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Sexual Content in Young Adult Literature: Reading Between the Sheets

Ditulis Minggu, 06 Maret 2022 Tulis Komentar Edit

"Juvenile fiction" redirects here. For children'southward fiction, run across children'south literature.

Literature written for adolescents and young adults

Young developed fiction (YA) is a category of fiction written for readers from 12 to 18 years of age.[1] [2] While the genre is targeted at adolescents, approximately one-half of YA readers are adults.[3]

The subject field matter and genres of YA correlate with the age and experience of the protagonist. The genres bachelor in YA are expansive and include most of those found in developed fiction. Common themes related to YA include friendship, outset love, relationships, and identity.[iv] Stories that focus on the specific challenges of youth are sometimes referred to as problem novels or coming-of-age novels.[v]

Young adult fiction was adult to soften the transition between children's novels and adult literature.[6]

History [edit]

Beginning [edit]

Title page from Sarah Trimmer's The Guardian of Education, vol. I, 1802

The history of young adult literature is tied to the history of how childhood and immature machismo has been perceived. One early author to recognize immature adults equally a distinct group was Sarah Trimmer, who, in 1802, described "immature adulthood" as lasting from ages 14 to 21.[7] In her children's literature journal, The Guardian of Pedagogy, Trimmer introduced the terms "Books for Children" (for those under fourteen) and "Books for Young Persons" (for those between xiv and 20-ane), establishing terms of reference for young adult literature that even so remain in utilise.[7] Nineteenth and early twentieth century authors present several early works that appealed to immature readers,[8] though non necessarily written for them such as Lewis Carroll, Robert Louis Stevenson, Mark Twain, Francis Hodgson Burnett, Edith Nesbit, JM Barrie, L. Frank Baum, Astrid Lindgren, Enid Blyton, CS Lewis.[9]

20th century [edit]

Though young adult literature had existed since at least Laura Ingalls Wilder's Piddling House serial, which was published in the 1930s, teachers and librarians were boring to accept books for teenagers as a genre. [ten]

The Heinlein juveniles were science fiction novels written by Robert A. Heinlein for Scribner's young-adult line, outset with Rocket Ship Galileo in 1947. Scribner's published eleven more between 1947 and 1958, but rejected the thirteenth, Starship Troopers. That 1 was instead published by Putnam. The intended market was teenage boys, but a fourteenth novel, Podkayne of Mars (1963), featuring a immature girl as the protagonist, is sometimes listed as a "Heinlein juvenile", although Heinlein himself did not consider it to be one.

In the 1950s, The Catcher in the Rye (1951), attracted the attention of the adolescent demographic although it was written for adults. The themes of adolescent angst and alienation in the novel accept become synonymous with young adult literature.[7]

A Wrinkle in Time, written by Madeleine L'Engle in 1960, received over twenty-six rejections[eleven] before publication in 1962, due in part to it being neither a children's nor developed's volume, and featuring a teenage girl every bit the protagonist at a time when nearly scientific discipline fiction targeted teenage boys.[ citation needed ]

The modern classification of young-adult fiction originated during the 1960s, later the publication of S. E. Hinton's The Outsiders (1967). The novel features a truer, darker side of adolescent life that was not often represented in works of fiction of the fourth dimension, and was the first novel published specifically marketed for young adults as Hinton was one when she wrote it.[12] [13] Written during high school and published when Hinton was just 16,[14] The Outsiders likewise lacked the nostalgic tone common in books near adolescents written by adults.[15] The Outsiders remains one of the acknowledged immature developed novels of all time.[fifteen]

Author and bookish Michael Cart argues that the 1960s was the decade when literature for adolescents "could be said to have come into its own".[xvi] This increased the discussions near boyish experiences and the new idea of adolescent authors.[ citation needed ] In the tardily 1960s and early 1970s, five very popular books were published: I Know Why the Caged Bird Sings (1969), an autobiography of the early years of American poet Maya Angelou; The Friends (1973) by Rosa Guy; the semi-autobiographical The Bell Jar (Us 1963, under a pseudonym; UK 1967) by poet Sylvia Plath; Bless the Beasts and Children (1970) by Glendon Swarthout; and Deathwatch (1972) by Robb White, which was awarded 1973 Edgar Award for All-time Juvenile Mystery by the Mystery Writers of America.[17] The works of Angelou and Plath were not written for young readers.[ citation needed ]

As publishers began to focus on the emerging adolescent marketplace, booksellers and libraries began creating young adult sections distinct from children'due south literature and novels written for adults. The 1970s to the mid-1980s accept been described equally the aureate age of young-adult fiction, when challenging novels began speaking directly to the interests of the identified adolescent market.[7]

In the 1980s, young developed literature began pushing the envelope in terms of the discipline thing that was considered advisable for their audition: Books dealing with topics such as rape, suicide, parental death, and murder which had previously been accounted taboo, saw significant critical and commercial success.[18] A flip-side of this tendency was a strong revived interest in the romance novel, including young adult romance.[19] With an increase in number of teenagers the genre "matured, blossomed, and came into its ain, with the better written, more serious, and more than varied young adult books (than those) published during the last two decades".[20]

The start novel in J.Yard. Rowling's seven-book Harry Potter series, Harry Potter and the Philosopher's Stone, was published in 1997. The series was praised for its complexity and maturity, and attracted a broad adult audience. While non technically YA, its success led many to come across Harry Potter and its author, J.G. Rowling, as responsible for a resurgence of young adult literature, and re-established the pre-eminent part of speculative fiction in the field,[21] a trend further solidified by The Hunger Games trilogy by Suzanne Collins. The end of the decade saw a number of awards appear such every bit the Michael L. Printz Award and Alex Awards, designed to recognize excellence in writing for young adult audiences.

The category of young developed fiction continues to expand into other media and genres: graphic novels/manga, light novels, fantasy, mystery fiction, romance novels, and even subcategories such as cyberpunk, techno-thrillers, and gimmicky Christian fiction.

21st century [edit]

Since about 2017, issues related to diverseness and sensitivity in English language-language young adult fiction accept go increasingly contentious. Some fans frequently criticize authors – including those who themselves vest to minorities – for "appropriating" or wrongly portraying the experiences of minority or disadvantaged groups. Publishers take withdrawn several planned young adult novels from publication after they met with pushback on these grounds from readers on websites such as Goodreads. Authors have reported harassment, demands to cease writing, and expiry threats over social media.[22] [23] [24] To prevent offending readers, publishers increasingly, though with mixed success, utilize "sensitivity readers" to screen texts for textile that could cause law-breaking.[25] [26] [27]

Themes [edit]

Many young adult novels feature coming-of-age stories. These feature adolescents beginning to transform into adults, working through personal problems, and learning to take responsibility for their actions.[28] YA serves many literary purposes. It provides a pleasurable reading experience for young people, emphasizing real-life experiences and issues in easier-to-grasp ways, and depicts societal functions.[28]

An analysis of YA novels between 1980 and 2000 found seventeen expansive literary themes. The most common of these were friendship, getting into trouble, romantic and sexual interest, and family life.[29] Other common thematic elements revolve around the coming-of-age nature of the texts. This includes narratives near self-identity, life and death, and individuality.[xxx]

Genre [edit]

In that location are no distinguishable differences in genre styles betwixt YA fiction and adult fiction.[31] [ page needed ] [ dubious – discuss ] Some of the most mutual YA genres include contemporary fiction, fantasy, romance, and dystopian.[32] Hybrid genres are too mutual in YA.[33]

New adult fiction [edit]

New adult (NA) fiction is a developing genre of fiction with protagonists in the xviii–xxx age bracket.[34] St. Martin'south Press first coined the term in 2009, when they held a special phone call for "fiction similar to immature adult fiction (YA) that tin exist published and marketed as developed—a sort of an 'older YA' or 'new developed'".[35] New adult fiction tends to focus on issues such as leaving abode, developing sexuality, and negotiating didactics and career choices.[36] The genre has gained popularity rapidly over the last few years, particularly through books past self-published bestselling authors like Jennifer L. Armentrout, Cora Carmack, Colleen Hoover, Anna Todd, and Jamie McGuire.[37] [38]

The genre originally faced criticism, every bit some viewed information technology as a marketing scheme,[39] while others claimed the readership was non there to publish the material.[40] In dissimilarity, others claimed the term was necessary; a publicist for HarperCollins described it as "a convenient label considering it allows parents and bookstores and interested readers to know what is within".[41]

Examples of books in the new adult genre include Sarah J. Maas's A Court of Thorns and Roses and Throne of Glass, Jennifer Fifty. Armentrout's Expect For You lot and Blood and Ash series, Jamie McGuire'southward Beautiful Disaster,[42] Colleen Hoover's Slammed,[43] Cora Carmack's Losing It,[44] Kendall Ryan'due south The Impact of You lot [45] and Casey McQuiston's Red, White & Royal Blue. [46]

Problem novels [edit]

Social problem novels or problem novels are a sub-genre of literature focusing and commenting on overarching social problems.[47] They are typically a blazon of realistic fiction that characteristically depict contemporary issues such as poverty, drugs, and pregnancy.[48] Published in 1967, Southward.Eastward. Hinton'south The Outsiders is frequently credited every bit the first problem novel.[49] [50] Post-obit this release, trouble novels were popularized and dominated during the 1970s.[ commendation needed ]

Librarian Sheila Egoff described three reasons why problem novels resonate with adolescents:[51]

  • They depict real situations that the readers are experiencing and then they take "therapeutic value"
  • They are interesting, new and foreign to those not experiencing these problems,
  • They feature mature story lines which appeal to a kid's desire to grow up.

A classic example of a problem novel and one that defined the sub-genre is Go Inquire Alice by Bearding (pseudonym for Beatrice Sparks) published in 1971. Go Ask Alice is written in kickoff-person every bit the diary of a young girl who experiences a lot of problems while growing up. In gild to cope with her issues, the protagonist begins experimenting with drugs. Modernistic examples of problem novels include Speak by Laurie Halse Anderson, Crank by Ellen Hopkins, and The Perks of Being a Wallflower by Stephen Chbosky.[52]

Boundaries betwixt children's, immature adult, and adult fiction [edit]

The distinctions amid children's literature, young developed literature, and adult literature have historically been flexible and loosely defined. This line is ofttimes policed by adults who experience strongly most the border.[53] At the lower terminate of the age spectrum, fiction targeted to readers age 8–12 is referred to as middle class fiction. Some novels originally marketed to adults are of interest and value to adolescents, and vice versa, as in the case of books such as the Harry Potter series of novels.[54]

Some examples of centre class novels and novel series include the Percy Jackson and the Olympians serial by Rick Riordan, The Underland Chronicles by Suzanne Collins, and Diary of a Wimpy Kid by Jeff Kinney. Some examples of young adult novels and novel serial include the Harry Potter series by J.G. Rowling, The Hunger Games trilogy past Suzanne Collins, the Alex Rider series past Anthony Horowitz and the Mortal Instruments serial by Cassandra Clare.[ citation needed ]

Eye grade novels are typically for the ages of viii–12. They are ordinarily shorter, and are significantly less mature and complex in theme and content than YA. YA novels are ages 12–eighteen, and tackle more mature and adult themes and content. Eye grade novels usually feature protagonists under the historic period of 13, whereas young adult novels commonly feature protagonists within the historic period range of 12–eighteen.[55]

Uses in the classroom [edit]

Rick Riordan, author of the Percy Jackson and the Olympians books

YA has been integrated into classrooms to increase student interest in reading. At that place is a common misconception that YA lit is solely for "struggling" or "reluctant" readers and should be reserved for remedial classes. Studies accept shown that YA can be beneficial in classroom settings.[56] YA fiction is written for young adults and some believe it to exist more relevant to students' social and emotional needs instead of classic literature.[57] Apply of YA in classrooms is linked to:[58]

  • college levels of engagement and motivation among students
  • increased levels of self-conviction, personal development and self-identification
  • increased desire to read like books

Students who read YA are more probable to appreciate literature and take stronger reading skills than others.[57] YA besides allows teachers to talk nigh "taboo" or hard topics with their students. For case, a 2014 study shows that using Laurie Halse Anderson'due south novel Speak aided in discussions on consent and complicity. Those who read about tough situations like appointment rape are more emotionally prepared to handle the state of affairs if it arises.[58] Information technology is important to use various literature in the classroom, particularly in discussing taboo topics, to avoid excluding minority students.[58]

Literature written for young adults tin can also be used as a stepping stone to approved works that are traditionally read in classrooms, and required past many school curriculums. In Building a Culture of Readers: YA Literature and the Canon by Kara Lycke, Lycke suggests pairing young adult literature and canon works to ready young adults to sympathise the classic literature they will come across.[59] YA tin provide familiar and less alienating examples of similar concepts than those in classic literature.[57] Suggested pairings include Rick Riordan'south Percy Jackson series with the Iliad or the Odyssey, or Stephenie Meyer's Twilight with Wuthering Heights. When discussing identity, Lycke suggests pairing Hawthorne's The Scarlet Letter with Sherman Alexie's The Absolutely True Diary of a Part Time Indian. [59]

Criticism [edit]

Content [edit]

Mature themes in immature adult fiction are ofttimes challenged. Bourgeois activists and religious groups criticize young developed fiction for violence, sexual content, homosexuality, and topics such as suicide.[sixty] Speculative young adult fiction is sometimes targeted by critics for religious reasons, including religious debates over the Harry Potter series.[61] [62] Criticism is too leveled at young adult fiction authors for alleged insensitivity to marginalized communities or cultural cribbing.[63]

Variety [edit]

English language young adult fiction and children's literature in general have historically shown a lack of books with a main character who is a person of color, LGBT, or disabled.[64] In the UK 90% of the acknowledged YA titles from 2006 to 2016 featured white, able-bodied, cis-gendered, and heterosexual main characters.[65] The numbers of children's book authors have shown a similar lack of diversity.[66] Between 2006–2016, eight percentage of all immature adult authors published in the Britain were people of color.[65]

Some consider multifariousness beneficial since it encourages children of various backgrounds to read and it teaches children of all backgrounds an accurate view of the world around them.[67] [ failed verification ] In the mid-2010s, more attention was fatigued to diversity from various quarters.[68] In the several years following, diversity numbers seem to accept increased: One survey showed that in 2017, a quarter of children'south books were near minority protagonists, well-nigh a x% increase from 2016.[66]

Consumerism [edit]

Jack Zipes, a professor of German language and literature, has criticized the commercialised nature of young developed fiction in Western society, specifically focusing upon how works such as Harry Potter are promoted past backer industries such as the media and Hollywood.[69] He writes that to become a commercial success, a work has to "accommodate to the standards of exception gear up by the mass media and promoted by the civilisation industry in general." Zipes says in that location are similarities between Harry Potter and other well known heroes, such as Superman, David, Tom Thumb, Jack the Giant Killer, Aladdin, and the characters of Horatio Alger.[70]

There are some who argue that commercial YA novels and franchises promote commercialism and reactionary ideologies. Such critics include writer Ewan Morrison who says: "The dystopian narratives which are currently consuming the minds of millions of teens worldwide are now communicating right-wing ideas."[71] Another critic is Andrew O'Hehir who critiques YA novels because he believes they promote consumerism. [72] An article in Jacobin mag argues "there is also a particularly neoliberal authoritarian fantasy to Potterworld."[73]

Aesthetics [edit]

Certain critics of YA novels believe that such books have a poor style of writing and a lack of intellectual maturity, such criticisms existence put against Harry Potter for example.[74] [75] Chris Crowe, a professor of English and young adult literature, describes criticism of immature adult fiction as fear that immature adult fiction will supercede archetype works. He cites the availability of what he considers poorly written young developed fiction, also every bit the genre's recency making it difficult for it to establish itself against classic literature.[76]

Awards [edit]

See also [edit]

  • Children's literature
  • Children'south literature periodicals
  • Gay teen fiction
  • Lesbian teen fiction
  • Light novel
  • List of young adult authors
  • Literary genre
  • Problem novel
  • Shōjo manga
  • Shōnen manga
  • Verse novel
  • Visual novel
  • Young Adult Library Services Association

Notes [edit]

  1. ^ "Young Adult Book Market Facts and Figures". The Residuum . Retrieved 26 March 2018.
  2. ^ Randall (2014, pp. 498–500)
  3. ^ Kitchener, Caroline. "Why So Many Adults Read Young-Adult Literature". The Atlantic . Retrieved 26 March 2018.
  4. ^ Wells, Apr (2003). "THEMES FOUND IN Young ADULT LITERATURE: A COMPARATIVE STUDY BETWEEN 1980 AND 2000" (PDF).
  5. ^ Lamb, Nancy, Crafting Stories for Children. Cincinnati: Writer's Digest Books, p. 24
  6. ^ Dunning, Stephen (1962). "Criticism and the "Young Adult Novel"". The High Schoolhouse Journal. 45 (5): 208–213. JSTOR 40366769.
  7. ^ a b c d Owen, Mary (March 2003). "Developing a love of reading: why young adult literature is of import". Orana. 39 (1): 11–17. ISSN 0045-6705. Retrieved 23 May 2020.
  8. ^ (Garland 1998, p. 6)
  9. ^ Susan Broomhall, Joanne McEwan, Stephanie Tarbin. "One time upon a time: a brief history of children'south literature", The Conversation (website), May 28, 2017
  10. ^ Blakemore, Erin (10 April 2015). "A Brief History of Immature Adult Fiction". JSTOR Daily . Retrieved 25 October 2021. {{cite spider web}}: CS1 maint: url-status (link)
  11. ^ Mag, Smithsonian; Eschner, Kat. "The Love, Baffling 'A Wrinkle in Time' Was Rejected By 26 Publishers". Smithsonian Magazine . Retrieved 25 October 2021.
  12. ^ Jon Michaud, "S. Eastward. Hinton and the Y.A. Debate", The New Yorker, Oct 14, 2014
  13. ^ Constance Grady,"The Outsiders reinvented young adult fiction. Harry Potter made information technology inescapable.," Phonation (website), January 26, 2017
  14. ^ "The Outsiders". Penguin Random House. Retrieved 18 November 2019.
  15. ^ a b Dale Peck, 'The Outsiders': 40 Years Afterwards, New York Times, 23 September 2007
  16. ^ Cart, p. 43,
  17. ^ Cart, p. 77.
  18. ^ Gillis, Bryan (2015). Sexual content in immature developed novels: Reading Between the Sheets. Rowman & Littlefield. pp. 101–124. ISBN9781442246874. OCLC 965782772.
  19. ^ Parrish, Berta (April 1983). "Put a Little Romantic Fiction into Your Reading Program". Periodical of Reading. 26 (7): 610–615. JSTOR 40029267. The 1980s witnessed a new publication tendency—series of contemporary teen romance novels, especially planned, written, and marketed just for adolescent girls.
  20. ^ Tomlinson and Lynch-Brown, p. 5.
  21. ^ Grady, Constance (26 June 2017). "The Outsiders reinvented young developed fiction. Harry Potter made information technology inescapable". Voice . Retrieved 21 June 2018.
  22. ^ Benedictus, Leo (15 June 2019). "Torn apart: the fell war over young adult books". The Guardian . Retrieved 16 June 2019.
  23. ^ Prose, Francine (1 November 2017). "The Problem With 'Problematic'". The New York Review of Books . Retrieved 16 June 2019.
  24. ^ Modify, Alexandra (31 January 2019). "Y.A. Author Pulls Her Debut Afterward Pre-Publication Accusations of Racism". The New York Times . Retrieved sixteen June 2019.
  25. ^ Overflowing, Alison (27 April 2018). "Vetting for stereotypes: run across publishing's 'sensitivity readers'". The Guardian . Retrieved 16 June 2019.
  26. ^ Alter, Alexandra (24 Dec 2017). "In an Era of Online Outrage, Do Sensitivity Readers Event in Better Books, or Censorship?". The New York Times . Retrieved 16 June 2019.
  27. ^ Waldman, Katy (viii Feb 2017). "How "Sensitivity Readers" From Minority Groups Are Changing the Book Publishing Ecosystem". Slate Mag . Retrieved xvi June 2019.
  28. ^ a b "Qualities of Immature Adult Literature | Pedagogy.com". world wide web.teaching.com. Archived from the original on 6 July 2017. Retrieved one April 2018.
  29. ^ Wells, Apr (2003). "Themes Constitute in Immature Adult Literature: A comparative study betwixt 1980 and 2000" (PDF).
  30. ^ Risku, Johanna. ""We Are All Adolescents Now" The Problematics of Categorizing Young Adult Fiction as a Genre" (PDF).
  31. ^ Gruner, Elisabeth Rose (2019). Amalgam the Boyish Reader in Contemporary Young Adult Fiction. doi:10.1057/978-1-137-53924-3. ISBN978-1-137-53923-6. S2CID 182206294.
  32. ^ "Explore the Themes and Genres of Immature Adult Books". weblog.whsmith.co.uk. 25 February 2016. Retrieved 1 April 2018.
  33. ^ "YA Genre-Blending | Focus On | School Library Journal". www.slj.com . Retrieved i April 2018.
  34. ^ Beckett, Sandra L. (2008). Crossover Fiction: Global and Historical Perspectives. pp. 111, 119–126.
  35. ^ "St. Martin's New Adult Contest". Archived from the original on 9 December 2016. Retrieved xix May 2013.
  36. ^ Chappell, Briony (ten September 2012). "Would y'all read novels aimed at 'new adults'?". London: Guardian. Retrieved 19 May 2013.
  37. ^ Donahue, Deirdre (xv April 2013). "New Adult fiction is the hot new category in books". Us Today. Retrieved 19 May 2013.
  38. ^ "Karl Alexander Interview Part 3". FearNet. Retrieved 19 May 2013.
  39. ^ "'New Adult' Fiction Is Now an Official Literary Genre Because Marketers Want Us to Buy Things". Jezebel. Retrieved 19 May 2013.
  40. ^ "New Adult: Needless Marketing-Speak Or Valued Subgenre?". Publishers Weekly. Retrieved nineteen May 2013.
  41. ^ Kaufman, Leslie (21 December 2012). "Beyond Wizards and Vampires, to Sex". New York Times . Retrieved 19 May 2013.
  42. ^ "'New Adult' books growing upwards". Lansing State Journal. Retrieved 19 May 2013.
  43. ^ "Emerging 'New Adult' Book Genre Puts Smut Fiction on Bestseller Lists". ABC News. Retrieved 19 May 2013.
  44. ^ "Are your teens ready for New Adult fiction?". Sunday Times. Retrieved 19 May 2013.
  45. ^ "Sexy-romance author Kendall Ryan gives New Developed a endeavor". Happy Ever Later on. nine June 2013. Retrieved 14 Baronial 2017.
  46. ^ fangirlfury (13 May 2019). "NEW Developed FAVORITE: Red, White and Purple Blueish Review". Fangirl Fury . Retrieved 16 December 2019.
  47. ^ "Social problem novel | literature". Encyclopedia Britannica . Retrieved 4 April 2018.
  48. ^ Gallo, Donald (1989). "Problem Novels". Children'southward Literature Review. 142 – via Gale.
  49. ^ Cart, Michael (2016). "Young Adult Literature: The State of a Restless Art". Youth Services. 5.
  50. ^ Nichols, Kristen (2005). "Teen pregnancy in young developed literature". Iowa Country University Digital Repository.
  51. ^ Sturm, Brian; Michel, Karin (Winter 2008). "The Construction of Power in Young Adult Trouble Novels". Young Developed Library Services. 7. ProQuest 217702509.
  52. ^ "Popular Trouble Novels Books". www.goodreads.com . Retrieved 4 April 2018.
  53. ^ Richard Flynn, Purlieus Issues, Children's Literature Association Quarterly, Volume 33, Number 2, Summer 2008
  54. ^ Backes, Laura Backes. "The Difference Between Center School and Immature Adult". Children'southward Book Insider. Archived from the original on 6 January 2002.
  55. ^ Column, Guest (vii Baronial 2014). "The Key Differences Between Middle Grade vs Young Adult". Writer'due south Digest . Retrieved 16 June 2019.
  56. ^ Hays, Alice (8 July 2016). "Using Young Developed (YA) Literature in a Classroom: How Does YA Literature Impact Writing Literacies". Study and Scrutiny: Enquiry on Young Adult Literature. two (1): 53–86. doi:10.15763/issn.2376-5275.2016.ii.i.53-86. ISSN 2376-5275.
  57. ^ a b c Ostenson, Jonathan; Wadham, Rachel (Fall 2012). "Immature Adult Literature and the Common Core: A Surprisingly Skillful Fit". American Secondary Education. Bowling Dark-green. 41: 4–13.
  58. ^ a b c Scherff, Lisa; Groenke, Susan (April 2009). "Young Adult Literature in Today'southward Classroom". English Leadership Quarterly. 31: 1–3.
  59. ^ a b Lycke, Kara (Summer 2014). "Building a Civilisation of Readers: YA Literature and the Canon". Bespeak Journal: 24–29.
  60. ^ Gaffney, Loretta M. (2014). "No Longer Safety: West Bend, Immature Adult Literature, and Conservative Library Activism". Johns Hopkins University Press. 62: 730–739.
  61. ^ Cockrell, Amanda (Feb 2006). "Harry Potter and the witch hunters: a social context for the attacks on Harry Potter". The Journal of American Culture. 29 (vi): 24–30. doi:10.1111/j.1542-734X.2006.00272.10.
  62. ^ "Harry Potter Tops ALA'southward Most-Challenged Books List". American Library Clan. 2000. Archived from the original on 30 December 2007. Retrieved thirty May 2007.
  63. ^ "Torn apart: the vicious war over young adult books". The Guardian. 15 June 2019. Retrieved 22 February 2022.
  64. ^ Flood, Alison (27 July 2018). "'Dire statistics' bear witness YA fiction is condign less diverse, warns report". the Guardian . Retrieved 23 July 2021.
  65. ^ a b Ramdarshan Assuming, Melanie (2018). "The Eight Percent Problem: Authors of Color in the British Young Adult Marketplace (2006–2016)". Publishing Enquiry Quarterly. 34 (3): 385–406. doi:10.1007/s12109-018-9600-5.
  66. ^ a b "Children'southward Books by and About People of Color". ccbc.pedagogy.wisc.edu. Archived from the original on 23 August 2020. Retrieved 26 March 2018.
  67. ^ Martinez, Miriam; Koss, Melanie D.; Johnson, Nancy J. (2016). "Meeting Characters in Caldecotts: What Does This Hateful for Today'southward Readers?". The Reading Instructor. 70 (1): xix–28. doi:10.1002/trtr.1464. ISSN 0034-0561. JSTOR 44001401.
  68. ^ Charles, Ron (3 Jan 2018). "'We need diverse books,' they said. And at present a group'southward dream is coming to fruition". The Washington Post . Retrieved 4 November 2018.
  69. ^ Zipes, J. (2002). Sticks and Stones: The Troublesome Success of Children's Literature from Slovenly Peter to Harry Potter. p. 175.
  70. ^ Zipes, J. (2002). Sticks and Stones: The Troublesome Success of Children's Literature from Slovenly Peter to Harry Potter. p. 175.
  71. ^ Morrison, Ewan (1 August 2014). "YA dystopias teach children to submit to the gratuitous market, not fight authorization". the Guardian . Retrieved 23 July 2021.
  72. ^ O'Hehir, Andrew (22 March 2014). ""Divergent" and "Hunger Games" as capitalist agitprop". Salon . Retrieved 23 July 2021.
  73. ^ "Politics Is Not Harry Potter". jacobinmag.com.
  74. ^ "Harry Potter's large con is the prose | Books". The Guardian. London. Retrieved 28 February 2022.
  75. ^ Byatt, A.S. (vii July 2003). "Opinion | Harry Potter and the Childish Developed". The New York Times . Retrieved 28 February 2022.
  76. ^ Crowe, Chris (January 2001). "Young Adult Literature: The Trouble with YA Literature". The English Periodical. xc: 146–150. doi:ten.2307/821338. JSTOR 821338.

References [edit]

  • Cart, Michael (1996). From Romance to Realism: 50 Years of Growth and Change in Immature Adult Literature. New York: Harper Collins
  • Garland, Sherry (1998). Writing for Immature Adults. Cincinnati, OH: Writer'south Assimilate Books. pp. 5–11. ISBN0-89879-857-iv.
  • Randall, Rachel, ed. (2014), 2015 Novel and Short Story Writer'due south Marketplace, Cincinnati: Writer's Digest Books, ISBN978-one-59963-841-6

External links [edit]

  • "In defense of hateful-girl books", by Lianne George, Macleans, 15 October 2007. Archived 3 April 2012 at the Wayback Auto.
  • "New Trend in Teen Fiction: Racy Reads; Parents Alarmed that Books are More 'Sexual practice and the City' than Nancy Drew", by Janet Shamlian, NBC News, xv Baronial 2005.
  • "Now and Forever: The Power of Sexual practice in Young Adult Literature Archived 6 Nov 2020 at the Wayback Machine," by Tanya Lee Stone, VOYA, Feb 2006.
  • NPR: Multicultural Books Offer Diverse Reading Experience Michel Martin interviews ALA President Loriene Roy, nineteen July 2007.
  • "Young Adult Fiction: Wild Things," past Naomi Wolf, The New York Times, 12 March 2006.

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Source: https://en.wikipedia.org/wiki/Young_adult_fiction

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