Moonrise by Sarah Crossan
Bloomsbury / Bloomsbury YA
Publication Date: May 8, 2018
Joe hasn’t seen his brother Ed in over 10 years, before he was convicted of murder and sentenced to death. With just a few months to go until Ed’s execution date, Joe moves to Texas to spend as much time as he can with his brother. In the meantime, Joe is grappling with some big questions: Did Ed do it? Is Ed still the same brother that Joe grew up admiring? What are the limits of forgiveness, and how do you say goodbye to someone forever?
Continue reading #QP2019 Nominees Round Up, October 16 Edition
Poetry has been figuring in a lot of teen literature lately. Have you noticed? I don’t mean novels in verse, quality as some recent titles have been. Nor do I mean poetry collections for teens (a la Poisoned Apples or Paint Me Like I Am). The Guardian noticed this poetry trend, too, pointing out a few examples in a recent article, and asked its readers for more.
I liked how the article noted authors’ uses of poetry, such as Meg Cabot beginning the chapters of Avalon High with stanzas from The Lady of Shalott. These stanzas just happen to give a clue about the characters’ identities. The article also mentioned a similar use of poetry in Clockwork Angel, by Cassandra Clare: the lines that open the chapters are all from poets who lived in the time of the novel’s setting, late-19th century London. Continue reading Line by Line: Poetry in Teen Fiction
If you’re reading this, then you’re probably not surprised at the continued popularity of dystopian literature or the many subgenres within it. Why are readers drawn to a dark post-apocalyptic future or the natural disasters with climate-fiction (cli-fi)? The appeal of these plots attracts a readership that spans generations. Others are quick to judge those of us over the age of 18 that love dystopian literature and cli-fi but overlook the joy and positive elements to these plots: the hope in dystopian. The dystopian genre is more than The Hunger Games and The Maze Runner and as grateful as I am to movies turning kids onto reading books they have also generalized this vast genre and created a stereotype of both this genre’s plots and their readers.
Yes, these books are overly dramatic at times and incredibly unrealistic most of the time, but beyond the angst and youthful revolution mentality, one underlying message reoccurs – hope. Hope that stems from working together; hope that comes from faith in humanity; and hope that even in the midst of corrupt adults, deathly plagues, and the aftermath of natural disasters – we are stronger than the challenges and we, as a people, WILL survive. A story telling how we not only process and overcome negative events in life but still manage to find joy has been around long before the genre was named and long before we met Katniss.
Being drawn to dark plots, death, and those ‘scary’ elements that many adults do not think are age appropriate is not a new fascination for young readers. Children have grown up with Grimm’s Fairy Tales and Hans Christian Andersen’s Fairy Tales in which children not only kill parents, but adult characters often kill or torture children. Eighteen years ago parents also worried that Harry Potter was too dark for children. Yet with each of these masterpieces and their continued popularity decades and centuries later, children not only read about negative facts of life, but they also see how other children overcome these challenges. They learn that one can survive something tragic and sometimes life doesn’t have that Disney ending. Continue reading Sometimes the Apocalypse Can Be Good: Finding the Hope in Dystopian Literature
Climate fiction (CliFi) books (also known as eco-fiction) are ones that deal with climate change as part of the plot in which the characters struggle to survive. A lot of dystopian novels are clifi books because the breakdown of society is attributed to a catastrophic event like a nuclear war that affects the climate. I wanted to focus here on books where the climatic event was not directly caused by a man-made event like a war, but by nature, for the most part. Not all of these novels are realistic fiction or science fiction; at least one contains fantastical elements as well.
In The Islands at the End of the World by Austin Aslan (2014), Leilani, 16, and Mike, her ecologist father, go to Honolulu for treatment for her epilepsy but when a cloudlike organism appears in the sky after a tsunami, it causes the world to panic and plunges the metropolitan area into chaos. She and her father find themselves detained in an internment camp and struggle to get back to their family on the Big Island of Hawaii.
Natural resources are at an all-time low in 16-year-old Tess’s futuristic world in Georgia Clark’s Parched (2014). Most remaining supplies are funneled into Eden, a walled city of privilege, where she was born, but the citizens who live outside the wall in the Badlands are much worse off. After the death of her scientist mother Tessa decides to combat this inequality by joining a rebel group called Kudzu and uncovers a shocking government plot to carry out genocide in the Badlands using artificial intelligence.
Two weeks after the radio in the United Kingdom started broadcasting the warning, “It’s in the rain. It’s fatal and there’s no cure,” the drinkable water is running out and most of the population is dead in H2O (2014) by Virginia Bergin. Ruby’s one of the survivors and she’s left with two options: persevere on her own, or embark on a treacherous journey across the country to find her father- if he’s even alive.
Continue reading Genre Guide: Cli-fi (Climate Fiction) in YA Lit