"It Matters Not What Someone is Born, but What They Grow to Be": Defining Young Adult Literature by Wakefield School

â&#x20AC;&#x153;It Matters Not What Someone is Born but What They Grow to Be:â&#x20AC;? Defining Young Adult Literature and its Importance in Contemporary Society

EricaJoy Oliverio Honors Senior Thesis Mr. Zontine May 10, 2013

Table of Contents Introduction……………………………………………………………………………………… 3 History of Young Adult Literature……………………………………………………………… 4 Defining Young Adult Literature……………………………………………………………….. 8 Characteristics of Young Adult Literature……………………………………………………… 12 Importance of Young Adult Literature………………………………………………………..... 26 Conclusion……………………………………………………………………………………… 33 Appendix A: Recommended Reading List……………………………………………………... 36 Annotated Bibliography………………………………………………………………………… 47 Recommended Reading List Bibliography……………………………………………………... 54 Image Bibliography…………………………………………………………………………….. 56

Harry Potter. Twilight. The Hunger Games. In the past fifteen years, these three series – which began as mere spines on shelves, as mere words on pages – have become the most popular novels of the twenty-first century. The books and their film adaptations have become some of the highest-grossing works in their respective industries and the titles, as well as the names of their characters and the progression of their plots, have become common knowledge. These three series share one important characteristic – they are all a part of a burgeoning new literary category that is known as young adult literature or YA. Young adult literature, “which emerged about 15 years ago, is one of the world’s fastestgrowing literary genres; the number of YA novels published each year has quadrupled in the past 12 years, with global sales estimated to exceed $3 billion” (Northover). Critics, publishers, authors and librarians agree – young adult literature is in. However, what experts cannot agree on is what, exactly, young adult literature is. Despite being one of the biggest pop culture phenomena of today, YA is still something that is constantly debated and is, as of yet, undefined. Many critics state that young adult literature is literature that is written for and about children between the ages of twelve and eighteen; however this definition is both deficient of adequate detail and dismissive of the importance and scope of young adult literature. I contend that young adult literature includes novels published after 1967 that are written about teenagers and for people of all ages and that present a central theme of coming of age through writing that emphasizes strong teenage voices, fast-paced and captivating plot, and stylistic innovation in both narration and genre. Furthermore, young adult literature is a literary classification that is of great import to teenage development, the publishing industry, political and social activism, and the literary community as a whole.

History of Young Adult Literature One of the most contested issues in the YA community is a chronological one. According to Michael Cart, young adult author, Booklist columnist and former president of the Young Adult Library Services Association, “the term first found common usage in the late 1960s” when S.E. Hinton published her revolutionary young adult novel, The Outsiders (Cart). Her extremely successful novel “launched an industry” of literature that was geared towards teenagers and that featured young protagonists and mature topics, an industry that would irrevocably change the world of modern literature (Gurdon). Hinton’s The Outsiders was not a stand-alone revolution, but one that was inspired by literary classics such as Louisa May Alcott’s Little Women, Mark Twain’s The Adventures of Huckleberry Finn, and J.D. Salinger’s Catcher in the Rye. Literary works such as these, which feature young adult characters tackling adult situations, clearly influenced the development of YA. The strong association between modern young adult novels and these literary classics has led many critics to wonder if these noteworthy novels deserve shelving in the young adult sections of bookstores. The answer to this question is one that is hotly contested in the young adult community. While some “converted critics have embraced young adult so dearly that they have scoured the canon for any classics they could adopt into the YA family,” others have maintained that young adult literature should be confined to the catalogue of literature published after the sixties (Stephens 34). While I acknowledge the influence that certain literary classics have had on young adult novels, I am inclined to agree with the latter opinion. Surprisingly, perhaps, my reasoning is best illustrated not through literature but through the basic tenets of American government. In its first article, the United State Constitution

discusses – and prohibits – ex post facto laws. Ex post facto laws are laws that retroactively change the legal consequences of an action, thereby criminalizing an action that was legal when it was performed. The Constitution explicitly prohibits federal and state legislatures from passing ex post facto laws and from punishing people for acts that were not criminal when they were committed (“Ex Post Facto”). Similarly, I do not believe we can classify literary classics such as Catcher in the Rye or Little Women as young adult novels because YA did not exist at the time of their publication. The young adult classification did not exist until the publication of S.E. Hinton’s The Outsiders in 1967, so novels published before that year cannot be classified as young adult (Gurdon). “Certain classics [might] be categorized as YA if they were published today,” but they were not (Doll, “What Does”). Thus, by the very date of their publication, they must be segregated from the young adult section of modern bookstores. That being said, literary classics such as Catcher in the Rye and The Adventures of Huckleberry Finn certainly deserve credit as the precursors of contemporary YA and should not be overlooked. A relatively new classification, young adult literature has little in the way of history. YA was made popular in the sixties through the work of authors such as S.E. Hinton, Judy Blume, and Robert Cormier. After a few revolutionary years, the classification decreased in popularity and readership. Young adult literature may have ended as quickly as it began, if not for two simultaneous occurrences. The first was a growth in population; “between 1990 and 2000 the number of persons between 12 and 19 soared to 32 million, a growth rate of seventeen percent that significantly outpaced the rest of the population” (Cart). This tremendous population growth re-opened a demand for literature geared toward the young adult age group.

The second event that contributed to the second rise of young adult literature was a general decrease in readership. According to a national survey by the National Endowment for the Arts, “the number of literature-reading adults dropped 20 percent between 1982 and 2002 – the greatest recorded loss of readership in the country’s history…Dana Gioia, NEA Chairman, called it a ‘national crisis.’ Panic ensued and a flurry of reading incentive programs sprung up around the country” (Withers and Ross). These programs targeted America’s youth and tried to inspire in them a greater love of literature. Educators and librarians have always recognized that the most effective literature in terms of increasing readership is not the literature with the most prestige or academic value, but rather the literature that is chosen. Choice is an important component in increasing readership and creating a lasting love of literature. Young adult literature became an invaluable resource for the proponents of these new reading incentive programs because it provided a collection of literature that was written specifically for the young adult population. Greater numbers of young adults began to read these novels, thus causing a parallel increase in both young adult readership and the popularity of young adult novels. Since then, YA has experienced incredible, unprecedented growth. Just look at the statistics: “between 1995 and 1997, the number of young adult titles published per year fell dramatically, dropping from 5,000 to just over 3,000…in 2009, there were over 30,000” (Withers and Ross). These young adult novels have not only been published in greater numbers – they’ve also been consumed at exceedingly high rates, topping New York Times Bestseller Lists for weeks on end. Publishers across the board, including Penguin publishing director Laura Harris, agree that young adult has become a “sexy” trend among contemporary authors, publishers and readers (Northover).

However, these novels haven’t just increased in popularity; they have also increased in literary merit. “Though once dismissed as a genre consisting of little more than problem novels and romances, young adult literature has, since the mid-1990s, come of age as literature – literature that welcomes artistic innovation, experimentation, and risk-taking” on the part of the author” (Cart). The inventive nature of young adult literature has become an integral feature of YA. Revolutionary narrative structures and boundary-pushing discussions of contemporary issues are characteristic to YA, and young adult authors are gaining renown for their creativity and innovation. Why are these revolutionary changes occurring in the young adult division? Perhaps it is because “today’s American teenagers are one of the most diverse generations ever” (Yoke). Perhaps this grand miscellany is the driving force behind authors’ originality. Whatever the reason, this increased innovation has certainly increased the literary reputation of young adult novels. Both the staggering popularity and revolutionary innovation of young adult novels has led to what some critics such as Michael Cart are calling “the new golden age of young adult literature” (Withers and Ross). As we can see by analyzing the brief history of young adult literature, YA has never been as popular or as groundbreaking as it is now. Its predecessors, such as Alcott and Salinger, and its founders, such as Hinton and Cormier, have had a lasting impact on the development of YA, but “what we’re currently witnessing appears to be [its] true renaissance. It’s a time when these books are not only accepted by our culture, but actually embraced and celebrated” (Withers and Ross).

Defining Young Adult Literature Despite the overwhelming popularity and importance of young adult novels in the realm of literature, critics, authors, publishers, and librarians have yet to come to a consensus about its definition. Through a historical survey, we can determine that young adult classification is restricted to novels published after 1967, but what else does young adult literature entail? One of the best and most important ways to begin the discussion of defining young adult literature is to state what it is not. The most fatal misconception in regard to YA is that it is a genre. It is not. Rather, young adult literature is comprised of a variety of genres, from realistic fiction to fantasy. If literature were assessed like a taxonomic hierarchy, it would first be divided into adult, young adult and children’s classifications, followed by genres and subgenres. Many authors, publishers, critics, and librarians make the mistake of referring to young adult as a genre, leading to great confusion in the young adult community. Those who are aware of the important distinction cannot stress enough “that YA is not a genre: it is a category, as with adult literature, containing all sorts of types of writing…within it is every possible genre” (Doll, “What Does”). It is also important to recognize the ever-changing nature of young adult literature. As valiantly as those in the young adult community try to create a concrete definition of the category, “the term ‘young adult literature’ is inherently amorphous, for its constituent terms ‘young adult’ and ‘literature’ are dynamic, changing as culture and society – which provide their context – change” (Cart). The young adult population is an ever fluctuating demographic. Internally, teenagers are governed by a wide variety of hormones that cause mood swings and sudden changes in personality and temperament. Externally, contemporary teens, the thumb twiddling spearheads of the digital age, are preoccupied with technology and social media, two

entities that seem to change and evolve by the millisecond. The young adult demographic is also unique because it is one made up of individuals as opposed to groups or masses. Children have yet to develop serious interests, and adults have already been sorted into various groups based on their professions, interests or personal affiliations. Teenagers, on the other hand, switch activities as though they are reading a flipbook, constantly trying to find the things in life that inspire them, that make them tick. They try on new personas on a daily basis to try and figure out who they are; they are the population that is defined by the search for self and the final coming of age. The young adult demographic is impossible to define, and, in many ways, their literature reflects their amorphous, ever-changing nature. Young adult literature is most commonly defined as literature that is written for and about adolescents between the ages of twelve and eighteen. This definition, however, presents two problems. Firstly, this definition could include any classic novel with a teenage protagonist such as those that I’ve already restricted from entry to the classification through my ex post facto reasoning. Secondly, no one can precisely say for whom a book is written. Marcus Zusak’s The Book Thief serves as a prime example of this predicament. The Book Thief is a magnificent story, narrated by Death, about a foster child, Liesel Meminger, who is growing up in Nazi Germany under Hitler’s ant-Semitic, propagandized dictatorship (Zusak). The novel was originally published in Australia as a work of adult fiction; however, in the United States, it is marketed as young adult. Indeed, target audience in and of itself presents a dilemma because people are always reading books outside of their intended readership – many adults read young adult novels and vice versa. As Stephens states, “this approach would mean that a teen’s reading of Plato’s Republic would qualify the philosopher’s writing for membership” (Stephens 40). Clearly, this is not the case. Thus, this definition seems deficient.

To create an appropriate definition of young adult literature, one must look beyond the age of the characters and the readers and examine the distinguishing literary elements and style of YA. Certain critics have understood this necessity and have sought to define YA through its common themes of growing up and coming of age. Using classical literary study as a precedent, they “have claimed all coming-of-age novels as young adult, labeling them various German words: the bildungsroman to tell the story of a protagonist’s growth into adulthood [and] the kunstlerroman to tell the story of a protagonist’s growth into an artist…[But] not all ‘romans’ can be adopted as young adult. James Joyce’s A Portrait of an Artist as a Young Man, a kunstlerroman by definition, obviously does not fit the mold” (Stephens 40). While classical bildungsroman novels may have strongly impacted current young adult novels, it is imprudent to suggest that bildungsroman novels and young adult novels are one and the same. The latter shares a thematic characteristic with the former, but they are not synonymous. Nevertheless, though young adult novels might not completely fit the bildungsroman mold, the common theme of growing up is certainly an important characteristic of young adult literature. As Jonathan Stephens states, “the label young adult refers to a story that tackles the difficult, and oftentimes adult, issues that arise during an adolescent’s journey toward identity, a journey told through a distinctly teen voice that holds the same potential for literary value as its grownup peers” (Stephens 41). This definition addresses the coming of age theme that is prevalent in all of young adult literature. It also emphasizes the importance of not only an adolescent main character, but also a teenage voice; this is an important element to note because the language and point of view in young adult novels is distinctly different than those of adult literature. Stephens also acknowledges YA’s potential for literary value, which is noteworthy because critics constantly demean YA, claiming it is less literary than its adult counterpart. It is

important to note that, just as children’s literature is viewed with a different lens than adult novels, so must young adult literature be analyzed with a separate set of critical eyes. YA literature is not the same as adult literature bit it still deserves critical analysis and attention. However, there is much more to young adult literature than Stephens’ definition suggests. What about YA literature’s stylistic elements? In defining YA, Katherine Proukou took into account the stylistic elements of young adult literature and stated that YA is “literature about teenagers; it’s stylistic and simplified literature; it’s overly didactic and, of course, shorter than a real novel” (Proukou 62). Proukou’s definition is correct in many regards – as a whole, young adult literature does feature adolescent protagonists, stylistic yet simple writing, and moralistic and educational themes. Her last statement, however, is glaringly incorrect, for young adult novels such as those written by J.K. Rowling and Stephenie Meyer are much longer than many of the works of adult fiction. In addition, Proukou failed to address YA’s penchance for stylistic and genre innovation. Despite this gapingly erroneous final statement and the lack of discussion about YA’s inventive nature, the rest of Proukou’s definition is accurate and should certainly be included in a modern definition of YA. So what is young adult literature? Though these professional definitions include some valid and accurate points, they are neither a holistic, nor definitive representation of the burgeoning new young adult category. To define young adult literature, we cannot make general statements about the intended audience; rather, we must examine its literary characteristics such as its thematic elements, stylistic tendencies and its innovative treatment of genre.

Characteristics of Young Adult Literature Since current definitions of young adult literature are undoubtedly deficient and overwhelmingly diverse, literary critics must examine the literary characteristics of young adult novels in order to create an appropriate and inclusive definition. The thematic elements, stylistic tendencies and innovative treatment of genre that are definitive of young adult literature are three important characteristics that separate young adult novels from their adult counterparts and truly define YA as a whole. It is crucial to examine the thematic elements of young adult literature when creating a definition of YA. The most common and most important theme that is represented in young adult novels is that of coming of age. Thematically, coming of age represents “transformations and choices; it is about conflicts between the claim of the individual and the claim of the culture” (Proukou 62). It is the process through which teenagers become young adults, the learning curve that leads to an acceptance of truth and self. This theme is so prevalent in young adult literature because teenagers are constantly trying to develop themselves as human beings and to form their own opinions and philosophies. “Rites of passage, identity issues, placement of self in the larger social and cultural context, and discovery of self in terms of (and against) defined roles are very much issues that confront young adults as they emerge from childhood,” so, naturally, these issues have starring roles in the novels that are marketed towards today’s teens (Soter and Connors 64). Every teenager will become an adult at some point in their near future; appropriately, young adult literature reflects this pertinent adolescent struggle. The coming of age theme is played out consistently throughout works in the YA canon. For example, in the Harry Potter series by J.K. Rowling, our young protagonist, an 11-year-old orphan who discovers he’s a wizard, faces numerous physical and emotional obstacles through

which he always struggles, but ultimately succeeds. He grows from a young orphan who is bullied and unappreciated by his family into a true hero with developed skills and interests and a strong support system of friends. While the entire series follows the coming of age thematic arc, each individual novel also follows a pattern in which Harry must conquer a challenging obstacle, thereby growing into a young man who is more mature and more experienced than he was at the start of the book and the series. For example, in the first novel, Harry Potter and the Sorcerer’s Stone, Harry, who begins as an 11-year-old orphan with no particular talents, learns about his magical powers and keeps his arch-nemesis, Lord Voldemort, from stealing a stone that will make him immortal and rich. In the fourth novel, Harry Potter and the Goblet of Fire, Harry, an unwilling participant in the Triwizard Tournament, must survive three dangerous tasks and a confrontation with a vicious and re-born Voldemort. In the final novel, Harry Potter and the Deathly Hallows, Harry, now a refugee with no mentor, must destroy Lord Voldemort once and for all. In each book, Harry grows a little older and a little wiser; by the end of the series, we see a character that has matured into a legal, full-grown man and has truly come of age in every physical and emotional sense. Harry’s growth from a boy into a man, from a human into a wizard and, most importantly, from a layperson into a heroic character is one of the most critical aspects of the entire series. As Harry’s mentor, Albus Dumbledore, says, “It matters not what someone is born but what they grow to be;” indeed, in the Harry Potter series, as in the majority of young adult literature, much of the novels’ focus is directed on the growth of our young adult protagonist instead of his or her initial or final state (Rowling, Goblet 708). This coming of age theme can also be seen in other young adult bestsellers. In Suzanne Collins’ dystopian work The Hunger Games, which is the first book in The Hunger Games

trilogy, Katniss, a tomboyish girl from a poor rural district in Panem, is chosen to compete in the annual Hunger Games, a fatal competition in which twenty-four teenagers fight to the death until there is only one survivor. Throughout the course of the first book, she grows from a simple country girl who is the head of her family and has a knack for hunting into a champion who has bested the odds and snubbed the oppressive government. However, her coming of age is a process that is spread throughout the entire trilogy as she continues to evolve into the Mockingjay, the symbol of the popular rebellion against the tyrannical Capitol. As the trilogy progresses, she comes into her own as an adult and as a freedom fighter. Coming of age is not restricted to science fiction or fantasy – indeed, it is seen in most young adult realistic fiction. For example, in Stephen Chbosky’s The Perks of Being a Wallflower, which has a strong cult following and was recently adapted into a highly-acclaimed film, Charlie, the protagonist, begins the novel as a shy and unpopular freshman. However, as the plot progresses, Charlie is introduced to a weird group of misfit friends and begins to experience and experiment with teenage love, parties, music, and drugs. Throughout the novel he grows from a shy wallflower into a true individual who gains the confidence to express himself – to love, to live, and to admit to the abuse he experienced as a child. In Ned Vizzini’s It’s Kind of a Funny Story, the protagonist, ambitious New York City teen Craig, is suffering from severe depression and almost attempts suicide. Through a prolonged stay in a mental hospital, Craig learns to live with his depression and to accept that the career goals he has set for himself are not his true occupational aspirations. Countless other YA novels follow this coming of age character arc. In John Green’s The Fault in Our Stars, the protagonists, who are suffering from cancer in varying states of fatality, must accept the fate of their respective illnesses and the nature of death as well as determine how

they will face sicknesses’ physical and emotional trials. In Rae Carson’s fantasy The Girl of Fire and Thorns, Elisa, the princess protagonist, must accept her fate as the chosen one who is prophesized to save her people and must find the power within herself to do so. In Laurie Halse Anderson’s Speak, Melinda, the teenage protagonist who was raped at a summer party, must find the courage to share the terrible truth she has tried so hard to repress. Coming of age, clearly, is a theme that young adult novels of every genre reflect. However, coming of age is not restricted to YA; as Soter and Connors note, “rites of passage, hero journeys and identity issues are a common preoccupation among all writers…they are not the sole domain of adolescence. To the contrary, they are issues that concern all of us as human beings, regardless of age” (Soter and Connors 64). We as individuals face new conflicts and challenges, many of which test our personal philosophies on a daily basis, much like a teenager does in his or her first stages of growing up. Thus, the coming of age theme is applicable to people of all ages. Furthermore, even the most self-aware adult has been a teenager at one point in his or her life and has faced some sort of personal struggle; thus, young adult novels and the “transformational call of adolescence” are relatable and appeal to both teenagers and adults (Proukou 63). This explains the immense popularity of young adult novels throughout varying demographics and the impossibility of defining YA by its intended readership. However, if the coming of age theme is seen in all types of literature and appreciated by all demographics, then why is it so crucial to young adult novels? Meredith Barnes, a literary agent, states that it is because of the YA’s “unique viewpoints, which are often illuminated with emotion but not informed by experience” (Grady). It’s this characteristic loss of innocence that makes young adult characters and the incidents they encounter so unique. The change and conflict is more prominent in teenage characters because it is the first time it has been faced. As

Barnes says, the emotions expressed are “no more or less valid than what one might experience at thirty, but it’s the first time, and thus very powerful” (Grady). Another thematic element that is commonly seen in young adult novels and that is innately connected to the coming of age theme is that of darkness. This tendency was addressed and attacked in an editorial written by Meghan Gurdon that was published in an electronic copy of The Wall Street Journal. In her editorial, entitled “Darkness Too Visible,” Gurdon stated that “if books show us the world, teen fiction can be like a hall of fun-house mirrors, constantly reflecting back hideously distorted portrayals of what life is” (Gurdon). She continued to describe young adult novels as “hyper-violent” and “appalling” and subtly suggested that these novels were written for no purpose except to shock and corrupt children. This comment, along with the rest of her editorial, sparked fury and debate in the young adult community. Authors, enflamed at her staggering statements and overwhelming conservatism, began writing articles and blog posts challenging her statements. Jay Asher was one such author. Asher is the New York Times bestselling author of Thirteen Reasons Why, a novel that revolves around the suicide of a young girl and a boy, her former crush, who listens to a series of tape recordings she made explaining her reasons for taking her own life. Asher took personal offense to Gurdon’s article because Gurdon included teenage suicide in her spectrum of material that is too dark for a young adult audience. In response to Gurdon’s article, Asher defined the term ‘dark,’ stating that it “basically deals with uncomfortable subject matter. It’s hard for anyone to bring up, even outside of fiction. But that’s why it needs to be talked about…That’s why teens read a lot of these things: because it isn’t talked about openly” (Asher).

One of the strongest arguments in defense of darkness in young adult literature is that novels that feature controversial material provide teaching moments for the family and allow teenagers to learn about dark and difficult subjects in a safe and controlled environment (Gurdon). Young adult authors don’t write about darkness to corrupt youth; rather, they use their novels as a means by which to introduce teenagers to the dark and controversial topics they will encounter in adulthood. This gives teens a way of safely exploring these topics without feeling uncomfortable or overwhelmed. Before criticizing the dark thematic elements in young adult literature, parents must first accept that darkness is an inevitable part of life and then ask themselves: would they rather their child learn about dark events such as rape in a book, on a movie screen or through personal experience? Maureen Johnson, another young adult author, was also enraged by Gurdon’s comments and replied to the woman’s unfounded accusations. She criticized Gurdon’s statements noting that “for non-dark, age-appropriate reading, [Gurdon suggests] Fahrenheit 451, a lighthearted romp that features suicide, teenagers who run cars into people, mechanical hounds that hunt living creatures for blood sport and nuclear war. It’s a fantastic book, but its inclusion implies that the author of this article has a slippery definition of the term ‘dark’” (Johnson). In addition to attacking Gurdon’s statements; Johnson also provided reasoning for the darkness in young adult literature by citing the darkness in today’s world news stories and many classic pieces, including the Bible and works by Poe, Dickens, Shakespeare, Hemingway and Tolstoy (Johnson). By referencing these works, Johnson noted that darkness is a critical part of both life and literature, one that teenagers will inevitably become acquainted with during the process of growing up. Johnson continued to state that “if [dark] subjects like these are in young adult books, it’s to show they are real, they have happened to others, and they can be survived”

(Johnson). This is an extremely important message for adolescents whom oftentimes feel as though they are going through life’s struggles on their own. Novels that feature dark and controversial topics such as suicide, drugs, sexual abuse, homophobia, and destructive self-image are perhaps some of the most controversial books on young adult shelves today; however, they are also some of the most revered. These works provide solace and salvation for many teenagers who are fighting their own personal darkness. To prove this point, Johnson “suggested on Twitter that people share their stories of how YA has changed their lives by using the tag #YAsaves. Within hours, there were over 15,000 responses. The topic became one of the top worldwide trends” (Johnson). Gurdon would disapprove of countless novels on YA shelves. Suzanne Collins’ The Hunger Games, one of the most popular series on YA shelves today, is a prime example, for it is set in a dystopian world in which twenty-four teenagers are chosen at random to compete in an annual competition in which they must fight to the death. Teenagers murdering other teenagers in an oftentimes sadistic and brutal manner is clearly not lighthearted material. J.K. Rowling’s revolutionary Harry Potter features a Hitler-like villain whose mass murder of innocent people and manic, “pure blood” prejudice terrorizes the Wizarding world. Michael Grant’s Gone series presents a world in which the adults have disappeared and the remaining children, half of whom have developed superhuman powers, must learn to survive, Lord of the Flies style, in a dystopian society that is subject to the constant terror of a formless foe which is quite literally known as Darkness. This series features, among other dark and graphic images and scenarios: the murder of children by other children, terrorizing bullies who mutilate and murder their victims and middle school students who proudly and threateningly carry machine guns.

As with the coming of age theme, darkness is not restricted to fantasy or science fiction, though it is oftentimes exaggerated in such novels. Examples in the realm of realistic fiction include: Laurie Halse Anderson’s Speak, which tells the story of a rising high school freshman who is raped at a summer party and is ostracized by her friends for calling the police; Ned Vizzini’s It’s Kind of a Funny Story, which features a depressed teen who attempts to commit suicide; and Lauren Myracle’s Shine, in which a gay teenager in a small Southern town is brutally attacked in a vicious hate crime, tied to a gas pump with the nozzle lodged down his throat, and left to die. Yes, these novels are dark; however, their darkness is not completely imaginative but actually based on real world tragedies. The darkness in Markus Zusak’s historical fantasy The Book Thief is firmly rooted in the horrible reality of World War II and Nazi Germany. The sexual abuse discussed in works of realistic fiction such as Laurie Halse Anderson’s Speak or Lauren Myracle’s Shine and the teenage suicide that is referenced in Jay Asher’s Thirteen Reasons Why and Ned Vizzini’s It’s Kind of a Funny Story are based on real world events. Even the most speculative fantasies and dystopian novels have some basis in reality. Teenage armies, such as those depicted in Michael Grant’s Gone series, are realities in many warring, third-world nations such as those in Africa. Oppressive governments such as those in dystopian novels like Suzanne Collins’ The Hunger Games are based on world governments of the present and past. Voldemort, the villain in the Harry Potter series, shares many similarities with Adolf Hitler. In order to become adults, teenagers must become aware of the darkness that threatens our world and humankind. Dark novels such as those listed help acquaint young adults with these subjects in a safe and controlled environment. As Johnson states, “there isn’t a YA writer alive who is out writing books to corrupt youth” (Johnson). Rather, the authors who write these books

– along with the publishers that mass produce them for the public and the critical committees that place them on recommended reading lists – believe that the dark subjects and themes in these novels are issues that all teenagers must become aware of and face in order to become more educated adults. YA’s tendency to discuss darkness has converted young adult literature into a vehicle for social and political commentary. Themes and subjects of immigration, sexual orientation, social conformity, terrorism, political revolution, religion, poverty, gender roles and more are quite common in modern young adult literature despite their rather adult nature (Soter and Connors 64). Oftentimes, the darkness in young adult literature is a result of these social and political themes, and overall, these themes are an important part of the growing up and coming of age process. YA’s “treatment of those [adult] subjects and themes reflects a level of sophistication that invites serious interrogation on the part of readers eager for a marriage of intellectual and affective engagement” and promotes an examination of one’s own beliefs, morals and opinions (Soter and Connors 62). In addition, this commentary can serve as a source of solace, strength and inspiration for teenagers who are struggling with subjects such as those listed above. Adults might not like the inclusion of dark or controversial material and themes in young adult literature, but it is important that they are featured in these novels because they are inseparably connected with growing up. Life is filled with darkness – our daily news is proof of that. Meanwhile, controversial social and political issues, such as gay marriage, abortion or gun laws, are nowhere close to being resolved. Teenagers need to be exposed these issues as a part of growing up; an understanding of these conflicts is crucial to becoming a well-informed and mature adult. Young adult literature provides a safe and controlled environment for teenagers to explore dark and controversial topics and themes at their own pace. As for those who are

suffering from their own personal darkness or inner debate, there is perhaps no better comfort than the solace and strength that can be found through the words of a familiar character. Darkness and controversy are not included, as Gurdon suggested, simply to shock and corrupt youth; rather, thematic darkness shares an important message and provides a means of safe education and personal solace. Young adult literature can also be defined by its stylistic elements, for its stylistic tendencies differ greatly from those of its adult counterpart. As Lev Grossman, a young adult author and Time magazine book critic states, “[Reading young adult literature] is a different experience from reading literary fiction. Not better or worse, just different. The writing is different: young adult novels tend to emphasize strong voices and clear, clean descriptive prose, whereas a lot of literary fiction is very focused on style: dense, lyrical, descriptive prose, larded with tons of carefully observed detail” (Grossman). Stylistically, young adult literature is designed to be “personal and immediate” (Doll, “Adults”). The opening paragraphs and chapters are written to “grab your attention and hold it” (Grossman). As in a movie, all scenes are crucial to the continuation of the plot and the development of the characters. Regardless of genre or page number, the plots are consistently fast-paced and thrilling, intense and compelling. YA novels aren’t “as convoluted or as heavy” as their adult counterparts because of the simple language, captivating plots and a carefully crafted, constantly amplified sense of anticipation (Doll, “Adults”). However, despite the speed of the plot and the simplicity of the language, young adult novels are by no means short; rather, many of the most popular young adult novels are actually as long, if not longer, than adult literary fiction. Cassandra Clare’s City of Glass, the third novel in The Mortal Instruments series, is 541 pages. Stephenie Meyer’s final segment of the Twilight

saga, Breaking Dawn, is 756 pages (Goodreads.com). And, as Withers and Ross note in their article, “Harry Potter and the Order of Phoenix, the fifth book in the Harry Potter series, is six pages longer than Anna Karenina” (Withers and Ross). These novels have staggeringly high page numbers – page numbers that rival those of classic Russian novels. This fact is especially remarkable considering all of these books – City of Glass, Breaking Dawn and Harry Potter and the Order of Phoenix – are part of multi-volume series. Those who consume these novels are following the same characters for over a thousand pages of literary adventures. There are stylistic differences not only in the prose of young adult novels, but also in the voice. More so than adult literary fiction, young adult novels are written with the intended reader in mind; they are designed to “let the reader see him or herself in the pages” (Doll, “Adults”). The characters and their voices are familiar to readers; their characteristics are commonalities that we, as readers, share or, at the very least, personally understand. One way that authors create a familiar voice is through writing in the first person. The first person narrative helps to place the reader into the mind of the character and, thus, into the plot of the story. However, despite the familiarity of the characters, “the narrative voices of young adult novels, especially when in first person, are as unique as the protagonists who embody them. The lingo is modern. The pace, fast. The desires, youthful. The observations, distinctly teen” (Stephens 41). This is because a large majority of the protagonists in young adult literature are, in fact, young adults. However, it is important to remember that “young protagonists are not young because their intended readership is young. They are young protagonists because it is necessary” (Proukou 62). Above everything, the most defining aspect of young adult literature is its shared “coming of age” theme. Though men and women can experience a significant personal transformation at any point in their lives, coming of age is a

concept that is more commonly reserved to the teenage demographic, to those who are preparing to enter adulthood and experience life as a full-fledged individual who is separate from his or her parents. Though the characters are unique, their thoughts, fears, desires, voice and emotions are ones that can be broadly understood by a young adult audience and, by extension, all adults since “statistically speaking, most adults were young adults at some point in their lives, and some…are still processing that experience” (Grossman). Throughout the literary community, young adult literature is known for its stylistic innovation. As a young adult author states, “authors who write for young adults are taking creative risks – with narrative structure, voice and social commentary – that you just don’t see as often in the more rarefied world of adult fiction” (McCormick). Today’s teenagers, more than any preceding generation, are living in a world that blends reality with electronic media. It is increasingly difficult for authors to compete with the massive size and diversity of the Internet and other electronic distractions. Young adult authors have responded to this significant lifestyle change by experimenting with their novels and creating works that are neither restricted, nor bound to traditional literary rules. Some of these revolutionary and “audacious books that you won’t find in the adult section of the library [include] a Holocaust memoir narrated by Death, a novel written entirely in electronic messages, a historical novel in prose poems, a murder mystery in screenplay format, [and] a 550-page novel in pictures and words that may or may not have been written by an automaton” (McCormick). In addition, recently there have been an increased number of young adult books such as Ransom Riggs’ Miss Peregrine’s Home for Peculiar Children and David Levithan’s Every You, Every Me that have included photographs alongside the text of their works.

These stylistically and narratively innovative examples are by no means part of an unknown minority: the first story McCormick mentioned, a Holocaust memoir narrated by Death, is The Book Thief, a New York Times bestseller that has sold over 2.5 million copies in the United States alone (Piepenburg). McCormick also referenced a novel written entirely in electronic messages; this was, in fact, TTYL, the first installation of Lauren Myracle’s Internet Girls series and a New York Times bestseller. Indeed, there are many more stylistically innovative works than those on McCormick’s list, such as the works of Ellen Hopkins, a young adult author who writes novels entirely in verse and has become a New York Times bestselling author through novels such as Crank, Impulse and Burned. These creative risks and narrative innovation have greatly contributed to the widespread popularity of young adult literature in both the teenage and adult populations. Young adult author Patricia McCormick suggests that adults don’t read young adult literature because of repressed childhood nostalgia; rather, they “are discovering one of publishing’s best-kept secrets: that young adult authors are doing some of the most daring work out there” (McCormick). This innovation extends into the realm of genre. Unlike traditional adult literature which is rigidly separated by genre, “YA isn’t as subdivided on bookshelves, [so] authors don’t need to worry about blending elements of different genres” (Doll, “What Does”). This lack of rigidity and regulation has led to the birth of some revolutionary genre combinations such as: the historical fantasy, which includes novels such as A Great and Terrible Beauty by Libba Bray and The Book Thief by Markus Zusak; realistic fantasy, which includes novels such as Wintergirls by Laurie Halse Anderson and If I Stay by Gayle Forman; and the paranormal romance, which includes novels such as Hush, Hush by Becca Fitzpatrick and the overwhelmingly popular Twilight by Stephenie Meyer. Though these various combinations have occurred in literature

before the advent of YA, they have not always been labeled as such. Overall, they are more widely accepted and recognized today due to the innovation of young adult literature. This recent change has led many “to the realization that genre might be dead…Is it time to despair? I think not. Rather, let us celebrate the innovative fashion in which today’s YA authors are blending the traditional definitions of genre” (Smith 43). While separation by genre can help readers find novels that will interest them, I rather agree with Smith’s assessment. Many works of art, be they literary, cinematic, musical or artistic, are too restricted by the constraints of genre. Is Henry James’ The Turn of the Screw realistic fiction or fantasy? Is Silver Linings Playbook a comedy or a drama? Is Elvis Presley rock and roll, gospel, or country? Within the generous and unrestricted realm of young adult literature, genre constraints, which have plagued artists for years, have disappeared; authors can experiment with and morph a wide variety of genres to create “fiction so magnificent it makes genre irrelevant” (Smith 49). Perhaps this innovation will create an unrestricted model that artists in all disciplines can promote and emulate. There are, of course, other minor characteristics that can be seen throughout young adult literature. For instance, the protagonist is usually a child between the ages of 12 and 18, though any age in the teens is fair game. Also, most characters have a significant outside interest. Though these interests can be athletic, most are involved in some area of the arts, be it visual, dramatic, literary or musical (Stephens 37). In addition, many young adult protagonists find solace, companionship and inspiration in classic novels such as Catcher in the Rye. The inclusion of references to canonical works foster a connection between the character and a familiar story – and, by extension, perhaps promote a connection between the reader and the young adult novel itself (Stephens 38). In addition, while there are certainly adult characters in young adult novels,

parents donâ&#x20AC;&#x2122;t usually play an important role in the plot or the protagonistâ&#x20AC;&#x2122;s character development; if there is an adult role model, he or she is usually a teacher or acquaintance to whom the protagonist does not have familial ties (Stephens 41). Nonetheless, when speaking in broad terms, young adult literature is primarily defined by its thematic tendencies of coming of age and its intrinsically connected darkness, its stylistic elements that emphasize captivating plot, strong teenage voice, simple language and innovative narrative format, and its groundbreaking approach to genre.

Importance of Young Adult Literature Why should we care about young adult literature? Many critics have argued that YA novels are unimportant, less than literary and nothing more than just a passing fad. However, young adult novels are important because they have a significant impact on teenage development, on the publishing industry, on political and social activism and on literature as a whole. Young adult literature is an invaluable part of modern teenage development. Though YA can be appreciated by people of all ages, it is still, of course, marketed to the young adult demographic. Many characteristics of YA, such as the prominent theme of coming of age, are geared specifically towards teenagers who are trying to discover who they really are and who are trying to find their place in the world. Young adult literature helps teenagers in these efforts by helping teenagers understand themselves and by helping them understand the world and others. As the Young Adult Library Services Association (YALSA) states, one of the primary benefits of young adult literature is â&#x20AC;&#x153;its capacity to offer readers an opportunity to see themselves reflected in its pages. Young adulthood is, intrinsically, a period of tension. On the one hand

young adults have an all-consuming need to belong. But on the other, they are also inherently solipsistic, regarding themselves as being unique…To see oneself in the pages of a young adult book is to receive the reassurance that one is not alone after all” (Cart). The inherently reflective nature of young adult literature allows teenagers to develop and question their own beliefs and thoughts while still feeling the comfort of companionship and similarity. In addition, YA literature helps teenagers “to find role models, to make sense of the world they inhabit, to develop a personal philosophy of being, to determine what is right and, equally, what is wrong, to cultivate a personal sensibility” (Cart). These are all very important parts of the growing up process. Through literature, teenagers can find peers they want to emulate or mentors who inspire them. Teenagers know more about the hearts and minds of these characters than they do of anyone in real life; thus, it is much easier for them to adopt the characters’ morals and beliefs as their own. The characters and the controversial topics that are common in young adult literature help teenagers develop their own personal philosophies and opinions on what is right and what is wrong – essentially, on life as a whole. As New York Times bestselling young adult author Maggie Stiefvater says, “Our world is getting increasingly complex. Teenagers face a huge number of choices and an almost paralyzing array of expert opinions on what constitutes as right and wrong. In a culture defined by shades of gray…the black and white choices…[in young adult literature] are increasingly satisfying for readers. Teenagers want to be able to fight for what is right – but finding out what is right is half the battle” (Stiefvater). Young adult novels, especially those that deal with dark topics, are important to young adult development because they let teenagers discover what is right and what is wrong in a safe and less convoluted environment.

However, perhaps more important that young adult literature’s ability to help teenagers understand themselves is its ability to help teenagers understand the world and others. Understanding the modern world and the billions of people who live in it – indeed understanding a single person other than oneself – is not an easy task for anyone, let alone a teenager who has limited life experience. Thus, one of the “value[s] of young adult literature is its capacity for fostering understanding, empathy and compassion by offering vividly realized portraits of the lives – exterior and interior – of individuals who are unlike the reader” (Cart). Just as YA allows readers to develop a greater understanding of themselves so does it allow them to develop such sympathies towards others. Sometimes the characters in young adult literature are drastically different from the reader; however, the characters always mirror people in real life and, thus, teenage readers can learn a lot about others’ struggles by reading books with these distinct and diverse points of view. As Jay Asher, author of Thirteen Reasons Why states: “the whole idea of putting yourself in someone else’s shoes is a good thing” (Asher). Reading a book with a distinctly different character can help you learn about others and, by extension, help you learn a little more about yourself and your own capacity for empathy and understanding. In addition to its many personal values, young adult literature can also lead to scholarly success by encouraging reading. Some parents “persist in expecting teenagers to read an exclusive diet of high-brow literature, however that may be defined. But holding teens to a standard that most adults don’t adhere to is not reasonable or productive, especially when we know that leisure reading is a critical component to academic success (and that a key to leisure reading is personal choice)” (Yoke). By being marketed to teens and “by addressing not only their needs but also their interests, [young adult] literature becomes a powerful inducement for

[teenagers] to read” and, thus, by encouraging leisure reading, will indirectly improve their academic success (Cart). Though some critics view young adult literature as less than literary, no one can deny that YA has revolutionized and revitalized the publishing industry thanks, largely, to the immense popularity of Harry Potter. J.K. Rowling’s revolutionary series about an orphaned boy wizard “revealed what NEA (National Endowment for the Arts) statistics had previously doubted: there is a young adult market for literature. In 2007, when the final book in the [Harry Potter] series was released…it sold over 11 million copies worldwide in the first 24 hours it was available. The seven-book, 4,125-page series has sold over 48 million copies in the United States and over 400 million copies worldwide” (Withers and Ross). Later, Stephenie Meyer’s Twilight saga and Suzanne Collins’ The Hunger Games trilogy made (and are still making) similarly staggering sale numbers. Because of the Harry Potter series and its successors, young adult “book sales are up, way up, from twenty years ago” (Withers and Ross), which has lead to an overall increase in the amount of YA books published; indeed, “3,000 young adult novels were published in 1997. Twelve years later, that figure hit 30,000 titles” (Grady). Why are young adult novels making so much money? Why are they being published at astounding rates? This magnificent growth is largely due to the amount of adults who are reading young adult novels – or what publishers and critics are calling the crossover phenomenon. According to a new study from Bower Market Research, “fully 55% of buyers of works that publishers designate for kids aged 12 to 17 – known as YA books – are 18 or older, with the largest segment aged 30 to 44…When asked about the intended recipient, [adults] report that 78% of the time they are purchasing the books for their own reading” (“New Study”). Though the intended readership of young adult novels is, as stated in the category’s prefix, young adults,

the actual readership includes many adult readers. The Harry Potter series, followed by the Twilight saga and The Hunger Games trilogy, were “the real game changers in the category. They became monstrous forces because they had rabid teen fan bases, but they also bridged over to adult readers in big ways” (Doll, “What Does”). However, the Vice-President of Bower Market Research was quick to point out that, while this popular trifecta has definitely influenced the trend, the “data shows that it’s a much larger phenomenon than the readership of [these] series” (“New Study”). The crossover phenomenon is a good thing for various reasons. For publishers “the trend is good news…as these adult consumers of YA books are among the most coveted demographic of book consumers overall” (“New Study”). The popularity of these novels and the fiscal benefits have understandably led publishers to release a soaring number of YA titles. “The crossover success experienced by J.K. Rowling’s Harry Potter books has motivated a number of accomplished authors that have written for adult audiences to try their hand at writing for teenagers,” which has increased both the popularity and the credibility of YA. With each book published, the fact that YA is here to stay solidifies. The crossover phenomenon is also great because it has increased the amount of critical attention that young adult novels get. The more critics read young adult literature, the more willing they are to accept YA and appreciate it as a true literary category in its own right. Those who actually read young adult novels know that “some of the best books being published are in the YA section, but many people don’t know about them. The exciting thing with the crossover phenomenon is that it’s not so much about where in the bookstore the books get shelved” but the actual literature – the plot and characters, the thematic and stylistic elements – that is being written and read (Doll, “What Does”).

Young adult literature has also had an overwhelming effect on political and social activism. “Tweens and teens are more visible and vocal than ever before, thanks in large part to social media,” and they are using their increased power to promote social issues and help “shape the political landscape” through various digital means. Interestingly enough, “young adult literature is one of the main vehicles…propelling these changes.” This might sound strange; however, when given more consideration, it actually makes a lot of sense. As stated previously, one of the primary characteristics of young adult literature is its discussion of controversial political and social issues; “in a powerful illustration of life imitating art, the very books and films that have been elevated into the cultural stratosphere by young people…are now creating the fuel for a new and very concrete form of social activism” (Northover). There are two global communities that are perpetuating this activism. The first is the Harry Potter Alliance, “a global network of fans of the franchise that has grown into a powerful non-profit activism community that uses parallels from J.K. Rowling’s storylines as inspiration. They fight the Dark Arts of the real world – human rights abuses, inequality, illiteracy – just as Potter and his friends do in the books.” Furthermore, it has created an associate project, the Imagine Better Project, that engages in activism that is inspired by other young adult books. The Imagine Better Project began by launching the “‘Hunger is Not a Game’ campaign, with charity Oxfam, to promote hunger reform” (Northover). The second global community, the Nerdfighters, was built around young adult author John Green and his brother Hank – or, as they’re known on YouTube, the vlogbrothers. In 2007, John and Hank started an annual project called Project for Awesome (P4A), “in which they encouraged fans to create YouTube videos promoting charities and non-profit organizations…By 2009, their P4A videos solely dominated the video hosting site’s first six pages of the ‘Most

Viewed,’ ‘Most Commented,’ and ‘Most Favorited’ lists. In 2010 and 2011, the Projects for Awesome each raised more than $100,000 for charity” (Northover). Despite the many merits and overall popularity of young adult literature, many academics and critics in the literary community continue to accuse YA of being “for children only, somewhat simplistic, chick lit for teens, less than literary, not serious enough for use in schools, a marketing ploy, written by less serious or amateur writers, experimental, [or] not established enough to bid for spots in the canon” (Stephens 34). These criticisms are unfounded; this negative perception is an illusion. Young adult literature is not the same as literary fiction – if it were, we would not have labeled it as a separate category – but that does not mean it is any less worthy of literary consideration. “For young adult literature to come of age and ‘lose its stepchild status’ it must be able to be treated as a serious literary work” by the majority, if not the entirety, of the literary community (Proukou 68). Hopefully, those who have yet to realize the value of young adult literature will come to realize the many benefits of YA novels not only to teenage development, the publishing industry and social and political activism, but also to literature as a whole. YA may be new, but it’s innovative. It may be simplistic, but the plots are compelling, the characters are reflective and the thematic elements are revolutionary. It may be a marketing ploy, but it has grown into something so much more than that. It has grown into a revolution, a revelation, a rite of passage, and a distinct category of literary innovation and merit. To those who continue to be unappreciative of YA as literature, I encourage them to remember the challenges of writing a young adult novel: “you have to remember a time from your past…the way it felt to be an adolescent. You have to remember the struggle of wanting to be an individual, but needing to fit in, of loving and hating your parents at the same time, of trying to maneuver through the social strata. And you not only have to remember what

adolescence feels and looks like, you have to be able to convey it with a believable tone and voice that relates to the readers” and makes them want to continue reading (Grady). You must “present the world of imagination as real not hallucinatory, feelings as reliable not deceitful, nature as essential not expendable, danger as challenging not demoralizing, enemies as teachers as well as adversaries, and life as a surprising process neither exactly fair nor completely capricious” (Proukou 68). To write a young adult novel one must write literature – not traditional literary fiction but literature nonetheless.

Conclusion One question that has been hotly debated in the young adult community is “what, exactly, is the future of YA?” Unlike traditional literary fiction or children’s literature, YA does not have a long-term foundation of permanence in the literary community. It is very possible that “the category might be entering a saturation state” due to the immense amount of people who are publishing YA novels (Doll, “What Does”). I am inclined to disagree. There is a general sense in the literary community that “this category [YA] is the bright spot in an increasingly challenging publishing universe” (Doll, “What Does”). Though there might be an oversaturation in the amount of young adult novels in the near future, the scope of YA’s influence is irreversible. Younger children will grow up and gravitate towards the books on these shelves, today’s teens will continue to explore the category far after they have passed the legal drinking age, and the adults who have truly made these books the phenomena that they are will continue to purchase from the young adult shelf. Young adult literature is not going away.

A more interesting question, perhaps, than “what is the future of YA?” is “what changes will YA inspire in the literary community?” Publishers state “they are seeing a spurt in sales of books that fit into young adult…in their length and emotional intensity, but feature slightly older characters and significantly more sex, explicitly detailed. They’ve labeled this category ‘new adult’…and say it is aimed at 18-to-25-year-olds, the age group right above young adult.” The most popular titles in this new category include Slammed by Colleen Hoover, which is “about a high school senior who has a summer affair with a man who turns out to be her new poetry teacher” and Easy by Tamara Webber, which features “a college freshman negotiating new love and a stalker.” Though critics have complained that ‘new adult’ is merely another marketing technique to increase revenue, Elizabeth Chandler, the founder of the extremely popular Goodreads.com, which is a social media site built around books, says that “the rise of selfpublished books has catered to [the new adult] audience, and we definitely see [new adult] trending online” (Kaufman). Though there are many opinions about the definition and importance of young adult literature, I believe that young adult literature refers to novels published after 1967 that are written about teenagers and for people of all ages. YA presents central themes of coming of age through writing that emphasizes strong teenage voices, fast-paced and compelling plot and stylistic innovation in both narration and genre. It is a category of great import to teenage development, the publishing industry, political and social activism, and the literary community as a whole, and it should not be dismissed as somehow less than literary or unworthy of critical attention. Hopefully, regardless of the future of this burgeoning new sector, critics and readers alike will accept that young adult literature, though not literary fiction, is a “rite of its own,” and

that it is not a passing fad, but a burgeoning and revolutionary new category that is here to stay (Proukou 68).

Appendix A â&#x20AC;&#x201C; Recommended Reading List

For those who are interested in further primary research, I have compiled a recommended reading list of thirty young adult novels, organized by genre.

Realistic Fiction: Realistic fiction is a genre of fiction that features stories that, although untrue, could actually happen in the modern world. Realistic fiction seamlessly combines characters, places and events that are real with those that, although realistic, are a mere by-product of the author’s imagination.

The Fault in Our Stars by John Green (2012) A striking portrait of life, love and loss through the eyes of a teenage cancer patient, this is John Green’s best work to date. I fell in love with the characters and their growth as both individuals and as a couple. Dually heartbreaking and healing, The Fault in Our Stars is a novel from an acclaimed young adult author that should not be missed. Recommended for fans of Nicholas Sparks’ A Walk to Remember or Jodi Piccoult’s My Sister’s Keeper.

It’s Kind of a Funny Story by Ned Vizzini (2006) Through dark humor, quirky yet captivating characters and a relatable and real sense of anxiety, Vizzini creates a fascinating work that balances dark and serious material with humorous characters, events and commentary.

The Perks of Being a Wallflower by Stephen Chbosky (1999) This novel is particularly interesting because it is one of the forefathers of the current renaissance of young adult literature that began in the late 1990s. Once a hipster novel with a cult following, it has become well known and widely read due to its 2012 film adaptation. The epistolary narrative is innovative and interesting, and the characters are quirky and captivating. The progression of the plot and the narrative style make the reader feel as though they are of Charlieâ&#x20AC;&#x2122;s age and disposition, experiencing life for the first time.

Speak by Laurie Halse Anderson (1999) One of the most acclaimed works in the brief history of young adult literature and one of the forefathers of the modern renaissance of young adult literature, Speak is a poignant story about courage overcoming fear and the importance of honesty and truth.

Thirteen Reasons Why by Jay Asher (2007) Jay Asherâ&#x20AC;&#x2122;s debut novel is beautiful, authentic and simply extraordinary. The concept is electrifying, the narration is stunning and the characters capture your heart. Thirteen Reasons Why is an emotional and thought-provoking read.

Chick Lit: A sub-genre of realistic fiction, chick lit is fiction written by, for, and about women that addresses the issues of the modern woman and oftentimes contain romantic or sentimental elements. Chick lit can range from lighthearted and fast-paced to moving and deep.

Along for the Ride by Sarah Dessen (2009) Sarah Dessen, whose writing consistently falls into the moving and emotional end of the chick lit spectrum, is one of the most popular and beloved YA writers. Many of her novels share a similar feel; indeed, some may argue that they are formulaic. However, her fullyfledged but flawed characters, her realistic interpretations of teenagers’ struggles and her beautifully simple romances offer much to be enjoyed.

Anna and the French Kiss by Stephanie Perkins (2010) Falling in love in Paris with an attractive British boy: the basic summary of Anna and the French Kiss is a teenage girl’s dream. Perkins elaborates upon the pitch perfect plot with charming and relatable characters, beautifully drawn out and realistic romantic tension, discussion of typical teenage stresses such as college and grades and humorous, laughout-loud dialogue. Perkins also delves into issues of family and friendship, creating a work that masterfully balances both the lighthearted and emotional ends of the chick lit spectrum.

Bittersweet by Sarah Ockler (2012) Though Bittersweet has many positive characteristics including humorous dialogue and strong supporting characters, its primary success is in the conflict. Hudson’s internal conflict is in-depth and relatable, especially for teenagers who are facing the daunting question of what exactly they want to do in the future. Hudson’s conflict with her family is also relatable, especially for teens who have troublesome relations with their parents or who are living with the effects of a broken household. Recommended for those who are looking for a substantial chick lit read that draws heavily on the emotional end of the chick lit spectrum.

Megan Meade’s Guide to the McGowan Boys by Kate Brian (2006) Firmly rooted in the light-hearted end of the chick lit spectrum, Brian’s novel is certainly not the most sophisticated or literary young adult work. However, for those who are looking for a lighthearted romp or beach read with an interesting premise, romantic plot and strong family theme, then this is the YA book for you.

The Princess Diaries by Meg Cabot (2000) This series, which is firmly rooted in the light-hearted end of the chick lit spectrum, is one of the forefathers of the modern renaissance of young adult literature. The series’ best qualities are its strong and imaginative premise, its consistent humor and its teenage-oriented language and plot. This is a great series for pre-teens who have outgrown children’s literature but are still too young for more sophisticated and dark YA.

Realistic Fantasy: Realistic fantasy, which is referred to as magical realism in traditional literary fiction, is a genre where magical and fantastic elements are a part of an otherwise realistic and mundane world. Oftentimes, the magical elements are ones that could hypothetically be true (i.e. ghosts).

If I Stay by Gayle Forman (2009) A heart-aching novel about life, loss, love and the power of choice, If I Stay is a powerful and popular piece of YA realistic fiction. Beautifully written with complex characters and an agonizing conflict, this novel is certainly one of the most powerful works in the young adult canon.

A Monster Calls by Patrick Ness and Siobhan Dowd (2011) A Monster Calls is powerful, heartbreaking and a true masterpiece. The premise is beautiful but tragic, the characters are simple but strong, the art is striking and haunting, and the seamless blending of reality and fantasy is impeccable. This book is a mustread for everyone, regardless of age or circumstance, but it is especially recommended for families who are coping with a loved one’s fatal illness. A Monster Calls is a breathtaking and tear-jerking tour de force that will stay with readers long after the final words are read.

Wintergirls by Laurie Halse Anderson (2009) Wintergirls is a terrifying but truthful portrait of a teenage girl suffering with an eating disorder. Anderson’s artful and lyrical prose and her masterful weaving of reality with fantasy makes Wintergirls a striking and haunting novel that has an incredible impact and is a good read for all teenage girls.

Historical Fantasy: Historical fantasy is a combination of fantasy and historical fiction. It is the realistic fantasy of the past in that it blends magical and fantastic elements with an otherwise mundane and realistic world from a previous time period. Authors oftentimes use popular superstitions of the past (i.e. ghosts, witches) as the basis for the fantasy in these novels.

The Book Thief by Markus Zusak (2005) The Book Thief is simply brilliant. The concept – a historical fiction novel about Nazi Germany narrated by Death – is innovative and captivating. The prose – lyrical and beautiful – is stunning. The characters – from the thieving Liesel to the flirtatious Rudy to the Atticus Finch-

like Papa â&#x20AC;&#x201C; leap off the page. The Book Thief is not a novel for the faint of heart, but those who have the courage to read this experimental masterpiece will be enchanted with the innovative style, the unique concept and the rich and lovable characters.

A Great and Terrible Beauty by Libba Bray (2003) Setting high fantasy against the superstitious culture of Victorian England, Bray creates an enchanting novel that, in addition to its interesting characters and concept, provides interesting commentary on female oppression in the early twentieth century.

Fantasy: Fantasy refers to fiction in which magic or other supernatural phenomena that could never happen in real life are a primary plot element. In YA fantasy, the coming of age theme is predominant and exaggerated and darkness is an important thematic element.

Daughter of Smoke & Bone by Laini Taylor (2011) Daughter of Smoke & Bone is a beautifully imaginative fantasy. Taylor takes a creative and inventive spin on angel/demon lore, which has become popular and arguably over-used in YA fantasy and paranormal romance. The prose is beautiful, the imagery is rich, the romance is dizzying, and the overall tone is deliciously dark and magical.

East by Edith Pattou (2003) While East is not a popular young adult novel, it has an enchanting premise. East, which is based upon a fairytale, is a captivating adaptation for readers that are searching for a fantasy with a unique plot, strong characters, lyrical prose and a romantic, mythical tone.

The Girl of Fire and Thorns by Rae Carson (2011) The Girl of Fire and Thorns has everything that a good fantasy needs – an imaginative and well-crafted world, an intriguing plot, awe-inspiring magic. Though all of these elements are certainly important, what is really interesting is Carson’s portrayal of the protagonist and her infusion of religious tones. As to the former, it is very rare to encounter a protagonist that seems unfit of his or her role as hero. Elisa, at the beginning of the novel, is one such heroine. However, it is her initial unworthiness that makes her coming of age and her eventual merit much more intriguing. As for the latter, there are very strong religious tones in this novel, which are fascinating and surprisingly effective. The Girl of Fire and Thorns is perfect for those who enjoy unique characters and tones as well as new magical worlds.

Harry Potter and the Sorcerer’s Stone by J.K. Rowling (1997) If one sole series is to be credited with the popularity of young adult literature and its modern Renaissance, it is this one. Harry Potter and the Sorcerer’s Stone, as well as its sequels, have absolutely revolutionized the publishing industry and YA. Harry Potter has quickly become a classic both in terms of fantasy and in fiction as a whole. The magical world is detailed and multi-layered, the conflicts are original and raw, and Rowling’s characters – complex and captivating, lovable and relatable – simply come to life. Though the world and characters of Harry Potter are magical, they feel real. Rowling’s Harry Potter series has captivated the world, and it is sure to captivate any reader, regardless of their age or gender. It is the “it” book of the twenty-first century, the definitive work of a generation, and a must-read for anyone who has not yet experienced the magic of Rowling’s words.

The Raven Boys by Maggie Stiefvater (2012) The Raven Boys is a powerful and mythical fantasy. The plot is intriguing and the southern Virginia setting is both familiar and fantastic, but what stands out in this novel are the characters. Rich in detail and deliciously unique, the characters jump out of the page and make The Raven Boys a fantastic force to be reckoned with in the YA community.

Paranormal Romance: Paranormal romance is an overwhelmingly popular genre in young adult literature – so popular, in fact, that it has its own section on YA bookshelves. YA paranormal romance is a blend of fantasy and PG-13 romance, sometimes with infusions of horror or science fiction. Though it’s sometimes hard to distinguish paranormal romance from fantasy novels that have a romantic element, paranormal romance usually differs from fantasy in two regards in that the fantastic elements are usually blended with the modern, real world (as in realistic fantasy) and second, one half of the romantic pair is usually, at least at the beginning, seemingly human or normal.

City of Bones by Cassandra Clare (2007) Though many view Cassandra Clare’s novels as works of marketing genius as opposed to true literature, City of Bones and its over-arching Mortal Instruments series has much to offer, including an interesting premise, loveable (albeit cookie cutter) characters, a strong romantic element, and, above all, Clare’s signature humor, which is most often present in the characters’ witty banter dialogue. Clare’s novels are extremely popular and are a good choice for YA readers on the younger side of the age spectrum.

Hourglass by Myra McEntire (2011) Hourglass is an interesting paranormal romance that weaves elements of the fantastic and the romantic with traditional science fiction ideas. Strong characters, a dominant romantic element, well-placed humor and an impressive blend of science fiction and fantasy make this novel a good choice for someone who is looking for a slightly more sophisticated paranormal romance.

Hush, Hush by Becca Fitzpatrick (2009) Hush, Hush is one of the many novels published in the recent angel-craze in young adult literature. Hush, Hush, though stereotypical, is a must-read for anyone who enjoyed Stephenie Meyerâ&#x20AC;&#x2122;s Twilight due to its romantic yet exotic small town setting, familiar characters (including an average girl and an attractive but slightly creepy love interest), and a dizzying romance.

Shadowland by Meg Cabot (2000) With humorous dialogue, a distinctly teenage voice, and a crush-worthy relationship between a polite and honorable love interest and a kick-butt, take-names heroine, the Mediator series is the perfect read for pre-teens who are just entering the YA age range.

Twilight by Stephenie Meyer (2005) Though Twilight has received much criticism since its publication, it is still one of the main series that is responsible for revolutionizing the publishing industry, and, thus, is a must-read for anyone who is interested in learning more about YA. The self-proclaimed sagaâ&#x20AC;&#x2122;s lifealtering and family friendly romance and strong supporting characters have found much popularity and have become beloved by YA readers of all ages.

Dystopian: Dystopian novels are those that feature a fictional society in the speculative future that is undesirable in some way. Dystopian novels are popular vehicles for social and political commentary and address a wide variety of real-world issues in a fictional setting.

Delirium by Lauren Oliver (2011) Delirium is a fascinating novel in that it blends traditional dystopian elements with a strong romantic theme. The characters’ struggle is relatable and real and the characters’ romance is inspiring. Delirium is a powerful book that presents a fight that everyone can believe in.

Divergent by Veronica Roth (2011) Divergent is the best dystopian on YA shelves today. The concept is captivating, the characters leap off the page and Roth’s commentary on humanity and the nature of bravery is intriguing. The balance of individual coming of age with a healthy romance that only adds to the protagonist’s personal growth provides a positive message for teenage girls. Divergent is a mustread for anyone who is looking for a fast-paced and engrossing dystopian novel.

Gone by Michael Grant (2008) Gone is fabulous fiction. With a captivating premise, flawed and relatable characters, and a fast-paced and engrossing plot, Gone is the kind of speculative fiction that any teenager would want to read. Gone is The Lord of the Flies of the modern age, Home Alone on speculative steroids, and a must-read for anyone who is interested in a creative dystopian with strong science fiction and superhero-story elements.

The Hunger Games by Suzanne Collins (2008) Suzanne Collinsâ&#x20AC;&#x2122; The Hunger Games is one of the most popular young adult series today â&#x20AC;&#x201C; and with good reason. A captivating plot, an incredible dystopian world and a strong, fierce heroine are just some of the many positive attributes that this New York Times #1 Bestseller brings to the table. The parallels to the Olympics and reality TV survival shows are particularly interesting. This book is highly recommended for anyone who is looking for a good dystopian read.

The Selection by Kiera Cass (2012) The Selection is a fascinating novel in that it blends traditional dystopian elements with a strong romantic theme. The protagonists and their relationship are strong, and the parallels between The Selection and modern reality TV shows such as The Bachelor are absorbing. This is a great dystopian option for a reader who is looking for something that has a strong romantic element and is less violent and dark than the other dystopian novels on the YA shelf.

Annotated Bibliography Anderson, Laurie Halse. Speak. New York: Puffin, 2001. Print. This young adult novel, originally published in 1999, was one of my primary sources. It was particularly helpful in my discussions of coming of age and darkness. I also included it on my recommended reading list. Anderson, Laurie Halse. Wintergirls. New York: Viking Juvenile, 2009. Print. This young adult novel was one of my primary sources. It was particularly helpful in my discussion of innovative YA genres such as realistic fantasy. I included it on my recommended reading list. Asher, Jay. Thirteen Reasons Why. New York: Razorbill, 2007. Print. This young adult novel was one of my primary sources. It was helpful in my discussion of darkness. I included it on my recommended reading list. It also helped provide context to Asher’s interview with Entertainment Weekly about Gurdon’s article. Asher, Jay. “‘Thirteen Reasons Why’ Author Jay Asher Responds to Controversial Anti-YA Article.” Interview by Rob Brunner. EW.com. Entertainment Weekly, 15 June 2011. Web. 10 Dec. 2012. This interview with a prominent young adult author responds to Gurdon’s editorial in The Wall Street Journal. Asher specifically addresses the importance of “darkness” in young adult novels. He says that “uncomfortable subject material,” though difficult for adults to accept, acts as an important teaching opportunity for young adults. This source is valuable because it illustrates an author’s point of view. Bray, Libba. A Great and Terrible Beauty. New York: Simon and Schuster, 2003. Print. This young adult novel was one of my primary sources. It was particularly helpful in my discussion of innovative YA genres such as historical fantasy. I included it on my recommended reading list. Carson, Rae. The Girl of Fire and Thorns. New York: Greenwillow, 2011. Print. This young adult novel was one of my primary sources. It was particularly helpful in my discussion of coming of age. I also included it on my recommended reading list. Cart, Michael. “The Value of Young Adult Literature.” ALA.org. American Library Association, Jan. 2008. Web. 03 Jan. 2013. Published by the Young Adult Library Services Association, this is a very valuable document because it discusses the importance of young adult literature. In addition, this

document acknowledges the growth of the young adult genre and the creative innovation that has become synonymous with the young adult sector. It also provides important information regarding the history of young adult literature and its recent stylistic and publishing changes. Finally, it acknowledges the amorphous nature of young adult literature, thus proving the problem (lack of accurate definition of young adult literature) that my thesis will hopefully answer. Chbosky, Stephen. The Perks of Being a Wallflower. New York: MTV, 1999. Print. This young adult novel was one of my primary sources. It was particularly helpful in my discussion of coming of age. I also included it on my recommended reading list. Collins, Suzanne. The Hunger Games. New York: Scholastic, 2008. Print. This young adult novel, which is the first in a very popular YA trilogy, was one of my primary sources. It was particularly helpful in my discussions of darkness and coming of age. I also included it on my recommended reading list. Doll, Jen. “Adults Are Devouring Kids’ Books for Good Reason.” The Atlantic Wire. 14 Sept. 2012. Web. 12 Dec. 2012. This article is particularly interesting because it examines the crossover nature of young adult literature. Doll identifies the characteristics of young adult literature. She examines the popularity of young adult literature and argues that it is not unfounded. She defends the quality of young adult literature. Her arguments will help me refute the conception that young adult literature is somehow less important or literary than its adult counterparts. Doll, Jen. “What Does ‘Young Adult’ Mean?” The Atlantic Wire. 19 Apr. 2012. Web. 12 Dec. 2012. This article is important because it discusses the various definitions of young adult literature. It uses the history of young adult literature and the category’s various characteristics to define young adult literature. In addition, it comments upon the current popularity in young adult literature and finds the importance in the oftentimes undervalued body of literature. Perhaps most importantly, it clarifies that young adult is not a genre but a category; indeed, as a whole, young adult literature, just like adult literature, consists of many different genres. “Ex Post Facto.” Legal Information Institute. Cornell University Law School, 19 Aug. 2010. Web. 09 May 2013. This legal dictionary entry provided me with a comprehensive definition of ex post facto laws. I reference ex post facto laws in the ‘History of Young Adult Literature’ section of my paper as reasoning for why novels published before 1967 cannot be classified as young adult literature.

Fitzpatrick, Becca. Hush, Hush. New York: Simon and Schuster, 2009. Print. This young adult novel was one of my primary sources. It was particularly helpful in my discussion of innovative YA genres such as paranormal romance. I included it on my recommended reading list. Forman, Gayle. If I Stay. New York: Speak, 2010. Print. This young adult novel, originally published in 2009, was one of my primary sources. It was particularly helpful in my discussion of innovative YA genres such as realistic fantasy. I included it on my recommended reading list. Grady, D.B. “How Young Adult Fiction Came of Age.” The Atlantic. 1 Aug. 2011. Web. 12 Dec. 2012. This article is noteworthy because it argues that young adult literature has “come of age” and is worthy of critical literary analysis. Grady supports his statement through quotes from experts, such as literary agents and writers. Grady examines the growth of young adult literature and argues that young adult literature is popular for good reason. He places particular emphasis on the quality of young adult literature, which he believes is on par with adult literature. The quotes from experts will be particularly helpful in crafting my argument. Grant, Michael. Gone. New York: Katherine Tegen, 2008. Print. This young adult novel was one of my primary sources. It was particularly helpful in my discussion of darkness. I included it on my recommended reading list. Green, John. The Fault in Our Stars. New York: Dutton, 2012. Print. This young adult novel was one of my primary sources. It was particularly helpful in my discussion of coming of age. I included it on my recommended reading list. Goodreads.com. Goodreads, Inc., n.d. Web. 09 May 2013. Goodreads is a social media site for readers that includes book and author profiles among many other features. Goodreads was an invaluable source for basic information such as the page length of certain books. It also was the source through which I found all of my images of book covers. Grossman, Lev. “Nothing’s Wrong with Strong Plot and Characters.” The New York Times. The New York Times, 28 Mar. 2012. Web. 03 Jan. 2013. This article, written by a young adult author and book critic for Time magazine, is a response to a question posed by The New York Times about the phenomenal popularity of young adult literature. Grossman’s response is valuable because it indicates the

differences between young adult and adult literature. He argues that young adult literature, though different than its adult counterpart, is no worse or better. Indeed, he argues that certain young adult novels are more emotionally powerful than anything else that can be found in the adult market. Gurdon, Meghan C. “Darkness Too Visible.” WSJ.com. The Wall Street Journal, 4 June 2011. Web. 10 Dec. 2012. This editorial discusses the growing “darkness” in young adult novels. It sparked great controversy in the young adult publishing community. Young adult authors and editors alike attacked Gurdon’s supposedly unfounded claims. This editorial is valuable because it illustrates the point of view of those who oppose young adult literature. This editorial will help me strengthen my argument in favor of young adult literature because I can refute its major points. Johnson, Maureen. “Yes, Teen Fiction Can Be Dark – but It Shows Teenagers They Aren’t Alone.” The Guardian. Guardian News and Media, 08 June 2011. Web. 10 Dec. 2012. This article, written by a prominent young adult author, is a response to Gurdon’s editorial in The Wall Street Journal. This rebuttal, in particular, attacks Gurdon’s unfounded claims and uneducated statements. Johnson defends young adult authors and the subject matter of their novels. This article is important because it provides authorial support of my point of view. McCormick, Patricia. “Authors Taking Risks Isn’t Kid Stuff.” The New York Times. The New York Times, 29 Mar. 2012. Web. 03 Jan. 2013. This article, written by a young adult author, is a response to a question posed by The New York Times about the phenomenal popularity of young adult literature. McCormick argues that young adult literature is literature for all ages because of the innovative nature of young adult novels. She argues that young adult authors are taking creative risks that adult authors are not and that these risks make young adult novels worthy of attention. She provides an impressive list of evidence to support her point. Meyer. Stephenie. Twilight. New York: Little, Brown, 2006. Print. This primary source, a popular young adult novel in the acclaimed, New York Times Bestselling Twilight series, was helpful in my discussions of innovative genres and page numbers. I included it in my recommended reading list. Myracle, Lauren. Shine. New York: Amulet, 2011. Print. This young adult novel was one of my primary sources. It was particularly helpful in my discussion of darkness given its inclusion of gruesome physical violence, sexual abuse and homophobia.

“New Study: 55% of YA Books Bought by Adults.” PublishersWeekly.com. N.p., 13 Sept. 2012. Web. 03 Jan 2013. This study is very important because it provides statistical evidence of the popularity of young adult literature. It is especially interesting because it notes that the majority of people purchasing young adult novels are not only adults but they are adults who have the intention of reading the novels themselves. In addition, it states that this trend exists beyond Harry Potter, Twilight and The Hunger Games; this is a trend that can be seen throughout the entire young adult sector. This statistical evidence illustrates that young adult literature is clearly not confined to one particular age group. Northover, Kylie. “Fantasy Spurs Teens into Social Activism.” The Age 30 June 2012: 20. Gale Opposing Viewpoints in Context. Web. 11 Dec. 2012. This article elaborates upon an important societal by-product of the young adult genre – activism. It discusses the new development of teenage activism spurred by young adult novels, citing specific examples such as the Harry Potter Alliance and the Nerdfighters. This article is valuable because it illustrates the real-life implications of young adult novels and their growing influence and importance. It also illustrates the modern changes in the adolescent community. Piepenburg, Erik. “’The Book Thief’ Receives a New Life on Stage.” The New York Times. 24 Oct. 2012. Web. 25 Mar. 2013. This article was helpful because it provided statistics about Marcus Zusak’s The Book Thief, such as how many copies it sold in the U.S. Proukou, Katherine. “Young Adult Literature: Rite of Passage or Rite of Its Own.” The ALAN Review 32.3 (2005): 62-68. Digital Library and Archives. Virginia Tech. Web. 10 Dec. 2012. This journal article discusses the importance of young adult literature using examples from three particular novels. Stylistically, Proukou’s discussion of young adult literature is elegant and beautiful. However, it also contains important discussion about the archetypes within young adult literature and provides a strong argument in favor of treating young adult literature as literature. Her discussion is valuable because it elaborates upon the child archetype and its importance to the young adult genre. Rowling, J.K. Harry Potter and the Deathly Hallows. New York: Arthur E. Levine, 2007. Print. This primary source, a popular young adult novel in the acclaimed, New York Times Bestselling Harry Potter series, was helpful in my discussions of coming of age and darkness. Rowling, J.K. Harry Potter and the Goblet of Fire. New York: Arthur E. Levine, 2000. Print.

This primary source, a popular young adult novel in the acclaimed, New York Times Bestselling Harry Potter series, was helpful because it provided me with a particular quote that I used in both my text and my title that emphasizes the importance of the coming of age theme in both Harry Potter and young adult novels as a whole. Rowling, J.K. Harry Potter and the Sorcerer’s Stone. New York: Arthur E. Levine, 1997. Print. This primary source, the first novel in the in the acclaimed, New York Times Bestselling Harry Potter series, was helpful in my discussions of coming of age and darkness. I also included it in my recommended reading list. Smith, Scot. “The Death of a Genre: Why the Best YA Fiction Often Defies Classification.” The ALAN Review 35.1 (2007): 43-50. Digital Library and Archives. Virginia Tech. Web. 03 Jan. 2012. This journal article is interesting because it addresses the cross-genre phenomenon that is found within the young adult sector. Smith argues that, in the young adult sector at least, genre may in fact be dead. However, he claims that this is actually a beneficial development because it truly enhances the quality of some young adult fiction. Smith claims that young adult authors have a tradition of defying the norm, even when it comes to genre. He believes that abandoning classic genre restraints will lead to the creation of exceptional literature, regardless of young adult or adult classification. Soter, Anna O. and Sean P. Connors. “Beyond Relevance to Literary Merit: Young Adult Literature as Literature.” The ALAN Review 37.1 (2009): 62-67. Digital Library and Archives. Virginia Tech. Web. 11 Dec. 2012. This journal article argues that young adult literature should be viewed as true literature and that it is deserving of critical literary analysis. The authors, who teach college-level courses on young adult literature, are some of the leaders of this argument within the educational community. In particular, the authors argue that young adult literature should be studied alongside classic texts in the young adult classroom. This article is particularly valuable because of its practical experiments and its rational arguments. Stephens, Jonathan. “Young Adult: A Book by Any Other Name…:Defining the Genre.” The ALAN Review 35.1 (2007): 34-41. Digital Library and Archives. Virginia Tech. Web. 13 Dec. 2012. This journal article provides a very comprehensive analysis of young adult literature. Stephens’ main goal is to define young adult literature; his argument is particularly interesting because he provides and attacks various definitions, ultimately creating his own explanation. Stephens supports his argument with a detailed list of characteristics that are unique to young adult novels. Stephens’ ideas and research will be particularly helpful as I create my own definition of young adult literature. Stiefvater, Maggie. “Pure Escapism.” The New York Times. The New York Times, 28 Mar. 2012.

Web. 03 Jan. 2013. This article, written by a New York Times bestselling young adult author, was written in response to a question posed by The New York Times about the young adult phenomenon. Stiefvater focuses her response on the growing popularity of dark novels, especially dystopian novels. She states that young adults appreciate the black and white nature of these novels. Her argument is a great rebuttal to those who claim that young adult literature is too dark. Vizzini, Ned. It’s Kind of a Funny Story. New York: Miramax, 2007. Print. This young adult novel, first published in 2006, was one of my primary sources. It was particularly useful in my discussion of the thematic elements of young adult literature. I included it on my recommended reading list. Withers, Hannah and Lauren Ross. “The State of Publishing: Young People Are Reading More Than You.” McSweeneys.net. N.p., n.d. Web. 03 Jan. 2013. This article is very beneficial because it shows statistical evidence of the effects of the young adult genre on readership. This article puts the phenomenon of Harry Potter, Twilight and the young adult literature sector as a whole into numerical terms. In addition, it illustrates the amazing changes in young adult publication in the past two decades. This article is also interesting because it claims that the early twentieth century is the second golden age, the true renaissance, of young adult literature. Yoke, Beth. “Why Expect More from Teenagers than Adults?” The New York Times. The New York Times, 28 Mar. 2012. Web. 03 Jan. 2013. This article was written by the executive director of the Young Adult Library Services Association (YALSA) in response to a question posed by The New York Times about the phenomenal popularity of young adult novels. Yoke discusses the importance of young adult literature from an educational standpoint. She states that leisure reading is a critical component to academic success and that we should let young adults choose their reading material instead of forcing oftentimes un-relatable classics upon them. In addition, she notes that young adult novels are featuring increasingly diverse characters, which makes them increasingly relatable to today’s teenagers. Zusak, Markus. The Book Thief. New York: Alfred A. Knopf, 2006. Print. This young adult novel was one of my primary sources. It was particularly helpful in my discussions of target audience, darkness and innovation given its experimental stylistic techniques and genre. In addition, I included it in my recommended reading list.

Recommended Reading List Bibliography Anderson, Laurie Halse. Speak. New York: Puffin, 2001. Print. Anderson, Laurie Halse. Wintergirls. New York: Viking Juvenile, 2009. Print. Asher, Jay. Thirteen Reasons Why. New York: Razorbill, 2007. Print. Bray, Libba. A Great and Terrible Beauty. New York: Simon and Schuster, 2003. Print. Brian, Kate. Megan Meadeâ&#x20AC;&#x2122;s Guide to the McGowan Boys. New York: Simon and Schuster 2005. Print. Cabot, Meg. The Princess Diaries. New York: HarperTeen, 2008. Print. Cabot, Meg. Shadowland. New York: HarperTeen, 2004. Print. Carson, Rae. The Girl of Fire and Thorns. New York: Greenwillow, 2011. Print. Cass, Kiera. The Selection. New York: HarperTeen, 2012. Print. Clare, Cassandra. City of Bones. New York: Margaret K. McElderry, 2007. Print. Chbosky, Stephen. The Perks of Being a Wallflower. New York: MTV, 1999. Print. Collins, Suzanne. The Hunger Games. New York: Scholastic, 2008. Print. Dessen, Sarah. Along for the Ride. New York: Speak, 2011. Print. Fitzpatrick, Becca. Hush, Hush. New York: Simon and Schuster, 2009. Print. Forman, Gayle. If I Stay. New York: Speak, 2010. Print. Grant, Michael. Gone. New York: Katherine Tegen, 2008. Print. Green, John. The Fault in Our Stars. New York: Dutton, 2012. Print. McEntire, Myra. Hourglass. New York: Egmont, 2012. Print. Meyer. Stephenie. Twilight. New York: Little, Brown, 2006. Print. Ness, Patrick, and Siobhan Dowd. A Monster Calls. Illus. Jim Kay. New York: Walker, 2011. Print.

Ockler, Sarah. Bittersweet. New York: Simon Pulse, 2012. Print. Oliver, Lauren. Delirium. New York: HarperCollins, 2012. Print. Pattou, Edith. East. New York: Harcourt Children’s, 2003. Print. Perkins, Stephanie. Anna and the French Kiss. New York: Dutton, 2010. Print. Roth, Veronica. Divergent. New York: Katherine Tegen, 2012. Print. Rowling, J.K. Harry Potter and the Sorcerer’s Stone. New York: Arthur E. Levine, 1997. Print. Stiefvater, Maggie. The Raven Boys. New York: Scholastic, 2012. Print. Taylor, Laini. Daughter of Smoke and Bone. New York: Little, Brown, 2011. Print. Vizzini, Ned. It’s Kind of a Funny Story. New York: Miramax, 2007. Print. Zusak, Markus. The Book Thief. New York: Alfred A. Knopf, 2006. Print.

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