At Issue
The landscape of children's literature has evolved significantly since its inception, where early texts catered predominantly to the educational needs of the upper class. In the days before the fifteenth century’s advent of movable type, children’s books were primarily Latin lesson books. These early works were steeped in the tradition of moral instruction, reflecting an educational ethos that sought to instill ethical values and societal norms from a young age.
Historical Antecedents
The advent of movable type revolutionized literacy, drastically altering societal perceptions of education and literature. As literacy spread, the burgeoning middle class became increasingly invested in the education of their children, leading to a clear demarcation between literature intended for adults and that for children. In colonial America, this trend was deeply influenced by the Puritans, who viewed the moral upbringing of their children as a critical parental duty. Consequently, children's literature of the time was predominantly religious and moralistic, reflecting the Puritan ethos.
The seventeenth and eighteenth centuries saw a gradual evolution of this strict literary separation. Some books began to appeal to both adult and younger audiences, characterized by works like Daniel Defoe’s The Life and Strange Surprising Adventures of Robinson Crusoe (1719) and Jonathan Swift’s Gulliver’s Travels (1726). These titles, transcending the age boundaries of their time, introduced elements of adventure and fantasy that captivated readers both young and old. In 1744, a pivotal development occurred when John Newbery commenced the publication of books specifically for children, crafted to entertain rather than instruct. Among these was the didactic yet entertaining Little Goody Two-Shoes (1765), marking one of the first entries into what could be considered the realm of juvenile novels.
As the nineteenth century unfolded, societal views of children began to morph. Children were seen as innocent beings, free from the duplicity often attributed to adulthood. This shift was mirrored in the literature of the time, with enduring classics such as Louisa May Alcott’s Little Women (1867) and Lewis Carroll’s Alice’s Adventures in Wonderland (1865) gaining popularity. These stories stood in contrast to the domestic novels of the era, which were predominantly directed at older girls and women, promoting conventional social values. Boys and men, on the other hand, gravitated toward dime novels, filled with improbable adventures and rugged protagonists. Such books often drew criticism from clergy, educators, and parents, who viewed them with suspicion.
By the end of the nineteenth century, the literary landscape for young readers was distinctly defined, with clear separations between classics and nonclassics, as well as between literature aimed at boys versus girls. Despite these classifications, many works targeting young audiences faced scrutiny and censorship from adult figures, a testament to ongoing concerns over the cultural and moral implications of literature aimed at children and adolescents.
Trends in the Twentieth Century
The evolution of young adult literature in the twentieth century mirrored the changing perceptions and complexities of adolescence. Initially defined as a distinct phase of life in the early 1900s, this era witnessed a dramatic transformation in the themes and conflicts depicted in young adult books. The rising realism in these narratives sparked debates over censorship, as societal norms and values collided with the emerging voices in literature.
The Birth of Young Adult Literature
The concept of adolescence as a unique life stage emerged in the nineteenth century, with G. Stanley Hall formally defining it in 1905. This recognition paved the way for literature that catered specifically to young adults. Early twentieth-century works like Booth Tarkington’s Penrod (1914) and Eleanor Porter’s Pollyanna (1913) began to explore the lives and challenges of young protagonists. These stories reflected the early contours of adolescence, focusing on the...
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growing pains and adventures of their characters.
As the decades progressed, the term “junior books” came into prominence during the 1930s. This new category led publishers to establish dedicated junior book divisions, bringing authors like Henry Gregor Felsen, James Summers, and John Tunis to the forefront for boys, while Janet Lambert and Maureen Daly resonated with girls. Characteristics such as brevity, immediate engagement, authentic dialogue, and relatable adolescent scenarios became hallmarks of young adult novels during this period.
A Shift Towards Realism and Controversy
The 1960s marked a turning point as adult books like The Catcher in the Rye (1951) and Lord of the Flies (1954) gained traction among adolescent readers. Simultaneously, literature aimed at young adults began to address the evolving mores and conflicts of the era. S. E. Hinton’s The Outsiders (1967) explored gang dynamics, while Paul Zindel’s The Pigman (1968) introduced dual protagonists with a focus on gender. Notably, African American experiences were highlighted in works such as Nat Hentoff’s Jazz Country (1965) and Robert Lipsyte’s The Contender (1967).
As these narratives became more attuned to the realities of adolescents’ lives, they also attracted controversy. Robert Cormier’s The Chocolate War (1974) addressed themes of violence and corruption, while Katherine Paterson’s The Great Gilly Hopkins (1978) featured a young protagonist with a penchant for profanity. Meanwhile, Judy Blume’s novels candidly tackled emerging sexuality. The depiction of raw and sometimes unsettling subjects intensified the debate around censorship, as society grappled with topics ranging from war and homosexuality to suicide, alcoholism, and teenage pregnancy.
Censorship and the Role of Literature
Young adult literature has historically been rooted in the moral instruction of youth, yet it has always faced scrutiny from some adults who advocate for traditional moral teachings through time-honored classics. These individuals often perceive literature as having a singular, unequivocal message that could alter the behavior and attitudes of young readers. The presence of profanity or explicit content in works such as Walter Dean Myers’ Fallen Angels (1988) or Bette Greene’s The Drowning of Stephan Jones (1991) frequently spurred calls for censorship, as seen in Bluffton, Ohio, where parents challenged the former for its language.
Schools and educational materials are sometimes blamed for societal issues, with adolescents viewed as impressionable and in need of adult guidance. Books like Madeleine L’Engle’s A Wrinkle in Time (1962) faced accusations of promoting New Age ideologies, while Zindel’s The Pigman was criticized for its thematic explorations of death and other mature subjects. Similarly, Judy Blume’s Then Again, Maybe I Won’t (1971) encountered objections for its portrayal of voyeurism and substance abuse, as concerned parties argued that such topics risked corrupting young minds.
Diversity, Identity, and Resistance
Young adult literature often reflects diverse racial and ethnic identities, which can incite opposition from various quarters. Maya Angelou’s I Know Why the Caged Bird Sings (1969), for instance, faced censorship challenges for its candid recounting of a childhood rape, deemed pornographic by some parents in Bremerton, Washington, and other locations.
Data collected by the Office of Intellectual Freedom and the People for the American Way during the late 20th century indicated that the realism in these books often led to objections. The underlying suspicion towards the adolescent search for identity and self-definition drove much of the criticism. As young adult literature continues to explore and reflect the multifaceted nature of adolescence, the tension between creative expression and societal norms persists, illustrating the ongoing discourse on the role and impact of literature in shaping young minds.
Who Challenges Young Adult Books
The landscape of young adult literature has long been a battleground for various groups seeking to assert their moral or ideological stances. Since the 1960s, conservative religious groups, particularly those rooted in Protestant Christianity, have been vocal in their criticism of public schools and their literature selections. These groups hold the Bible as the ultimate authority and view salvation as solely attainable through belief in Christ. Their critiques are often framed around the notion that educators are diluting academic rigor while promoting lifestyles and values that contradict Christian teachings. This opposition frequently targets what they describe as "secular humanism" in literature, a term they use to criticize texts perceived as undermining God, Christianity, and patriotism. Works alleged to promote New Age religion, which they claim encourages a belief in self-redemption over theism, are particularly contentious.
Fantasy literature often bears the brunt of these accusations due to its use of witches, fairies, and mythical creatures. For instance, Katherine Paterson’s Bridge to Terabithia has faced challenges for its inclusion of New Age elements and perceived improper references to God. Similarly, Roald Dahl’s The Witches, a beloved story among children, has been controversially accused of promoting witchcraft and Satanism.
However, the push for censorship is not solely the domain of religious conservatives. Radical and feminist activists have also voiced opposition to certain young adult books. This illustrates that challenges can arise from the political Left as well. In LaGrange, Kentucky, some Wiccans have objected to The Witches for portraying witches negatively, while in Louisville, Kentucky, a parent protested Judy Blume’s Blubber for its inclusion of racial slurs used by characters. These challenges underscore the nuanced debates around racism and sexism in literature, highlighting the subjective nature of what is deemed offensive or harmful. The ongoing controversies surrounding classics like Adventures of Huckleberry Finn further exemplify these complexities.
Defenders of Young Adult Books
The landscape of young adult literature in schools has been shaped by pivotal judicial decisions over the years, reflecting a tug-of-war between the rights of students and the authority of school administrations. A landmark moment in student rights was the 1969 Supreme Court ruling in Tinker v. Des Moines Independent Community School District, which recognized that students and teachers retain their constitutional rights within the educational setting. This victory was echoed in the early 1970s with the Board of Education, Island Trees Union Free School District v. Pico case, where the Court acknowledged that the removal of certain young adult books from a school library was a violation of First Amendment rights.
However, the momentum seemed to shift during the 1980s with the Hazelwood School District v. Kuhlmeier decision in 1988. This ruling granted school administrators considerable authority to make curricular decisions, ostensibly prioritizing the educational mission over the unrestricted access to diverse literature. As these legal frameworks evolved, the role of language arts teachers became increasingly vital in navigating the challenges posed by censorship.
Language arts educators have responded to these challenges by crafting well-founded rationales for the inclusion of specific books in their curriculum. Their efforts are supported by a commitment to academic freedom and engagement with community stakeholders about the literature they teach. To further strengthen their position, schools implement formal policies to manage challenges to young adult books, ensuring a structured approach to potential disputes.
National professional organizations stand as staunch allies in the fight against censorship. Groups such as the American Library Association, the National Council of Teachers of English, and the International Reading Association champion the cause of intellectual freedom. They provide robust support through resources like the Support for the Learning and Teaching of English (SLATE) and the National Council of Teachers of English (NCTE), which offer detailed rationales for both teaching English and the inclusion of frequently challenged young adult books. These organizations play a crucial role in preserving the diverse array of voices and stories accessible to young readers, underscoring the importance of protecting students' rights to explore, question, and learn through literature.
