September 27, 2010

Banned books week: speak loudly!

The Day They Came To Arrest the Book

The Day They Came To Arrest the Book

September 25 to October 2 is Banned Books Week. Here’s a list of the top ten most challenged books in the US (in 2009) and here’s another link to the top hundred most challenged books (2000-2009). What’s depressing about these lists for me is how old some of these books are. We’re talking about important YA fiction that I grew up with and yet these books are still being challenged for their honest and powerful engagement with important issues.

Speak was published in 1999
The Color Purple was published in 1982
Roll of Thunder, Hear My Cry was published in 1976
The Chocolate War was published in 1974
Forever was published in 1975
To Kill A Mockingbird was published in 1960
Brave New World was published in 1932

Those are books dating from 78 years ago still being challenged.

A challenge is an attempt to remove or restrict materials, based upon the objections of a person or group.  A banning is the removal of those materials.  Challenges do not simply involve a person expressing a point of view; rather, they are an attempt to remove material from the curriculum or library, thereby restricting the access of others.  Due to the commitment of librarians, teachers, parents, students and other concerned citizens, most challenges are unsuccessful and most materials are retained in the school curriculum or library collection. (ALA)

And one has to wonder, on what basis are these challenges being made? Dr Wesley Scroggins would like to ban Speak by Laurie Halse Anderson. He cites it first in his article “Filthy books demeaning to Republic education“. Scroggins thinks this book is inappropriate and “should be classified as soft pornography”. The subject matter? A high school teenager’s struggle to speak out about having been raped by another student. I’ve read Speak several times and there is nothing in this book that could be counted as soft pornography. Perhaps Dr Scroggins equates rape with porn – in which case it’s his opinions that teenagers should be protected from.

I should also add that far from defending this book against the likes of Scroggins, Republic Superintendent Vern Minor commented: that:

“the curriculum is abstinence-based and that students can opt out of sex education classes. He also said “Slaughterhouse Five” has been removed, and that “Twenty Boy Summer” is being reviewed. Some of the issues raised by Scroggins were before the start of the school year and were complicated by the timing and renewal process of teachers’ contracts, Minor said.”

The ALA explains that challenges are often seemingly motivated by the desire to ‘protect’ children.

Often challenges are motivated by a desire to protect children from “inappropriate” sexual content or “offensive” language. The following were the top three reasons cited for challenging materials as reported to the Office of Intellectual Freedom:

  1. the material was considered to be “sexually explicit”
  2. the material contained “offensive language”
  3. the materials was “unsuited to any age group”

But what sort of protection are we actually taking about? Not protection from the bulling rule of a powerful clique (events portrayed in the Chocolate War), not protection from sexual abuse (events portrayed in Speak), not protection from racism (events portrayed in Roll of Thunder, Hear My Cry). This so-called protection is from reading, discussing and thinking about the books which portray the issues and by-extension the issues themselves. In fact, information is being replaced by misinformation (rape = soft porn). And don’t even get me started on the value of abstinence-only sex education classes with an opt-out option – another example of misinformation or no information being considered somehow less offesnive or challenging than ACTUAL INFORMATION.

Anyway, Banned Books Week comes fast on the heels of a teenage literary festival disinviting guest of honour Ellen Hopkins after one librarian challenged the suitability of her work. When other speakers pulled out the festival was cancelled and some commenters blamned the banned author and her friends for this result. That’s right, because victims are always to blame for the acts of their oppressors.

I honestly think it’s getting harder and harder to publish important, brave and valuable books about issues that affects the lives of teenagers. Perhaps because Dr Scroggins believes all teenagers should or do live in a 1950s twilight zone world. Or perhaps because some modern publishers and critics think the issues are done and dusted: that racism, sexism, classism and other social ills are now in the past so let’s publish Disney Princesses and Glitter Fairies and forget about that difficult stuff.

Obviously there are some wonderful forward-thinking individuals in the publishing world, writers, editors, publishers and critics – not to forget the dedicated librarians who believe passionately in access to books. But I’ve been told by a prominent publisher to concentrate on the romance angle so a book of mine would be “too issuesy” and it’s common practice for every single epithet (from “fuck” to “bloody hell” to “arse”) to be stripped from my work before publication.

If it’s this difficult for parents, politicians and other ‘protectors’ of children to accept the books on the ALA list which are decades old, how less willing will they be to accept contemporary fiction with contemporary themes? There’s a bleak outlook for YA fiction if this trend continues.

But in the light of banned books week, let’s take some time to honour those authors of challenging fiction. To Judy Blume who taught my generation about the physical biology and the emotional implications of sex. To Robert Cormier who in books from The Chocolate War, After the First Death and We All Fall Down was never afraid to write about frightening difficult subjects. To Laurie Halse Anderson, author of Speak, who said in an interview: “But censoring books that deal with difficult, adolescent issues does not protect anybody. Quite the opposite. It leaves kids in the darkness and makes them vulnerable. Censorship is the child of fear and the father of ignorance. Our children cannot afford to have the truth of the world withheld from them.”

To all the authors who speak out about uncomfortable truths, I salute you. Keep writing and keep fighting for these important books.

September 21, 2010

The angel of death comes for the parents in children’s fiction

Leila Sales, assistant editor at Penguin Young Readers Group , writes about The Ol’ Dead Dad Syndrome in Publishers Weekly.

It is not believable that so many kids are missing one, if not both parents. Slews of them! Hundreds! To quote Oscar Wilde, sort of: “To lose one parent may be regarded as a misfortune; to lose a parent in nearly every children’s book looks like lazy writing.”

I agree with two of her reasons for calling it lazy writing: “First, a dead parent is one fewer character to have to write.” and Second, there’s the instant sympathy factor.. Where we diverge is on Leila’s third point: “Third, grownups are boring.” although she does suggest later that authors could try to “Write parents who actually have something to contribute to the story, who aren’t just a barrier between the kids and fun.”

I don’t think grown-ups are intrinsically boring but they do get in the way in children’s fiction. I think the reason so many authors write them out is because they want their child and teenager characters to solve their own problems, to find their own answers and face their own fears and the role of a good parent is to help with those things. That said, I have by-and-large not played the Angel of Death to the parents in my fiction because I find it more of a challenge to keep them in the text but leave them unable to intervene. In Waking Dream the death of one parent triggers the action, the other parents are at first unaware of what’s happening, then later aware but unable to influence events, reading their children’s stories through diaries that report their ongoing adventures. In Bad Blood the parents are too caught up in the emotional struggle of the family to identify the supernatural elements, they too must wait and worry when the teenager characters are reported missing.

In my forthcoming novel Ghost of a Chance I do admittedly write out two parents. An unknown father is never mentioned and a mother is dead before my heroine knew her. But in neither case were they active, caring and much missed parents. The real parental figure is a grandfather who is hospitalised early in the narrative, keeping him from meddling in my central character’s evolution. Other characters have perfectly functional living parents and have to lie to them to keep them from intervening in the plot.

I really do enjoy the challenge of including parents in children’s books and including them as real people rather than the “clueless or uninvolved” ciphers Leila suggests as a possibility. It’s not a binary choice between parents as all-knowing entities who can solve every problem or hapless and hopeless nonentities. I much prefer them as humans, muddling along between the gutter and the stars. This is one of the reasons I like Margaret Mahy so much. In The Changeover, Catalogue of the Universe and The Tricksters the parents are real people, flawed but trying to do better. Laura’s mother is frantic over the advancing illness of her younger child, Tycho’s parents have given their attention to their charismatic turbulent daughter and pay less attention to their quiet younger son, Harry’s parents are trying to get past a private and personal crisis.

Leila’s piece makes me want to challenge the absenteeism of parents. What if the parents followed you through the hole in the wall? Came along on the quest? Fought the monsters and won – or lost? What effect would that have on the child character, and on the child reader?

September 8, 2010

Women writers: SF edition

Filed under: links,recommended reading — Tags: , — Rhiannon Lassiter @ 9:11 am

A friend of mine was recently disappointed to find that almost all the staff-recommended books listed in well-known London SF book store Forbidden Planet were by men. She has blogged about this herself here: Elevating women writers. She asked me and some other friends to make suggestions of female authors of SF to propose to the staff of Forbidden Planet and this is what we came up with.

(The list is the same as on frax’s journal, but I’ve alphabetised it for my own convenience.)

Lois McMaster Bujold – Vorkosigan saga
Octavia Butler – the Parable of the Talents/Lilith’s Brood
Trudi Cannavan – The Black Magician series
Susanna Clarke – Jonathan Strange and Mr Norrell
Barbara Hambly – Darwath/Dragonsbane
Elizabeth Haydon – Rhapsody series
Robin Hobb – The Tawny Man trilogy/The Liveship Traders series
Gwyneth Jones – The Aleutian Series
Katherine Kerr – Palace series/Deverry series
Mercedes Lackey – The Last Herald Mage trilogy
Tanith Lee – Tales from the Flat Earth/The Silver Metal Lover/Drinking Sapphire Wine
Ursula Le Guin – The Earthsea Trilogy/ The Left Hand of Darkness/The Dispossessed
R. A. MacAvoy – The Lens of the World series/ Tea with the Black Dragon
Julian May – Saga of the Exiles
Patricia McKillip – The Riddle Master Trilogy/ Fool’s Run
Robin McKinley – The Blue Sword/The Hero and the Crown
Elizabeth Moon – The Sheepfarmer’s Daughter
Andre Norton – Witch World series/Red Hart Magic
Naomi Novik – Temeraire series
Mary Doria Russell – The Sparrow/Children of God
Felicity Savage – Humility Garden/Delta City
Sheri S Tepper – The Gate to Women’s Country/The Margarets/Beauty.
James Tiptree – Writes SF short stories, all of them are recommended.
Joan D. Vinge – The Snow Queen Cycle/ Cat
Michelle West – The Sacred Hunt and The Sun Sword series

Does anyone have further suggestions of SF women writers to add?

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