Calls for Manuscript Submissions

Calls for Manuscript Submissions

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Finding the Middle Ground

Volume 49: Issue 1 (Fall 2021)

Submissions due: March 1st, 2021

Guest editors: Caroline Clark, Christian Hines, and Jared Crossley

Please submit all manuscripts for this issue to: alanreview21@gmail.com

Popular educational tropes suggest that early elementary school is about learning the basics, and high school is about the drama of trying to fit in and discovering your own voice. But what about that time in between—the magic, the mischief, the mystery, and the mania of middle school? Sharon Maughan, in her Publishers Weekly article “Navigating Middle Grade Books,” gathered publishers, editors, parents, and teachers alike to debate the state of Middle-Grades literature. Together, they discussed the publishing landscape, what the categories are within this body of literature, and who, specifically, is the targeted audience. Middle-grades literature typically encompasses the ages of 8–12 years old; however, debatable considerations are given to whether the age demographic applies to the reader or to the characters. And middle-grade books take more into account than just age. This so-called “tween lit” can run a gamut of topics, like familial and sibling bonds in the Diary of a Wimpy Kid series; the effects of being “the chosen one” in the epic tale of Percy Jackson; or the realistic complexities of simply existing in everyday life by running mile for mile with Jason Reynolds in his track series.

Middle-grades literature holds weight not only in the publishing market, but also in the broader media industry—from the Netflix adaptation of Lemony Snicket’s A Series of Unfortunate Events and the HBO production of His Dark Materials, to the global, cultural phenomenon that is the world of Harry Potter. Disney is also involved in middle-grade adaptations, producing Eoin Colfer’s Artemis Fowl, streaming on Disney+, and a feature film based on Katherine Applegate’s The One and Only Ivan. Young Adult authors, too, are joining in on the middle-grade experience, with acclaimed author Nic Stone debuting two middle-grades reads, Clean Getaway and Shuri (Spring 2020), and Angie Thomas (The Hate U Give and On the Come Up) considering publication of a middle-grade novel.

Against this social, cultural, and literary landscape, we wondered about the role of middle-grades literature in the broader arena of literature for adolescents. What is the appeal of middle-grades literature? Which authors are publishing middle-grades books and why? How is this literature defined, and who is included in its readership? What is it about this special age that appeals to younger and older readers alike? How is diversity handled within the pages of this literature, and how do these young protagonists deal with their lived experiences differently than their young adult counterparts? In this special issue dedicated to Middle-Grade and Tween literature we seek to participate in the discourse surrounding the popularity and evolving landscape of tween literature.

We invite correspondence about ideas for articles, as well as submission of completed manuscripts. In addition, we’ve generated a partial list of topics, meant only to suggest the range of our interests for this issue:

  • How is “middle-grade literature” defined? By the age of its readers? An author’s intended audience? The content of the book? Or the age of the protagonist? Are middle-grade and “tween” the same things? Why do these definitions matter, and what are the consequences of these choices?
  • How can middle-grade novels, and how we define them, provide insight into the work of young adult literature? How are middle-grade novels positioned between early readers and young adult literature? Does middle-grade literature fill that gap, or is there more needed to fill that gap?
  • What is the range of genres within middle-grades literature? What accounts for the popularity of some genres over others? And how does this compare with literature written for younger or older audiences? What topics and issues are explored in middle-grade novels and why? Are certain topics taboo for young readers? Should topics be explored by age or experience?
  • In the vein of #disrupttexts, how might middle-grade/tween literature be used in the classroom to not only decolonize the canon but to promote civic engagement and foster youth activism?
  • Graphic novels provide a solid and strong competing backbone for middle-grade literature. Raina Telgemeir’s collection has entertained and inspired a new generation of readers to understand and accept the awkward phases of growing up and moving on, while Jeff Kinney’s Diary of a Wimpy Kid and Jeff Smith’s Bone series changed the way readers consumed literature by topping the NYT bestsellers list for each debut. Consider the impact that graphic novels currently have on middle-grade readers, classroom libraries, and even teaching pedagogies. Why are graphic novels so popular? What is the future of graphic novels? How have various areas of diversity been portrayed in graphic novels, such as Cece Bell’s El Deafo?
  • Jerry Craft recently won the Newbery Medal for his graphic novel New Kid. Included in it is his tagline for writing, “I make the books I wish I had when I was a kid.” Consider the popularity of other graphic novels, James Patterson’s Middle School Series, and Svetlana Chmakova’s Berry Brook Middle School series, and explore how these books cover the awkward yet endearing discovery of the emergence of adolescence via visuals. With today’s media- and visual-driven generation, are graphic novels the books that future generations will “wish” were written during their adolescence?
  • How do the middle grades and middle school get portrayed in this literature? How do these representations construct who middle-grade readers are or can be? How might these representations be expanded, and what opportunities might these afford to middle-grade readers?
  • How do awards, such as Newbery, Coretta Scott King, Schnieder Family, Pura Belpre, Robert F. Sibert Informational, and Stonewall, affect how you think about middle-grades literature? What books stand out? Which award winners are finding an audience with middle-grade readers and why? How do awards influence the ways that teachers, librarians, and publishers curate and circulate books in their collections?
  • Since 2015, there has been an increased awareness of the lack of diversity in children’s literature with the We Need Diverse Books and #OwnVoices movements. How have middle-grade novels recently been used within these movements? How is diversity addressed within middle-grades books?
  • How do we account for the popularity or staying power of series books in middle grades, such as Percy Jackson, The Unicorn Rescue Society, A Series of Unfortunate Events, Harry Potter, Artemis Fowl, Jake the Fake, The Last Kids on Earth, etc.? Does the translation of these books in broader media increase the exposure of the literature and, in turn, contribute to the popularity of series books?
  • There has been a recent surge of books in young adult literature that focus on mental illness and mental health. According to the World Health Organization (WHO), an estimated 10% to 20% of adolescents experience mental health conditions. With mental health issues and struggles being addressed with teens, are there middle-grade books that address the issues and concerns of mental health? How might these books appeal and aid in the development of young readers? Is mental health taboo when talking with readers at such a young age?

For this guest edited issue of TAR, please submit all manuscripts to: alanreview21@gmail.com. Please see the ALAN website (http://www.alan-ya.org/page/alan-review-author-guidelines) for submission guidelines.

 

 

A Brave New World?: Young Adult Literature Goes Online

Volume 49: Issue 2 (Winter 2022)

Submissions due: July 1st, 2021

2020 was an unprecedented year. Covid-19 resulted in schools being shut down all across the world. Globally, over 1.2 billion youth went online to learn. As a result, education has changed dramatically, with teaching and e-learning happening remotely on digital platforms. Time will tell how these changes affect teaching and learning, but we think online learning is probably here to stay and will persist post-pandemic. In this issue, we are curious to know how young adults, teachers, and researchers are adapting in their use and study of YAL online. In this age of disconnection, how are we staying connected to YAL online?  

Teachers, we hope to feature a special section highlighting teens in this issue. We would especially love to hear from teens about the YA novels they have been reading during the pandemic: what titles made teens laugh? What titles made teens feel okay about the world? What titles made teens think more about dystopias and utopias? What titles helped teens travel to new places? What titles motivated teens to make changes in their lives? What titles motivated teens to stand up for something (or stand up to someone?) What titles did teens recommend to you or others? We hope to hear from the young people in your lives! Submissions from and featuring teen readers should be around 500 words.

Here’s a partial list of topics, meant only to suggest the range of our interests for this issue:

  • What online tools are teachers using to get YAL into the hands of students? What online tools are teachers using to engage adolescent readers with YAL? (e.g., online book clubs, online author visits, etc.). How are teachers leveraging popular social media (e.g., Twitter, Instagram) to keep teens connected with YAL?
  • In her online article for Edutopia, “22 YA Novels to Help Students Process the Pandemic (or Forget It for a Bit),” Terri Grief describes such YA novels as Elizabeth Acevedo’s The Fire On High and Dusty Bowling’s Insignificant Events in the LIfe of a Cactus as good for helping young adults think about resiliency and the ability to adapt and adjust to “living in extraordinary ways.” What YA novels have you used with your students that have helped them process this unprecedented time? 
  • E-learning may feel utopian for some teachers, and dystopian for others. What have been the wins and the struggles in using YAL in the online environment? How have teachers navigated these wins and struggles? What do teachers worry about in terms of online teaching? What do we lose if we continue to be online? How does e-learning change the nature of reading, engaging with other readers, and reading instruction itself in positive/negative ways? 
  • Two “dual” pandemics mark 2020–Covid-19 and racism, and these two are intimately connected. YA nonfiction books like Tiffany Jewell’s, This Book Is Anti-Racist: 20 Lessons on How to Wake Up, Take Action, and Do the Work; Jason Reynolds’ and Ibram X. Kendi’s Stamped: Antiracism, Racism, and You, A Remix of the National Book Award-Winning Stamped from the Beginning; Frederick Joseph’s The Black Friend: On Being a Better White Person; and Michael Bennett’s Things That Make White People Uncomfortable (Adapted for Young Adults) have garnered attention from young adult readers and teachers. How are teachers using these books to encourage understandings about racism and to advocate for antiracism? What other books (fiction/nonfiction) are teachers using to start important conversations about race/racism/antiracism? If you’re being called to do more anti-racism work in your research, what YA authors/works are resonating with you? How are you centering YAL in this work? 
  • The Covid-19 pandemic has brought technology into our homes–the flow of electronic information and communication has become a ubiquitous part of our everyday life. YAL is not immune; YA authors have captured teens’ use of electronic communication in the genre. Lauren Myracle was one of the first to write an entire YA novel, TTYL, through text messaging. In Becky Albertalli’s Simon vs. the Homo Sapiens Agenda, readers learn about the dangers of failing to log-off a school computer after emailing that amazing someone. Marie Lu’s Warcross and Brittany Morris’ Slay take readers into the exciting but dangerous worlds of virtual gaming. With its parallels to Orwellian warnings and post 9/11 policies, Cory Doctorow takes on cybersecurity, technological surveillance, and the power of Big Brother in Little Brother. And no discussion of technology in YAL would be complete without mention of M.T. Anderson’s classic Feed, which suggests that technology dumbs us down and causes less, not more, connection. How are teachers talking about the changes in self and society that e-learning brings? Is all this technology good for us? How can YAL encourage conversations about the role(s) technology plays in our lives? 
  • Other related topics are welcome! 

Please submit all manuscripts electronically to: tar@utk.edu. Please see the ALAN website (http://www.alan-ya.org/page/alan-review-author-guidelines) for full submission guidelines.