By Megan L. Musgrave
This publication is a examine of the evolving relationships among literature, our on-line world, and teens within the twenty-first century. Megan L. Musgrave explores the ways in which younger grownup fiction is turning into a platform for a public dialog in regards to the nice merits and negative hazards of our expanding dependence upon expertise in private and non-private lifestyles. Drawing from theories of electronic citizenship and posthuman thought, Digital Citizenship in Twenty-First Century younger grownup Literature considers how the imaginary different types of activism depicted in literature can advised youngsters to form their identities and offerings as voters in a electronic culture
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Extra resources for Digital Citizenship in Twenty-First-Century Young Adult Literature: Imaginary Activism
The story is told from the point of view of Chess, who occupies the left-side bed; as such, the majority of the narrative is contained on the left-side column of each page. In this sense, Frank uses an innovative form of verisimilitude to emphasize the visceral experience of this realistic text; the gaping whitespace on the right side of most pages disrupts normative expectations of fictional form in a way that visually represents the text’s central themes of instability and loss of control. By aligning readers with Chess’s position on the left side of the curtain in that hospital room, Frank invites them to experience the same feelings of isolation and unfamiliarity that the character does.
As a result of his own work as a chaplain in a children’s hospital (Rosen 2013), Green is interested in depicting the real emotional experiences of kids with cancer, not in glorifying or fetishizing their suffering or presenting them as examples of moral fortitude in the face of certain death. That said, the text confronts the unavoidability of certain conventions, even for the most cynical and self-aware characters. Though The Fault in Our Stars resists being a typical “cancer book,” it embraces the fact that it is a love story.
When Hazel can’t see anything, Gus says, “It’s my last shred of dignity. It’s very small” (2012: 248). Nor is Hazel left afterward with a sense of inspiration about her own inevitable death. ” The only redeeming results of Hazel’s experience with cancer are her relationships: a closeness with her supportive parents, a true friendship with Isaac, and a genuine love with Gus, forged by mutual experiences including, but not limited to, the experience of cancer. In this sense, The Fault in Our Stars does operate as an overcoming narrative, promoting in the end the timeless and sentimental idea that love conquers all—or at least that love renders bodies that have been invaded by chemicals and machines fully human again.
Digital Citizenship in Twenty-First-Century Young Adult Literature: Imaginary Activism by Megan L. Musgrave