​I would bet a lot of money that if you asked people what they would consider as a  “taboo” topic in books for adolescents, responses would be along the lines of politics, sex, or violence. I would guess that very few people would say the topic that Patricia Campbell stated as “the last taboo” in the world of young adult literature: religion. 

​Think of five of your favorite young adult novels. Are there any religious elements in these texts? If so, how is religion being portrayed? Is religion affecting the character and story in a positive or negative way?
 
When I think about the books I read growing up, I do not remember religion being discussed in any book–or at least being an important part of the story (for example, The Baby-Sitters Club or the Goosebumps series). Some of the most popular books growing up had little to no mention of religion, such as Harry Potter, Twilight, or Hunger Games. Why is that? Why have so many been willing to talk about the most controversial of topics but rarely about religion? 

YA scholar, Patricia Campbell, when writing about religion in young adult texts stated that “The majority of realistic YA fiction projects a world in which both the personal practice and the corporate practice of religion are absent, except for the worst aspects of cults or fundamentalist sects” (Mickelson 2). However, there have been recent calls for writers to include religion in their texts, specifically utilizing religion in more realistic ways instead of through purely negative depictions (Mickelson 5). It seems that authors may have heard these recent calls and have responded with some great stories depicting religion more realistically. 

​I was lucky enough in my graduate program to take two classes focused on young adult novels. The first, taught by Chris Crowe, went through a history of young adult novels starting from the 1960s to the early 2000s, in which I noticed mostly negative depictions, if any, of religion, such as in books like Send Me Down a Miracle by Han Nolan.
 
In my second section on YA literature the following semester, modern, award-winning novels were the focus. As I read through recent modern contemporary young adult novels, it seemed to me that there has been a shift in how religion is depicted. In these newer texts, the nuances of being part of a religion in today’s world are shown, rather than the religious binaries of the past, where the text was either didactic or representing religion negatively. 

​In thinking about saints and their role in his religion, Simon says “it’s a little messed up that we make saints of girls who didn’t want to get married and got killed, and boys who didn’t want to make public sacrifices and got killed…It’s like, somehow, they’re holy because awful stuff happened to them” (289). Simon continues his internal dialogue, wondering, “Maybe one of them was super good at soccer, or really liked stargazing…We only know the one part of their life, and it’s the most awful part” (289). Simon does not want to be defined by his most awful moments in life, and does not understand why his religion must be so focused on the past traumas of others; Simon wants to believe that there is more to people than their trials, that there is more to his life than the horrible things he has gone through. Simon wonders why his religion focuses so much on the suffering of people in the past when he wants to focus on healing and the other things that make him who he is. In his case, the point of the saints in his religion focuses on the things that Simon is trying to not dwell on. Can he still be a part of this religion despite this focus and move forward in healing? Does this mean he must abandon his faith altogether?

​Belle’s relationship with her mom is complicated, as are many teenager’s. Belle’s mother, Gina, cannot be described without mention of her religious beliefs. Gina is an Italian Catholic, and Belle describes it as being not “ just about religion–it’s about superstition and safekeeping and tradition” (5). Gina “rarely goes to mass, but she’s got the required crucifix over the kitchen doorway, the rosary in the dresser drawer, and the stack of dead relatives’ funeral cards, held together with a rubber band” (5). Belle’s use of the word “required” in this quote demonstrates her view of religion being something that is forced, where people seem to just go through the traditional motions. Belle’s relationship with her mother is complicated in the beginning of the novel in part due to Gina’s religious beliefs since Belle does not hold the same reverence for the traditions. Belle has a difficult time believing “people are still Catholic,” and draws a comparison between the Catholic church and Hostess Twinkies, since they both have been around “for a zillion years, in spite of the bad press and rumors of vanishing” (5). When examining Belle’s own beliefs, the narrator asks “How can Annabelle believe in anything anymore, though? It’d be nice to have a belief, but it’s likely gone for good” as a result of what she has suffered (5).  

As Belle slowly allows herself to remember her past and to feel the emotions she’s been trying to bury, she realizes that the idea of religion, such as the Saint Christopher, is comforting in moments; however, she recognizes it is not enough to heal her completely. Belle finally is able to sift through the memories of her boyfriend and best friend being killed by her stalker, finally revealing to the reader what exactly happened that night. Before she allows the memory to unravel in her mind, she sees “The Saint Christopher medal” shining “in the moonlight,” and thinks to herself how “even a saint seems small and powerless against what’s coming” (320). This moment shows the complexities of religion in Belle’s life, where she has the two contradicting feelings about religion: it can be comforting and healing, and it can also cause more anxieties and questions. These ideas are so opposite of one another that it would seem somewhat impossible for them to both make up her religious identity; yet she is able to have these back and forth moments that help her to better understand what role religion can play in her life–and that it does not have to have just one purpose. 

While less young adults identify as being religious as ever before, there is still a need to show representation for the many young adults who are trying to find the balance between living in a modern world, with all of its complexities and instant gratifications, and holding onto something that gives them hope–something that may have given their families hope for generations.

While these texts mentioned are great examples of a more realistic depiction of religion, there are several others that do similar things, and they are worth exploring for further insight into religion in young adult literature today. Some of these texts are All My Rage by Sabaa Tahir, The 57 Bus by Dashka Slater, Scythe by Neal Shusterman, and Everything Sad is Untrue by Daniel Nayeri. Even though religion is never the primary focus of these texts, that makes them even more realistic. With so many things begging for a teen's attention–social media, jobs, school, current events, family, friends, relationships, etc.--religion is oftentimes a smaller part of a religious teen’s life, but it is still a part of it. And that part shapes their adolescence, which ultimately shapes how they view themselves and the world around them. Giving examples and presenting the inner dialogue of what one may experience as a teen navigating religion in the modern world can do what literature does best–what we love literature for: showing young adults that they are not alone, providing them new ways to think about their experiences, positions, and questions, and helping them on their path to better understanding who they are.

Cheryl: When I was growing up, being Jewish was something we did at home. School was for the majority religion, which in my suburban elementary school was learning Christmas carols in music class or making Christmas and Easter decorations, but never about my Jewish holidays and traditions. In fact, the Jewish population at my school was so small that I was the only Jewish student in my class. My mom was the “Hanukkah Mom,” the one who came in every year to tell the story of the one Jewish holiday that my teachers had heard of but, sadly, had no familiarity to teach about it themselves. Home was where I could be myself. My family went to synagogue and celebrated the High Holy Days by eating apples and honey; celebrated Passover with the eternally long ritual meal - the Seder - where my siblings and I would count the pages in our haggadah until dinner was served; and home was where we lit the Shabbat candles every Friday night to welcome the Sabbath into our hearts and our home. Home was for being Jewish; public was for fitting in. 

Melanie: In contrast, I grew up in a neighborhood that had a large population of Jewish families. I went to Hebrew school with a lot of my classmates, and my schools recognized and included Jewish holidays in their calendars and celebrations. Granted, we did not get days off for the significant holidays of Rosh Hashanah, Yom Kippur, or Passover, but teachers understood and respected our absences. Hanukkah was included in Winter Holiday performances with a token song or skit, but the holiday was not unfamiliar to my classmates. In junior high, going to bar and bat mitzvahs every weekend was fairly typical, for Jews and non-Jews alike. Being Jewish was a part of who I was, and welcomed in all aspects of my life, both inside and outside of the home.

Although we are both Jewish, our lived experiences were and still are very different. And they are different still from our Jewish friends. Often, Jewish people are lumped together as a monolith, yet there are many different ways of being Jewish in America and the world today. Not all people who identify as Jewish are religious or consider themselves practitioners of Judaism, yet they may feel inherently Jewish as their ethnic and cultural identity.

​May is Jewish American Heritage Month. The Jewish people have an incredibly rich heritage. Jews have been a part of the fabric of every empire, have lived throughout the world, and been a part of the fabric of the American tapestry since the country was established. Yet, there is little representation of Jewish identity in young adult literature, and what little literature there is often focuses on the 3 H’s: The Holocaust, history, or holidays (and often only the holiday of Hanukkah, a holiday that does not hold much importance in Judaism). However, there is so much more to being Jewish outside of the 3 H’s that we would like to highlight today.

​Although few in number, there are young adult titles that celebrate the diverse and intersectional ways of being Jewish in contemporary times. From stories of Orthodox Jews to secular Jews living their most authentic selves; to stories of Jewish subgroups including Ashkenazi (Jews with Eastern European heritage), Mizrahi (Jews with Middle Eastern heritage), and Sephardic (Jews with Spanish and Portuguese heritage), and stories of other intersectional Jewish identities including Jewish people with disabilities, Jews who identify as LGBTQ, and Jews who struggle with their mental health. There are so many contemporary tales that deserve a place on your bookshelves and in your classrooms.

In a time of increasing antisemitism, it is apparent to us that many people do not know what Judaism is or who Jewish people are, and are only aware of stereotypes. People often fear the other or the unknown. We strongly believe that books that celebrate Judaism and the Jewish people, including their intersectional nature, are a great step in introducing people to the beauty and complexity of Jewish life. By providing students with a varied and rich introduction to the Jewish experience, we can develop empathy, appreciation, and a respect for cultural diversity.

​Here are some contemporary realistic fiction titles we love, with a favorite fantasy thrown in:

Rachel Lynn Solomon writes many authentic and enjoyable novels with Jewish characters. In the sequel to her extremely popular Today Tonight Tomorrow, Past Present Future continues the story of Rowan and Neil, following them as they head off to separate universities in different states. Even though they’ve come together after years of being rivals, can they overcome the distance, both in miles and in emotions, to ensure their relationship continues and thrives? This novel sensitively includes a character struggling with their mental health in a way that is at times hard to read and neccessary.

An additional book that includes Jewish characters with chronic illnesses is Sick Kids in Love by Hannah Moskowitz.

​Other books with great LGBTQ+ representation: Time and Time Again by Chatham Greenfield and Finally Fitz by Marisa Kanter. 

Until recently, my knowledge of the regional literature of Appalachia in the United States had been limited to a few blockbuster hits that, by and large, have been criticized for their portrayal of regional identity and socioeconomic issues. That was until the author Kate Pearsall unexpectedly fell into my lap with her current duet of novels, Bittersweet in the Hollow and Lies on the Serpent's Tongue.

I am currently sitting on my Independent School Districts’ (one of the largest in the state of Texas) Literature List Review Committee. Our charge, led by our Secondary Language Arts Administrator, is to review and recommend teacher submissions for YA titles to be placed on our “Whole-Class Approved Novels” lists for each grade level. Here is where I first learned of Pearsall’s works and fell in love with her portrayal of the Appalachian Region. 

Kate Pearsall’s storytelling weaves her experiences with her mother’s bedtime stories about growing up in West Virginia and the intersection of Scottish-Irish folklore and magic. These tales are truly magical transporters that plant the reader right into the heart of secluded Appalachia- where magic, moonshine, and the power of sisterhood abound. 

When I first picked up her debut book Bittersweet in the Hollow, I was not sure what to expect. The back cover copy (or blurb) promises the reader a magical folk-laced mystery, a genre-mixing tale of a group of female family members possessing unusual talents spanning three generations. All of this is set within an authentic portrayal of a small town in the Appalachian mountains. A town’s complexities that reach far beyond what reader’s know to be stereotypical; a place that transcends the common poverty-stricken, drug-laden, hillbilly-esque picture that many of us associate with the region due to the common texts we know. 

Bittersweet in the Hollow offers a rich narrative landscape for students to consider how identity, power, and voice function within a community. Enveloped within a seemingly who-dun-it mystery, this first novel in the duet follows the protagonist, Linden, as she not only struggles through a sequence of traumatic events, but also walks with her as she discovers the power within herself, the roots of her family, and uncovers power through sisterhood. When viewed through the lens of feminist criticism, Linden’s story becomes a powerful exploration of how women’s voices can often be marginalized and silenced—and how reclaiming those voices, and that power, becomes an act of resistance. Students can use the events in this story to explore deeper questions about individual equity, personal agency, and how traditional views of the patriarchal system further systemic expectations in our society today. 

​I love this debut novel for a buddy read or student book clubs in the classroom. This text naturally invites discussion and connection through its overarching themes and ideas as well as the intrigue built around the folklore of the Moth-Winged Man, naturopathy, and mysticism. Its atmospheric setting and slowly-unraveling mystery around a current murder and a cold case keep readers engaged, while its character-driven focus offers plenty of opportunities to pause, reflect, and explore motivations, choices, and relationships. All of which are perfect for open-ended conversations for students to lead independently with each other. 

In a classroom setting where student voice, choice, and engagement matter more than ever, Kate Pearsall’s works of Bittersweet in the Hollow and Lies on the Serpent's Tongue stand out as compelling texts that bridge traditional literary merit, high-interest texts, and student accessibility. Kate Pearsall’s works not only bring the often-overlooked and often-stereotyped Appalachian region into the spotlight with nuance, reverence, and respect, but it also offers students a chance to examine the multi-layered themes through a lens that is both magical and deeply human. Whether used for independent study, book clubs/literature circles, or buddy reads, this novel has the potential to spark rich, student-driven dialogue that builds empathy, critical thinking, and a broader understanding of inclusive storytelling.

Haley Smiley
Haley is a graduate student in James Madison University’s Master’s in Arts of Teaching program. She received her bachelor’s degree in December 2024, majoring in English with minors in Secondary Education and Teaching English to Speakers of Other Languages. After graduation, she plans to teach middle school English Language Arts in Virginia. Her work can be found in the Virginia English Journal and The Ohio Journal of Mathematics.

Mark A. Lewis
Mark is professor of literacy education at James Madison University. His research interests include examining and critiquing representations of adolescence and youth in young adult and adult literature, defining the multifaceted literary competence of secondary students, and identifying effective ways to support multilingual learners. Prior to coming to JMU, he taught middle school English and English as a second language in Arizona and high school English in
Colorado. Mark has over 35 publications, including multiple book chapters and in scholarly journals such as English Education, English Journal, The ALAN Review, Study & Scrutiny, Journal of Teacher Education, Middle Grades Research Journal, Journal of Literacy Research, and Reading Research Quarterly. He is also a co-author of Rethinking the "Adolescent" in Adolescent Literacy (2017, NCTE Press) and Reading the World through Sports and Young Adult Literature: Resources for the English Classroom (2024, NCTE Press).

​Archetypes, while originating from Jungian psychoanalysis (see Mikki, 2025, for an overview of Jung’s work), are more broadly understood as sociohistorical constructs that have evolved over time. They function as narrative tools, employed in storytelling to create shared meaning, shape identities, and foster a sense of community. By encouraging archetypal reflectivity, readers can connect their personal experiences with familiar fictional narratives and “typical” characters, thereby facilitating a deeper understanding of both themselves and the world around them.

​The hero archetype is widely recognized, but other archetypes, such as the sage, rebel, and trickster, are equally prevalent and significant (here are descriptions of the 12 Jungian Archetypes). Each archetype embodies specific qualities and fulfills distinct roles within a narrative, offering valuable insights into both personal and social dynamics. Fictional characters exemplify these archetypes, allowing readers to recognize and understand corresponding patterns in their own behaviors, relationships, and perspectives.

​The sage archetype, for instance, represents wisdom, knowledge, and guidance. Characters embodying this archetype often serve as mentors or advisors, offering valuable insights and helping others navigate challenges (see Renga & Lewis, 2018, for discussion on sage characters in YA literature). The rebel, on the other hand, symbolizes defiance, nonconformity, and the pursuit of change. Rebellious characters often challenge the status quo, inspiring others to question authority and fight for their beliefs (see this article for a list of novels that feature the rebel archetype). The trickster, who might also be rebellious but enacts their dissatisfaction disparately, embodies cunning, mischief, and the subversion of expectations. Trickster characters often disrupt norms, challenge assumptions, and provoke thought through their actions. Many cultures include trickster tales as part of their folklore.

​By recognizing and exploring these archetypes in literature and within themselves, readers can gain a deeper understanding of the human experience, fostering personal growth, empathy, and a sense of connectedness with others. To this aim, we offer three characters from highly-regarded young adult literature as examples of three additional archetypes–the innocent, the heroine, and the everyman–along with what readers of all ages can learn from these “typical characters” about their own ideals, thoughts, and actions.

​In Wolf Hollow by Lauren Wolk (2016), Annabelle McBride embodies “the innocent” archetype, representing morality, care for deep relationships, and an unwavering belief in justice. Throughout the novel, Annabelle is characterized by her strong sense of right and wrong, her enduring kindness, and her desire to see the good in others, even when confronted with cruelty.

​Readers can apply this to their own lives by embracing empathy, seeking justice, and refusing to judge others based on assumptions. Like Annabelle, readers can learn to stand firm in their beliefs and make choices that align with their values, even when it is difficult. In this way, Annabelle’s innocence serves as both an inspiration and a guide for navigating moral dilemmas in real life.

​In Firekeeper’s Daughter by Angeline Boulley (2021), Daunis Fontaine exemplifies “the heroine” archetype through her courage, resilience, and ability to not allow society to block her from accomplishing her goals (see the Kirkus review). Like canonical heroines, Daunis is thrust into a dangerous situation that challenges her beliefs and forces her to grow. She does not seek out heroism, but when confronted with corruption and crime, she bravely steps up to protect her community.

​Readers can apply this lesson by standing up for what is right, even in difficult situations. Daunis also teaches the importance of embracing one’s cultural heritage and personal identity, reinforcing that strength comes from knowing who you are. Through her heroic journey, Daunis inspires readers to find their own strength and purpose.

​In The Lost Year by Katherine Marsh (2023), Matthew embodies “the everyman” archetype, representing an ordinary individual who undergoes personal growth through life-altering experiences. Matthew is not like a traditional hero–he does not begin with extraordinary bravery or ambition. Instead, he starts as a thirteen-year-old, caught up in his own familial frustrations while also navigating the COVID-19 pandemic. His journey of self-discovery, particularly
regarding his family's past, transforms him from a self-absorbed boy into someone more aware, empathetic, and connected to his family’s history.

Readers can apply this lesson by listening to and seeking out family histories, questioning the narratives they are given, and recognizing the impact of past events on the present. They can also use newfound historical awareness to develop a more informed worldview. Matthew’s journey shows that anyone–no matter how "ordinary"– can grow into a more thoughtful, compassionate individual simply by being open to learning and understanding.

Archetypal reflectivity informed by fiction can be useful for readers by highlighting possibilities for their lived lives. The archetypal innocent can lead to exploring more just ways of seeing the world; the archetypal heroine can bolster personal beliefs in their own capabilities; the archetypal everyman can encourage personal growth and confidence in one’s place in society. This might sound overly idealistic, but the struggle to achieve our ideals should not lead us to reject them entirely. To this end, fictional archetypes can provide inspiration, reaffirm ideals, and reinvigorate our imagination of what it means to be human.

​Julianna Lopez Kershen is an Assistant Professor at the Jeannine Rainbolt College of Education at the University of Oklahoma in the Instructional Leadership and Academic Curriculum department. She teaches undergraduate and graduate courses on the topics of English language arts and literacy education, instructional improvement, and curriculum studies.
​
Dr. Kershen earned her Ed.D. in Education Policy, Leadership, and Instructional Practice from Harvard University. As editor of the Oklahoma English Journal, Julianna was awarded the journal affiliate editorial award as a National Council of Teachers of English Journal of Excellence. Previously, Julianna has worked as a researcher, university lecturer, high school English language arts teacher and district-level administrator in Oklahoma and Massachusetts. Julianna is a National Board Certified teacher in Adolescence/Young adult English language arts and received a Fulbright Teacher Scholar Fellowship for study in Tanzania and Kenya
​

​In their book, In Search of Deeper Learning: The Quest to Remake the American High School, Jal Mehta & Sarah Fine (2019) explore how innovative public schools in the United States are attempting to engage students in sustained, deep, and meaningful learning. Mehta and Fine compare their findings to the typical learning interactions experienced by high school students around the country: test-driven coursework and assignments, discreet and siloed content learning, and a lack of connection between learning in school and learning within local communities. Their research drew inspiration from and expanded the American Institutes for Research Study of Deeper Learning (SDL) investigation, began in 2012 and funded by the Hewlett Foundation, to compare student and teacher experiences between schools identified as “deeper learning” schools and a set of “traditional” control schools. The Study of Deeper Learning collected data between 2012-2020 with teams of researchers producing a series of studies, reports, and policy papers, and later partnering with the American Educational Research Association in support of research fellowships for early career education scholars. 

Similarly, Mehta and Fine interviewed teachers and administrators, shadowed students, and spent over 750 hours inside 30 different high schools, collecting data to inform their work. Ultimately, their book focused on four different schools (all identified through pseudonyms): No Excuses High, Dewey High, IB High, and Attainment High School. Of the many standout findings from both studies, our team notes this one: researchers have yet to discover a high school that is a perfect example of deeper learning. However, within many schools there are pockets of learning opportunities, crafted by teachers and community partnerships, in which students experience the three identifying characteristics reflective of deeper learning: (1) mastery driven, interdisciplinary and content-rich inquiry; (2) student-centered, collaborative study that supports students’ identities as capable scholars; and (3) authentic, critical- and creativity-based projects. 

​Taken together, the many investigations into the Study of Deeper Learning data set and the work of Mehta and Fine advocate for policy and practice shifts that would expand deeper learning opportunities. Our own work has focused on extensive reading of published literature investigating the three aspects of deeper learning (i.e., mastery, identity, and creativity), in particular, studying project-based learning and the ways in which pre-service teachers can learn how to engage future students in project- and problem-based inquiry. To achieve more deeper learning opportunities for all students, schools must move away from traditional rote learning and explicitly adopt inquiry-driven models of learning. School schedules must shift to accommodate more flexible learning opportunities, create and support interdisciplinary teams, revise grading practices, and create more than cursory partnerships with community partners. These kinds of institutional and instructional changes are challenging. Indeed, state and district responses to recent NAEP scores wherein declines in reading and math were steep (National Assessment Governing Board; National Assessment of Educational Progress) serve as data for policy decisions to double down on testing preparation and “personalized” learning. 

​Those decisions often translate into more rote learning and individual, and increasingly screen-based interactions, in which students are less likely to collaborate on weeks-long projects driven by their own research questions and immersed in reading, writing, creating, making, and solving. Under the Common Core, students are more likely to be engaged in reading short-form text excerpts (Sacks, 2019), answering discreet-answer questions, and focused on practices aimed at “skill-building,” but divorced from in-depth collaborative learning involving creative making and critical thinking. In addition, in many states, recent legislation and censorship efforts highlight the precarity educators face when provisioning instruction and learning opportunities that forward students’ identity development. We know from decades of research (e.g., Bondy & Ross, 2008; Esteban-Guitart & Moll, 2014; Mohammad, 2020; Ware, 2006) that students are more likely to succeed academically when they feel their identities are valued as assets in the classroom, and when their funds of familial, linguistic, cultural, and community knowledge are leveraged as strengths. As educators, we should not retreat from the progress we have made towards accessible, culturally relevant and responsive education (Ladson-Billings, 1995; Saucedo & Jimenez, 2021) that partners with learners, parents, and guardians. We should continue to change as teachers to shift from information providers to mentors and facilitators of learning.

​If you’ve read this far, then you may be asking, why are we writing about deeper learning and our belief that educators must continue to push for transformative change in American high schools for Dr. Bickmore’s young adult literature blog?

​Really, it’s simple. As English language arts teachers we are positioned with the enormous power and responsibility to be the brokers of literature and philosophy, of creative writing and rhetorical study. It is in our classrooms that we can place poems that inspire in the hands of youth. We can challenge students to identify the issues that matter to them, teach them how to research ethically and carefully, and to write arguments that are sent to elected officials, community newspapers, and blogposts. And, importantly: we are equipped to push back against the war for attention being waged by our digital lives and screen-based technologies. In our classrooms we can invite students to rebuild their attention through face-to-face engagement and the reading of novels, collections of poetry and short stories, important speeches, plays, and nonfiction of all forms. 

Mehta and Fine (2019) emphasize that meaningful learning is both cognitive and emotional, and that it requires both short- and long-term engagement. Deeper learning is the result of meaningful, interactive learning that thrives in both individual and social contexts. Mehta and Fine assert that deeper learning flourishes in environments where students are encouraged to take ownership of their education and apply their knowledge in meaningful ways. They also acknowledge that to be successful in the 21st century world it requires a lot more than basic academic knowledge and skills. Since the release of generative artificial intelligence platforms in November 2022 this acknowledgment is even more true. We argue that to “AI-proof” ELA assignments, teachers need to design and implement more project-based learning with authentic performances and assessments. This won’t be easy, and we can’t do it alone. But by embracing these principles, schools can create richer, more engaging educational experiences that prepare students not just for tests, but for life.

Metha and Fine challenge us to build humanities classrooms that move beyond passive knowledge acquisition. Teachers must develop student’s knowledge and skill in a content domain (mastery), become deeply and personally invested in that domain (identity), and actively construct and create something new in that domain instead of receiving knowledge passively (creativity) (Metha & Fine, 2019, p. 366). How might we go about doing this? As mentioned earlier our team is studying how preservice teachers develop the skills, confidence, and dispositions to engage in ambitious teaching. In addition to this work, our peers have been using project-based learning and inquiry-based learning approaches to frame text selection and lesson planning. 

Listed below are popular, commonly known YA novels, along with essential questions that can be utilized to guide planning as well as classroom discussion, and ideas for companion projects.

​Ninth Ward by Jewell Parker Rhodes and Drowned City: Hurricane Katrina and New Orleans by Don Brown  (identity, creativity, mastery)
How can individuals and communities transform adversity into strength and empowerment?
Project ideas: Studying urban development and environmental justice, history of redlining and neighborhood segregation (Kershen, 2024)

Bondy, E., & Ross, D. D. (2008). The teacher as warm demander. Educational Leadership, 66(1), 54-58.
Esteban-Guitart, M., & Moll, L. C. (2014). Funds of identity: A new concept based on the funds of knowledge approach. Culture & psychology, 20(1), 31-48.
Kershen, J. L. (2024) Exploring the Complexities of Environmental Disaster, Justice, and Racism in Ninth Ward. In K. M. Hinton & K. Chandler (Eds.). Teaching Black Speculative Fiction (pp. 1-15). Routledge.
Ladson-Billings, G. (1995). Toward a Theory of Culturally Relevant Pedagogy. American Educational Research Journal, 32(3), 465–491. https://doi.org/10.2307/1163320
Mehta, J., & Fine, S. (2019). In search of deeper learning: The quest to remake the American high school. Harvard University Press.
Muhammad, G. (2020). Cultivating Genius. Scholastic Incorporated.
National Assessment of Education Progress.
National Assessment Governing Board.
Ware, F. (2006). Warm demander pedagogy: Culturally responsive teaching that supports a culture of achievement for African American students. Urban education, 41(4), 427-456.
 

A few years ago I started trying to do interviews with authors in order to promote a conference or a summit. 

It was a lot of fun and whether or not I was able to promote more attendance at the confernce became less important than the fun I was having talking to authors. Some of those are embedded deep in the blog and a bit difficult to locate. Most of them are still available at Dr. Bickmore's YA Wednesday YouTube page and are easy to find.

Some of those interviews include interviews with Varian Johnson, Brendan Kiely, Alda P. Dobbs, Karen M McManus, and Carly Heath. 

Since my retirement, I have had a bit more time. Since Januaray of 2024, I have posted nearly 40 posts with several more in the can and ready to go. I am trying to post one every other week. However, sometimes the best laid plans of retired folks get pushed to the side for grandkids or golf.

The Conversations can be found by selecting the CON. title in the header of the blog page. The CON. is short for Conversations so more things fit on the header to avoid using the drop down menu.

Below is a a running list (the most recent first) of the authors and academics I have featured.  I have not listed their names here hoping that you will spend some time scrolling down through the list. I have placed their picture and following their name is a direct link to the conversation. 

In most cases we discuss thier writing habits, how they approach revision, the origins of some of their works, and whatever else seemed interesting at the time.

​Enjoy!

​Steve Bickmore

March 31, 2025
In Conversation with Sarah Ryan: http://www.drbickmoresyawednesday.com/con/in-conversation-with-sara-ryan

March 17, 2025
In Conversation with Jen Calonita: http://www.drbickmoresyawednesday.com/con/in-conversation-with-jen-calonita

February 17, 2025
In Conversation with Kate Messner: http://www.drbickmoresyawednesday.com/con/in-conversation-with-kate-messner

February 2, 2025
In Conversation with Brent Hartinger: http://www.drbickmoresyawednesday.com/con/in-conversation-with-brent-hartinger

January 14, 2025
n Conversation with Gary D. Schmidt: http://www.drbickmoresyawednesday.com/con/in-conversation-with-brent-hartinge

December 27, 2024
In Conversation with Sharon Draper: http://www.drbickmoresyawednesday.com/con/in-conversation-with-sharon-draper

November 11, 2024
In Conversation with Bill Koningsberg: http://www.drbickmoresyawednesday.com/con/in-conversation-with-bill-konigsberg

November 7, 2024
In Conversation with Paul Greci: http://www.drbickmoresyawednesday.com/con/in-conversation-with-paul-greci

October 17, 2024
In Conversation with Padma Venkatraman: http://www.drbickmoresyawednesday.com/con/in-conversation-with-padma-venkatraman

October 3, 2024
In Conversation with Randy Ribay: http://www.drbickmoresyawednesday.com/con/in-conversation-with-randy-ribay

September 5, 2024
In Conversation with Jeff Zentner and Brittany Cavallaro: http://www.drbickmoresyawednesday.com/con/in-conversation-with-jeff-zentner-brittany-cavallaro

August 29, 2024
In Conversation with Leila Sales: http://www.drbickmoresyawednesday.com/con/in-conversation-with-leila-sales

August 22, 2024
In Conversation with Mary Cronk Farrell: http://www.drbickmoresyawednesday.com/con/in-conversation-with-mary-cronk-farell

August 1, 2024
In Conversation with Fred Bowen: http://www.drbickmoresyawednesday.com/con/in-conversation-with-fred-bowen

July 25, 2024
In Conversation with Tracey Baptiste: http://www.drbickmoresyawednesday.com/con/in-conversation-with-tracey-baptiste

July 17, 2024
In Conversation with Josh Allen: http://www.drbickmoresyawednesday.com/con/in-conversation-with-josh-allen

July 11, 2024
In Conversation with Kimberly Willis Holt: http://www.drbickmoresyawednesday.com/con/in-conversation-with-kimberly-willis-holt

June 27, 2024
In Conversation with Lamar Giles: http://www.drbickmoresyawednesday.com/con/in-conversation-with-lamar-giles

June 20, 2024
In Conversation with Lauren Yero: http://www.drbickmoresyawednesday.com/con/in-conversation-with-lauren-yero

June 13, 2024
In Conversation with Federico Erebia: http://www.drbickmoresyawednesday.com/con/in-conversation-with-federico-erebia

May 30, 2024
In Conversation with Rich Wallace: http://www.drbickmoresyawednesday.com/con/in-conversation-with-rich-wallace

May 23, 2024
In Conversation with Jamie Jo Hoang: http://www.drbickmoresyawednesday.com/con/in-conversation-with-jamie-jo-hoang

May 16, 2024
In Conversation with A. S. King: http://www.drbickmoresyawednesday.com/con/in-conversation-with-a-s-king

May 3, 2024
In Conversation with Robert Lipsyte: http://www.drbickmoresyawednesday.com/con/in-conversation-with-robert-lipsyte

May 2, 2024
In Conversation with Jordan Sonneblick: http://www.drbickmoresyawednesday.com/con/in-conversation-with-jordan-sonnenblick

April 24, 2024
In Conversation with Cyndy Etler: http://www.drbickmoresyawednesday.com/con/in-conversation-with-cyndy-etler

April 18, 2024
In Conversation with Candance Fleming: http://www.drbickmoresyawednesday.com/con/in-conversation-with-candice-fleming

April 11, 2024
In Conversation with Barbara Krasner: http://www.drbickmoresyawednesday.com/con/in-conversation-with-barbara-krasner

March 21, 2024
In Conversation with Jo Schaffer Layton: http://www.drbickmoresyawednesday.com/con/in-conversation-with-jo-schaffer-layton

March 7, 2024
In Conversation with Kelly Milner Halls: http://www.drbickmoresyawednesday.com/con/in-conversation-with-kelly-milner-halls

February 22, 2024
In Conversation with Nora Shalaway Carpenter and Chea Parton: http://www.drbickmoresyawednesday.com/con/in-conversation-with-nora-shalaway-carpenter-and-chea-parton

February 15, 2024
In Conversation with Suzanne Morgan Williams: http://www.drbickmoresyawednesday.com/con/in-conversation-with-suzanne-morgan-williams

February 1, 2024
In Conversation with Chris Crutcher: http://www.drbickmoresyawednesday.com/con/in-conversation-with-chris-crowe7318019

February 1, 2024
In Conversation with Keith Henry Brown and Kathryn Erskine: http://www.drbickmoresyawednesday.com/con/in-conversation-with-keith-henry-brown-and-kathryn-erskine

January 27, 2024
In Conversation with Kathryn Erskine: http://www.drbickmoresyawednesday.com/con/in-conversation-with-kathryn-erskine

January 11, 2024
In Conversation with Jennifer Anne Moses: http://www.drbickmoresyawednesday.com/con/in-conversation-with-jennifer-anne-moses

Jan 4, 2024
In Conversation with Chris Crowe: http://www.drbickmoresyawednesday.com/con/in-conversation-with-chris-crowe

“I am thawing,” high school senior Lia Overbrook utters at the end of Laurie Halse Anderson’s 2009 novel Wintergirls--considered a landmark novel due to the startling accuracy of its portrayal of eating disorders in teens (278). It’s a hopeful note after a dark, intimate journey through Lia’s eating disorder. When I first came across Wintergirls, I was scrolling through Twitter and found a tweet that read: “triggering quotes from wintergirls... a motivation thread for edtwt” (@laylanoeat). Quote after quote from the novel follows in the 20-tweet thread, after which the author of the post claims: “There’s SO many more [quotes] but we’ll see how you like these” (@laylanoeat). Responses like “I’ve never been triggered like this before omg THANK YOU” and “guess my bmi!! reading wintergirls and need to be triggered” (@ghxstgxrl12) were my official introduction into the “pro-anorexic” content of Twitter subculture, eating disorder Twitter—or “edtwt.”

In her Goodreads Q&A from nine years ago, Laurie Halse Anderson explained that she wrote Wintergirls because: 

"Hearing from readers who were struggling with eating disorders made me want to write about their battle. Eating disorders have the highest fatality rate of any mental illness. I wanted to tell a story that would show people how devastating they are.” (Anderson) 

Essentially Anderson wrote this novel to demonstrate the heartbreaking impact of eating disorders and mental illness. However, these edwt posts demonstrate that these readers don’t echo Lia’s startling hope; they twist her story into a rallying cry against recovery. 

This disconnect sparked my interest and downward spiral into the intersection of pro-ana communities and pieces of literature like Wintergirls. And, this exploration ultimately raised the question: how do authors write for young adult audiences without actively harming the demographic they seek to represent? Though I still struggle with finding a clear answer, examining the authenticity in Wintergirls through the lens of the edwt subculture illustrates the complicated relationship between authorial intent and reader response as the text’s authentic portrayal of anorexia offers hope, as well as triggers among online communities struggling with or on the verge of an eating disorder.

First, let me share some background: While many factors contribute to the development and recovery of eating disorders, it’s undeniable that media influences cultural norms surrounding “bodily ideals” (Troscianko 4). Though media impacts body image in nuanced ways, gender undeniably plays a role. Girls’ identities, as they enter society, are disproportionately dictated by societal expectations and pressures (Hsu et al. 988-89). The resulting perfectionism from these expectations often leaves girls highly susceptible to image-based disorders (Haidt 156). While media can inspire hope and redirect these negative patterns of behavior, it can also reinforce and “enhance outbreaks” of mental illness (Boss 162).

In a study examining the impact of literature about individuals with eating disorders, it was found that “readers with a personal history of [the disorder] were more susceptible than others to the negative effects of eating-disorder fiction specifically on the dimensions of feelings about their body, diet, and exercise habits” (Troscianko 11). Instead of acting as a mirror to encourage recovery, eating disorder literature acts as a trigger for girls combating the effects of their disorder. Rather than uplifting emotionality, it creates a deficit—a surge of negative emotionality. Troscianko argues that the only true way to overcome an eating disorder is an active desire to “change” (5). While media, specifically literature, can provide hope for individuals struggling with their mental health, it’s often not the literature explicitly discussing the disorder that fosters that kind of hope (Troscianko 5).

​This creates a complicated relationship between authenticity and response. A Tumblr user once posed a question like this to Anderson, asking “Do you ever feel guilty that you wrote the pro-ana bible…full of 99% tips and tricks on how to deceitfully starve yourself?” (lovingwmnisrad-frommisstodr-main). Anderson disagreed with this statement but acknowledged the perspective, insisting mental health realities must be fully explored to inspire hope and that her novel has helped girls recover (Anderson). 

While I don’t doubt that some teens who have read Wintergirls have been inspired to recover, Lia’s thoughts largely echo the tweets found in communities like “edtwt.” This can be seen in one of Lia’s many obsessive thoughts surrounding every food she consumes: “diet soda (0) + lettuce (15) + 8 tablespoons salsa (40) + Hardboiled Egg White (16) = Lunch (71)” (Anderson 76). These align with edtwt posts like “constantly rechecking the nutrition facts” (@August_8_th) and “how much time I spend looking at foods I want to eat” (@bokucinana). Anderson’s portrayal rings authentic as Lia’s experience mirrors the thoughts of girls who have struggled with eating disorders, an authenticity both celebrated and weaponized by online pro-ana communities (see Figure 1.).

Wintergirls is a landmark YA novel for its accurate depiction of a girl who does not want to recover for most of the novel. But when communities like “edtwt” celebrate it as an inspiration for anti-recovery, it complicates the notion of authenticity and the role of the author. Authenticity is vital in literature, and what it’s left me thinking is that the intention of the reader is more critical than I ever realized. Anderson’s book isn’t for every reader, and that’s okay. Anderson wanted Lia to thaw, to heal. While her intention is clear, some readers’ intentions may be to stay frozen rather than thaw alongside her. It’s a tough spot for YA authors and readers alike: how do we interact with an authentic narrative without letting it become a trap for the vulnerable? I don’t have the answer, but Wintergirls shows that the tension between authentic depictions of mental illness and readers are high and that the answers aren’t easy.

​When I was a graduate student, I was in a classroom where a white male professor asked us how many of us were environmentalists. Everyone raised their hands – except for two of us: me (the only BIPOC female in my incoming graduate class) and the only other BIPOC student in the room. I should note that we (who kept our hands pinned to our sides) were also the only two in the class who were directly working on the impact of environmental pollutants. 

In that moment, I realized that although BIPOC communities are more likely to be endangered by climate change and pollution, we are less likely to call ourselves environmentalists, for a whole range of reasons. One of them, I think, is that we saw environmentalists as white people who care for everything non-human in the environment; and both of us were raised to value human life as much as we value other living creatures. And to me community is a word that includes humans as well as non-human and even non-living entities. 

In the years since then, I have broadened my definition of the term environmentalist to include myself although the word came centuries after environmental thinking was a way of life to my people. I call myself an environmentalist because I hope to change the thinking around that word, so it will embrace our Earth and all its creatures, including human beings. To care for animals or plants is not to exclude people. I am proud that in my ancient Indian tradition, human beings are considered to be part of nature, not different from it. I grew up hearing the phrase “Vasudaiva kuttumbakam” – meaning that all living beings are part of one family. If that’s not an “environmentalist” sort of idea, I’m not sure what is. My brand of “environmentalism” includes sciences but embraces more than just science – it is rooted in my heritage. And I have finally written a novel (SAFE HARBOR) that begins to get at this definition of the word. 

SAFE HARBOR fills an important need in the universe of books for young people – it is a book in which the theme of environmental protection plays a major role; and it is also a book that centers BIPOC characters and the BIPOC experience. One of my hopes for SAFE HARBOR is that it will inspire readers to take action, both at the individual level, by changing the way they live, as well as by thinking of larger actions that we need to take as a community. 

In addition to inspiring practical and vital environmental activism, I also hope SAFE HARBOR will encourage readers to interpret the word “environmentalist” through diverse paradigms and multicultural lenses. Because unfortunately, the vast majority of books that deal with conservation-related issues tend to feature white protagonists. That said, SAFE HARBOR is not, by far, the first book of its kind. There are others who have created stories in which nature and the environment play a major role, and in which the main character is BIPOC. Here are four recommendations of books by authors that immediately come to mind in this regard.

ISLAND CREATURES (YA) by Margarita Engle
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Margarita Engle says on her website that in her childhood, she “developed a lifelong passion for tropical nature, which led [her] to study agronomy and botany, along with creative writing.” Her prolific list includes award-winning titles in which her love for nature is evident, such as: Wild Dreamers, Wings in the Wild, Singing with Elephants, Forest World and Your Heart, My Sky. This summer, Simon and Schuster is set to release yet another novel by Engle which features two young people whose passion for wildlife conservation unites them: ISLAND CREATURES. Yet another novel, I will add, that is sure to win hearts as well as  accolades to add to Engle’s long and incredibly impressive list which includes a Newbery Honor, Walter Honor, National Book Award nomination, Pura Belpré Award, Green Earth Book Award and many, many more.

I had the honor to receive an ARC of ISLAND CREATURES, which will hit the shelves this July. Engle’s love for the Earth and all its creatures is evident even in the dedication, which is in part to “endangered animals and the rare people who stay with them during hurricanes.”  In the first lines of the first poem, Engle’s remarkable aptitude for imagery is also amply evident: “the children roamed rough trails on green peaks/ where wild rivers were born above waterfalls/ that plunged down to deep blue pools/ filled with reflections/ of wishful/ legends”. We meet Vida, a girl who makes music for wounded creatures at a wildlife rescue center in Florida, who pines for the lost beauty of her childhood in Cuba, where she had a dear friend who also rescued animals, just as she did. She is unaware that Adán, her childhood friend, is no longer in Cuba. He too has moved to Florida – and the two of them meet again when Adán rescues a wounded fox that has been “chained to a gate by a sadistic human” and brings this into the wildlife rescue center where he meets Vida. The teenagers fall in love and volunteer to work at a zoo that rescues rare animals – but their romance is threatened when painful memories and old family grudges surface. In the midst of this emotional storm, an actual hurricane arrives and the two of them decide to brave the weather and help the animals at the zoo. And – as this is a recommendation to read this beautiful novel in verse (rather than a review) – I won’t tell you what happens next or whether the two young people discover enduring love; I’ll leave you to find out for yourself when you enjoy the pleasure of Engle’s latest book. 

BAYOU MAGIC (MG) by Dr. Jewell Parker Rhodes 
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I was honored to be on a panel along with Jewell Parker Rhodes, New York Times bestselling author of GHOST BOYS and BLACK BROTHER, BLACK BROTHER, during the NCTE conference in November last year. It was an absolute joy to meet her in person. I’ve long been a fan of her work, and I’d read PARADISE ON FIRE, which has a strong environmental theme. But I hadn’t read BAYOU MAGIC before the panel. Of course, I had to read it, right after the panel. And wow – I was blown away. I didn’t think of the bayou as a magical location before I read the book.  I confess I’ve taken sediment cores in swamps often enough that I associated the word “bayou” with sweat, mosquitoes, marsh stench and disease-ridden ticks.  By the time I finished the book, the Bayou had become a marvelous landscape: I could see the glimmer of fireflies in the air and the swishing tails of mermaids beneath the waters. Rhodes weaves traditional folklore and fairy telling into this middle grade novel about a young Black girl who falls in love with the Bayou and, after the Gulf Oil Spill, battles to save it.  Equal parts fantasy and harsh reality, Bayou Magic is a mesmerizing tale about finding heroism in oneself. I loved this book, and I bet you will, too.  

GRACIE UNDER THE WAVES (MG) by Linda Sue Park

Gracie, the protagonist of this novel, loves being under the waves and snorkeling - and on a recent panel, together with two authors I have long loved and admired: Linda Sue Park and Pam Muñoz Ryan, I had the joy of hearing Linda Sue speaks with passion about the underwater world, which she loves as much as Gracie does!

When Gracie manages to get her parents to travel to the Honduras, where they can snorkel together, it seems like everything is set up for the best holiday ever - despite Gracie’s pesky little brother. Gracie even makes a new friend… but then she hurts her leg and her plans come undone. Worse, she realizes that the coral reef, which she loves so much, is threatened with extinction. 

Gracie wants to help - but she can’t do it alone. And like Geetha, in my novel Safe Harbor, Gracie reaches out and taps into the power of community, to do her bit to save our world. 
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Linda Sue pointed out on the panel that this is something she wants and hopes to see more of in the books we write in the future - not just the empowerment of individuals but also the importance of community. Because, as she points out, we can’t rescue our planet alone; we need to work together as a community. Gracie’s story will surely inspire young people to do whatever they can to rescue our watery world. 

EL NINO (MG) by Pam Muñoz Ryan

On the plane, on my way home after a panel with two authors I have long loved:  Linda Sue and Pam, I asked the latter for a ARC of her latest work. I read it on the plane and needless to say, my flight home went by in the wink of an eye as I dove into this enthralling tale, which weaves reality and fantasy together with the mastery of both that is evident in Pam’s other works, such as ECHO. 
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The protagonist of this novel is Kai Sosa, a passionate swimmer who wants to regain his place on an elite swim team. But he’s struggling - in part because he’s haunted by loss. His sister Cali disappeared two years ago, and he hasn’t been able to fulfill her last request: To find her missing golf cuff. Then Kai comes across a library book that Cali loved, about a mysterious underwater realm and motifs from that realm start showing up in his life - including Cali’s jewelry. And Kai is swept away by stormy emotions as myth and reality come together and the weather phenomenon known as El Niño unleashes its fury. 

​As an oceanographer, I’ve long been aware of the weather phenomenon known as El Niño - Southern Oscillation (ENSO). It was very special and marvelously interesting to see this fantastic interpretation of an actual phenomenon. As for the real El Niño, I want to say we scientists are worried that it may become more disastrous as climate change escalates. 

​But as worried as I am about the future, as a writer, I cannot give up hope that we will somehow resolve the issues that confront us. And as a reader, it has been wonderful to delve into these books and see different ways in which these brilliant authors have made hope come alive on the page. 

GJLNS FYYFHP FY IFBS

Are you having trouble making sense of these words? Unless reading ciphers is one of your hobbies, these letters probably seem like a chain of nonsense. Ciphers are secret codes where one letter represents another. In this example, if you shift the letters five slots forward in the alphabet, G becomes B, J becomes E, L becomes G–get the picture? If you crack the code and keep on going, the new message reads like this:

BEGIN ATTACK AT DAWN 

Yikes. 

​Ciphers (including this one), secret codes, riddles, and puzzles play an integral role in The Bletchley Riddle (2025), the World War II historical adventure by two of YA literature's most celebrated writers, Ruta Sepetys and Steve Sheinkin. In addition to an intriguing plot, quizzical characters, and fascinating history, readers quickly find themselves puzzling through the mystery alongside the hero and heroine. 

Although these codes are a part of the novel’s charm, they make significant demands of the reader, which led the two of us to consider the way dialogue and intertextual experiences might support and engage adolescents. In the fourth volume of the Handbook of Reading Research, Wilkinson and Son (2014) identify intertextuality—or making sense of texts through reading and experiences with other texts—as an essential component to comprehension. Making meaning of texts through other texts of course means texts that students read, but it also includes oral texts shared by classmates, media, hands-on explorations, and references to events students experience or hear about (p. 374-375). These “texts” also provide information and experiences readers can draw on as they try to make sense of words and ideas and as they dialogue about their reading. 

​In our own experience as teachers and readers, intertextuality in the form of hands-on explorations and shared experiences supports student comprehension, increases student engagement, and generates meaningful dialogue. Our colleagues who teach science and social studies have known this for a long time, as evidenced by the experiments, simulations, and artifacts integrated into their teaching to help students master concepts (McCann et al., 2015; Pahl & Roswell, 2010) and through utilizing practices that intentionally foster intertextual experiences, such as Concept-­Oriented Reading Instruction (CORI) (Guthrie et al., 2004) and Reading Apprenticeship (Schoenbach et al., 2003). But we also see potential to facilitate genuine inquiry and deep reading—especially with YA literature—using intertextual experiences. 

Consider the possibilities for this novel alone. The novel follows two British teens living on the eve of the Battle of Britain: 17-year-old Jakob and his 14-year-old spunky sister Lizzie. Jakob has been recruited to help decrypt secret German codes at Bletchley Park, the secret compound of linguists, mathematicians, chess champions, cryptanalysts, and others working on this part of the war effort. Lizzie has run away to escape being sent to live with her grandma in the United States and then finds herself recruited as well, tasked with delivering confidential notes around the park–as well as embarking on more personal adventures in search of their missing mother who was last seen in Poland. Set against the backdrop of World War II England, this text presents an important part of this part of history that is not commonly talked (or read) about.  

A myriad of dialogical strategies can help students explore the action, intrigue, historical context, and plot of this novel. A few intertextual experiences that would help students make predictions about the plot, map concepts, explore and practice vocabulary, and engage in problem-solving include the following:

Prop Box (Dulaney, 2012). In a prop box, objects and artifacts serve as representations of important symbols, plot points, or ideas in the reading. As students remove objects from the box, they make predictions about the significance of each object in the story and graphically represent these predictions on a concept map. With this novel in particular, these items could provide historical context about life in the UK just before the Battle of Britain. For example, props might include rationed foods, such as sugar, meat, milk, and cheese; a lightbulb, signifying the blackouts at night to prevent nighttime bombings; replica British recruitment posters encouraging young men to support the war effort; or photos of central figures such as Winston Churchill, Joseph Kennedy Sr., and Adolf Hitler. The final item might even be a class Google search of the phrase “Bletchley Park,” which turns up a cipher that eventually decodes itself. 

Simulations (Troyka & Nudelman, 1975; McCann et al., 2015). Simulations immerses students in the conflicts, emotions, and situations similar to those experienced by characters in the novel, ultimately helping students understand and connect to the events and characters. A central element for understanding The Bletchley Riddle includes the complex workings of Enigma, the German machine used to create ciphers. There are several websites that provide an online simulation of Enigma, where students can encrypt or decrypt ciphers. This online simulation could be used during the moments in the text where the characters describe the machine and attempt to use it. Students may not become experts at ciphers, but, like us, they may appreciate more fully how stressful and frustrating it would have been to be in Jakob’s position trying to crack the codes. To simulate the sense of the real-life pressure felt by these codebreakers, consider using a timer to replicate a sense of urgency and a reward of extra credit or early dismissal (it’s harder than you think). 

Spy Hunters (Coombs, 2025): Throughout The Bletchley Riddle, the characters struggle to fully trust one another because of the potential danger of German spies working among them. Sepetys and Sheinkin give the reader bits and pieces about several characters, making it difficult for the reader to fully know who can and can’t be trusted. To tap into this suspense, students can participate in a game called Spy Hunters, where students are placed into four or five groups and given a dossier of information about several characters–complete with photos, background information, and a list of why they may or may not be a German spy. Students talk with each other about the information given and rank each character’s likelihood of being a spy on a scale of one to five, then read with the purpose of collecting additional clues and solving the mystery. 

These intertextual approaches specifically apply to The Bletchley Riddle, but the strategies themselves can be applied to virtually any YA novel or nonfiction text. Teachers we know have used the spy hunter simulation with Sepety’s I Must Betray You (2022), Steve Sheinkin’s Bomb: The Race to Build–and Steal–the World’s Most Powerful Weapon (2012) or his graphic novel adaptation Bomb (2023), illustrated by Nick Bertozzi. Prop boxes provide an engaging way to track symbols, themes and ideas in The Serpent King (2016), All My Rage (2022), or The 57 Bus (2017). And simulations about social norms and otherness connect to themes in The Outsiders, American Born Chinese (2006), Everything Sad is Untrue (2020), or The Poet X (2018). 

These applications represent just a few of the many ways to provide intertextual experiences that put students in dialogue with the YA books we read in our libraries and classrooms. Neuroscientist and English major Maryanne Wolf (2018) explained that :

Deep reading is always about connection: connecting what we know to what we read, what we read to what we feel, what we feel to what we think, and how we think to how we live out our lives in a connected world.

Utilizing engaging YAL and intertextual experiences into our teaching can help students dialogue about their reading, their lives, and the world, connecting their emotions, questions, and experiences into their reading and learning. 

Before the pandemic, on a school visit, I had a revealing experience. A teacher confessed that she almost all the poetry she taught was by white poets. As we chatted some more, she also shared that she couldn’t think of a single poem about hope, other than the one by Emily Dickinson. (If you aren’t going to read this post all the way through, then at least check out my diverse verse post featuring poems on hope written by BIPOC poets:
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https://www.diverseverse.com/blog/poems-for-hope-2024) 

The educator’s comment, along with other things, such as an invitation to speak at an event organized by Janet Wong and Sylvia Vardell, which reminded me of how deeply Tamil literature and Tamil poetry have influenced me, got me thinking. A seed of an idea was born in my mind. Wouldn’t it be wonderful if we had a website - a resource celebrating BIPOC poets and diverse poetic voices? 
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I started reaching out, seeing how others felt about it. I received enthusiastic responses from many poets. An encouraging and supportive email from Jackie Woodson that moved me to tears. Blessings from Nikki Grimes who warned “that’s quite an undertaking.”

Kari Anne Holt sent me a link to news article about how, “In Burma, they have come for the poets,” saying it felt pertinent to our discussion. Now, several years after our Diverse Verse initative began, the article still feels pertinent – almost frighteningly so. 

In the years since we began, our efforts have grown and changed. We have accumulated several excellent teaching resources and writing prompts. And during poetry month each year, we host a call for poetry from young poets. Young poets work on their poems in April and send them to us. Every participant receives a certificate of appreciation for their hard work, and judges choose a few poems to be featured on our website. 

If you’re a teacher or parent or librarian, here’s a heads up. This year, we’ll be inviting young poets (elementary school through high school) to submit “POEMS FOR ACTION” i.e. poems that inspire readers to take action on any topic or issue the poet feels passionately about. In March, we’ll put up a post with exemplars of “POEMS FOR ACTION” written by BIPOC poets – and we encourage young poets to read these before sending in their submissions.

And here’s an annotated list highlighting a few of the many useful resources that can be found on our site: 

Playing with Line Breaks: https://www.diverseverse.com/blog/learning-line-breaks-rene-saldana-jr

A craft and poetry activity: https://www.diverseverse.com/blog/pocketful-of-poetry-a-mini-chapbook

Tips on close reading a poem: https://www.diverseverse.com/blog/how-to-read-a-poem
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Writing a Thirteen Ways poem: https://www.diverseverse.com/blog/thirteen-ways-of-surprising-yourself-and-your-reader

Writing A Poem in Four Easy Steps: https://www.diverseverse.com/blog/how-to-build-a-poem-in-four-easy-steps

On Silence and Inaction: https://www.diverseverse.com/blog/different-kinds-of-silence

Thoughts on Rhyme: https://www.diverseverse.com/blog/tameka-fryer-brown-on-poetry-and-picture-books

Poetry as a vehicle for showing history: https://www.diverseverse.com/blog/https/wwwdiverseversecom/interview-with-marilyn-nelson

Templates as  tools to create specific poetry forms: https://www.diverseverse.com/blog/https/wwwdiverseversecom/poetry-templates-training-wheels-for-all-learners

I hope very much that you’ll join our mailing list and stay in touch with us at:
  
www.diverseverse.org (or www.diverseverse.com – both should lead you to the same location).

​If you have a poetry-related activity that you’d like to share – or if you can’t see the pop-up to sign on to our mailing list (to receive our bi-annual newsletter) please feel free to reach out to me directly (www.padmavenkatraman.com).