars have recently highlighted the importance of focusing on rural contexts and people as an issue of social justice, claiming that too often topics of rurality are overlooked or negatively essentialized. (See articles by Dr. Amy Azano, a leading scholar in rural literacy education: “Rural Context” and “The Other Neglected “R.”)
 
Given this broader context of stereotyping and social justice, we see great value in literacy educators integrating YAL depictions of contemporary rurality into their teaching. However, we recognize two challenges. First, there is just not much YAL with contemporary rural representations. Second, YA novels that do focus on rural often—though not always—perpetuate and potentially reify deficit and stereotyped views of rural people and places. (See Dr. Karen Eppley’s article on stereotypical rural representations in children’s literature: “Picturing Rural America.”) Therefore, we think it’s important to not just bring rural books into the classroom but to read them critically to recognize and challenge stereotypes of rurality.
 
Additionally, we believe integrating rural books could be useful in rural and non-rural classrooms (i.e., urban, suburban). While rural YAL can function as a mirror for rural students, it can also serve as a window for non-rural youth to better understand rurality. How might it be productive, for instance, for urban students to examine stereotypes of rurality through YAL?
 
Regardless of who is reading, it’s crucial that students recognize these texts only provide a single version of rural and read with a critical eye, questioning the textual representations they find. 

Below are synopses of YA novels we think could be generative for classroom use, along with questions to help students engage critically with depictions of rurality. As rurality is not a singular entity, the novels here are set across the U.S. and include characters of different races, sexual orientations, ages, and genders.

Touch Blue by Cynthia Lord
 
This novel tells the story of Tess who lives on a small island off the coast of Maine and wants to be a lobster fisherman like her father when she grows up. However, her small island town is struggling to maintain the population it needs to survive. This story shows the challenges faced by rural dwellers trying to keep their communities alive as they rely on both local natural resources and community members to stay afloat.  
 
Some questions to consider:

• What is the relationship between the rural characters, like Tess, and their place? Are they there by choice? Do they want to stay? How is their identity connected to/determined by the place? 
• What are the conflicts faced in the novel? Which conflicts are a result of the rural setting?  What do those conflicts suggest about what it means to live in a rural place?

Knights of Hill Country by Tim Tharp
 
Set in rural Oklahoma, this is a wonderful sports novel. Hampton has been best friends with Blaine since 4th grade, but during football their senior year, Blaine changes as Hampton replaces him as the star of the team.  Blaine’s anger about losing the limelight stresses his relationship with Hampton. This novel emphasizes the importance of sports in small town culture, including the stereotypical dumb jock, as well as the pressure faced in a community where everyone knows your name.   
 
Some questions to consider:

• How do high school sports explain/define rurality in this context? What seems unique about sports and rural communities? 
• How are youth who are not interested/involved in sports depicted? How do sports in this novel marginalize certain characters?
• How does the rural setting hinder/help rural youth pursue future endeavors?  What does the availability of opportunities for the future suggest about living in a rural place?  

Far from Xanadu by Julie A. Peters
 
This novel is about Mike Szabo whose life changes completely when Xanadu, the most beautiful girl she’s ever seen, moves to her hometown of Coalton, Kansas. Mike becomes friends with Xanadu and wishes they could become more, but Xanadu isn’t interested. As Mike and Xanadu become close friends, Mike has to make some tough decisions about her future happiness. This story portrays the challenges that small businesses face, the difficulties of being different in a small town, and the hurdles rural youth face in attempting to plan for and pursue their futures.
 
Some questions to consider:

• How does the rural setting impact those outside the local social norms?  How does the rural setting hinder/help gay characters navigate everyday life?  How do rural people treat those who are different?  
• How is Xanadu, an urban character, depicted in relation to Mike?  Who is depicted as “better”/inferior/superior? What does this say about how rural is defined in relation to urban?   

Last Buffalo Hunter by Jake Mosher
 
This book provides an interesting perspective on rurality because the protagonist Kyle is not rural.  He lives outside of Syracuse and has always dreamed of Montana; his father grew up there and his grandfather Cole still lives there in a tiny town called Mistake. For his 14th birthday, Kyle’s parents send him to Mistake to spend the summer with Cole, an adventure Kyle will never forget.  This novel depicts a dying rural culture that cannot withstand the powers of money and outside interests. The contrast between a well-off, youthful city boy and an impoverished, dying old man embodies the death of the rural space.   
 
Some questions to consider:
Who tells the story? Is that person rural/urban? Whose perspective is most valued? Is that person rural/urban? Whose voices aren’t heard? How does that impact the story of rurality being told?
How is Cole portrayed in comparison with Kyle? How is their behavior normative/non-normative? How are those representations defining what it means to be a rural person?  

Dairy Queen by Catherine G. Murdock
 
This novel (the first of a trilogy), set in Red Bend, Wisconsin, tells DJ Schwenk’s story. Because of her father’s injury, 15-year-old DJ does the majority of the work on her family’s dairy farm.  Since she is so hard-working, the football coach of Red Bend’s rival Hawley sends his quarterback to DJ for training.  DJ realizes her love for football and goes out for Red Bend’s football team. This novel (and series) portrays the difficulties faced by modern farmers, the conflicts farm kids navigate between home and school life, and the importance of sports in rural cultures.
 
Some questions to consider:
·         How is life on a dairy farm portrayed?  How do the characters feel about farm responsibilities?  What does this suggest about life on a farm?   
   
·         How are rural girls like DJ depicted?  How does the rural setting help/hinder a girl’s ability to pursue her dreams?
 
·         How are sports and academics contrasted in the novel?  How does that characterize rural values?
 
·         How are urban settings, like Madison, depicted in this novel? What does this say about how the rural is defined in relation to urban?
 

Queen of Kentucky by Alecia Whitaker

This book, set in Kentucky, is about Ricki Jo who is starting high school and ready to leave behind her country-self in order to become popular. She wants to be called Ericka, becomes a cheerleader, and buys a new wardrobe. Ricki Jo changes a lot in order to fit in but realizes that it’s harder to be popular than she thought. This novel illustrates the challenges rural youth can face when attempting to navigate a new, more urban place and the pressure they feel to leave behind their country roots, which are considered uncool and unimportant.
 
Some questions to consider:
·         Why is Ricki Jo convinced of the need to alter her identity? What must she do to accomplish that?  How do her efforts to change her identity affect her relationship with herself, her friends (old and new) and her family?
 
·         How does the physical residence of characters impact their opportunities and achievements?  
 
·         How are characters from urban settings depicted?  How do those characters interact with rural characters?  What does this say about how urban people view rural people? 

The Serpent King by Jeff Zentner
 
This book, set in rural Tennessee, is about three misfit friends about to graduate high school.  Their future opportunities are complicated due to a variety of home-life and socioeconomic issues, but before they can move on to what’s next, they have to survive their senior year of high school. This novel illustrates the complex nature of religion in small communities, the challenges faced by those who are different, and the hurdles rural youth face when pursing their futures.
 
Some questions to consider:
·         What role does religion play in the novel? How do the characters navigate the religious expectations of the community?  What does this imply about religion in small communities?   
 
·         How does the rural setting impact opportunities characters have, both in high school and beyond, to engage in their interests?  How does the internet influence everyday life/future choices?  Does everyone have the same opportunities?   
 

​Several books we did not have space to include in this list but do want to mention are: The Miseducation of Cameron Post by Emily Danforth, Dumplin’ by Julie Murphy, Last Exit to Normal by Michael Harmon, Bull Rider by Suzanne Williams, and Hope Was Here by Joan Bauer. 

Next Steps
We strongly believe in the value that stems from reading rural YAL, and we’d love to hear your experiences making literary representations of rurality a classroom focal point. Similarly, we’d love recommendations of rural YA novels to share with our students.
 
abehrens@whitehallmt.org
 
robert.petrone@gmail.com

If you have been involved in the YA scholarly community for any length of time, you probably have met Mary Warner. Conversations with Mary are always interesting. I learn something new every time. As a result, my commitment to teaching my students and diving into more YA literature is renewed. Mary has contributed to the blog before. She wrote about using Karen Hesse’s Witness in a classroom setting and you can revisit her post here. This time she reports on how her students, from the current semester, learned about and embraced young adult literature. Many of us value and try to incorporate young adult literature; nevertheless, many of our preservice teachers are initially reluctant to see YA as an appropriate tool for literary instruction in the classroom. I love discussing this topic. It seems that just as we create a legitimate place for YA, a new crop of students show up and question the relevance of this body of literature all over again. I am glad that Mary has let us hear from her students.  

Most of us who teach YA Lit or librarians who promote YA already know its value.  In my Fall ’16 Literature for YA course, I decided to create a final exam allowing for my students – many of whom are planning to become middle or high school English teachers; but also for those who are creative writing majors or literature majors who take the course as an upper division English elective – an opportunity to articulate “Why YA?”

The students’ essays candidly and passionately captured the essence of YA; their essays speak for themselves and contribute a significant voice to the advocacy for YA Lit.

The Prompt: In an essay of 750-1,000 words (3-4 double spaced pages), discuss the following: Why YA Literature?  In the broad sense, what can YA Literature do to promote and foster literacy or the desire to read in a world where 40% of teens identify as “aliterate” – meaning they can read, but they choose not to? What is the value of YA Lit? Why does it deserve a place in English courses on the university level?

For those of you who plan on teaching, hone in more specifically, describing how you can incorporate YA Lit in high school or middle school.  How does YA Literature fulfill the concerns of those who might argue that YA Literature does not deserve a place in the Literary Canon?

Your essay will be evaluated on the specific examples and evidence you incorporate.  To that end consider referencing ideas from the six books we read in common, the texts--Literature for Today’s Young Adults (materials from the online handouts) and Adolescents in the Search for Meaning: Tapping the Powerful Resource of Story, the book talks, the Chris Crutcher video presentation; Dr. Bickmore’s YA Wednesdays, and the units of study/annotated bibliographies. As you discuss the importance of YA Lit., highlight points of information you now know about YA Literature, which you did not know before you took this course.

​Responses… (Note, I’ve excerpted and corrected some spelling/issues arising from on-site writing)

1.  “In the current public school system there is quite a leap from elementary school to middle and high school reading material.  In elementary school, the required reading is generally picture books or very short stories.  But once teens get to middle or high school, suddenly they are being prepared to read F. Scott Fitzgerald and Jane Austin and other incredibly difficult authors.  Most students struggle with these works because they’ve been forced to skip a very important transition period.  The students have not had time to become better readers and most certainly cannot relate to many of the characters in these novels, many of whom are grown men and women.  Teens need characters and settings they can relate to in order to feel more invested in the works they are reading.  Young Adult literature gives children and teens a bridge between picture books and academic novels.  I believe this because so many of the characters they are forced to read [about] in high school are not relatable to them.  Not many students are millionaire bootleggers who are madly in love with a married woman like Jay Gatsby, yet these are the characters students are being force to find themselves in.  A number of people say that YA literature is not important enough to teach in schools.  But these novels contain characters that students find themselves in; they are set in places that students can relate to, situations many of them have been in like high school classrooms or sports teams.

Being a teenager means learning how to function in society, how to speak for yourself even if you are afraid to and as Melinda in Laurie Halse Anderson’s novel Speak, ‘There is a beast in my gut, I can hear it scraping away at the inside of my ribs.  Even if I dump the memory, it will stay with me…’ (Anderson).  For most teenagers, high school is a very important period in their lives where they learn to speak for themselves…particularly young women could find an important message in Speak, one that is more relatable than the one the Bennet daughters give in Pride and Prejudice…

By having characters that they can relate to, students could be more inclined to read…In Matt de la Peña’s We Were Here the main character is described by another character as ‘a normal kid who did something very bad’ yet continues to beat himself up and believes himself to be a bad kid (Peña). I feel that many adolescents could find themselves in this particular work as many feel the need to be rebellious as teens…

When I was a high school student, I did not read very much.  I would be what is considered an ‘aliterate’ student.  It was not because I could not read well, it was because I could not find any literature that I could relate to.  I could not relate to Jay Gatsby or the pigs in Animal Farm, so I was not interested in the novels at that time.  It is because of my personal high school experience that I believe YA literature is important to teach in high school; these characters are ones that I know I would have related to because some of them went through experiences that I did.  Many of the characters faced situations that I faced, but I was sadly unprepared for all of them.  These novels could have helped me in those times and could probably help a great deal of other teenagers right now.  YA literature deserves to be taught in high school as well as in college because of its universality and its importance as a bridge between children’s literature and more academic works.  As someone who plans to be a teacher someday, I will try as hard as I can to include YA novels in my classroom…if they [my students] would rather read Whale Talk than The Great Gatsby that’s fine by me because they probably relate more to T. J. than to Jay Gatsby.”     Jason

2.  “Honestly, at the beginning of the class I was skeptical about what I would learn fromYA literature.  Despite how much YA literature I read as a young adult, I was embarrassed about much I loved the genre.  To me, YA literature wasn’t what I considered ‘real’ literature.  However, over the course of the semester, I realized that YA literature has a special and unique place in English courses whether it’s in junior high or even on the university level.  For example, strong female protagonists typically are rarely found in the literary canon, so YA literature gives young girls models and narratives that more closely reflect their own experiences.  The character of Kate from Robert Cormier’s After the First Death demonstrates courage even in the face of terrorism.  Many girls can relate to Kate’s struggles like her inner uncertainty about being ‘good enough.’  Moreover, her sacrifice and taking on the responsibility for the young children on the bus is heroic. Readers in that distinctive phase of their lives need YA literature in their lives in order to broaden their perspectives about the world and everyone living their lives around them.
 
Furthermore, YA literature also presents students with characters and narratives that they can enjoy and maybe even relate to.  As a teenager, I felt misunderstood and unimportant.  I didn’t think that my voice or my feelings mattered in the ‘real world’ of adults, but I learned through YA literature that I wasn’t alone in my thought process and that how I felt did matter.  According to Literature for Today’s Young Adults, before reaching the sixth and seventh stages of literary appreciation – aesthetic appreciation – readers tend to read ‘to find out about themselves, not simply to escape into someone else’s experiences for a few, pleasurable hours’ (LfTYA 5).  With that in mind, YA literature can also give the reader a sense of belonging and identity.
 
…However, I believe the most crucial element of YA literature is the ways in which the books deal with relationships.  Whether it’s dealing with parents, friends, teachers, bullies, significant others, authoritative figures, God, or even nature, YA literature usually gives an accurate portrayal of the inner workings of relationships.  Karen Hesse’s Witness deals with themes of racism and hate, but also shows the strength of human bonds and love can transcend hate.  Hesse’s character Sara Chickering exhibits this love through her mother-daughter type relationship with both Esther Hirsh and Leanora Sutter.
 
Moreover, Chris Crutcher’s Whale Talk and Matt de la Peña’s We Were Here both depict the difficult struggles of male adolescence.  In both novels, the importance of friendship is highlighted especially when confronting problems of that magnitude.  Miguel, Mong, and Rondell share the same brotherly love for each other as the Magnificent Seven do in Whale Talk. It’s important for young adults to know their family isn’t comprised [solely] of people that are related to them.” Trang

3.  “Having finally taken a course in YA literature, I can say that I wish I had learned earlier, a thing or two from this class.  I did not realize just how influential my reading material was when I was a young and how that shaped my reading material to this day.  Nor did I realize how the novels I read helped me as a young adult to understand certain topics or ideas, like learning to cope with the loss of a loved one or dealing with an overbearing parent.  Much of what I learned as a young adult shaped how I respond to certain situations and has taught me what is the healthy way to deal with difficult situations and what is the unhealthy way.

Probably one of the most important concepts as to why YA literature is so important is that it allows young adults to find an escape from reality.  When young adults read YA literature it allows them, in a sense, to broaden their surroundings.  The world in which they live will all of a sudden seem a lot [vaster] because of that, those who do not read may have a more narrow-minded view on the world, only drawing on the culture directly around them versus a broader scope of the world that is available in literature.  Furthermore, when young adults find a way to escape, they may find a sense of inclusion in the world they read about or in the characters they come to understand and love.  Having been a young adult I remember feeling that sometimes people did not understand me, but when I read about a character with similar trains of thought I felt like I was finally understood and that someone cared.  Along with this concept of inclusion, young adults will be able to find emotional support from their characters.  Young adults are not always placed in certain environments that are ‘ideal,’ and may not have an outlet for pent up emotions; however, reading about a character who is going through the same situation may allow the young adult to find a sense of comfort.  What any young adult should not feel is alone.  But this can translate to adults as well.  When young adults, or adults, feel along there is a desperate need to be understood or to find sympathy, and when that feeling of being alone grows then that is when problems start to arise.  That is when depression may set in and if a young adult cannot find an outlet or an escape, then those emotions can be translated into violence.  But YA literature can be that emotional support when upheaval ensues.
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…YA literature [also] not only teaches young adults, but adults, how to deal with ideas like isolation, fear, or traumatic experiences.  Young adults can find comfort that these characters may be going through the same situations or feelings as the reader, but may also learn how to deal, in a healthy way, with difficult issues that arise.  For example, in Witness by Karen Hesse, the character Leanora Sutter feels isolation from her racist community.  Leanora, having dealt with some racist remarks explains in her own way her isolation: ‘I walked out of school/I didn’t know where I was going./I just walked out/without my coat,/without my hat or rubbers./I didn’t feel the cold,/ I was that scorched.’  Here, Leanora feels ostracized and alone from her community, and she has an emotional response to the discrimination she has endured.  Not only is she dealing with racism, a difficult issue to experience, but along with that racism Leanora feels alone in her own home.  This book will help young adults to be able to feel a sense of connection to Leanora, especially those who feel alone when dealing with racism…

YA literature addresses so many concepts and ideas that can be translated into adult literature as well.  YA literature is a stepping stone towards more complexity as well. While some students may feel that literature is too hard to read or understand, YA literature allows the young adult audience to understand that not all novels are ‘complex’ in language or in concepts.  However, certain concepts may seem mature or complex, but can be easily understood in the guise of a YA novel.  When students are able to understand the material, it is more likely that they will read it.  While many students may see novels as boring or cookie cutter, incorporating fantasy novels may allow students to expand their minds to new worlds, but still find a connection to the world in which they live.  Even by reading these novels on a university level, students will be able to use this knowledge for their own classes, but also understand that YA literature does not have to be boring or typical, but can be enlightening and interesting, that even complex concepts can be found in YA literature and can be used in the university canon.  Simply put it, reading allows students to gain knowledge of themselves, others, the world, their community…”   Mariah

4.  “…YA lit can be used to explore so much more than sexual assault [referencing Speak].  Karen Hesse’s vignettes in Witness explore the effects of prejudice through a town in Vermont in 1924 and their struggle with the Ku Klux Klan; We Were Here by Matt de la Peña explores themes of guilt, suicide, violence, and identity; and Robert Cormier’s After the First Death explores father-son dynamics, terrorism, the concept of the enemy, and patriotism.  YA literature contains many complex themes and experiences that act as a vehicle for helping teens contextualize, analyze, and deal with the world around them.
 
While YA literature is written for young adults, it also extends beyond them.  For one, teenagers eventually grow up.  They become adults, they vote, they work, they inherit the previous generation’s world and create the way for the future of the next generation.  The things that they learn in schools, media, and from experiences shape who they become.  Well written YA literature teaches readers to be empathetic, aware, and curious.  For these reasons, I also think that it is valuable to YA literature to be involved at the university level.  While college students are considered adults, most of them are fresh out of or just a few years from high school.  Two years into adulthood, ‘adults’ are still teenagers at eighteen and nineteen years old.  College is a big version of high school, with bigger campuses, social networks, people, and consequences.  YA literature still deals with the problems of living in this world, and while they may not be as immediate for adults as they are for teenagers, every adult still had to grow up to get there and can relate to experiences of adolescence.  In addition to all of this, many adults will interact with adolescents at one point or another.  They’ll become parents, educations, mentors, or work in administrations and business that affect the world that teenagers will live in.  Many teenagers are subject to the decisions of adults in this way, and YA literature is a great resource for adults to understand how their actions affect them.
 
Reading is a valuable skill and, like all skills, can be lost or numbed with neglect.  The fast-paced nature of YA literature is a great way to sharpen reading skills when [teens are] caught up in the busy routine of this fast-paced world.  The fact that it’s written for teenagers does not lessen its value any more than being a teenager lessens the value of a human being.  Life can get hard and quality YA literature teaches teenagers that they are not alone and there is more to come.    Allison

5.   Before this course, I didn’t know the importance of YA literature.  I used to read [YAlit] for enjoyment and to escape from my own reality.  When I wanted to forget something, books became my sole comfort.  Then I learned that I am not the only one who still enjoys reading YA books.  YA literature can tie into anything that a person can relate to whether it is fantasy/sci-fi or any other type of genre.  One of the quotes I love is from Laurie Halse Anderson in which she says, ‘Contemporary young adult literature surprises some people, because it is an accurate reflection of the way today’s teenagers talk, think, behave.  But these books must be honest in order to connect to the teen reader.  America’s teens are desperate for responsible, trustworthy adults to create situations in which they can discuss the issues that are of the highest concern for them.  Reading and discussing books is one of the effective ways to get teens to think through and learn the challenges of adolescence.’ (The quote is form “A Comment about Censorship” on the back of the book, Speak.)  I agree with her because it is the reason I tuned in to read books.  I am able to relate to them, even as a teenager.  When I had no one to talk to, I learned through the novels I read.  I am still learning through the novels.  YA literature is important to teach to students who find other works boring and end up tuning out from an entire lesson.  They [YA books] teach lessons that are hard to talk about or [are] about adventures teens may want to go on but can’t.”   Angela

6.   “One of the most beautiful aspects of the YA genre is the multiple perspectives I’ve been able to view life from.  I began realizing the importance of YA literature shortly after we read Witness, and Dr. Warner directed us to recount our memory of the unforgettable attacks on our country on September 11, 2001.  The responses were remarkable; they varied from personal accounts of the day to remembering the day from a victim’s perspective and even through the eyes of a victim’s family member. (9/11 Readers’ Theatre) What I realized after this exercise is why YA literature is important.  YA literature allows anyone regardless of age or gender or orientation to feel welcome.
 
      One characteristic of YA literature (which is closely related to Exeter Quality 6) presented in the online handouts Literature for Today’s Young Adults (chapter 1) says ‘The body of work includes characters from many different ethnic and cultural groups.’  The importance of this characteristic should be duly-noted.  In every classroom I’ve been in this year, the backgrounds of students are always mixed.   The book talks are proof of how YA literature can reach to all types of backgrounds.  Anton’s book talk on The Port Chicago 50 describes the hushed event during WW II in which an explosion killed many African-Americans.  Luke’s book talk on Gabi, A Girl in Pieces details the struggles of an overweight Mexican-American trying to fit in during dark times in her life.  An assigned book we read, We Were Here follows three young males who are all from different backgrounds: African-American, Mexican, and Chinese, on their journey.  These books invite those ethnicities who may have felt marginalized due to the importance of reading canonical works for so long to read YA books that tend to connect to a wider audience.
 
      This course on YA literature has allowed me to view life from a different perspective.  I once dismissed the genre simply based off of the negative comments and reviews I would hear from the naysayers.  The quick reaction to dismiss something I have yet to try and understand will forever be a valuable lesson.  During this semester, I lent a copy of one of my favorite YA novels, The Alchemist, to a friend who was struggling to transition in a hectic time of his life.  His response to the book was heartwarming. He revealed to me a few things: he appreciated how the novel was written.  The diction was simple and enjoyable which didn’t make it a difficult read.  He could connect to the protagonist in more than one way.  He revealed the novel made him grow as a person…Most important and also the most joyful part of the feedback is the fact that he shared that book with three other family members.  What he gained from the book prompted him to share that feeling with other people.  This is the beauty and importance of YA literature… In a day where technology consumes almost every aspect of our daily routine, it was refreshing to see how a book helped my friend in a time of confusion.  If a book like The Alchemist influences someone in his late 20s, I can only imagine how it can affect a young adult in middle or high school.  Not only is YA literature a valuable part of young adult education…the genre can very well resonate with adults too.”   Casey

7.   “According to a survey conducted by Dr. Mary Warner, 464 out of 1375 (34%) teenagers said that peer pressure was the biggest issue that they faced, with school issues following second with 254 (Adolescents in the Search for Meaning: Tapping the Powerful Resource of Story, 8).  In that same survey, the teenagers said that they had only one primary source of guidance, with the highest number of responses being either family or friends.  The survey also states that a staggering 772 (51%) of these same teenagers said that they had never gotten help with issues from a book.  While these numbers seem to point to the idea that teens do not want to find solace in a good book, it brings up one big question: why?  The best answer comes in the form of one of the Exeter qualities of good YA literature, ‘Characters who reflect experiences of teen readers, something not found in much of the literary canon, especially when it comes to strong female protagonists.’  This highlights the issue that it is not reading in particular that teens hate, it is what they are reading.  While the literary canon is important as it shows teens the classics and helps build their knowledge, works such as The Tragedy of Julius Caesar, and even my favorite work of all time, Animal Farm do not have characters that teens can directly relate to.  This is why YA literature is invaluable in the classroom and should be taught in conjunction; it can help fill in the gaps and give stories to help teens cope with the issues they face every day.
 
      One other Exeter quality…is ‘Themes that allow the possibility of emotional and intellectual growth through engagement of personal issues.’  Essentially good YA literature will allow students to directly tackle any personal issues that they are facing…There are plenty of books dealing with plenty of different issues, so tailoring a unit to a class becomes easy with resources such as Dr. Bickmore’s YA Wednesdays and our book talks/annotated bibliographies/units of study. (Students’ page) If for example, a Hispanic student is dealing with racial identity issues, I could easily recommend books such as Mexican Whiteboy by Matt de la Peña (Ricky Clark’s book talk) or Gabi, A Girl in Pieces by Isabel Quintero, (Luke Coulter’s book talk) because I already have background on them.  The large number of genres gone over in our unit of studies/annotated bibliographies makes it just as easy to give books to teens for pleasure.  If this class has taught me anything, it is that YA literature is a great tool for getting students interested in reading, and one that is severely underused in the classroom.  As a student who used to hate reading, I find that when I teach I must make an effort to use these resources to get students interested in reading.  However, using YA literature does not mean getting rid of the classics all together, or put any less importance on them.  In fact, the units of study/annotated bibliographies taught me that YA literature can help build on or even introduce the canonical works…
 
      When I was in middle school, I was bullied on and off.  In 7th grade, I was pushed to the ground and broke my wrist.  After that, the same bullies threatened to do it to me again as a sort of sick joke.  Despite the support from my friends and family, I never really had the tools for coping with it or even understanding why the bullies would do this in the first place.  This led to some depression in high school that I once again had trouble coping with.  I can’t help but feel that if I had a work of YA literature such as the book I did my book talk on, Endgame by Nancy Garden, that I could have felt like I was not the only one going through this.  While I will always love the literary canon for the great stories it provides, I am the first to admit that teens really need more.  They need stories that they connect to, that help show them how to deal with problems they cannot talk about with others.  Ultimately, I want to use YA literature in the classroom to help students, to give them a way to cope with life in a constructive way by showing them that they are not alone.”   Maximillian

8.   “…While the characters within YA literature hook young readers in ways that canonical literature may not, another enticing aspect of YA literature’s style is the voice and language that a young adult perspective allows.  For example, Miguel, the narrator of We Were Here by Matt de la Peña has a very unique and fun-to-read voice.  I know that as a young adult I would have gotten a kick out of reading passages like this: ‘I stopped chewing mid-chew, looked back at the guy.  Okay, dawg, I told myself.  Here it is. The shit’s finally gonna go down.’ (57).  In Level 3 of the Stages of Literary Appreciation, Nilsen and Donelson discuss the value of language that is ‘straightforward and written in a style that [readers] can understand.’  Students who might feel bored and confused with the flowery language of Shakespeare or Nathaniel Hawthorne will find it relieving to read such a unique and relatable voice. 
 
      Beyond simply making the book fun to read, this language provides a springboard for the class to explore language.  A high school class can discuss how Miguel’s language affects the reading of the story and perception of him, how it affects and marks his relationships with other characters, and finally how Mong’s, Rondell’s, Miguel’s, and Jaden’s voices help establish them as unique characters.  This discussion of language can open to a broader discussion of how language and voice shapes all texts and characters, not just those in YA lit.  The examination of characters’ unique language and its role in characterizing them can be applied to canonical texts like The Character in the Rye where Holden has an extremely unique voice; Huckleberry Finn where Huck, Tom, and Jim are limited and separated in some ways based on speech.  Language is essential in understanding characters as well as ourselves, and this is why Exeter Quality 5: ‘Lively, Varied, and Imaginative Language that is Grammatically Correct’ is so valid…”   Tyler

9.   “Prior to taking this course, I had not given much thought to YA literature.  I often read as a teen, but never considered the actual impact that YA novels were having on me.  What I learned from this course was that the YA literature I had been introduced to was helping me develop my reading skills and an appreciation for literature.  In Chapter 1 of Literature for Today’s Young Adults, I learned about the seven stages of literary appreciation.  The stages … point to the fact that it is important for readers to first develop an interest in reading at a young age, so that they can learn to appreciate all types of literature.  If I had been forced to read only difficult literature from the canon, I probably would have lost my appetite for reading.  YA literature helps to foster an interest in reading for teens by providing them with stories they can relate to…
      I know that growing up I had my fair share of existential dilemmas, and I too felt alone in dealing with.  Through literature, though, I was able to find comfort and answers to many questions.  The reason for this is that YA literature provided me with a safe place to confront my personal issues.  That is the power of YA literature.  It takes complicated adult themes and presents them in a way that adolescents can understand and learn from.  In Adolescents in the Search for Meaning: Tapping the Powerful Resource of Story, Dr. Warner explains that YA literature allows readers to vicariously experience difficult themes at a safe and neutral distance (Warner, XIV).  One of the things that I learned from this course is that these topics are far from childish.  The YA literature that I read in this class touched on serious subjects such as racism, sexuality, rape, death, grief, and depression.  These are all issues that adolescents will begin to deal with as they get older, which is why it is important for them to have literature designed to address these themes…”                            Ariel

10.   “…Teens have a tendency to be susceptible to influences and can easily be swayed to be something they are not, peer-pressured into doing something they do not want to do.  This could lead to vulnerability and sometimes, dependency on others.  Some teenagers start to feel alone so they start to look for a place where they can feel accepted and wanted.  This can be a tricky task to accomplish especially when they feel like an outcast and that there is no one that can understand them, that their suffering is unique.  Reading stories about people their own age can build a sense of trust and belonging which could encourage them to reading more, to continue their search for others who understand their struggles.  This could eventually lead to a love for reading as I have experienced when I was searching for others who could understand.  This is the main topic and struggle for most of the YA literature that I have read so far, be it a canonical work or not.  In Whale Talk by Chris Crutcher, T. J. struggles to find somewhere where he can belong, so does Harry Potter in the Harry Potter novels by J. K. Rowling.  Aristotle and Dante find themselves belonging to each other in their search in the novel Aristotle and Dante Discover the Universe by Benjamin Alire Sáenz.  Many other novels and authors have talked about this because it is a crucial topic among teens who are lost and do not know where they fit in life yet. Reading about other people with the same struggles can encourage them to read more and look for more people who can offer them guidance and comfort.

The ideas and themes that reside within a YA novel are not only for young adults, but also for anyone at all really.  That is the beauty of humanity, that the pain we feel, no matter how unique, can still be universal.  There are others out there that go through some of the same things and problems, and there are ways to find them and get to know them by talking and communicating experiences through stories.  And maybe, just maybe, by telling others those stories, a community can be formed, a place to belong to.  That is why I believe YA literature should be taught to young adults.”   Miguel

11.   “…Clearly, YA literature is much deeper and more complex than at first glance.  Its ability to create circumstances and characters that students can relate to and understand is an invaluable asset to encouraging teens to read and think.  Although, it might be more accurate to call the genre ‘literature written for adolescents and young adults,’ as Dr. Marshall George writes in an article for Dr. Bickmore’s YA Wednesdays, “What’s in a Name? Adolescent Literature? Young Adult Literature? Does it Matter?”  However, while understanding the distinction between novels for teens and adolescents versus young adults is important, it is equally important to support that the material of YA literature is sophisticated and challenging enough to be observed on a university level, both as a subject to be studied and as a subject to be taught in schools for aspiring teachers.  Furthermore, YA literature serves as an effective complement and parallel to works in the literary canon, helping students in high school and middle school better understand and relate to the works they are studying.  Incorporating YA literature into units of study can breathe new life into classwork, drawing the attention of uninterested students and supporting the learning of aliterate students by generating activities and exercises that help to further their understanding.  The power of narrative shows itself in its ability to attract human interest, in the form of oral storytelling as well as the written word.  Humans have been enthralled by good stories throughout history, and in a sense, YA literature is the culmination of human storytelling experience, formulated first for adolescents and young adults and enjoyed by all ages.  For this reason and numerous others, YA literature deserves a place in the realm of education and the literary repertoire of students and adults alike.”   Brandon

12.   “There is no denying it: the classroom is an environment full of boredom and stress. Teens often dread the idea of listening to a monotone lecture for hours on end, nor do they wish to stress themselves by diving into the assignments and responsibilities associated with their classroom.  What’s more, it is this boredom and stress that contribute to students’ unwillingness to read despite having the ability to do so.  In short, many teens identify as aliterate simply because they do not feel like reading, and with the absence of any motivation to do so, they simply remain in this state at their own will.  Fortunately, YA literature possesses the ability to pry teens away from this mindset; with its ability to serve as entertainment, act as a teacher of life lessons, and nourish and build reading skills; the value and benefits provided by YA literature are simply too high to overlook.  In addition, the dynamic nature of the YA literature makes it a good subject to be taught in classes of various reading levels.

The first and most obvious trait of YA literature is that it can be entertaining; this allows for the attraction of teens who are reluctant to read.  As Miguel brings out in We Were Here, the sole purpose of reading should not be simple to read because it is a requirement, but also to read in order to ‘see what happens.’  Rather than having teens be made to read because they have to, which simply is not an attractive notion, teens would be more involved in reading if they actually enjoyed doing it.  Luckily YA lit has no shortage of entertainment.  From the magical vibes of Harry Potter to the heated interior of the bus in After the First Death, there is no limit to the material that teens can read to ‘see what happens’ rather than to ‘see what you’ll read because you have to.’

Moreover, the dynamic nature of YA literature further builds its use as a means of entertainment and can attract teens to reading, as YA literature consists of multiple genres, has the ability to take place in any time period, and includes multiples themes; teens will certainly find these qualities attractive, as they have the opportunity to either ‘lose’ or ‘find’ themselves when reading… For instance, many presentations [units of study and book talks] bring out the idea that YA literature can be used as teacher of life lessons.  Natalie Collier’s unit of study effectively utilizes the notion of death and the idea that the world can be a tragic place, and brings out the fact that young adults can read stories relating to the theme of death to understand the tragedies that make up their own environment.  This can easily be incorporated with a novel such as After the First Death by Robert Cormier, as its violence, fear, suspense, and tragedy reveal to teens that endings aren’t always happy in the real world.  On the other hand, Miguel Adea executes his unit of study in a manner that focuses on depressions; he reveals that YA literature teaches teens valuable lessons about mental illness, including the fact that they ‘are not alone.’  Teens can go about this approach by reading Speak by Laurie Halse Anderson.  They will see familiar effects of depression first hand, and then journey with the protagonist to recovery…”   Daniel

13.   “… Of course, for teens to know that there is such a treasure as YA literature available to them, adults will have to be knowledgeable about the topic of YA literature.  That starts with learning about YA literature at the university level so that it can then be taught to teens at a middle school or high school level.  Not only should future teachers take these classes, future librarians should as well, because as Dr. Bickmore says on his YA Wednesday blog about where it is teens are getting book suggestions from ‘librarians [are] true heroes.’  Why not just stay with the old works that have always been taught?  Why start a whole new section of teaching?  That is because, as shown above, YA literature offers so much for teens and adults as well.  The themes found in YA literature are universal and can be found anywhere and at any time.  Not only that, they contain many of the Exeter qualities so highly sought for in a book.  There is always a character to whom others can relate and an exciting and imaginative plot that may or may not go in chronological order, which may be even more exciting.  YA literature is also a great way to let teens further develop their reading skills.  From reading YA literature, they can then move onto even more complicated pieces or works…YA literature is a treasure trove of possibilities for young adults that just needs to be opened up to them.”   Poua

14.   “YA literature deserves a place in college classrooms because like Chris Crutcher says ‘YA fiction is not a lesser genre.’  Crutcher says the same themes addressed in Shakespeare can be found in YA literature and he is right.  The theme of rivalry between two different families in Romeo and Juliet is seen in a new way in Whale Talk.  T.J., the main character in Whale Talk comes head to head with his rivals – the revered athletes of his high school, proving that significant themes can be found in YA literature.  The material provided in YA literature makes it so that incorporating it into classrooms can be done with ease.  Adolescence is a time of discovery, growth, and self-identity.  Thankfully, YA literature has many great books that discuss identity.  I learned about many books (from the book talks) that are candid portrayals of characters coming to terms with their identity.  For example, there is Gabi, A Girl in Pieces about a young girl who struggles with her cultural identity.  Me and Earl, and the Dying Girl centers around Greg – a teen boy trying to maintain an identity for himself that ultimately proves to be destructive.  There are so many others too.  YA literature is significant.  Beyond this though, it is simply fun!  Many YA novels that I have been introduced to are quick-paced and suspenseful like After the First Death.  If a young person does not like reading, I believe it is because he/she just hasn’t read the right thing.  The more children read, the more they are bound to gain an appreciation for YA literature and literature in general.”  Beverly

15.   “YA lit can also help open up teens’ views of the world and people of other cultures like we read in We Were Here by Matt de la Peña.  I admit before reading this book, when I saw kids like the characters in this book, I would brush them off or look the other way.  I often just thought they were trouble makers.  Now I am not so quick to dismiss them.  Now I wonder what their story is, where did they come from and where are they going.  How will different events shape their lives?  I wonder if they would be good students if given the opportunity.  I see that we are all dealt different cards.  Since I plan on teaching, it’s beneficial for me to read about kids from different backgrounds with different experiences from mine…”   Elizabeth

16.  “YA literature is not very respected in academia.  Currently, it has no place in the canon of literary works.  Instead this canon is filled with epistolary novels from the point of view of eighteenth century chambermaids, plays about long dead political leaders, and poetry about pieces of pottery.  All of these works are valuable, and they certainly deserve to be studied, but focusing on them in high school literature courses creates absurd and terrifying statistics like 40% of teenagers identifying as ‘aliterate.’  Rather than forcing this abundance of dense and nearly impenetrable writing on teens, it would be far better to design and execute a more accessible canon, filled with books young adults might actually want to read.  This would serve multiple purposes.  First, it would help alleviate the disgust and fear associated with reading and improve the aforementioned statistic.  Second, and far more importantly, YA literature can develop empathy and critical thinking skills in everybody from elementary school students to adults.

The best YA literature contains several qualities that can help imbue this empathy. Unlike ‘much of the literary canon,’ it can ‘reflect experiences of teen readers’ (Literature for Today’s Young Adults).  Rather than being about an ancient king, Speak begins on the protagonist Melinda’s ‘first morning of high school.’  By starting with something identifiable and easy to connect with for high school students, Speak is able to ‘go beyond typical experiences.’  Most high school students have not been raped, but walking in Melinda’s shoes as she attempts to survive her freshman year opens that experience up to everybody.  This helps those students who have had something similar happen to them by giving them a chance to step outside their own fear and anxiety, and it helps to establish a community around them that is more understanding of the damage that they might have.  It fosters empathy and understanding among the entire class – something that a canonical work might have significantly more trouble doing.  By addressing a theme that students can connect with, Speak provides a much better opportunity for ‘emotional and intellectual growth’ (Literature for Today’s Young Adults).

This ‘intellectual growth’ leading to ethical understanding is easier to attain with YA literature than it is with more ‘academic’ works, as well.  In Whale Talk, T. J.’s mother says ‘as long as we’re going down this road, let’s go all the way.’  She then proceeds to lay out the sequence of events that would occur if T.J. were to assault Mike Barbour.  Whale Talk engages the reader’s interest by setting up a typical excuse for justified violence and then subverts the expectation caused by this in an organized, logical way.  Whale Talk provides a model for engaging with an emotional situation intellectually, which is a tool directly useful to teenagers’ lives.  These tools show up fairly frequently in YA literature.  These models almost always appear in themes that emphasize facing past troubles with honesty and integrity, rather than running and hiding.  We Were Here’s protagonist Miguel is about to flee America for Mexico when he realizes that he can’t.  There is a deep upwelling of emotion within him, and he recognizes that trying to run away from his problems won’t work.  He lacks the introspective ability to recognize why, but he intuits it all the same.  Similarly, in Witness, Merlin van Tornout decides to stop running from the law and accept what awaits him back in his home town.  Canonical works seldom provide these ethical models, and even when they are there, the texts themselves get in the way of the lesson more often than not…”   Luke

17.   “… Before taking this course I was unaware of the multitude of possibilities of incorporating YA literature into a classroom.  To be even more honest, I was unaware of the benefits YA literature afforded young adults.   However, by coming to understand the various levels of reading, learning that not all YA novels need to be considered great, and by being given traits to look for in good novels, as well as reading and hearing many presentations on how to incorporate YA novels in a classroom, and by being introduced to many resources, I now more clearly understand their importance and merits.  No classroom is complete now without incorporating YA literature.  If more educators understood the benefits of incorporating YA literature in class, more lifelong readers would come from their classrooms…”   Natalie

18.   “One way to alleviate this sorry situation [aliteracy] is to supplement young adults’reading lists, either in or out of the classroom, with YA literature.  Contrary to common misconceptions, not all YA books are about vampires, gossip, and romance – not all YA books that do have those features lack depth.  YA literature often contains similar themes to those found in the literary canon, presents a wider variety of diverse and inclusive perspectives, stars protagonists of similar age or sensibilities to young adult readers, and provides a safe avenue for vicariously gaining new experiences.  If young adult readers find the subject matter or characters in a book compelling and connect to the story, they are more likely to be interested in continuing reading.

​In fact, good YA literature can bridge a gap between the surface-level simplicity of Winnie the Pooh and the surface-level complexity of Jane Eyre, preparing young adults not only for the increased complexity and critical analysis of adult literature, but also for the increased complexity and critical analysis of their rapidly-approaching development of adult lives.  In their book, Literature for Today’s Young Adults, authors Alleen Nilsen and Kenneth Donelson posit that good YA literature contains protagonists who reflect teen readers’ experiences or ‘go beyond experiences so that readers can use the fictional experiences to learn and develop in their own lives.’  Through these characters and their stories, young adult readers can form their stances on their identities and ethics, learning such concepts as love, death, life, fear, courage, depression, hope, self-expression, and human relations.  Although the protagonists of YA literature tend to be teen themselves, the depth of themes and variety of perspectives provided in YA literature are universal and readers of any age or background can find entertainment and wisdom in these stories…”   Nichelle

19.   “…As a final point to be made on why there is so much value in YA literature, I’m currently 23 years old, not old by any stretch, but my days of being high-school aged are far behind me.  Even so, many of the books I’ve read for this class will stick with me for many years.  Moments like the heart-drop feeling I felt when Mong decides to walk into the cold morning ocean in We Were Here, the frustrations I feel alongside Melinda when she tries to process all that’s happened to her since her rape, and my relief when she finally speaks up about it in Speak, or even my reaction to how the story arch of John Paul Jones ends in Whale Talk.  Moments in these ‘simple books for kids’ that will remain with me for a long time to come.  There’s so much power here.  It would be a shame to simply write them off, as many do.”  Eduardo

20.   “…YA literature can be paired with canonical literature.  For example, We Were Here by Matt de la Peña can certainly be paired with Of Mice and Men by John Steinbeck who is considered a canonical writer in American literature; both novels depict similar narratives and themes of friendship and rejection.  de la Peña’s novel is set in a more modern time and has colloquial language that is more engaging for teens.   The themes in de la Peña’s are rather mature and students can take more meaningful lessons from the book because they can be more engaged with the text.  Steinbeck’s novel takes place in a rural setting and is a narrative regarding the plight of migrant farm workers during the Great Depression and is not something to which most, if not all high school students can relate.  The power and effectiveness of reading YA literature is that it embodies the same themes as canonical literature, but at the same time engages the average reluctant teen reader…”   Anton

21.   “…Both examples [The Princess Diaries and Speak] I have used are from the Contemporary Realistic Fiction genre, but that does not mean the other YA novels are any less worthy of being covered in a course.  According to Literature for Today’s Young Adults, the most successful YA novels deal with emotion that are important to young adults.  Marc Aronson says that what makes realistic novels succeed is their level of intimacy: ‘Does a book have the potential to touch readers so deeply that, in the struggle with it, they begin to see and shape themselves?’  This is important, this is something that needs to be noticed and shared.  This is what the point of YA literature is all about.  And even long past the age of ‘young adult,’ even years after my issues were resolved, books like these spoke to me on a level no other book has.  Books like these – ones which speak to people on such a deep level -- need to be taught to people even at the university level because it [YA literature] is something that can help others identify with and understand young adults, but also better understand who they were as young adults.   Caitlin

22.   “YA literature is salient in young adults’ overall growth into contributing adults.  The many novels in the genre cover a wide array of themes but, most importantly, they instill two key qualities of confidence and understanding identity.  Reading at any early age sets youth up with tools to succeed in life – giving them a chance at conquering real life issues before they arise.  The inclusion of YA literature will allow these future leaders to have a grasp on the world – an understanding that allows them to be better prepared as friends, parents, and innovators.  YA literature is as diverse as the readers and the lives they live, making it an effective genre to instill life values that are fundamental to social advancement.  Furthermore, the incorporation of YA literature allows for safe experimentation of young adults through the eyes of characters, giving them an edge in the understanding of the world.  In other words, YA is seminal and the reason for this is simple: the novels in the genre do more than tell the stories of fantastical lands, familial drama, and love stories; they give teens a better understanding of the world through something that is relevant to them – a story that is relatable. YA literature gives teens a chance to mentally and spiritually develop into strong, independent, and contributing adults to the world they live in, and that alone is reason enough to include it in English courses across the educational sector.   Jordan

23.   “…A particular instance in Speak that highlights the insight it has to offer young adults comes on page 122:
                  Art without emotion is like chocolate cake without sugar.  It makes you gag…
                  The next time you work on your tree, don’t think about trees.  Think about
                  love, or hate, or joy, or rage – whatever makes you feel something, makes your
                  palms sweat or your toes curl.  Focus on that feeling.  When people don’t express
                  themselves, they die one piece at a time. You’d be shocked at how many adults
                  are really dead inside…
This quote is representative of the book in the way that it expresses the true depth in theme that Speak covers.  Many students can and will be impassioned by this kind of insight as it is presented in a way that is clear, concise, and not fogged over with flowery language or content to which teens can’t relate.  Young people are in a constant state of finding themselves, and Speak offers a tremendous amount of guidance within its themes.
      In addition to Speak’s relatability to teens on a personal level, it has huge potential to be paired successfully with traditional canonical works of literature.  The Scarlet Letter by Nathaniel Hawthorne is a wonderful potential pairing with Speak.  Not only is The Scarlet Letter referenced in the book, Speak, the main characters of each story, Melinda and Hester have common trials that they each go through.  One particular commonality between Hester and Melinda is the fact that each of them has been harshly judged by the society around them.  Hester is branded as an immoral adulteress, and Melinda is viewed as a reject and troublemaker, both of these labels unfair and incorrect of each protagonist…”                   Annie

24.   “…Another book that has multiple themes for young adults is We Were Here by Mattde la Peña.  This book not only covers identity, but guilt, friendship, and family as well.  Twenty-five percent of adults choose not to read – and the protagonist of this story, Miguel, is one who goes against those numbers.  He is a kid that is sent to juvenile hall for accidentally killing his brother, and then [to] a group home, but in his introduction he states that he loves to read, ‘I even read some on my own, though I never let my bro catch me…So I might as well read a damn book, you know?’ (37-38) Miguel tries to make it seem like he does not think reading is cool, but in actuality he loves doing it and makes it a point to try and read every book in the group home by the time he is out.  The fact that he is in a group home and still loves to read even though the kids make fun of him shows that he has decided to be his own person and not let the judgment of others influence him.  This is important for students because there is a lot of pressure on students to do or not do certain activities because of the judgment that may be passed on them; reading is one of them.  As Miguel says in We Were Here, ‘Trust me, where we’re from it ain’t cool to read no book unless some teacher’s making you’ (38).  Many young adults might also feel this way, but having a fictional character that they can relate to might ease their comfort a little bit and reassure them that being their own person with their own decisions is okay…
 
      The value of YA literature is underappreciated by most, as I would personally know.  Coming to this class I was unaware of just how crucial it was for young adults to be exposed to this literature; but leaving, I would like to go out and promote its value.  If I do go into teaching, I will incorporate not only YA literature into my curriculum, but also probably teach [or use] some of the books that we have read in class.  The value is in the personal connections with the readers as well as the necessity to think critically -- YA does both.  It deserves a place in English courses at both the high school and university level because the themes are relevant to all ages, but especially [to] those in high school.  I know personally that I did not connect with the literature that was assigned in high school because it did not relate to me; but YA literature does – it has characters and themes that almost all can relate to because they are so real and have real-life problems.  For this, it deserves to be in the literary canon and is vital for the teen reader.”   Randi