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Musings: Girls As Protagonists in their Own Stories in YA Fiction

I know we just visited the topic of “where did all the boys as protagonists go”  not that long ago but a piece I just read in The Mary Sue made me want to come back and look at it from another angle. The article, which is totally not about YA horror fiction, talks about three female protagonists of vampire media franchises from the 2000s, all of which are grounded in horror fiction tropes: Elena Gilbert of The Vampire Diaries  (based on the YA series by L.J. Smith), Sookie Stackhouse of True Blood (based in the Southern Vampire Series by Charlaine Harris), and Bella Swan (from the YA series Twilight) 

So you don’t have to read the entire thing, the essence of the article was that the author saw in all three of these characters that they were defined by their romantic relationships– that their stories wouldn’t have existed without their love interests. All three of these characters are caught up in  (straight) romantic triangles (which I guess makes them more of romantic V’s)– and their role in triangles end up, for the most part, erasing the rest of their character, even though they are supposedly the protagonists,

The 2000s and early 2010s were a pretty good time for YA horror with boys as protagonists, though. Cirque du Freak by Darren Shan was very popular, and I know that here at Monster Librarian we read a lot of books where boys were, at the very least, point of view characters. Harry Potter drew a lot of those kids into a darker fantasy as well– the last book came out in 2007, just before my cousin turned eighteen. And in Harry Potter, there is a spark for change, because smart girls and passionate women save the day over and over, waiting for doofus teenage boys to get a clue about saving the world.  And girls who  grew up with Harry Potter noticed, and wanted the girls in their books to be the heroes (and villains) of their own stories.  And thus we get Jane McKeene from Dread Nation, who is strong, smart, and commonsensical; murderous Nita from Only Ashes Remain; the troubled girls of Sawkill Girls who alternate between being victims, villains, and survivors.

I don’t know why so many men turned away from writing books with boys as protagonists. But what we’re seeing now is, I think, the product of women seeing themselves erased from the types of stories they grew up loving, and wanting to see not just themselves but also a growing diversity in the kinds of protagonists we see in YA novels (or any novels, or any writing). They are hashtagging #WeNeedDiverseBooks and #OwnVoices because additional voices, their voices, need to be heard. Fear is just part of girls and women’s daily lives, and I don’t think enough people realize quite how scary it can be.

But there’s a lot of fear to face in today’s world that is not exclusive to women and girls  (hello, climate change, genocidal dictators, twisted social media policies, hate crimes, cyberbullying, school shootings). Who is writing the stories that resonate with boys today? Somebody needs to open their eyes past what they’ve seen of themselves so far. Yes, male characters have taken center stage for many years, but do we really want stories written in the past that make us cringe today to be the models we give those kids?

Let’s move forward with authors coming up with great stories that will showcase original characters and engage all kinds of readers. That’s our goal in libraries, right? It’s my goal, anyway. There are so many good books coming up, and I can’t wait to see what kids of vibrant writing lies ahead.

Posted on October 12, 2019 by , Reply

Musings: The Dark Fantastic: Race and Imagination from Harry Potter to the Hunger Games by Ebony Elizabeth Thomas

The Dark Fantastic: Race and Imagination from Harry Potter to the Hunger Games by Ebony Elizabeth Thomas

NYU Press, 2019

ISBN-13: 978-1479800650

Available: Hardcover, Kindle edition

 

In today’s networked world, much of children’s and young adult literature isn’t limited to one reader’s immersion in the pages of a book. Authors’ worlds are reimagined in other media formats, and re-enacted, discusses, and reinvented in communities of fans of the stories. Yet, even within these imagined worlds, not everyone can find a mirror that reflects their experiences, and characters of color are often stereotyped and marginalized instead of centered. Ebony Elizabeth Thomas calls this the “imagination gap” and suggests that this may be one reason children of color may choose not to read.  In The Dark Fantastic, Thomas takes an intersectional approach, using”critical race counterstorytelling” to center four girls of color from television and movies based on children’s and young adult fiction that have developed fandoms: Rue, from The Hunger Games, Bonnie, from The Vampire Diaries; Gwen, from Merlin; and Angelina Johnson, from Harry Potter. Thoma uses an autoethnographic approach to explore her perspectives on these as an academic, a participant in fan communities, a reader, a watcher, and a person of color, at a variety of ages.

Thomas explains that the role of darkness in speculative fiction, or the “fantastic” is to disturb and unsettle. Even if initially there was a different reason why darkness represented a frightening or monstrous unknown Other, it’s now inextricably bound up with our thinking about race.  She defines the cycle of the “dark fantastic”, which can always be found in fantastic and horror fiction: spectacle, hesitation, violence, haunting, and, finally, emancipation. It is rare to see a dark-skinned hero, or emancipated character, meaning readers of color looking to identify with characters like themselves get the message, at least on some level, that they are the monster. Centering characters that are the “dark other” in the fantastic and placing them in unexpected roles leads to readers and fans challenging or rejecting the representations, especially once the story has been been reimagined on the screen where everyone can see what before was just in one person’s imagination.

Thomas chose to center her narratives on characters that are not centered in the texts they appear in . She explored the representations of these characters onscreen and in the texts the screen versions were based on, and the reactions of fan communities, like the outrage at the casting of mixed-race actress Amandla Sternberg as Rue in The Hunger Games, despite author Suzanne Collins indicating in the text that Rue had dark skin, or at the casting of mixed-race actress Angel Coulby as Guinivere in Merlin, since according to many, she didn’t have the “legendary beauty” expected of Arthur’s queen.  The “imagination gap” here is pretty clear. Too many people simply weren’t prepared to accept these mixed-race actresses as innocent or beautiful, and missed out on the essential meaning of these characters or enjoyment of the story.  The exploration of the treatment of Bonnie Bennett of The Vampire Diaries is interesting, because in the books, the character is named Bonnie McCullough and is a redheaded Irish witch from a line of druids who has a relationship with a major love interest.  On the television show, her background was completely revised and she ended up as a much less sympathetic character, taking a much smaller role. Even in horror, with vampires as major characters, a girl of color still ended up as the “dark other”.

Thomas argues in favor of consciously intervening to change culture. Publishers, reviewers, booksellers, librarians, educators, and marketers need to recognize the parts they do play and can play in bringing new stories and diverse talents to readers and audiences in order to close the “imagination gap” and open up what Thomas calls “infinite storyworlds”.

The way Thomas linked literature to other media and both individual and networked fandom has given me a new way to think about fantastic literature and media adaptations, and the way fans and fan creators connect with them– or don’t (This essay by Laurie Penny, which I just discovered, gives additional context and dimensionality to Thomas’ ideas). It also provides lot of food for thought as regards centering characters that are usually on the margins, and the way the construction of darkness in fiction may be affecting reading motivation.  As Thomas notes, things in the world of children’s and young adult transmedia are changing faster than they were, in part due to the spread of technology that allows more input from collective audiences and fandoms, and diversity is increasing. I look forward to the time when we will start to see the imagination gap lessen, and more minds open to opportunities for storytelling that reflect multiple representations.

This is essential reading for scholars of children’s and young adult literature and media, but Thomas’ cycle of the dark fantastic applies across all fantastic literature and media, and if you are interested in how race, technology, and imagination are intersecting and playing out in our culture, this does a very good job of providing a framework for understanding.  While she didn’t read it cover-to-cover, my 11 year old daughter is still talking about ideas she encountered in this book, which says a lot about its relevance, originality, and accessibility. Highly recommended.

 

Posted on August 29, 2019 by , Reply

Book List: It’s Teen Read Week! Revisiting Amelia Atwater-Rhodes’ Original Den of Shadows Quartet

The Den of Shadows Quartet: In the Forests of the Night (#1), Demon in My View (#2), Shattered Mirror (#3), Midnight Predator (#4) by Amelia Atwater-Rhodes

Ember, 2009

ISBN-13: 978-0385738941

Available: Paperback, Kindle edition

 

In the days before Twilight and Harry Potter, and the explosion of paranormal creatures and vampires in YA fiction, fictional vampires were still mostly terrifying, although once Buffy came along, there was also a little romance. Thirteen-year-old Amelia Atwater-Rhodes entered this remarkably different publishing market with something new: even Amazon’s review suggests that teen readers of adult authors like Anne Rice might want to check this out. While L.J. Smith and Annette Curtis Klause had also written YA vampire novels, there’s nothing quite like being a teen reading a good book written by someone your own age, and the Den of Shadows books are very different from either The Vampire Diaries or The Silver Kiss. 

Atwater-Rhodes’ first book, In the Forests of the Night, was followed by three others: Demon in my View, Shattered Mirror, and Midnight Predator,  published in 2002. Monster Librarian reviewed these four books, which were extremely popular at the time, and were all written while she was still in her teens. After these four books, she changed to writing about shapeshifters (the Kiesha’ra series), and, honestly, I lost track of her books. She returned to writing books in the Den of Shadows world in 2008, completing four more: Persistence of Memory, Token of Darkness, All Just Glass, Poison Tree, and Promises to Keep, published in 2013.  She is still writing, has since moved on to write an additional fantasy trilogy (the Maeve’ra series), and has a contract to write for the adult market.

While I haven’t kept up on Atwater-Rhodes’ writing since her first Den of Shadows quartet, it’s pretty cool that she’s kept writing and her books have kept selling! So, for teenage writers everywhere, take heart. It is possible to achieve that dream.

 

Editor’s note: Reviews date from 2005.

 


In the Forests of the Night by Amelia Atwater-Rhodes

Laurel Leaf, 2000

ISBN: 0440228166

Available: New and Used

 

In the Forests of the Night is the first in a series of books by Amelia Atwater-Rhodes. She introduces us to Risika, a 300 year old vampire who finds herself in the territory of a rival vampire, Aubrey, who is responsible for killing her family. The book is divided up between the past, when Risika was first turned into a vampire 300 years ago; and the present day, where she must fight Aubrey. When I first started to review young adult horror, author Amelia Atwater-Rhodes’s name came up as a must-read author for teens. Much has been made of the fact that she was 14 when In the Forests of the Night was published. I can see why her books appeal to teen readers, especially reluctant readers. The action moves quickly and the writing style is easy to follow. Adult readers may also enjoy Amelia Atwater-Rhodes’ books. They are quick and addictive little reads, leaving you ready for more. In The Forests of the Night is a core title for young adult collections. Sequels include Demon in My View, Shattered Mirror, and Midnight Predator.

Contains: vampire violence, bloodletting.

 

Demon In My View by Amelia Atwater-Rhodes

Delacorte Press, 2000

ISBN: 038532720X

Available: New and Used.

 

Demon in My View is set in a world developed by Amelia Atwater-Rhodes where vampires exist, prey upon humans, and are hunted by witches. In this installment we are introduced to Jessica, a teen who is a social outcast, who has written a popular book about vampires and witches under a pen name. After the book is published two new students appear at her school: Caryn, who seems to go out of her way to befriend Jessica, and Alex, a teen who resembles the villainous vampire in her book. Demon In My View is a well-written book that will appeal to those who like the Buffy the Vampire Slayer books. It could have just as easily ended up in the paranormal romance category, but the vampires in this series are more predatory creature. I would recommend this book for those looking for additional vampire fiction. A core book in young adult vampire horror.

Contains: Violent fight sequence, blood sucking.

 

Shattered Mirror by Amelia Atwater-Rhodes

Laurel Leaf, 2003

ISBN: 0440229405

Available: New and Used.

 

Shattered Mirror  is the third book in Atwater-Rhodes’ world of vampires and witches. This time around the story is about teen vampire hunter Sarah Vida, who starts off believing all vampires should be destroyed. However, when two vampires, Nissa and Christopher, arrive at her school, she finds herself befriending them. She discovers that vampires are more than the simple killing machines her in which her mother has raised her to believe. An underlying story involves Sarah’s hunt for one of the most notorious vampires around, Nikolas. Another solid entry for the readers of vampire fiction. Atwater-Rhodes is a gifted story teller and doesn’t disappoint with this book. Another core book for the vampire collection.

Contains: Violence and blood sucking and letting,

Midnight Predator by Amelia Atwater-Rhodes

Delacorte Books, May, 2002

ISBN: 0385327943.

Available: New and Used

 

The fourth installment in Atwater-Rhodes’ series introduces two vampire hunters from a group called Crimson. Turquoise Drakaour and her rival, Raven, are hired to assassinate Jeshikah, a vampiress who has created a place called Midnight, where human beings are enslaved and broken for the use of vampires. Once a young girl captured by the vampires, Turquoise must deal with her tormented past and face her old vampire master in order to complete her mission.

Although this book follows the general formula that Atwater-Rhodes has used in her other books, its descriptions of abusive behavior toward the main character give it a darker tone. This difference makes it hard to reconcile the story with the universe she has created, so it is more difficult to escape into the world of the book. Fans of Atwater-Rhodes will probably enjoy this title, but it is not recommended as an introduction to her books. Other books in the series include  In the Forests of the Night, Demon in My View and Shattered Mirror.

Contains: descriptions of physical and psychological abus

 

Reviewed by Dylan Kowalewski

 

Posted on October 8, 2018 by , Reply
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