Cindy Lou Daniels

Lori Goodson & Jim Blasingame

Literary Theory and Young Adult Literature:

The Open Frontier in Critical Studies

E
ver since the enormous publication success of J. discusses” (113). Unfortunately, many people working
K. Rowling’s Harry Potter series, contemporary in literary theory and criticism are foregoing the
Young Adult (YA) literature has seen a rise in its opportunity to explore this phenomenon because they
appreciation by those who, in the past, might not have mistakenly believe that works labeled as YA should
given YA literature a second glance. This is not to say, only be analyzed in terms of the connection—whether
of course, that significant works categorized as YA that be historical or psychological—to the supposed
have not been out there, only that contemporary “intended” reader. They see the phrase YA, and they
works that have been labeled as YA tend to be ignored tend to dismiss the work as disconnected to the
by many serious literary critics. Some still believe that literary community.
YA literature is merely a secondary category of child­ The problem, of course, is exacerbated by the
like storytelling—didactic in nature—and unworthy of actual labeling of the genres: it should be readily
serious literary evaluation, when, in fact, it is really an apparent that YA literature is not the same thing as
overlooked and underappreciated literary genre that children’s literature—in the same way that short
has only recently begun to attract the critical attention fiction is not the same genre as the novel. Yet contem­
that it deserves. porary critics often speak of the two as if they were
Many people have argued that YA literature, one and the same. What would help in this regard
which is often grouped as a sub-division within the would be not only for critics to recognize the differ­
category of children’s literature, isn’t worth much ence between the genres, but to simply acknowledge
attention because it doesn’t offer enough substance to that regardless of genre, both children’s and YA works
be included within the traditional literary canon. are literature.1
Deborah Stevenson, in her essay “Sentiment and In fact, the idea that YA works are truly literature
Significance: The Impossibility of Recovery in the is what lies at the heart of the “theory barrier”
Children’s Literature Canon or, The Drowning of The problem, even though in reality the problem is not of
Water-Babies” goes so far as to argue that the “aca­ a literary nature. Terry Davis, in his article “On the
demic curriculum, which is based on a canon of Question of Integrating Young Adult Literature into the
significance, may rediscover the historical significance Mainstream,” reminds us that:
of a children’s author but can never truly recover it to
Although a few books do cross over and become literature
the literature’s dominant popular canon” (112-113). for both young people and adults—To Kill a Mockingbird
She contends that there are too many other factors and Ordinary People are two examples—most young adult
that disallow critics to view the literature as literature, books can’t cross the boundary into grown-up literature for
even while she acknowledges that “children’s litera­ the following reasons: 1. because publishers present most
of the books in a package that an older teenager or adult
ture scholarship is by no means invalid; it sheds much
wouldn’t want to pick up and carry around, let alone read;
light on literature as a whole as well as the genre it and 2. because many of us who write about these books

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 and teach them and have charge of them on behalf of young of J. K. Rowling and her creation of Harry Potter, the
readers refuse to hold the books to real literary standards. quintessential main character of her series of novels. It
(5)
seems that Harry Potter has opened up a whole new
If we, as scholars and as readers, don’t bother to hold arena of respectable scholarly debate.3
the YA work up to the light of crucial literary stan­ One text centered on the Harry Potter phenom­
dards, then it is no wonder the works are not being enon that proves the point that significant literary
taken seriously. Critics, as the experts in literary analysis can be undertaken successfully with YA
analysis, need to take charge. This includes the idea of literature is Giselle Liza Anatol’s collection of essays
separating YA literature from children’s literature—not titled Reading Harry Potter: Critical Essays. The critical
to classify one as better than the other—but rather to analyses include titles such as Veronica L. Schanoes
acknowledge the differences in the literary craft itself, “Cruel Heroes and Treacherous Texts: Educating the
which in turn will lead to a greater understanding of Reader in Moral Complexity and Critical Reading in J.
the works themselves. For example, Stevenson’s article K. Rowling’s Harry Potter Books.” Clearly, Harry Potter
mentions several texts that she includes in the body of has inspired many a critic to jump on the YA literary
children’s literature, including Maurice Sendak’s bandwagon, so why not examine other contemporary
Where the Wild Things Are, Lewis Carroll’s Alice in YA texts in the same way? After all, it’s not just J. K.
Wonderland, and Katherine Patterson’s Bridge to Rowling’s work that is worthy of study. “Serious
Terabithia. What Stevenson fails to realize, though, is writers don’t condescend in terms of style or any other
that Wild Things is of the children’s literature genre; way. They try to perceive human life as deeply and
Alice is classic YA literature (just as The Scarlet Letter clearly as they can every time they tell a story, and
is classic literature); and Patterson’s work is contem­ every time they tell a story they try to present their
porary YA literature (just as Richard Ford’s Indepen­ perceptions in the best—the most vivid—prose they
dence Day is contemporary literature). If these works can craft. That’s why we call it art and that’s why
must be categorized, then the least we can do is serious writers deserve to be called artists” (Davis 7).
categorize them appropriately.2 And there are many YA authors out there who are
Davis takes this idea a step further when he literary artists.
suggests that “publishers need to create a specific Furthermore, if, as David L. Russell states,
category for books that can be read by adults and “Literary criticism is the discussion of literature
youth, books that have both literary and teaching undertaken in order to interpret its meaning and to
merit” (5). The heart of this suggestion is what is truly evaluate its quality” (48), and it is also true that “the
important because while publishers may not be purpose of criticism is to promote high standards in
willing to start yet another marketing category, critics literature and to encourage a general appreciation of
can, through individual analyses of works, reveal literature among readers” (48), then there is absolutely
exactly which titles belong in this area, just as they do no reason to avoid the serious scholarly study of YA
with other ‘adult’ contemporary works. literature. These are works that have significance to all
Of course, this is not a new idea. James Steel of us, regardless of which age category we fall into,
Smith in his 1967 text A Critical Approach to because they speak to the human condition. After all,
Children’s Literature points out that of the “five ways as Davis asserts, “If we’re going to call it literature,
of thinking about children’s reading—historical, whether or not we preface the word with the young
subject-centered, by types, psychological, and applica­ adult qualifier, then . . . we should hold it to the
tion-oriented, or utilitarian—all have one very impor­ standards of literature” (6). This is good advice, and if
tant characteristic: None of them examines and we followed it, would go a long way in bringing the
analyzes the children’s literature itself with any light of recognition to the genre. In fact, those inter­
seriousness and care” (3). His text, even as early as ested in exploring critical analysis of YA literature
1967, called for a reconsideration of this problem. The need to be particularly adept scholars because to date
difference today lies in the burgeoning attitude of there has not been a large body of work created that
respectability that YA literature is receiving in the explores the genre, so there is plenty of opportunity
present day, thanks in no small measure to the success for original scholarship.4 Deborah Thacker, in her

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 article “Disdain or Ignorance? Literary Theory and the Onions) and Ursula K. Le Guin (The Earthsea Cycle
Absence of Children’s Literature” concurs. She writes: books, in particular).
Best of all, in addition to these major names from
The transformation of critical theory over the last few de­
cades has meant that theory needs children’s literature. As the traditional literary “adult” world, though, there are
theorists move from a textual emphasis toward the inter­ other writers, firmly ensconced in the YA genre, whose
play between reader and text and the social and political work begs to be explored theoretically. One such
forces that mediate those interactions, so the part played by writer is the well-known Brock Cole. His works
texts written primarily for children and the ways of reading
include The Goats and The Facts Speak for Themselves,
available to children, within a web of discourses that both
encourage and control interactions with fictional texts, need
both of which would stand up to an intense gender-
to be included and examined. Thus, we, as specialists, must based analysis. In The Goats, a boy and a girl, attend­
contribute to a broader picture of the social constructedness ing summer camp, are stripped of their clothing and
of readers and the implications of the discourses surround­ abandoned by their campmates on an island. What is
ing fiction in the development of response. (1) supposed to be a harmless prank turns to an explora­
We do, however, need to keep one simple view­ tion of the expectations of males and females when
point in mind: If we want YA literature to be recog­ the two of them run away from the island in order to
nized and appreciated as literature, then we should escape their ostracism.
utilize the same theories with it as we use with other The Facts Speak for Themselves is probably one of
literatures, including those pointed out by Jonathan the most explicit novels about sexual molestation ever
Culler, in his exemplary short work titled Literary to be designated “young adult.” In this powerful work,
Theory: A Very Short Introduction: Cole lets the main character, Linda, tell her own story,
and it is one that readers will not soon forget. Linda,
Three theoretical modes whose impact, since the 1960s,
in a voice that has become as hollow and emotionless
has been the greatest are the wide-ranging reflection on
language, representation, and the categories of critical as her inner life, lets the facts speak for themselves, as
thought undertaken by deconstruction and psychoanalysis she reveals her attempt to take over the ‘expected’ role
(sometimes in concert, sometimes in opposition); the analy­ of an adult woman. There is much to examine here,
ses of the role of gender and sexuality in every aspect of including the psychological aspects of a young woman
literature and criticism by feminism and then gender stud­
facing situations far beyond her comprehension, and a
ies and Queer theory; and the development of historically
oriented cultural criticisms (new historicism, post-colonial
class system that has conveniently allowed her to slip
theory) studying a wide range of discursive practices, in­ between the cracks.
volving many objects (the body, the family, race) not previ­ Another notable author is Louis Sachar and his
ously thought of as having a history. (121) work Holes. Sachar’s plotting strategy within this work
For example, the genre of YA literature can be exam­ is exemplary; there are stories within stories that
ined as a way to analyze the underlying class ideology ultimately fit together like a set of stacking boxes. The
of a work, without the text being specifically “about” story itself can also be explored as a satire that speaks
class conflict. The genre itself, the form itself, could to such issues as juvenile delinquency, moral charac­
contain ideological messages within the structures of ter, and redemption. Critics could not find a better
its conventions.5 In any case, utilizing theoretical novel to explore both structurally and thematically. In
modes such as the ones mentioned would go a long this same vein is Monster by Walter Dean Myers, a
way in legitimizing a genre whose position on the novel that would appeal to structuralists as well as to
fringe is undeserved. race theory critics. This novel is written from the point
It is interesting to note that since the burst of of view of a young black man on trial for murder who
power demonstrated by J. K. Rowling in the writing of decides to tell his story by writing a movie script. This
YA literature, other well-known literary writers have combination of forms (first person narrative and
started to explore the form. Joyce Carol Oates’ Big scriptwriting) is highly original and effective, speaking
Mouth and Ugly Girl and Freaky Green Eyes are two volumes about the influences in this young man’s life,
such works. Here we have a major literary figure who as well as revealing the actions of the plot.
finds the form fascinating and worth her talent. Other Race theory critics would also delight in reading
known literary writers include Gary Soto (Buried Christopher Paul Curtis’s The Watsons Go to Birming­

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 ham—1963. Of particular note is his use of humor in a novels. The article also examines the historical publica­
story that explores the heart of racism. And then there tion record of young adult texts, pointing out the
is Armageddon Summer, a novel co-written by Jane differences between British and American novels, and it
mentions several prominent authors of the young adult
Yolen and Bruce Coville that explores the religious
genre, and their influence on the American market.
sentiments of our society as viewed through a female
protagonist, Marina, who believes in a God of power 3
Lauren Binnendyk and Kimberly A. Schonert-Reichl’s
and omnipotence, and a male protagonist, Jed, whose article titled “Harry Potter and Moral Development in Pre-
skepticism is in stark contrast to Marina’s outlook. As Adolescent Children,” published in the Journal of Moral
the story progresses, in alternate chapters from Jed Education begins by announcing the radical shift
and Marina’s viewpoints—from Yolen’s and Coville’s children’s literature has experienced since the publication
of J.K. Rowling’s Harry Potter novels stressing the point
viewpoints—the spectrum of belief in the sacred is
that these works are much more than simply escapism
revealed and challenged in a way that leaves no easy
and fantasy. They argue that the books themselves can be
answers. a significant factor in the moral development of chil­
In fact, the list of writers and works worthy of dren—that the books contribute to children’s develop­
critical exploration would be much too long to include ment and understanding of life.
here, but others of particular note are Robert Cormier6
4
(I Am the Cheese; The Chocolate Wars), Sharon Creech The second part of Hans-Heino Ewer’s article addresses
(Walk Two Moons), Jerri Spinelli (Wringer; Stargirl), the idea that there is an increasing literariness to be
found in children’s literature. He cautions readers,
Laurie Halse Anderson (Catalyst; Speak) and David
though, that one has to be careful because of the
Almond (Kit’s Wilderness; Skellig).
variables inherent within the genre, including the fact
With contemporary artists like these waiting to be that children have one view of a text, adults another, and
explored, theorists should feel genuine excitement that critics must always be aware of which side they are
about the uncharted territory of YA literature. In this on. Critics must be careful, in other words, that they are
field, there awaits an opportunity to not only expand critiquing a work using the same criteria they would use
our knowledge of the young adult genre, but also to for an adult work, rather than as a critique of the
expand our knowledge of literature as a whole and to suitability of the text for children.
challenge the restrictions of the traditional canon. This 5
For other literary perspectives regarding YA literature,
is really what literary theorists are striving to accom­ consult the following sources: Yearwood, Stephanie.
plish in all of their works, and young adult literature “Popular Postmodernism for Young Adult Readers: Walk
offers another avenue for exploration. In fact, there are Two Moons, Holes, and Monster.” ALAN Review 29.3
great writers and great stories out there simply waiting (Spring-Summer 2002): 50-3.; Kidd, Kenneth. “Psycho­
to be discovered by the literary community. Let’s hope analysis and Children’s Literature: The Case for
we’re up to the challenge. Complementarity.” The Lion and the Unicorn 28.1 (2004):
109-130.
End Notes 6
1 For an excellent discussion regarding Cormier’s view of
An article titled “The Limits of Literary Criticism of
YA literature see: Myers, Mitzi. “ “No Safe Place to Run
Children’s and Young Adult Literature” published in The
to”: An Interview with Robert Cormier.” The Lion and the
Lion and the Unicorn written by Hans-Heino Ewers,
Unicorn 24.3 (2000): 445-464.
explores the issue of whether or not children’s literature
should be regarded as art. He references Heinrich
Wolgast’s essay “The Misery of Our Children’s Litera­ Works Cited
ture”—a classic article published in 1896 that calls for the Anatol, Giselle Liza, ed. Reading Harry Potter: Critical Essays.
Westport, Connecticut: Praeger, 2003.
valuing of children’s literature—in the first half of his
Binnendyk, Lauren, and Kimberly A. Schonert-Reichl. “Harry
own article, analyzing this call in contemporary terms.
Potter and Moral Development in Pre-Adolescent Children.”
2
Journal of Moral Education 31.2 (2002): 195-201.
Frances Fitzgerald’s “The Influence of Anxiety” published
Culler, Jonathan. Literary Theory: A Very Short Introduction.
in Harper’s points out the problems inherent in young
Oxford: Oxford UP, 2000.
adult fiction by closely examining the various types, Davis, Terry. “On the Question of Integrating Young Adult Litera­
including fantasy, historical, science fiction, and problem ture into the Mainstream.” ALAN Review 24.3 (1997): 5-8.

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 Ewers, Hans-Heino. “The Limits of Literary Criticism of Children’s Potter: Critical Essays. Ed. Giselle Liza Anatole. Westport,

and Young Adult Literature.” The Lion and the Unicorn 19.1 Connecticut: Praeger, 2003. 131-45.

(1995): 77-94. Smith, James Steel. A Critical Approach to Children’s Literature.

Fitzgerald, Frances. “The Influence of Anxiety.” Harper’s Sept. New York: McGraw Hill, 1967.
2004: 62-70. Stevenson, Deborah. “Sentiment and Significance: The
Kidd, Kenneth. “Psychoanalysis and Children’s Literature: The Impossibility of Recovery in the Children’s Literature Canon or
Case for Complementarity.” The Lion and the Unicorn 28.1 the Drowning of the Water-Babies.” The Lion and the Unicorn
(2004): 109-30. 21.1 (1997): 112-30.
Myers, Mitzi. “‘No Safe Place to Run to’: An Interview with Thacker, Deborah. “Disdain or Ignorance? Literary Theory and
Robert Cormier.” The Lion and the Unicorn 24.3 (2000): the Absence of Children’s Literature.” The Lion and the
445-64. Unicorn 24.1 (2000): 1-17.
Russell, David L. Literature for Children. 5th ed. Boston: Yearwood, Stephenie. “Popular Postmodernism for Young Adult
Pearson, 2005. Readers: Walk Two Moons, Holes and Monster.” ALAN Review
Schanoes, Veronica L. “Cruel Heroes and Trecherous Texts: 29.3 (2002): 50-53.
Educating the Reader in Moral Complexity and Critical
Reading in J. K. Rowling’s Harry Potter Books.” Reading Harry

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