Young adult literature featuring LGBTQ+ characters is booming. In the 1980s and 1990s, only a handful of such titles were published every year. Recently, these numbers have soared to over one hundred annual releases. Queer characters are also appearing more frequently in film, on television, and in video games. This explosion of queer representation, however, has prompted new forms of longstanding cultural anxieties about adolescent sexuality. What makes for a good “coming out” story? Will increased queer representation in young people’s media teach adolescents the right lessons and help queer teens live better, happier lives? What if these stories harm young people instead of helping them? In Queer Anxieties of Young Adult Literature and Culture, Derritt Mason considers these questions through a range of popular media, including an assortment of young adult books; Caper in the Castro, the first-ever queer video game; online fan communities; and popular television series Glee and Big Mouth. Mason argues themes that generate the most anxiety about adolescent culture—queer visibility, risk taking, HIV/AIDS, dystopia and horror, and the promise that “It Gets Better” and the threat that it might not—challenge us to rethink how we read and engage with young people’s media. Instead of imagining queer young adult literature as a subgenre defined by its visibly queer characters, Mason proposes that we see “queer YA” as a body of transmedia texts with blurry boundaries, one that coheres around affect—specifically, anxiety—instead of content.

A new perspective on an explosively popular subgenre of young adult media

Mediated Boyhoods: Boys, Teens, and Young Men in Popular Media and Culture brings together work from various disciplines that explores the relationships among the everyday lives of boys and such media platforms as television, films, games, sports, music, urban and suburban culture, fashion, young adult novels, Facebook, MySpace, and YouTube. Offering a comprehensive overview of boyhood studies, chapters consider questions about the current state of boyhood as it is represented in the popular media; the ways that boys are influenced by and work to influence popular culture; the ways that popular texts often reflect adult expectations, anxieties, and prejudices about boys and boyhood; and the ways that boys, teens, and young men are often able to reflect upon and to act, sometimes unpredictably, to resist, subvert, or re-imagine and re-create popular culture and media. The volume serves as a companion to Mediated Girlhoods: New Explorations of Girls' Media Culture, edited by Mary Celeste Kearney.

This winner of the first Stonewall Award for Children’s & Young Adult Literature will make you marvel at the beauty of human connection and the irrepressible nature of love. Everyone has that one line they swear they’ll never cross, the one thing they say they’ll never do. We draw the line. Maybe we even believe it. Sage Hendricks was my line. Logan Witherspoon befriends Sage Hendricks at a time when he no longer trusts or believes in people. He's drawn to Sage, with her constant smile and sexy voice, and his feelings for her grow so strong that he can’t resist kissing her. Sage finally discloses a big secret: she was born a boy. Enraged, frightened, and feeling betrayed, Logan lashes out at her–a reaction he soon desperately wishes he could take back. Once his anger cools, Logan is filled with incredible regret, and all he wants is to repair his friendship with Sage. But it’s hard to replace something that’s been broken—and it’s even harder to find your way back to friendship when you began with love. *** “Tackles issues of homophobia, hate crimes and stereotyping with humor and grace in an accessible tone that will resonate with teens.” –Kirkus Reviews “It is Sage's story that is truly important.” –SLJ “Teens—both those familiar with transgender issues and those who are not—will welcome the honest take on a rarely explored subject.” –Booklist “A sensitive examination of the seldom treated subject of transgender teens.” –VOYA

Winner of the Children’s Literature Association’s 2022 Edited Book Award Contributions by Carolina Alonso, Elena Avilés, Trevor Boffone, Christi Cook, Ella Diaz, Amanda Ellis, Cristina Herrera, Guadalupe García McCall, Domino Pérez, Adrianna M. Santos, Roxanne Schroeder-Arce, Lettycia Terrones, and Tim Wadham In Nerds, Goths, Geeks, and Freaks: Outsiders in Chicanx and Latinx Young Adult Literature, the outsider intersects with discussions of race, ethnicity, gender, and sexuality. The essays in this volume address questions of outsider identities and how these identities are shaped by mainstream myths around Chicanx and Latinx young people, particularly with the common stereotype of the struggling, underachieving inner-city teens. Contributors also grapple with how young adults reclaim what it means to be an outsider, weirdo, nerd, or goth, and how the reclamation of these marginalized identities expand conversations around authenticity and narrow understandings of what constitutes cultural identity. Included are analysis of such texts as I Am Not Your Perfect Mexican Daughter, Shadowshaper, Swimming While Drowning, and others. Addressed in the essays are themes of outsiders in Chicanx/Latinx children’s and young adult literature, and the contributors insist that to understand Latinx youth identities it is necessary to shed light on outsiders within an already marginalized ethnic group: nerds, goths, geeks, freaks, and others who might not fit within such Latinx popular cultural paradigms as the chola and cholo, identities that are ever-present in films, television, and the internet.

Thanks to the success of franchises such as The Hunger Games and Twilight, young adult literature has reached a new level of prominence and popularity. Teens and adults alike are drawn to the genre's coming-of-age themes, fast pacing, and vivid emotional portrayals. The essays in this volume suggest ways high school and college instructors can incorporate YA texts into courses in literature, education, library science, and general education. The first group of essays explores key issues in YA literature, situates works in cultural contexts, and addresses questions of text selection and censorship. The second section discusses a range of genres within YA literature, including both realistic and speculative fiction as well as verse narratives, comics, and film. The final section offers ideas for assignments, including interdisciplinary and digital projects, in a variety of courses.

From the author of Lucky Few comes a “refreshing” (Booklist, starred review) teen novel about Internet fame, peer pressure, and remembering not to step on the little people on your way to the top! After a shout-out from one of the internet’s superstar vloggers, Natasha “Tash” Zelenka suddenly finds herself and her obscure, amateur web series, Unhappy Families, thrust in the limelight: She’s gone viral. Her show is a modern adaptation of Anna Karenina—written by Tash’s literary love Count Lev Nikolayevich “Leo” Tolstoy. Tash is a fan of the 40,000 new subscribers, their gushing tweets, and flashy Tumblr gifs. Not so much the pressure to deliver the best web series ever. And when Unhappy Families is nominated for a Golden Tuba award, Tash’s cyber-flirtation with a fellow award nominee suddenly has the potential to become something IRL—if she can figure out how to tell said crush that she’s romantic asexual. Tash wants to enjoy her newfound fame, but will she lose her friends in her rise to the top? What would Tolstoy do?