Contemporary Realistic fiction
Deals
with modern concerns eg drugs, suicide, violence, gender issues and family
problems which face families. In these stories issues facing adolescents are
explored and a common theme of ways of these teenagers making sense of the
events and taking active responsibility for their own lives are evident
(Michaels, p. 52). Teenage protagonists find ways to face moral dilemmas,
adults are not necessarily shown as the cause of the problems but the way they
deal with problems may also feature and the protagonists may find ways to make
others also confront moral issues and the consequence of their actions.
Evident
is the understanding that perfect families do not exist, however, the love of
parents for their children is expressed (Michaels, p. 52). Teacher characters
are often shown as affectionate and caring for the adolescent characters,
although these characters may also be shown as flawed in some way (Michaels, p.
52). Presence of at least one adult mentor character that assists the
protagonist in their journey is a key feature of these novels (Michaels, p.
53).
Although
loss and death are often themes, resolutions, without being overly sentimental,
are usually not grim, although indicate that while this dilemma has been
resolved, there is still more work to be done (Michaels, p. 53).
Often
written in first person narrative style giving the reader the characters inner
thoughts and perspectives. Use of intertextual references to popular culture or
literary, musical or artistic works also feature eg references to lines in
popular films (Michaels, p. 54). Poetry
ca be used to highlight how characters express their feelings or come to terms
with their situation (Michaels, p. 55).
Use of literary or artistic works is also used to represent the issues in the
story and the stories end with the protagonists reflecting to the reader what
they have learned in a form of "coda" (Michaels, p. 55).
Trends
associated with this genre in recent years has been its use with female writers
and whether there is a connection to the seemingly positive way adolescents
viewed the future in the early 2000s (Michaels, p. 56). These novels can be
categorised as Bildungsroman or coming of age novels, often using literary or
artistic works as focal points as the characters come to an understanding about
their lives and their construction of
self-identity (Michaels, p. 57).
Value of
these novels appears to be in the ability for readers to feel connected to the
characters particularly if they are experiencing similar situations. The honest
and realistic nature of the characters and stories touches reader emotions and
allows them to examine themselves along the way. Possibility of controversy for
selecting such novels due to methods of dealing with confronting themes.
Postmodern fiction
A
thorough understanding of good children's literature requires awareness of both
'quality' literature of the past and new titles.
Winch
argues that the idea of canons ie titles considered of worth thus to be read by
children, is outdated, as many texts are composed for a particular time and
place, thus the perceived worth of texts and relevance of messages contained
may change. Further, as children's literature is so diverse, the choice of what
is to be included is subjective and decisions come at the expense of other
excluded works (p. 415).
Stevenson
discusses concept of quality and notes the value of awards and experts in
establishing standards and legitimising and publicising children's literature.
Judgements of books as 'good' has become 'good for' recognising that works are
suited to different purposes.
Evaluation
of books can change from the first unconsidered reading to later considered
readings when previously missed elements are discovered. The value of multiple readings
can be employed using strategies such as literature circles assisting students
to fully evaluate titles.
Postmodernism
is concerned with the idea that knowledge must be useful, but questions who
decides what knowledge is. Knowledge in postmodern societies is stored
differently eg digitally to that in the past (Klages). Once knowledge is
determined, actions rather than idealised thoughts are the important outcomes
of gaining knowledge. Thus children's literature drawing on postmodernism
requires that children must be active in committing to their reading, "to
think, feel and comment" (ETL402, module 2). Traditional concepts of what
is quality literature are challenged and suggests that children now look for
narrative discontinuity and lack of closure over the traditional
beginning-middle-end resolution (ETL402, module 2).
Postmodern
picture books may take traditional ideas such as fairy tales and turn them
upside down. Illustrations and text are sometimes incongruent in that text may
talk of an idyllic lifestyle yet the images are dark and show isolation.
Multiple narratives, surrealism, lack of closure and efforts to invite the
reader to take an active role in the creative process are employed ( O'Conor).
Parody eg of traditional fairytales subverts the readers expectations of
fairytales (O'Conor). O'Conor argues that in postmodern picture books
"prediction, expectation and resolution are challenged and the
fictionality and structure of the picture book is questioned".
Goldstone
argues that postmodern picture books help children in understanding a complex
world (p. 362).
Elements
of postmodern picture books:
- non linearity - stories can be read in
more than traditional linear fashion. Existence of sidebars or other text on
the page can deliver stories alongside the main narrative allowing the reader
to be in charge.
-self-referential text - elements of the
book make the reader question what is real, the book, the story, both or
neither.
-sarcastic or mocking tone - mocking
perhaps fairytales or other references the book draws upon
- anti authoritarian text - indicate that
the author is not solely in charge, as the book invites the reader to act as
co-author. The reader is required to build on personal experiences to support
and extend the work of the author.
Postmodern
forum post 9/8/13
I read
Nobody owns the Moon by Tohby Riddle as a first look at postmodern
picturebooks. Some of the elements
Goldstone identifies as postmodern appearing in this book, included
self-referential text where the 2 main characters attend the theatre
performance of Nobody owns the Moon, noted as a new play by the city's greatest
playwright inviting the reader to question what is real, the book or the story.
it has a somewhat sarcastic take on
modern city life, when a fox can make a life for itself however goes to work
and doesn't understand what it is doing, and the homelessness of his friend the
donkey, who is unable to hold down work. the text is linear in many ways but
there is space for the reader to fill in details about their lives. Although
the main characters are animals, they possess human characteristics and
emotions and are illustrated as multi-coloured, unlike the human characters who
don't speak and are drawn like cartoon cut outs with no emotions and in single
colours, seemingly one dimensional. The book also contains a dancing bear as a
kind of street sideshow, perhaps commenting on the treatment of bears, as has
been noted in other books. The statue of the great conqueror is also
interesting and the picture of the country on the all in the wild creature
fox's house.
These
elements could engage young readers by the silliness of animals doing everyday
human activities.
References
Goldstone, B. P. (2001/2002).
Whaz up with our books? Changing picture book codes and teaching implications. The Reading Teacher. 55(4), 362-370.
CSU Module 2
Michaels, W. The realistic
turn: trends in recent Australian young adult fiction [online]. Papers
(Victoria Park, WA), v.14, no.1, May 2004: 49-59.
O'Conor, J. The Gingerbread
Man Meets Dali: Postmodernism and the Picture Book.
Stevenson, D. (2006). Finding
literary goodness in a pluralistic world. The Horn Book Magazine pp. 511-517.
Winch, G. (2006). Literacy :
reading, writing and children's literature (3rd ed.). South Melbourne: Oxford
University Press. p. 415.
