Notable Books from the 2000's:
- The Princess Diaries by Meg Cabot (2000)
- Feed by M.T. Anderson (2002)
- The Book Thief by Markus Zusak (2005)
- Twilight by Stephenie Meyer (2005)
- Looking for Alaska by John Green (2005)
- The Absolutely True Diary of a Part-Time Indian by Sherman Alexie (2007)
- The Hunger Games by Suzanne Collins (2008)
- Dorothy Must Die by Danielle Paige (2014)
- Red Queen by Victoria Aveyard (2015)
- Simon vs. the Homo Sapiens Agenda
by Becky Albertalli (2015) - Challenger Deep by Neal Shusterman (2015)
- Magonia by Maria Dahvana Headley (2016)
- Carve the Mark by Veronica Roth (2017)
Cover Art:
In concern to the book as artifact, if you take a look at the cover art of popular novels from the 2000's & 2010's, this is where you see a huge growth from previous decades. From 2000 back you often saw muted colors, however in the 2000's the colors are bold and eye-catching. The graphics have also transitioned from picturing people to picturing symbols and teasers of the novels context. According to Lamb, "the production staff at Knopf felt that the layout and design of the book was the key to marketing" (Book Design and Marketing). This is still very true and relevant, as often readers of teen fiction, or any fiction really, will examine the cover as the first deciding factor on reading a novel.
In concern to the book as artifact, if you take a look at the cover art of popular novels from the 2000's & 2010's, this is where you see a huge growth from previous decades. From 2000 back you often saw muted colors, however in the 2000's the colors are bold and eye-catching. The graphics have also transitioned from picturing people to picturing symbols and teasers of the novels context. According to Lamb, "the production staff at Knopf felt that the layout and design of the book was the key to marketing" (Book Design and Marketing). This is still very true and relevant, as often readers of teen fiction, or any fiction really, will examine the cover as the first deciding factor on reading a novel.
Common Themes:
In today's current literature, there are really no holds barred. There is discussion of identity in relationship to sexuality, racism, depression and other mental illness, suicide, drug & alcohol abuse, dysfunctional families, bullying, rape, friendship, love, immigration and culture, etc. These issues are explored in a huge variety of genres: fantasy, dytopian, historical, realistic, etc. Anything that a teen could be going through, they can find YA literature to turn to that mimics their own lives.
Now this is not to say that it is all dark, some of it explores light topics as well that usually stick to love, friendship, and what we think of as the 'typical' teen experience vs. teens that have a rougher upbringing. Bodart believes that “promoting controversial materials for teens may not be easy, but if even one teen is able to change their life by finding solutions to their problems, it is worth it” (32). While he does not reference it specifically, Bodart is touching on the idea of the book as knowledge; knowledge, for teen readers that are in similar circumstances depicted in the books, letting them know that they are not alone. Or knowledge that there are ways to cope with their circumstances.
In today's current literature, there are really no holds barred. There is discussion of identity in relationship to sexuality, racism, depression and other mental illness, suicide, drug & alcohol abuse, dysfunctional families, bullying, rape, friendship, love, immigration and culture, etc. These issues are explored in a huge variety of genres: fantasy, dytopian, historical, realistic, etc. Anything that a teen could be going through, they can find YA literature to turn to that mimics their own lives.
Now this is not to say that it is all dark, some of it explores light topics as well that usually stick to love, friendship, and what we think of as the 'typical' teen experience vs. teens that have a rougher upbringing. Bodart believes that “promoting controversial materials for teens may not be easy, but if even one teen is able to change their life by finding solutions to their problems, it is worth it” (32). While he does not reference it specifically, Bodart is touching on the idea of the book as knowledge; knowledge, for teen readers that are in similar circumstances depicted in the books, letting them know that they are not alone. Or knowledge that there are ways to cope with their circumstances.
Audiences:
Many questions surround the appropriate audience for young adult fiction in the present decade. A variety of people are readers, but not everyone agrees, whether at the level of the public library or in professional journals, concerning who the audience is or should be. Adults, who read this genre, have been criticized for reading it instead of something more "appropriate to their age" yet there are also critics who charge that young adult literature has gone into realms that are too mature for teens.
Brown, a writer for the Atlantic contends that adults reading YA literature is "indicative of the quality and enduring themes addressed by young adult. The fluid demographic barrier speaks to the emotional turmoil that makes contemporary young adult literature unique; every decision feels life-changing, and every choice in these books can seem life-or-death. The emotions are no more or less valid than what one might experience at 30, but it's the first time, and thus very powerful" (Brown).
Brown's point drives home just how vital the reader is to the book cycle, an author can write words down on a page, but it is up to a reader to take hold of those words and put them into context with their own lives no matter their age.
Many questions surround the appropriate audience for young adult fiction in the present decade. A variety of people are readers, but not everyone agrees, whether at the level of the public library or in professional journals, concerning who the audience is or should be. Adults, who read this genre, have been criticized for reading it instead of something more "appropriate to their age" yet there are also critics who charge that young adult literature has gone into realms that are too mature for teens.
Brown, a writer for the Atlantic contends that adults reading YA literature is "indicative of the quality and enduring themes addressed by young adult. The fluid demographic barrier speaks to the emotional turmoil that makes contemporary young adult literature unique; every decision feels life-changing, and every choice in these books can seem life-or-death. The emotions are no more or less valid than what one might experience at 30, but it's the first time, and thus very powerful" (Brown).
Brown's point drives home just how vital the reader is to the book cycle, an author can write words down on a page, but it is up to a reader to take hold of those words and put them into context with their own lives no matter their age.
Cultural Events:
The most most prolific cultural event in book history during this time period is without doubt the introduction of electronic media and eBooks. While they will most likely never replace print books entirely, entire generations are seeking out this new form of information and pleasure reading format. Lamb tells us that "A shift from print books to electronic books has occurred in the 21st century. Public, school, and academic libraries have all experienced a dramatic increase in e-book usage" (Shift Toward Digital Collections and Electronic Books). Books are part of book history as a cultural icon, because they reflect the shifts in society's interest. We have gone from hand written materials to print materials to now electronic materials.
The most most prolific cultural event in book history during this time period is without doubt the introduction of electronic media and eBooks. While they will most likely never replace print books entirely, entire generations are seeking out this new form of information and pleasure reading format. Lamb tells us that "A shift from print books to electronic books has occurred in the 21st century. Public, school, and academic libraries have all experienced a dramatic increase in e-book usage" (Shift Toward Digital Collections and Electronic Books). Books are part of book history as a cultural icon, because they reflect the shifts in society's interest. We have gone from hand written materials to print materials to now electronic materials.
Controversial Material:
YA novels of the 20th and 21st century has spawned some of the largest controversies in the history of the genre; these two decades are ideal to study when considering the book and book history as cultural icons with real power to cause change and controversy. Benedetti argues “let everyone read what they want and stop trying to attach age groups to literature” (42). But not everyone lives by this same philosophy. Some critics of young adult novels are quick to point out the dystopian themes, sex, drugs, teenage pregnancy, suicide, and supernatural elements as all being harmful to the delicate teen psyche, while supporters of the genre are quick to judge exposure to these same elements as helpful and necessary for a teens development.
Hunger Games by Suzanne Collins is one of those dystopian novels that critiques have the most issies with, they point to quotes such as ''Taking the kids from our districts, forcing them to kill one another while we watch – this is the Capitol’s way of reminding us how totally we are at their mercy. How little chance we would stand of surviving another rebellion. Whatever words they use, the real message is clear. “Look how we take your children and sacrifice them and there’s nothing you can do. If you lift a finger, we will destroy every last one of you. Just as we did in District Thirteen.” (Collins 76).
Corbett defends YA literature and the authors, who make valid literary choices when they create narratives involving previously taboo topics. She vehemently argues that those teens struggling with suicidal thoughts, divorce, puberty and other challenges need an outlet for those emotions, or at least reassurance that they are not alone. Corbett argues there is no better way than a book to help teens navigate this rocky stage of their lives and having access to these materials is critical. in contrast, Gurdon states “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”. A vocal critic, Gurdon asserts that the views found in YA literature are neither accurate or authentic. Gurdon argues that YA literature is too dark for its readers and portrays a skewed reality that is damaging to the delicate, moldable teenage psyche.
Not only is the young adult genre controversial now because of the subject content, but also because more now than ever, adults are reading YA fiction, and some scholars contend that this is the reason the genre has continued to become darker and more serious in its exploration of heavy topics. Some believe that the literature is really intended for adults, but promoted as young adult literature. Alarmed by the rising controversy surrounding YA fiction, Diaz asks the questions “how much of that attention is coming from adults and not the young people who are supposedly the primary audience for these books?” and “should adults hold power over the genre when it is not meant for them?” ( Diaz 23). Beck furthers the argument with the notion that every time an adult reads a YA book, they widen their perspective in ways that allow them to be released from the constraints of adulthood. Beck makes the powerful argument that cutting literature into age restricted groups ignores the standards for good writing and instead belittles works written for teens. Things made for teenagers are not inherently less worthy of our time, attention, and critical consideration, simply because they’re for and about teens, they should be read by anyone that has in interest in what is written.
This is contrasted by academics that believe adults should feel ashamed for justifying reading novels intended for teenagers by claiming that they are more mature and “deep” than they used to be. In fact, Graham counters this claim by stating that the sappy, unrealistic nature of YA literature could not possibly be fulfilling an adult’s literacy needs.
YA novels of the 20th and 21st century has spawned some of the largest controversies in the history of the genre; these two decades are ideal to study when considering the book and book history as cultural icons with real power to cause change and controversy. Benedetti argues “let everyone read what they want and stop trying to attach age groups to literature” (42). But not everyone lives by this same philosophy. Some critics of young adult novels are quick to point out the dystopian themes, sex, drugs, teenage pregnancy, suicide, and supernatural elements as all being harmful to the delicate teen psyche, while supporters of the genre are quick to judge exposure to these same elements as helpful and necessary for a teens development.
Hunger Games by Suzanne Collins is one of those dystopian novels that critiques have the most issies with, they point to quotes such as ''Taking the kids from our districts, forcing them to kill one another while we watch – this is the Capitol’s way of reminding us how totally we are at their mercy. How little chance we would stand of surviving another rebellion. Whatever words they use, the real message is clear. “Look how we take your children and sacrifice them and there’s nothing you can do. If you lift a finger, we will destroy every last one of you. Just as we did in District Thirteen.” (Collins 76).
Corbett defends YA literature and the authors, who make valid literary choices when they create narratives involving previously taboo topics. She vehemently argues that those teens struggling with suicidal thoughts, divorce, puberty and other challenges need an outlet for those emotions, or at least reassurance that they are not alone. Corbett argues there is no better way than a book to help teens navigate this rocky stage of their lives and having access to these materials is critical. in contrast, Gurdon states “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”. A vocal critic, Gurdon asserts that the views found in YA literature are neither accurate or authentic. Gurdon argues that YA literature is too dark for its readers and portrays a skewed reality that is damaging to the delicate, moldable teenage psyche.
Not only is the young adult genre controversial now because of the subject content, but also because more now than ever, adults are reading YA fiction, and some scholars contend that this is the reason the genre has continued to become darker and more serious in its exploration of heavy topics. Some believe that the literature is really intended for adults, but promoted as young adult literature. Alarmed by the rising controversy surrounding YA fiction, Diaz asks the questions “how much of that attention is coming from adults and not the young people who are supposedly the primary audience for these books?” and “should adults hold power over the genre when it is not meant for them?” ( Diaz 23). Beck furthers the argument with the notion that every time an adult reads a YA book, they widen their perspective in ways that allow them to be released from the constraints of adulthood. Beck makes the powerful argument that cutting literature into age restricted groups ignores the standards for good writing and instead belittles works written for teens. Things made for teenagers are not inherently less worthy of our time, attention, and critical consideration, simply because they’re for and about teens, they should be read by anyone that has in interest in what is written.
This is contrasted by academics that believe adults should feel ashamed for justifying reading novels intended for teenagers by claiming that they are more mature and “deep” than they used to be. In fact, Graham counters this claim by stating that the sappy, unrealistic nature of YA literature could not possibly be fulfilling an adult’s literacy needs.
Citations:
Beck, Julie. "The Adult Lessons of YA Fiction." The Atlantic, 9 June 2014. Web.
Benedetti, Angelina. "Not Just for Teens: With More and More Adults Reading YA Books, It's Time to Get to Know the Literature and Promote It to Grown-ups of All Ages." Library Journal, 15 June 2011: 40-45. Inspire.
Bodart, Joni Richards. “Books That Help, Books That Heal: Dealing with Controversy in YA Literature.” Young Adult Library Services, 2006: 31-34. EBSCOhost.
Brown, David W. “How Young Adult Fiction Came of Age.” The Atlantic, Atlantic Media Company, 1 Aug. 2011, www.theatlantic.com/entertainment/archive/2011/08/how-young-adult-fiction-came-of-age/242671/.
Collins, Suzanne. The Hunger Games. Scholastic, 2008.
Corbett, Sue. "Blurred Lines: Books for Younger Teens Are Maturing." Publishers Weekly, 9 May 2016: 131-37. Inspire.
Diaz, Shelley M. "YA’S Long Reach." School Library Journal, November 2015: 22-25. Inspire.
Graham, Ruth. "Yes, Adults Should Be Embarrassed to Read Young Adult Books." Slate Magazine, 2014.
Gurdon, Meghan Cox. "Darkness Too Visible." The Wall Street Journal, 4 June 2012.
Lamb, A. (2016). Books as Commodity: 20-21st Century. The Book 1450 to the Present. http://eduscapes.com/bookhistory/commodity/6.htm.
Lamb, A. (2016). The Book as Print Culture: 20th-21st Century. The Book 1450 to the Present. http://eduscapes.com/bookhistory/printculture/6.htm