2020

At the point when I previously distributed my first novel, The Ebony Tree, I’ll always remember how I discovered later that my at that point, 23 year-old niece went through the house and shouted with giggling, after she read the book. Presently mind you, my niece had consistently been an enthusiastic peruser of white romance books since her initial teenagers, however perusing my book resembled arriving on Mars for her. She apparently asked her mom, “Mom, did Aunt Maxine make this up? Did you folks really ‘play white’?”

My sister-in-law advised her, “In addition to the fact that we played white, we envisioned in white. That is all we ever found in the books or on TV were white characters. It seemed like they had a good time.”

Normally, most Blacks experienced childhood in the 50’s with pictures on the mass of white Jesus, white Santa Claus and even white heavenly attendants. There was nothing in the media or in books that mirrored the magnificence of obscurity. Obviously, if there were any books adjacent to the Bible in the home, they were not Black books. It sent a quiet message that Black was revolting and white was excellent. This was as negative of an encounter as when perusing was illegal to slaves.

Fastforward practically 50 years. I know from raising my youngsters, who are currently all grown-ups, that having had Black books in the house was, and stays, a decent impact on their confidence and certainty. At the point when an individual sees himself reflected in the writing the person peruses, it by implication helps assemble a superior mental self view. For in writing, we discover our good examples, our originals from which we can learn life exercises. All the more explicitly, in African American writing, the accounts are applicable to the Black involvement with this nation. These encounters range from individuals originating from various financial classes, from fluctuating metropolitan to nation locales, to various callings. We regularly get the Alger Horatio poverty to newfound wealth story to its inversion, the wealth to-clothes story. A large portion of these accounts make social discourses on how we as a whole have an influence in the ensemble of the American Dream.

“Dark Writers on The Rise,” the features shouted. I trusted them. All things considered, seeing the various classes of African American books in the neighborhood, transcendently Black book shops, who wouldn’t feel that? Hadn’t things improved for us as Black essayists, since the last part of the 1980’s? In any case, in the wake of going to the Book Expo of America (once the American Book Association) held in Los Angeles, California in late April 1999, I had a reality check. On account of seeing all the books in the prevalently Black book shops dissipated all through LA, I had been quieted into a misguided feeling of carelessness that we, as African American journalists, were being distributed at a similar rate as standard books. Without a doubt, I was disappointed.

Truly, The Book Expo of 1999 was a major shocker. The terrible news is this: Our issues (as African American journalists) are a long way from being done. At the point when I looked at the books spoke to by the significant distributers, I saw that the level of Black books is imperceptibly little contrasted with that of different races. Not one to be a diviner, but rather I feel the quantity of African American books can vanish as they did after the Harlem Renaissance, after the last part of the 40’s, and after the Revolutionary 60’s, on the off chance that we don’t assume responsibility for our own composed words.

Nella scrittura orale o composta, raccontare le storie dei giovani è molto probabilmente vecchio quanto l’insieme di esperienze dell’umanità. Il tipo di narrativa chiamata narrativa giovanile per adulti, poi di nuovo, è la formazione congiunta dell’esperienza americana e del secondo 50% del 20 ° secolo.

Dalle antiche fantasie greche come Daphnis e Chloe o Persefone alle opere successive di drammatizzazione, le persone sono diventate gli eroi delle imprese negli anni dell’adolescenza. Nel momento in cui Shakespeare ha raccontato la storia di Romeo e Giulietta, stava discutendo di piccoli cari. Dopo quel periodo, libri e storie come Oliver Twist, Great Expectations, Heidi, Little Women, The Adventures of Tom Sawyer, Huckleberry Finn, The Secret Garden, Anne of Green Gables e Rebecca of the Sunnybrook Farm hanno scoperto per lungo tempo i persecutori estasiati .

Quella che chiamiamo narrativa giovanile per adulti, abbreviata in narrativa YA, è apparsa dopo la seconda guerra mondiale con l’inizio dell’era del rock’n roll. I racconti della narrativa giovanile adulta sono composti per i giovani e sono raccontati dal punto di vista degli adolescenti. Gli eroi sono giovani e un discreto numero di trame include problemi degli studenti delle superiori e il modo in cui gli adolescenti li affrontano e li conquistano. Poiché ogni decennio i problemi dei giovani sono cambiati, anche i resoconti che descrivono questi problemi sono cambiati.

Dall’inizio della narrativa giovanile adulta, i sociologi ne acclamano i resoconti, alla luce del fatto che gli adolescenti scoprono come affrontare questioni come le loro. Questi problemi possono essere la disperazione, il peso o problemi di salute, i disagi della famiglia e del compagno, la gravidanza dell’adolescente o lo scoraggiamento.

Al contrario degli individui che incoraggiano la narrativa giovanile adulta, un piccolo raduno garantisce che sfogliare molta narrativa giovanile adulta abbia allontanato gli spettatori delle scuole superiori dalla scrittura autentica. Tuttavia, l’indagine sulla scrittura di difficoltà questi esperti, dal momento che la grande narrativa non può essere raggruppata. Catcher in the Rye di JD Salinger, A Wrinkle in Time di Madeleine L’Engle, alcuni libri di Stephen King come Carrie e Lord of the Flies di William Golding possono rientrare nel significato della narrativa per adulti, tuttavia il tempo li ha dimostrati essere molto più di una finzione ben nota che esiste indipendentemente da tutto il resto. Questi libri sono opere d’arte.

Inoltre, molte sovvenzioni di narrativa per giovani adulti hanno fatto qualificare la narrativa per giovani adulti come scrittura. Alcune di queste sono: Newberry Award, National Book Award for Young People’s Literature, Boston Globe-Horn Book Award, Los Angeles Times Book Prize for Young Adult Fiction, William C. Morris YA Debut Award, Edgar Allan Poe Award for Best Young Adult Romanzo, Premio Michael L. Printz, Premio Margaret A. Edwards e così via