"Won’t somebody please think of the children!" Censorship: Book Challenges, Challenging Books, and Young Readers

Just as the title implies, Jenkins’ article/chapter examines (both historically and in contemporary times) the discourse of censorship within young adult literature.

A few things that caught my interest...

“I know it when I see it.” While I understand the motives behind censorship, I do not fully comprehend how such material can be identified in the first place; the processes, procedures, and definitions applied to such a notion seem particularly arbitrary and random to me. For example, what may be considered or constitute obscene and lewd materials to some may be perceived as art or education to others. Also, censorship seems very much dictated by the specific sensibilities of the time and society, ie. during the Cold War, western societies, especially in the Red Scare and McCarthy days, were particularly sensitive to  materials which espoused pro-communist or Marxist views; now these hang-ups are gone. I guess context has everything to do with censorship; perhaps that is why many feel that young adult literature should be guarded so tightly. With all of things considered, is censorship acceptable, should it be tolerated; is censorship of non-adult material more easily justified?

I was also surprised to learn that challenged books go through a ‘library reconsideration’ process similar to that experienced by a defendant accused of a crime—I guess even books are assumed innocent until proven guilty. While I should be comforted by this fact, I feel that most libraries and schools in order to appease strong interest groups or not to draw unfavourable attention to their institutions, may likely decide to institute one of the ‘lesser’ censorship alternatives in dealing with a book characterized as ‘offensive’: (1) place it in closed shelving, (2) move it to the reference collection, (3) apply to it an adult-only check out restriction, and (4) relocate it to a distant floor or area. Should a library ever implement an outright ban of a book, I think they should be required to burn it; if they have come this far and feel so vehemently opposed to what a particular book represents, why not set fire to it—what would they have to lose.

A few (somewhat unrelated) final thoughts...

I sort of have the feeling that books that attract challenge and censorship are a good thing. I am not arguing in favour of restrictions, but simply stating that books which create debate, disagreement and argument have an intrinsic value. They, in a way, represent models of expression that are advancing the norms of acceptable behaviour and thought. It could be argued that they are moving society and culture forward to new and unexplored levels of understanding and knowledge (hopefully for the better). Ultimately, it is when books are not challenged or do not raise objections and protest that we should be worried as this likely means that books have lost there relevance and that authors have become complacent and passive in asking and examining all the important questions that society should be seeking.

Also, in reading this chapter all I could think about was a book I had recently read in the summer, Fahrenheit 451 by Ray Bradbury. It is a great book which tells of distant society in which firemen are alternatively fire starters whose campaign it is to burn books. If or when you have time, it may be a novel to add to your reading list, although it is not specifically directed for the young adult.

“A book is a loaded gun in the house next door. Burn it. Take the shot from the weapon.”

Review #1: Heroes by Robert Cormier

Heroes by Robert Cormier. New York: Random House Children’s Books, 2000. Paperback, 144 pages; $7.50.

Appropriate for grades 9 and up / ages 14 and up.

Rated ****/4

“It’s amazing that the heart makes no noise when it cracks.”

For Francis Joseph Cassavant, an eighteen year old veteran soldier of the Second World War, combat in Europe was particularly difficult and traumatic—his disfigured face (possessing no nose, ears, or teeth, and reconstructed cheeks) reminds him of this fact every single day of his life. In addition to his wounds, Francis returns to his hometown of Monument Massachusetts with a Silver Star for bravery, but he does not consider himself a hero; that is not how he wishes to be known, especially given his reasons for joining the service and what he intends to do now that he is home. His mission is simple: kill Larry LaSalle, a fellow decorated veteran and Francis’ one-time mentor and friend.

This plot dominates much of the focus of the novel; however, Francis’ story, in particular, that which explains what transpired in his adolescent past for him to wish Larry death, is only revealed piecemeal; the result, a satisfying read which constantly engages the reader’s curiosity. In typical Cormier fashion, the narration is fast, clean, and simple enabling what is relatively a short novel to be read by most readers regardless of their literacy level. Although, as the subject matter is rather complex and mature—containing themes relating to revenge, violence, sexuality, and death—caution should be exercised in recommending this book to younger audiences.

Much in the tradition of Cormier’s best known works—The Chocolate War, I am the Cheese, and Tenderness, Heroes will surely not disappoint, ultimately contributing far more questions than answers. Recipient of the 1999 ALA Quick Pick for Young Adult Reluctant Readers List, this book is highly recommended.

Thoughts and Impressions on: Boy Toy (Barry Lyga)

What would be the consequences of an adult engaging in a sexual relationship with a minor? In its simplest form, this is the premise of Barry Lyga’s Boy Toy, but for so many reasons the book is so much more.

Let me begin by stating that, much to my surprise, I rather enjoyed the book. I thought it to be well written, introducing what clearly is a difficult and potentially unsettling topic with an incredible sensitivity and thoughtfulness which can only be admired—a book on this subject matter could have easy gone terribly in the other direction. I was particularly impressed also with the style of writing employed by Lyga; clean, simple, but descriptive nonetheless. The inclusion of flash back sequences and were beneficial, serving well to break-up what would otherwise have been a terribly-long straight read, and being that the story covers a period of four years I am glad he took this approach. The addition of flickers—mini (stress/anxiety induced) instantaneous flashbacks exclusive to the character of Josh—were also a creative writing technique which aided in  adding little bits of descriptive flares; although, I initially found them to be annoying, causing me to lose my place only to reread the sentence (hey I’m special).

Warning! Spoiler alert for the next two paragraphs (I apologize)

O.K. as I already alluded to, the story revolves around the teenage life of Josh Mendel—a 12 year old baseball all-star whiz kid—and the fallout which follows the revelation that he and his seventh grade history teacher, Mrs. Evelyn (Eve) Sherman have been, for a four month period, engaging in extra-curricular activities of a sexual nature. This ‘arrangement’ is revealed following an incident in which a closet kissing game between Josh and his long-time friend Rachel goes terribly wrong—Josh suffers a flicker and mistakes Rachel for Eve; in short, Josh’s mom, enraged and horrified at her son’s actions, questions him exposing his relationship with his teacher.

 The consequences of this discovery hits Josh hard; haunted by the guilt of his actions, particularly what he has committed against Rachel and what has occurred to Eve—she lost her job and went to prison for 5 years—Josh imposes a sort of self-ostracism upon himself, becoming anti-social in every manner outside maintaining a friendship with Isaac (Zik) and playing baseball.  To cut things short, all of this builds up toward Josh’s senior year in high school where he has to make a decision on what college he should attend, how to deal with the difficulties of his parents marriage, how to deal with the fact that Eve has been released form prison, and what to make of the advances of Rachel who has recently been trying to rekindle at the very least the friendship they had prior to the closet incident. (I apologize for that ridiculously long sentence).

So, clearly there are numerous competing story lines occurring all at once here; this not simply a tale of ‘forbidden’ pleasures. Although, sex is a prominent theme, but so is love, ideas of friendship and family, and notions of life and living through the choices you make, preferably those that are not made out of fear or on the expectations or actions of others.

Some people may find the (sometimes) graphic nature of sexual descriptions to be overly excessive and inappropriate, but I tend to disagree. I fell that they are somewhat necessary for telling this story revealing essential meaning to the purpose of Josh’s experience and the reasons for his subsequent plight and hardship. To remove it, would, in affect lessen this understanding for the reader. I relate this (this might be a terrible example) to the depictions of war or the Holocaust; you should not hide the horrors and atrocities, they are part of the story, they provide and shape our conceptualization of the events that have come to past—in a weird way, death brings meaning to life, and so does sex, why should this be censored, especially if it is communicated in a sensible manner for a greater purpose.

Finally, one small issue I had with the book—the same fault that Jeff had earlier expressed over The Outsiders—it inappropriately wraps everything up, leaving little to be digested or processed by the reasoning or intellect of the reader. In particular, the last page/chapter of the book interprets in clear language of how baseball served as a metaphor for life. Oh well, it was a good read regardless.

If I Could Marry a Book... (Industries, Artists, Friends and Fans: Marketing young adult fictions online)

So let me see if I got this right. Leonie Margaret Rutherford is claiming that our old perceptions of social media and the Internet (that which theorized the rise of ‘niche’ culture and the demise of traditional media modes and markets which catered to Blockbusters) is wrong....and that the Twilight franchise of books is evidence of this fact. Wow, what and interesting concept.

Some key notes... I found the notion of ‘knowing capitalism’ to be particularly intriguing. Who knew that the social media networks of YAs were being appropriated by global advertisers? I disagree however in the statement that teens are complicit in this process as I doubt that many YAs are actually aware of the presence or role of advertisers in this ‘phenomenon’ –I was particularly oblivious to this fact. The article itself states that the lines “between user-generated fan sociability and industry-generated social marketing are often blurred”. It is also interesting to understand that marketing techniques which attempt to be ‘organic’ and ‘uncommercial’ in their nature are often the most successful; this leads one to wonder why YAs would be more inclined to accept a review or recommendation of a book when it comes from one of their own peers (even when that person is likely a complete stranger)? One final note; I found it odd that the Twilight (and the social media ) phenomenon was explained only in the context of YAs. As I understood it, the Twilight franchise has broken many age barriers. Why wouldn't 'older' adults be included in this discussion, do they not also participate in social media, are they not also the target of marketers?

And for my final thoughts: “If I could marry a book ... it would be Twilight”. What a ridiculous statement, but it seems more than fitting for this article—an expression of how tremendous a cultural force the Twilight franchise has become for many YAs (likely even without the influence of social media).