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Children's Literature Studies at EMU

|Department of English Language and Literature|Pray-Harrold Hall|Ypsilanti, MI|48197|

 

CHL455 Adolescent Literature

Instructor: Dr. Annette Wannamaker
Office Hours: Mon/Wed 12:15 – 2 p.m. and Tuesdays 5-6:30 p.m.
Students also are encouraged to make appointments and to email with any questions: awannamak AT emich DOT edu

Description: The course will expose students to quality adolescent literature available for reading and study in middle and high school classes. It will examine issues relevant to the reading and teaching of adolescent literature, among them current debates about the appropriateness of adolescent literature in a rigorous secondary curriculum; issues related to censorship of adolescent literature and ways to address it before and during a crisis; various approaches to reading adolescent literature, including reader response criticism, close reading strategies, and contemporary critical theories; the imagined reader(s) of young adult texts, and, by extension, the recent history of the cultural construction of the “teenager”; the application of cultural theories to analyses of adolescent literature as not only literary texts but also as cultural artifacts and mass-produced products; issues of multiculturalism, globalism, and diverse audiences and subject matter; the relation of adolescent literature to "classic" adult literature; the role of adolescent literature in interdisciplinary studies; and adolescent literature as an incentive to extracurricular reading.

Course Rationale (Why take a class in YA Lit?):

Adolescent Literature (also called Young Adult Literature) is often referred to disparagingly as “problem novels,” and thought to consist mostly of poorly written, melodramatic stories featuring fifteen-year-old heroine addicts, anorexics, or gang members. This genre is often derided as either lowbrow fluff not worthy of critical attention, or as offensive, inflammatory material not suitable for young people. Kay Vandergrift writes, “Young adult literature is often thought of as a great abyss between the wonderfully exciting and engaging materials for children and those for adults--just as young adults are often ignored in planning library facilities and services. There is, however, a wealth of fiction created especially for teens that deals with the possibilities and problems of contemporary life as experienced by this age group.” There are, indeed, wonderfully exciting, complex texts in this genre, which have increasingly gained critical attention from literary and cultural critics.

A course in Adolescent Literature will explore the history of, characteristics of, benefits of, and problems surrounding this ambiguously defined genre—many experts disagree about how to define Adolescent Literature, how to distinguish it from children’s literature and adult literature (for example, where do the Harry Potter books fit when they are read and enjoyed by members of all three age groups?). There is even disagreement about what to call the literature (juvenile or adolescent or young adult). Furthermore, how do we define the adolescent, and how do our definitions of young people (what we believe them to be or what we believe they should become) affect the literature we write for them? Who defines the genre (scholars, teachers, publishers, readers?) and what is at stake in the various definitions? For example, some scholars claim that adolescent literature as a genre—and even the use of the terms adolescent or teenager to refer to a distinctly separate stage of life—is a recent invention tied to contemporary capitalism and the construction of young people as consumers. If this is the case, then is adolescent literature necessarily a postmodern form? In its mass-marketed forms it is often quite conventional, but the better works of adolescent literature are often sites of experimentation with subject matter and literary form that blur borders between genres. For example, graphic novels, especially Japanese Manga, are currently very popular with American teenagers, as are novels in verse and hypertexts. What texts are the young people in our communities currently reading? Which texts are chosen for them by teachers, parents, and librarians, and which texts do they choose for themselves? What tools can we use to better understand these texts, their benefits, their drawbacks, and their influence? How, when, and why should these texts be taught to young people? This course provides a forum for intense reading, discussion, and exploration of the texts and issues associated with adolescent literature.

Course Outcomes:
Students who have successfully completed this course will be able to:

1. Describe the historical development of the genre, its characteristics, and its specific connections to the publishing industry. Know the historical/social context of adolescent texts, relationships among texts, and the recent history of the cultural construction of the “teenager” in texts.

2. Identify and discuss current debates about the genre taking place among literary and educational theorists, including issues of literary merit, appropriateness, and censorship.

3. Understand the current reading interests of adolescents and plan to accommodate their needs and interests.

4. Identify, select, and discuss a broad range of adolescent/YA texts representing a variety of time periods, diverse cultures, types of authors, and drawing from a variety of sub-genres (e.g., poetry, lyrics, novels, hypertexts).

5. Apply current critical theory, discussion strategies, and reading strategies to the reading and teaching of adolescent/YA texts.

Students also will be expected to demonstrate competence of the following NCTE standards (note: some standards are not listed in entirety and are met in part in this course and in part in a different course):

NCTE Standard	Content on Syllabus	Assessment
3.3.1: Students will demonstrate their ability to read and respond to a range of texts of varying complexity and difficulty.	Students will read and respond to a variety of texts ranging from graphic novels written for older children and more complex, dense, and ambiguous texts written for teenaged readers and often read by adults.	Midterm and final exam, book report, literary analysis paper, and classic literature and YA literature in dialogue paper.
3.3.2: Students will learn to draw upon their past experiences, sociocultural backgrounds, interests, capabilities and understandings to make meaning of texts.	Students will participate in class discussions and will practice reading and writing strageties that will help them to make meaning of texts.	Book report, literary analysis paper, and classic literature and YA literature in dialogue paper.
3.3.3: Students will learn a wide variety of strategies to interpret, evaluate, and appreciate texts	Students will read works of literature and works of literary criticism, participate in class discussions, present an evaluation of a work of literature, and will practice evaluating and interpreting texts in written assignments.	Midterm and final exam, book report, literary analysis paper, and classic literature and YA literature in dialogue paper.
3.5.1: Students will demonstrate an in-depth knowledge of works representing a broad historical and contemporary spectrum of United States, British, and world, including non-Western literature.	Students will be asked to put a contemporary text or texts into dialogue with a classic text or texts. Discussions of The Chocolate War and The Golden Compass will focus on allusions to texts by Shakespeare, Dante, Milton, and Blake. Texts included in the course range from the mid-twentieth century to 2007 and are written by authors from Britain, the U.S., Australia, and Iran.	Midterm exam and YA literature and classic literature in dialogue paper
3.5.2: Students will demonstrate knowledge of works from a wide variety of genres and cultures, works by female authors, and works by authors of color.	Genres: Novels (realism, fantasy, science fiction, social realism, magical realism, and postmodern fiction), poetry, graphic novels, comic books, television shows, films, and electronic texts. Cultures: African-American, Native-American, Chinese-American, Anglo-American, GBLT, Iranian, and lower and upper-class. Texts by female authors: The Outsiders, Speak, Love That Dog, Persepolis, and Weetzie Bat. Texts by authors of color: American Born Chinese, Monster. Persepolis and The Absolutely True Diary of a Part-Time Indian.	Midterm and final exam, book report, literary analysis paper, and classic literature and YA literature in dialogue paper.
3.5.3: Students will demonstrate knowledge of numerous works specifically written for older children and younger adults.	Every text in course is a work written specifically for older children and younger adults.	Midterm and final exam, book report, literary analysis paper, and classic literature and YA literature in dialogue paper.
3.5.4: Students will demonstrate knowledge of a range of works of literary theory and criticism and an understanding of their effect on reading and interpretive approaches.	Students assigned to read several critical essays from academic journals covering a variety of approaches and theories.	Final exam and literary analysis paper.
3.6.1: Students will understand media's influence on culture and people's actions and communication	Cultural studies-based class lectures and assigned reading on the influence of media and other cultural artifacts on culture and vice versa.	Final exam.
3.6.2: Students will learn to construct meaning from media and nonprint texts.	"Buffy the Vampire Slayer," YA film, electronic texts and class discussions on television and film as texts and on the influence of techonology on genre, form, and content.	Final exam.
3.6.3: Students will learn to repond to film, video, graphic, photographic, audio, and multimedia texts	Film and video texts: "Buffy the Vampire Slayer," YA film Texts that combine language and images: American Born Chinese, Monster, Persepolis, The Absolutely True Diary of a Part-Time Indian Course also includes essays and class lectures on graphic novels, film, hypertexts, and multimedia and the ways that both technology and capitalism shape both the form and content of literature.	Final Exam and literary analysis essay.

Required Reading:

Articles reserved on line at the Halle Library and linked to the web syllabus

The following books have not been ordered from campus bookstores, but are required for the course. You can easily find them at local libraries, bookstores, or on-line:

Hinton, S.E. The Outsiders.
Cormier, Robert. The Chocolate War.
Pullman, Philip. The Golden Compass.
Anderson, Laurie Halse. Speak.
Westerfeld, Scott. Uglies.
Anderson, M.T. Feed.
Creech, Sharon. Love That Dog.
Yang, Gene. American Born Chinese.
Meyers, Walter Dean. Monster.
Satrapi, Marjane. Persepolis.
Alexie, Sherman. The Absolutely True Diary of a Part-Time Indian.
Block, Francesca Lia. Weetzie Bat.
Chbosky, Stephen. The Perks of Being a Wallflower.

Some Useful Links:

Adolescent Lit

Adolescent Lit resources

Judy Blume's web site (on it, Bloom writes of Forever, "My daughter Randy asked for a story about two nice kids who have sex without either of them having to die.")

Judy Bloom on Censorship

Teacher resource site on Blume

S.E. Hinton web site

Robert Cormier

interview with Cormier

Laurie Halse Anderson's web site

Scott Westerfeld's web site

Walter Dean Myers page

Satrapi interview

M.T. Anderson

Ursula Le Guin

C.S. Lewis

Lois Lowry

Katherine Paterson

Philip Pullman: His Dark Materials.org

Louis Sachar

Lawernce Yep

Jane Yolen

 

Some journals that publish articles on YA Lit:

(note: Most children's literature scholars also study YA Lit and, therefore, journals with "children's literature" in the title often feature articles on all sorts of texts for younger readers, including those written for adolescents and/or young adults and many texts that are difficult to classify in terms of the age of the implied reader.)

ALAN

Bulletin of the Center for Children's Books:www.lis.uiuc.edu/puboff/bccb/

Children's Literature

Children's Literature in Education

Hornbook

The Lion and the Unicorn

The Looking Glass

Publisher's Weekly

School Library Journal

Scholastic

Censorship Issues:

read aloud handbook and censorship issues: Trelease

American Library Association

Wielding the red pen: censorship

Definitions of censorship:

children's books and censorship

Schedule of readings and assignments

Section 1: Developing a working definition (which we’ll revisit throughout the term) of adolescent literature and its contexts

Section 2: History of and Development of the Genre

Monday Jan. 21: No Class. Martin Luther King Jr. Day

Section 3: Hinton to Hamlet: YA lit and classic lit in dialogue

Section 4: Adolescent Literature as “Transition Literature” vs. YA Lit as “Destination Literature”

 

Section 5:

Reading Diverse Texts: Innovations in Subject, Genre and Medium

One-page Portfolio Summary and Evaluation due at time of exam.

Your grade for the course is based on the following assignments:

Mid-term test Grade _________________/150
Final Exam Grade _________________/150
Book Report Grade _________________/150
YA/Classic Lit Paper Grade _________________/250
Literary Analysis Essay _________________/250
* 1-page summary/evaluation _________________/50

Total Possible Points _________________/1000

* For your 1-page portfolio summary/evaluation, write a 1-sentence summary of each writing project you completed for the course (the book report and two papers). Then, explain how these, combined with the material you read and studied for the exams, demonstrate that you have met the course outcomes listed at the beginning of the syllabus.

Some General Policies:

Attendance Policy: There are no “excused” or “unexcused” absences: each student is allowed up to four absences. While students in a 400-level course should plan to be in class every day, things do come up. Therefore, I assume that most students will need to miss a class or two. The official English Department policy is that students who miss two weeks worth of a class (four classes in a section that meets twice a week) should expect to fail that course and should withdraw. Students who have missed three classes will receive a written warning. Students who miss four classes will be encouraged to withdraw from the course.

Politeness Policies: Part of my job as a professor is to create a learning environment where students feel safe, respected, and able to get the most out of their learning experiences. I promise to treat all students with respect, but also must work to maintain a structured learning environment. I’m assuming that the following statements will seem obvious to most of you, but 15 years of teaching college students has taught me that there will be some students who need these rules of classroom etiquette spelled out in an obvious way:

Be on time. When you come to class late, it is disruptive to everyone around you. If you cannot make it to my class on time (8 a.m., not 8:02 or even 8:01) please drop the course.

Turn off your cell phone. It is not okay for your cell phone to ring in class. It is not okay to text message during class. If you are expecting a very important call (your wife is about to have a baby, for instance) you can talk to me and your classmates before class to let us know that your cell phone will be on. Otherwise, turn it off.

Laptops are only for note taking. Students who use their laptops during class to surf the Internet, to poke friends on Facebook, or to play World of Warcraft will no longer be allowed to bring laptops into the classroom.

Be respectful of the instructor and your fellow students.

These are examples of behaviors that are not respectful. When students exhibit the following behaviors, I assume they do not want to be in class and will ask if they prefer to leave.

• doing your math homework or reading the newspaper during a lecture.
• coming to class unprepared. We cannot have a discussion about a text if students have not done the assigned reading. Since my classes are based on the assumption that students have read the assigned material, most often, you will not get a lot out of our discussions if you didn’t do the reading.
• text messaging a friend on your cell phone or blackberry; playing a game on your cell phone; doing anything on your laptop except taking notes.
• whispering or making notes to the person sitting next to you.
• putting your books into your backpack 5 minutes before class is over.
• interrupting other students when they are speaking, telling a fellow student to “shut up,” telling a fellow student his/her beliefs are stupid, immoral, wrong, silly, etc.
• Walking in and out of the classroom during class (unless, of course, there is an emergency).

These are examples of behaviors that are okay:

• You can always raise your hand to interrupt me (even in mid lecture) to ask a question or ask for clarification.
• As you will soon learn, children’s/adolescent literature is a controversial field of study (people have a lot invested in the texts young people read, in what they think children should or shouldn’t read, etc.). It is okay to disagree with me or with your fellow students, but you must engage in intellectual debates in ways that are polite and you must keep your mind open to a variety of viewpoints.
• Is it okay to dislike a text we are reading or to openly disagree with an interpretation of a text taught in class (in discussion or in writing), however, you must complete all of the required reading.

Plagiarism Policy:
Plagiarism is a complicated thing: sometimes students plagiarize material because they simply do not know they are doing so (forgetting to cite paraphrased ideas, for example). Other times, students intentionally plagiarize by downloading an entire paper from the Internet, “borrowing” a paper from a friend, or by copying from a book or cutting and pasting text from the Internet. Plagiarism will be handled on a case-by-case basis. I can usually tell if it is accidental or purposeful. If it is an accident, the student will be allowed to rewrite the paper, if it is done on purpose, the student will receive a 0 on the plagiarized assignment and may fail the course. We will go over this issue in detail in class when we discuss the essay assignments.

Bibliographies:

Examples of Some Critical/Auxiliary Texts that could be used for research when you write the two essay assignments:

Agosto, Denise E., Sandra Hughes-Hassell, and Catherine Gilmore-Clough. “The All-White World of Middle-School Genre Fiction: Surveying the Field for Multicultural Protagonists.” Children’s Literature in Education 34.4 (December 2003) 257-275.

Appleman, Deborah. Critical Encounters in High School English: Teaching Literary Theory to Adolescents. New York: Teachers College Press, 2000.

Aronson, Marc. Exploding the Myths: The Truth About Teens and Reading. Lanham, Maryland: Scarecrow Press, 2001.

Bauerline, Mark and Sandra Stotsky. “Why Johnny Won’t Read,” The Washington Post. Tuesday, January 25, 2005, p. A15.

Beers, Kylene. When Kids Can’t Read, What Teachers Can Do. Portsmouth, NH: Heinemann, 2003.

Bilz, Rachelle Lasky. Life is Tough: Guys, Growing Up, and Young Adult Literature. Lanham, Maryland: Scarecrow Press, 2004.

Brinkley, Ellen. Caught off Guard: Teachers Rethink Censorship and Controversy. Needham Heights, MA: Allyn & Bacon, 1999.

Brown, Joanne and Nancy St. Clair. Declarations of Independence: Empowered Girls in Young Adult Literature, 1990-2001. Lanham, Maryland: Scarecrow Press, 2002.

Bruhm, Steven and Natasha Hurley, Eds. Curiouser: On the Queerness of Children. Minneapolis: University of Minneapolis Press, 2004.

Bushman, John H. “Young Adult Literature in the Classroom—Or is it?” The English Journal 86.3 (March 1997) 35-40.

Carey-Webb, Allen. Literature and Lives: A Response-Based, Cultural Studies Approach to Teaching English: Urbana, IL: NCTE, 2001.

Cart, Michael. From Romance to Realism: 50 Years of Growth and Change in Young Adult Literature. New York: HarperCollins, 1996.

----. Gay and Lesbian Literature for Young Adults. Lanham, Maryland: Scarecrow Press, 2004.

Coats, Karen. “Abjection and Adolescent Fiction.” Journal for the Psychoanalysis of Culture and Society, 5.2 (Fall 2000) 290-306.

-----. Looking Glasses and Neverlands: Lacan, Desire, and Subjectivity in Children’s Literature. Iowa City: University of Iowa Press, 2004.

Daniels, Harvey. Literature Circles: Voice and Choice in the Student-Centered Classroom. York, MA: Stenhouse, 1994.

Daniels, Harvey and Bizar, Marilyn. Methods that Matter: Six Structures for Best Practice Classrooms. York, MA: Stenhouse, 1998.

Gaughan, John. Reinventing English: Teaching in the Contact Zone. Portsmouth, NH: Boynton/Cook Heinemann, 2001.

Hale, Lisa A. and Chris Crowe. “I hate Reading If I Don’t Have To”: Results from a Longitudinal Study of High School Students’ Reading Interests.” The ALAN Review 28.3 (Spring/Summer 2001) 49-56.

Hogan, Walter. Humor in Young Adult Literature. Lanham, Maryland: Scarecrow Press, 2004.

Jago, Carol. Classics in the Classroom: Designing Accessible Literature Lessons. Portsmouth, NH: Heinemann, 2004.

Jenkins, Henry, Ed. The Children’s Culture Reader. New York: New York University Press: 1998.

Latham, Rob. Consuming Youth: Vampires, Cyborgs, and the Culture of Consumption. Chicago: The University of Chicago Press, 2002.

Lesesne, Teri S. Making the Match: The Right Book for the Right Reader at the Right Time, grades 4-12. York, MA: Stenhouse, 2003.

McGillis, Roderick. The Nimble Reader: Literary Theory and Children’s Literature. New York: Twain Publishers, 1996.

Molin, Paulette. Native American Characters and Themes in Young Adult Literature. Lanham, Maryland: Scarecrow Press, 2004.

Morgan, Linda O. “Insight Through Suffering: Cruelty in Adolescent Fiction about Boys.” The English Journal 69.9 (December 1980) 56-59.

Myers, Mitzi. “’No Safe Place to Run To’: An Interview with Robert Cormier.” The Lion and the Unicorn 24 (2000) 445-464.

Niday, Donna and Dale Alexander. “Standing on the Border: Issues of Identity and Border Crossings in Young Adult Literature.” ALAN Review 27.2 (Winter 2000) 60-64.

O’Quinn, Elaine. “Between Voice and Voicelessness: Transacting Silence in Laurie Halse Anderson’s Speak.” The ALAN Review 29.1 (Fall 2001) 54-58.

Osgerby, Bill. Youth Culture. New York: Routledge, 2004.

Pipher, Mary. Reviving Ophelia: Saving the Lives of Adolescent Girls. New York: Ballantine Books, 1994.

Pirie, Bruce. Teenage Boys and High School English. Portsmouth, N.H.: Boynton/Cook Publishers, 2002.

Probst, Robert. Response & Analysis: Teaching Literature in Secondary Schools. Portsmouth, NH: Heinemann, 2004.

Rosenblatt, Louise. The Reader, the Text, and the Poem: The Transactional Theory of the Literary Work. Carbondale, IL: Southern Illinois University Press, 1978.

Rosenblatt, Louise. Literature as Exploration. Fifth Ed. New York: Modern Language Association, 1995.

Schwartz, Gretchen. “Graphic Books for Diverse Needs: Engaging Reluctant and Curious Readers.” The ALAN Review (Fall 2002).

Smith, Michael W. and Jeffrey Wilhelm. “Reading Don’t Fix No Chevys”: Literacy in the Lives of Young Men. Portsmouth, N. H.: Heinemann, 2002.

Trites, Roberta. Disturbing the Universe: Power and Repression in Adolescent Literature. Iowa City: University of Iowa Press, 2000.

-----. Waking Sleeping Beauty: Feminist Voices in Children’s Novels. Iowa City: University of Iowa Press, 1997.

Vandergriff, Kay E. Mosaics of Meaning: Enhancing the Intellectual Life of Young Adults Through Story. Lanham, Maryland: Scarecrow Press: 1996.

Way, Niobe and Judy Y. Chu, Eds. Adolescent Boys: Exploring Diverse Cultures of Boyhood. New York: New York University Press, 2004.

Wannamaker, Annette. Boys in Children’s Literature and Popular Culture: Masculinity, Abjection, and the Fictional Child. New York: Routledge, 2007.

Yearwood, Stephenie. “Popular Postmodernism for Young Readers: Walk Two Moons, Holes, and Monster,” The ALAN Review, 2002, 29.3, 50-53.

Zipes, Jack. Sticks and Stones: The Troublesome Success of Children’s Literature. New York: Routledge, 2002.

 

Examples of some of the literary texts that could be researched for the Book Report:

Alcott, Louise May. Little Women.

Alexander, Lloyd, The High King.

Alexie, Sherman. The Lone Ranger and Tonto Fistfight in Heaven, Reservation Blues, The Toughest Indian in the World.

Almond, David. Skellig, Kit's Wilderness, Heaven Eyes, Secret Heart.

Anderson, Laurie Halse Anderson. Speak, Catalyst.

Anderson, M.T. Feed, Burger Wuss.

Avi. Nothing But the Truth,The Barn, Beyond the Western Sea (Books 1 and 2) Blue Heron, Don't You Know There's a War On?, Crispin.

Blackwood, Gary L. The Year of the Hangman.

Block, Francesca. Weetzie Bat, Witch Baby, Cherokee Bat and the Goat Guys, Missing Angel Juan,The Hanged Man, Baby Be-Bop, Girl Goddess #9, Echo.

Blume, Judy. Are You There, God? It’s Me, Margaret.

Brooks, Bruce. The Moves Make the Man, Midnight Hour Encores, All That Remains, Vanishing.

Cadnum, Michael. Taking It, Edge, In a Dark Wood, Forbidden Forest.

Card, Orson Scott. Ender's Game, Ender's Shadow, Shadow of the Hegeman, Seventh Son.

Carter, Alden R. Dogwolf, Growing Season, Wart, Son of Toad, Sheila's Dying, Up Country, Ball Catcher, Between a Rock and a Hard Place.

Chabon, Michael. Summerland, The Amazing Adventures of Kavalier & Clay: A Novel .

Chambers, Adian. Postcards From No Man's Land, Dance on My Grave.

Chbosky, Stephen. The Perks of Being a Wallflower.

Choi, Sook Nyul. Year of Impossible Goodbyes, Echoes of the White Giraffe.

Cofer, Judith Ortiz. An Island Like You: Stories of the Barrio.

Colfer, Eoin. Artemis Fowl, Artemis Fowl: The Artic Incident. Artemus Fowl: The Eternity Guide.

Cooney, Caroline B. What Child Is This? Driver's Ed, The Face on the Milk Carton, Whatever Happened to Janie?,The Voice on the Radio, What Janie Found, For All Time, Goddess of Yesterday.

Cormier, Robert. The Chocolate War, We All Fall Down, In the Middle of the Night,Tenderness, Heroes, The Rag and Bone Shop, Frenchtown Summer, I Am the Cheese, Both Sides of Time.

Crutcher, Chris. Running Loose, Stotan!, Athletic Shorts, Staying Fat for Sarah Byrnes, Ironman, Whale Talk, Chinese Handcuffs.

Cushman, Karen. Catherine Called Birdy, The Midwife's Apprentice, Ballad of Lucy Whipple.

Daly, Maureen. Seventeenth Summer.

Dickinson. Eva. A Bone from a Dry Sea, The Gift, Some Deaths Before Dying, The Ropemaker.

Ellis, Deborah. The Breadwinner, Parvanna's Journey.

Erdrich, Louise. The Birchbark House.

Farmer, Nancy. The Ear, The Eye, and the Arm, A Girl Named Disaster, Do You Know Me?, The House of Scorpion.

Ferris, Jean. Eight Seconds, Love Among the Walnuts: Or How I Saved My Entire Family from Being Poisoned, Of Sound Mind.

Frank, E.R. Life Is Funny, America.

Freedman, Russell. Eleanor Roosevelt, Life and Death of Crazy Horse, Lincoln, Kids at Work, Wright Brothers, Confucius: The Golden Rule.

Funke, Cornelia. The Thief Lord.

Garden, Nancy. Annie on My Mind, Dove & Sword: a Novel of Joan of Arc, Good Moon Rising, The Year They Bruned the Books, Holly's Secret.

Gaiman, Neil. Coraline, Stardust.

Gantos, Jack. Hole in My Life,What Would Joey Do?.

Geras, Adele. Watching the Roses, The Tower Room, Pictures of the Night, Troy.

Giles, Gail. Shattering Glass.

Hamilton,Virginia. Sweet Whispers, Brother Rush, Plain City, Her Stories, M.C. Higgins the Great.

Hesse, Karen. Phoenix Rising, The Music of Dolphins, Out of the Dust, A Time of Angels, Witness, Letters from Rifka, Stowaway.

Hiaasen, Carl. Hoot.

Hinton, S.E. The Outsiders.

Hobbs, Valerie. Sonny's War.

Hobbs, Will. Downriver, Far North, Kokopelli's Flute, The Maze.

Jiang, Ji-Li. Red Scarf Girl: A Memoir of the Cultural Revolution.

Jiménez, Francisco. The Circuit: Stories from the Life of a Migrant Child, Breaking Through.

Jones, Diana Wynne. Dogsbody,Castle in the Air, Hexwood, A Sudden Wild Magic, Howl’s Moving Castle, Fire and Hemlock.

Jordan, Sherryl. The Raging Quiet, Secret Sacrament, The Hunting of the Last Dragon, Winter of Fire.

Kerr, M.E. Gentlehands, Night Kites, Linger, Deliver Us From Evie, Hello, I Lied, Slap Your Sides.

Klass, David. Wrestling With Honor, California Blue, Danger Zone, Screen Test, You Don't Know Me, Home of the Braves.

Koertge, Ron. Tiger,Tiger Burning Bright, Brimstone Journals, Stoner & Spaz

Korman, Gordon. Losing Joe's Place, Don't Care High, No More Dead Dogs, Son of the Mob.

Lawrence, Iain. The Lightkeeper's Daughter, The Wreckers, Lord of the Nutcracker Men.

LeGuin, Ursula. The Left Hand of Darkness, Tehanu, The Earthsea trilogy.

Lester, Julius. To Be a Slave; From Slave Ship to Freedom Road, Othello: A Novel, Pharaoh's Daughter, When Dad Killed Mom.

Lois Lowry. A Summer To Die, The Giver, Gathering Blue.

Lubar, David. Hidden Talents, Dunk.

Lynch, Chris. Iceman, Gypsy Davey, Slot Machine, Shadow Boxer, Blue-Eyed Son Trilogy, Freewill.

Lyons, Mary E. Sorrows Kitchen, Letters From a Slave Girl, Keeping Secrets.

McCaughrean, Geraldine. The Stones Are Hatching, The Kite Rider.

McDonald, Janet. Chill Wind, Spellbound.

McDonald, Joyce. Comfort Creek, Swallowing Stones, Shades of Simon Grey.

McKinley, Robin. Beauty, The Blue Sword, The Hero and the Crown, A Knot in the Grain and Other Stories, Rose Daughter, Deerskin.

Magorian, Michelle. Good Night, Mr. Tom, Back Home, Not A Swan.

Mahy, Margaret. Memory, The Changeover, The Door in the Air and Other Stories.

Marsden, John. Letters from the Inside, Tomorrow When the War Began, A Killing Frost, The Night Is for Hunting.

Martinez, Victor. Parrot in the Oven: Mi Vida.

Mazer, Norma Fox. After the Rain, When She Was Good, Out of Control.

Mori, Kyoko. Shizuko's Daughter, One Bird.

Myers, Walter Dean Myers. Fallen Angels, Scorpions, Somewhere in the Darkness, Malcolm X: By Any Means Necessary, The Glory Field, Shadow of the Red Moon, Slam,The Amistad Affair, Monster, Bad Boy: A Memoir, The Greatest: Muhammed Ali, Hoops, Handbook for Boys.

Na, An. A Step from Heaven.

Naidoo, Beverley. Chain of Fire, No Turning Back, The Other Side of Truth.

Napoli, Donna Jo. The Magic Circle, Zel, When the Water Closes Over My Head, Song of the Magdalene, Stones in the Water, Beast, Sirena, Daughter of Venice.

Nix, Garth. Sabriel, Slade's Children, Lirael, Abhorsen.

Nolan, Han. Dancing on the Edge, Born Blue.

Nye, Naomi Shihab. Habibi, 19 Varieites of Gazelle.

Paolini, Christopher. Eragon, Eldest.

Park, Linda Sue. My Name Was Keoko, A Single Shard.

Partridge, Elizabeth. This Land Was Made for You and Me: The Life and Songs of Woody Guthrie, Restless Spirit: The Life and Works of Dorothea Lange.

Paterson, Katherine. Jacob Have I Loved, Lyddie, The Same Stuff As Stars.

Paulsen, Gary. Hatchet, The Cookcamp, The Monument, Nightjohn, Sisters/Hermanas, The Tent,The Rifle, The Crossing, Winterdance, Puppies, Dogs and Blue Northers, Sarny, My Life in Dog Years, Schernoff Discovery, Soldier's Heart, Woodsong.

Peck, Richard. Remembering the Good Times, The Last Safe Place on Earth, Are You in the House Alone?, Fair Weather.

Pierce, Tamara. Alanna: The First Adventure, Emperor Mage, Protector of the Small: Squire.

Plum-Ucci, Carol. The Body of Christopher Creed.

Pullman, Philip. The Ruby in the Smoke, The Broken Bridge, The White Mercedes, The Tin Princess, His Dark Materials: The Golden Compass, Subtle Knife, The Amber Spyglass, I Was a Rat!.

Rennison, Louise. Angus, Thongs and Full-Frontal Snogging: Confessions of Georgia Nicolson, On the Bright Side, I'm Now the Girlfriend of a Sex God: Further Confessions of Georgia Nicolson, Knocked Out by My Nunga-Nungas: Further, Further Confessions of Georgia Nicolson.

Rinaldi, Ann. Wolf By the Ears, A Break with Charity, In My Father's House, Finishing Becca, The Secret of Sarah Revere, Hang a Thousand Trees with Ribbons,The Blue Door,The Second Bend in the River, Acquaintance with Darkness, Mine Eyes Have Seen.

Rowling, J.K. Harry Potter series.

Sachar, Louis. Holes.

Salinger, J. D. Catcher in the Rye.

Salisbury, Graham. Shark Bait, Island Boyz: Short Stories. Lord of the Deep, Under the Blood-Red Sun, Jungle Dogs.

Satrapi, Marjane. Persepolis I and II.

Smith, Cynthia Leitich, Rain Is Not My Indian Name.

Sones, Sonya. What My Mother Doesn't Know, Stop Pretending: What Happened When My Big Sister Went Crazy.

Soto, Gary. Baseball in April, Local News, Summer on Wheels, Living Up the Street, Jesse, Snapshots from the Wedding, Taking Sides, Buried Onions.

Spiegelman, Art. Maus: A Survivor's Tale; Maus: A Survivor's Tale II.

Spinelli, Jerry. Wringer, Maniac Magee.

Staples, Suzanne Fisher. Shabanu: Daughter of the Wind, Haveli, Tonight, By Sea, The Beduin's Gazelle, Shiva's Fire.

Takami, Koushun and Masayuki Taguchi. Battle Royal.

Talbot, Bryan. The Tale of One Bad Rat.

Taylor, Mildred D. Let the Circle Be Unbroken, The Road to Memphis, The Land.

Tolan, Stephanie S. Surviving the Applewhites, Ordinary Miracles, The Face in the Mirror, Welcome to the Ark, Flight of the Raven.

Tolkien, J.R.R. The Lord of the Rings series and the Hobbit

Trueman, Terry. Stuck in Neutral.

Voigt, Cynthia. Dicey's Song, Izzy Willy-nilly, Wings of a Falcon, Orfe, When She Hollers, Bad Girls, Bad, Badder, Baddest.

Weaver,Will. Memory Boy.

Westall, Robert. The Machine Gunners, Fathom Five, The Kingdom By the Sea, Yaxley's Cat, A Place to Hide, Falling Into Glory, Echoes of War, Stormsearch, Gulf, Blitz Cat.

Westerfeld, Scott. Uglies, Pretties, Specials, Peeps

Weyr, Garret Freymann. When I Was Older, My Heartbeat.

Williams-Garcia, Rita. Blue Tights, Fast Talk on a Slow Track, Like Sisters on the Homefront, Every Time a Rainbow Dies.

Wolff, Virginia Euwer. Make Lemonade, True Believer.

Woodson, Jacqueline. The Dear One, I Hadn't Meant to Tell You This, From the Notebooks of Melanin Sun,The House You Pass on the Way, Hush, If You Come Softly, Miracle's Boys.

Yamanaka, Lois Ann. Name Me Nobody.

Yatate, Hajime and Yutaka Nanten. Cowboy Bebop.

Yep, Laurence. Dragonwings, Dragon's Gate, Child of the Owl, Thief of Hearts, Ribbons,The Case of the Goblin Pearls.

Yolen, Jane. The Dragon's Trilogy, Briar Rose, Devil's Arithmetic, Girl in a Cage.

Zindel, Paul. The Pigman, The Pigman and Me, David and Della, Loch, The Doom Stone, Rats.

 

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