I've never given much thought to what YA literature was in the past, but Cart's chapter on the supposed 'invention' of YAL is as insightful as it is (slightly) unnerving. The basis of YAL seems to be manipulation: teenagers were gifted media that excited them while also exploiting their interests. From Cart's explanation, it seems that the first YAL books were created not in the interest of writing or art, but in the interest of profit.
I found it interesting how Cart describes each “phase“ of life in young men and women, and how each group aims to find reflection in what they read. Many approaches were taken to escalate these groups' reading experiences, from educational reforms and psychological theories to publishing strategies and cultural shifts. Young adulthood was shaped by more than just research (also society, history, etc.), which was really interesting.
Young adults are trapped within a liminal space of constant infantilization or adultification, with no gray space. YAL shapes who we are as people and provides the YA community a sense of unity in their discoveries and inquiries. As teachers, we are responsible for sharing meaningful YAL with our unique student body. YAL is not a life map with thousands of paths for our students to explore with whimsy and ambition.
*Fourth Edition
In Cart‘s chapter, he aptly describes young adulthood as “an ill-defined developmental space somewhere between childhood and adulthood” (Cart, 3). As a relatively new concept in the history of humanity, does the ambiguity of the young adult experience impact how controversial young adult literature is in today‘s classrooms? With no good definition of YA, how do we determine what is or isn‘t appropriate for students from all different backgrounds?
One thing I've learned throughout my time in English Education is that literature provides an opportunity for students to gain valuable experience through the characters they read about. I found this perspective particularly relevant to “From Romance to Realism,“ mainly when it discussed the prevalence of novels depicting various career paths. Because these students read about the specific details of these jobs, they gain relevant experience.
“'For years I have been yearning for a magazine entirely dedicated to me' (Palladino 1996, 91–92)“ (Cart 9).
Cart presents an enlightening history of YA lit, but something that stood out to me was the focus on audience, especially when defining a new genre with changing styles and ideas about life. It's important to know what THEY want or need to read so they can feel seen and understood, and this knowledge can help shape our classrooms too.
The nostalgia! My mom came across my collection of SVH and sent them home with me. I intend to donate them to my kiddos classroom library, but I am going to enjoy them for a few days first.
pickThis was a YA recommendation from a friend. It‘s short but packs a lot of punch. It‘s the story of 15 yo Hoodie whose Orthodox Jewish community moves to a new area. It‘s about prejudices towards those unfamiliar to you. It‘s about being different and fitting in, and it‘s about questioning your beliefs and teachings. It‘s a timely, solid read, especially for high schoolers.
pickIt's interesting that the Melanie Rehak book (which is great!) has almost the same title and is the same color as the original, 1975 edition of this Bobbie Ann Mason book. Mason's book covers lots of sleuths, not just Nancy, and has Mason's personal commentary. I love Bobbie Ann Mason and her thoughts on the Bobbseys, Cherry Ames, Trixie Belden, and others were entertaining. I think I'd like to try a Judy Bolton, but probably not a Vicki Barr.
