Reading Like A Girl

How novels targeted at teens engage narrator and reader in intimate dramas of friendship, love, identity, and sexuality

By examining the novels of critically and commercially successful authors such as Sarah Dessen (Someone Like You), Stephenie Meyer (the Twilight series), and Laurie Halse Anderson (Speak), Reading Like a Girl: Narrative Intimacy in Contemporary American Young Adult Literature explores the use of narrative intimacy as a means of reflecting and reinforcing larger, often contradictory, cultural expectations regarding adolescent women, interpersonal relationships, and intimacy. Reading Like a Girl explains the construction of narrator-reader relationships in recent American novels written about adolescent women and marketed to adolescent women. Sara K. Day explains, though, that such levels of imagined friendship lead to contradictory cultural expectations for the young women so deeply obsessed with reading these novels. Day coins the term “narrative intimacy” to refer to the implicit relationship between narrator and reader that depends on an imaginary disclosure and trust between the story's narrator and the reader. Through critical examination, the inherent contradictions between this enclosed, imagined relationship and the real expectations for adolescent women's relations prove to be problematic. In many novels for young women, adolescent female narrators construct conceptions of the adolescent woman reader, constructions that allow the narrator to understand the reader as a confidant, a safe and appropriate location for disclosure. At the same time, such novels offer frequent warnings against the sort of unfettered confession the narrators perform. Friendships are marked as potential sites of betrayal and rejection. Romantic relationships are presented as inherently threatening to physical and emotional health. And so, the narrator turns to the reader for an ally who cannot judge. The reader, in turn, may come to depend upon narrative intimacy in order to vicariously explore her own understanding of human expression and bonds.

Friday Night Lightsmeets Morgan Matson's The Unexpected Everything in this contemporary debut where swoonworthy romance meets underdog sports story. When softball star Liv Rodinsky throws one ill-advised punch during the most important game of the year, she loses her scholarship to her fancy private school, her boyfriend, and her teammates all in one fell swoop. With no other options, Liv is forced to transfer to the nearest public school, Northland, where she'll have to convince its coach she deserves a spot on the softball team, all while facing both her ex and the teammates of the girl she punched... Every. Single. Day. Enter Grey, the injured star quarterback with amazing hair and a foolproof plan: if Liv joins the football team as his temporary replacement, he'll make sure she gets a spot on the softball team in the spring. But it will take more than just a flawless spiral for Liv to find acceptance in Northland's halls, and behind that charismatic smile, Grey may not be so perfect after all. With lovable characters and a charming quarterback love interest, Throw Like a Girl will have readers swooning from the very first page.

Tiny loves costumes! Tiny likes to dress up as an animal, or a doctor, or a butterfly. Tiny also prefers not to tell other children whether they are a boy or a girl. Tiny's friends don't mind, but when Tiny starts a new school their new friends can't help asking one question: "Tiny, are you a boy or are you a girl?" This brightly illustrated book will open a dialogue with children aged 3+ about gender diversity in a fun and creative way. Featuring a gender neutral protagonist, the book imparts an important message about identity and being who you want to be. Tiny's story will assist parents, family and teachers in giving children the space to express themselves fully, explore different identities and have fun at the same time.

By examining the novels of critically and commercially successful authors such as Sarah Dessen (Someone Like You), Stephenie Meyer (the Twilight series), and Laurie Halse Anderson (Speak), Reading Like a Girl: Narrative Intimacy in Contemporary American Young Adult Literature explores the use of narrative intimacy as a means of reflecting and reinforcing larger, often contradictory, cultural expectations regarding adolescent women, interpersonal relationships, and intimacy. Reading Like a Girl explains the construction of narrator-reader relationships in recent American novels written about adolescent women and marketed to adolescent women. Sara K. Day explains, though, that such levels of imagined friendship lead to contradictory cultural expectations for the young women so deeply obsessed with reading these novels. Day coins the term "narrative intimacy" to refer to the implicit relationship between narrator and reader that depends on an imaginary disclosure and trust between the story's narrator and the reader. Through critical examination, the inherent contradictions between this enclosed, imagined relationship and the real expectations for adolescent women's relations prove to be problematic. In many novels for young women, adolescent female narrators construct conceptions of the adolescent woman reader, constructions that allow the narrator to understand the reader as a confidant, a safe and appropriate location for disclosure. At the same time, such novels offer frequent warnings against the sort of unfettered confession the narrators perform. Friendships are marked as potential sites of betrayal and rejection. Romantic relationships are presented as inherently threatening to physical and emotional health. And so, the narrator turns to the reader for an ally who cannot judge. The reader, in turn, may come to depend upon narrative intimacy in order to vicariously explore her own understanding of human expression and bonds.

The Young Adult novel is ordinarily characterized as a coming-of-age story, in which the narrative revolves around the individual growth and maturation of a character, but Roberta Trites expands this notion by chronicling the dynamics of power and repression that weave their way through YA books. Characters in these novels must learn to negotiate the levels of power that exist in the myriad social institutions within which they function, including family, church, government, and school. Trites argues that the development of the genre over the past thirty years is an outgrowth of postmodernism, since YA novels are, by definition, texts that interrogate the social construction of individuals. Drawing on such nineteenth-century precursors as Little Women and Adventures of Huckleberry Finn, Disturbing the Universe demonstrates how important it is to employ poststructuralist methodologies in analyzing adolescent literature, both in critical studies and in the classroom. Among the twentieth-century authors discussed are Blume, Hamilton, Hinton, Le Guin, L'Engle, and Zindel. Trites' work has applications for a broad range of readers, including scholars of children's literature and theorists of post-modernity as well as librarians and secondary-school teachers. Disturbing the Universe: Power and Repression in Adolescent Literature by Roberta Seelinger Trites is the winner of the 2002 Children's Literature Association's Book Award. The award is given annually in order to promote and recognize outstanding contributions to children's literature, history, scholarship, and criticisim; it is one of the highest academic honors that can accrue to an author of children's literary criticism.

Saurabh’s birth is celebrated across the town of Konkur, where people rejoice in the arrival of the much-admired Vinod and Shashi Parashars’ first offspring. Soon, their neighbour’s 5-year-old daughter Vidya is entrusted with the responsibility of Saurabh’s daily wellbeing. They grow up together among the secluded trees, hills and narrow roads of the small town, spending much of their time in an abandoned graveyard they discover near their homes. But when Saurabh starts showing signs of trouble, their seemingly idyllic world begins to quickly unravel. As the incidents become more frequent and violent, he is brandished a pariah by the very people who had once held him aloft. Vidya, Shashi and Vinod’s struggle to come to terms with Saurabh’s impulses, becomes the uncomfortable thread that binds them together and leads them to re-evaluate their own lives and relationships. Traversing through the realms of guilt and solitude, A Stick in the Dirt attempts to grapple with the uncomfortable nature of the unknown and with what it means to be misunderstood by those closest to us.

#1 NEW YORK TIMES BESTSELLER "A haunting, beautiful, and necessary book."—Nicola Yoon, #1 New York Times bestselling author of Everything, Everything Charlotte Davis is in pieces. At seventeen she’s already lost more than most people do in a lifetime. But she’s learned how to forget. The broken glass washes away the sorrow until there is nothing but calm. You don’t have to think about your father and the river. Your best friend, who is gone forever. Or your mother, who has nothing left to give you. Every new scar hardens Charlie’s heart just a little more, yet it still hurts so much. It hurts enough to not care anymore, which is sometimes what has to happen before you can find your way back from the edge. A deeply moving portrait of a girl in a world that owes her nothing, and has taken so much, and the journey she undergoes to put herself back together. Kathleen Glasgow's debut is heartbreakingly real and unflinchingly honest. It’s a story you won’t be able to look away from. And don’t miss Kathleen Glasgow's novels You’d Be Home Now and How to Make Friends with the Dark, both raw and powerful stories of life.