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Resisting Erasure: Celebrating LGBTQ+ Legacies Through Nonfiction Books for Young Readers

6/27/2025

 
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Meet Our Contributor:


​Roy Edward Jackson is an assistant professor of education at Goshen College in Indiana with a focus on literacy. He holds degrees in English, Education and School Library Science.

Resisting Erasure: Celebrating LGBTQ+ Legacies Through
Nonfiction Books for Young Readers 
by 
Roy Edward Jackson

We are living in precarious times as LGBTQ+ people in 2025. Earlier this year, the Stonewall National Monument website removed two crucial letters representing our community. It now states that, “Before the 1960s, almost everything about living openly as a lesbian, gay, bisexual (LGB) person was illegal, but the events at the Stonewall Inn sparked fresh momentum for the LGB civil rights movement!” Despite the fact that queer and transgender individuals were central activists in the Stonewall uprising, their identities have been erased from this official governmental narrative. This erasure extends beyond symbolic language. Just this month, Harvey Milk’s name was stripped from the U.S. Navy ship USNS Harvey Milk — a move that disregards his legacy as both a Navy veteran and a pioneering LGBTQ+ civil rights leader. Meanwhile, the military’s transgender ban remains firmly in place, further marginalizing trans service members and reinforcing a pattern of exclusion. These actions reveal a troubling trend of erasing and undermining the full scope of the LGBTQ+ community’s history and contributions. In the face of these setbacks, it is more important than ever to resist, remember, and reclaim our rightful place in history and society. One way to do that is through books and education. I agree with the criticism that African American history is often confined to just February, when it should be fully integrated throughout all history education. Similarly, because Pride Month in June frequently falls outside the school year, LGBTQ+ history is often overlooked or excluded from educational settings. The following books, aimed at young readers, provide a valuable starting point to begin addressing this gap.

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A Queer History of the United States for Young People by Michael Bronski, adapted by Richie Chevat, offers a comprehensive and engaging examination of biographical narratives and historical sketches that begin long before the founding of the United States. While some entries feature well-known figures like Walt Whitman and Jane Addams, many will be new to readers of all ages, including trailblazers such as Gladys Bentley and Gloria Anzaldúa. The chapter on Harvey Milk thoughtfully contextualizes his activism by including the story of Robert Hillsborough’s murder in San Francisco around the same time. With its intersectional exploration of race, law, immigration, and gender alongside LGBTQ+ identities, this book is a powerful and essential tool for teaching and understanding queer history.

Gay America: Struggle for Equality by Linas Alsenas is a compelling nonfiction history book for young readers that traces the experiences of gay and lesbian Americans from the mid-1800s to the early 2000s. Organized chronologically, the book moves through key historical periods such as the Roaring Twenties, the McCarthy era, the rise of the gay rights movement, the AIDS crisis, and the push for marriage equality. Each chapter begins with a short, fictionalized scene that helps readers connect emotionally to the time period before shifting into a factual account. Rich with archival photographs and written in an accessible tone, the book offers a broad but thoughtful overview of the struggles and triumphs of LGBTQ+ individuals in many facets of American life from the arts, to military, and social activism for equal rights. While its focus is primarily on gay and lesbian history, it provides an important and engaging entry point into queer history for middle and high school audiences.
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The Book of Pride: LGBTQ Heroes Who Changed the World by Mason Funk takes a different approach than the previous two books. Instead of a chronological timeline of events and persons, Funk categorizes profiles of individuals by themes including integrity, disrupters, and survival. The seventy stories reflect a wide range of voices across race, gender, age, and geography, and are paired with striking black-and-white portraits. Drawn from the OUTWORDS Archive, the book features both well-known and overlooked figures who share their personal struggles, victories, and ongoing efforts for justice. It’s an inspiring tribute to the courage and resilience that continues to drive the LGBTQ+ movement forward.

With the Covid Pandemic still resonating in our lives today, The Other Pandemic: An AIDS Memoir by Lynn Curlee offers a deeply personal and powerful account of another pandemic, the AIDS crisis through the lens of his own experiences. Blending memoir with history, Curlee recounts the impact of the epidemic on individuals and communities, highlighting both the devastating losses and the resilience of those affected. The book weaves together stories of love, grief, activism, and hope, providing young readers with an accessible and emotional understanding of this pivotal chapter in LGBTQ+ history. With vivid storytelling and heartfelt reflection, The Other Pandemic serves as an important resource during Pride Month and beyond, helping readers connect with the human stories behind the statistics and appreciate the ongoing legacy of the AIDS epidemic. This message is especially urgent as government funding for AIDS research declines and the Secretary of Health has publicly questioned the link between HIV and AIDS.
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George M. Johnson, acclaimed author of All Boys Aren’t Blue, returns with another powerful book for young readers: Flamboyants: The Queer Harlem Renaissance I Wish I’d Known. This richly illustrated work offers a compelling exploration of the intersection of race and queerness, shedding light on the often-overlooked contributions of Black LGBTQ+ figures during the Harlem Renaissance. With stunning artwork by Charly Palmer, Johnson blends personal reflection and poetry with historical profiles of influential Black Americans—many of whom were not publicly out in their time. Through these narratives, Johnson reveals how each figure left behind a legacy and a roadmap for future queer artists. In doing so, the book helps fill critical gaps in our understanding of both Black and queer history.
As a sports player and fan, I was thrilled to find many books at my local library for young readers profiling LGBTQ+ athletes and the role that sports have long played on the frontline for equal rights in this country. LGBTQ+ Athletes Claim the Field: Striving for Equality by Kristin Cronn-Mills weaves together historical legal precedent and powerful personal narratives. She examines not only the individual struggles and triumphs of athletes but also the legal and societal forces that have shaped their experiences. From the financial fallout Billie Jean King faced in the early 1980s after being publicly outed, to the evolving public attitudes and legal battles surrounding transgender athletes, Cronn-Mills provides a nuanced view of the intersection between identity, sports, and justice. Through a mix of biography, legal history, and cultural analysis, the book highlights how LGBTQ+ athletes have challenged exclusion and discrimination while paving the way for greater inclusion on and off the field. It’s an essential read for understanding the ongoing fight for equality in the world of sports.
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Fair Play: How LGBT Athletes Are Claiming Their Rightful Place in Sports
 by Cyd Zeigler offers a nuanced and necessary portrait of queer athletes that challenges long-held stereotypes. Rather than focusing on the sports typically associated with LGBTQ+ representation, Zeigler highlights athletes competing at the highest levels of the NFL, WNBA, and MMA. What makes the book especially compelling is Zeigler’s decision to include not only the voices of the athletes themselves but also those of dissenting teammates and critics, providing a realistic picture of the ongoing struggle for acceptance. By avoiding overly simplistic narratives, Fair Play underscores that while progress has been made, the fight for true inclusion in sports is far from over.
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The collections featured in this post offer something urgently needed in this current era of erasure: the written and preserved history of LGBTQ+ Americans. Schools have long done a poor job of teaching this history, in part because Pride Month takes place in June—during summer break—when most classrooms are empty and curricula have ended. As a result, LGBTQ+ contributions are often sidelined or ignored entirely. At the same time, educational legislation in many states restricts how gender and sexuality can be discussed, and public libraries in some communities are facing backlash and funding cuts simply for shelving books like these in their YA sections. These works stand as acts of resistance, ensuring that queer voices, stories, and histories are not only remembered but made visible and accessible for the next generation.

Trusting Tiffany: Celebrating Books by the 2025 Margaret A. Edwards Award Recipient

6/18/2025

 
Meet Our Contributor: ​Julie Wasmund Hoffman 
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Dr. Julie Hoffman is an active member of NCTE and lifetime member of NAACP. She strives to be antiracist and anti-harm in all that she does. She is a Teacher Instructional Leader (TIL) with Springfield Public Schools and an adjunct professor at University of Illinois Springfield. She earned her Doctor of Education in literacy from Judson University in 2018 and currently serves as Past President of the Illinois Reading Council (IRC). Her passions and interests include equity, diversity, inclusivity, urban education, social and emotional learning, literacy, hope, and healing.  She believes that children’s and YA literature can be a message of perseverance and hope and believes that we thrive when we invest in ourselves and others.
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​Dr. Julie Hoffman

Trusting Tiffany: Celebrating Books by the 2025 Margaret A. Edwards Award Recipient  by Julie Wasmund Hoffman
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Tiffany D. Jackson
I'm going to start right off and admit that I'm a sucker for a good character. When I can get right into a character's shoes and see the world from their perspective, I find myself turning pages and consuming books from cover to cover. Because of this, I often take the narrator at face value. Maybe, I'm gullible. Maybe, I used to think that the narrator of a story was always a trustworthy source. It turns out that maybe that's not always the case—especially when it comes to characters written by Tiffany D. Jackson. You never really know. 
In some of her books, Ms. Jackson writes characters who take us through a plot with twists and turns, but all along, we can count on the protagonist to tell us what we need to know. In some of her books, the protagonist takes us for a ride. All of her books are clever and worth reading. That's one of the many reasons why I have read every published book written by Tiffany, and it is why I look forward to her next books coming out soon. Yes, I said books—plural. Tiffany D. Jackson is  a prolific writer and was recently the recipient of the 2025 Margaret A. Edwards Award, which celebrates a lifetime of achievement in writing for young adults. That’s a prestigious award that she earned with every truth, lie, questions in between that she weaves into her crafty storytelling. ​
Tiffany D. Jackson’s first book, Allegedly (Quill Tree, 2017), introduced me to the kind of thriller, page-turner that I have come to expect when I read her books. The main character, Mary, was convicted of murdering a baby (allegedly) when she was nine. After getting out of prison, at 16 years of age, Mary is in a group home. She is dealing with so many things—memories of what happened when she was 9, memories of her mom, and life in a group home where she doesn’t feel safe or cared for. Now, Mary and her boyfriend Ted have a baby on the way and the state might take the baby unless Mary is able to clear her name. Ms. Jackson braids fictional court records, case studies, transcripts from interviews, articles, autopsy reports, police reports, and psychiatrist notes through the prose to move the story forward.

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This book provides a great opportunity for students to study the author's craft and to participate in book club discussions. After reading, students can write their own fictional Interviews with  Mary or another character, write fictional news reports covering the case, or students can select several documents from the book that make strong evidence and write an argumentative piece explaining why these artifacts are the best to use to make a case for Mary’s innocence. 
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Tiffany’s second book is Monday’s Not Coming (Quill Tree, 2018)
Claudia’s best friend, Monday, did not show up on the first day of school. Or the week after. Claudia starts asking around. The grown-ups at school seem to not notice, and not care, that Monday hasn’t been showing up for school. Throughout this book, you will feel the frustration Claudia feels, wondering about her friend Monday. You also start to doubt Claudia. With the way others are dismissing her, it is easy to think that maybe there is no Monday—that she never existed. Tiffany D. Jackson writes in a way that makes the protagonist Claudia question herself, and the reader questions Claudia, too. 
Overall, it is a testament to a tough topic that we would all do well to face. This is a book that many of our high school students may choose to read independently. If however, we want to use it as a class novel or a book club selection, students can track the character, participate in fishbowl discussions about the plot(s), and pursue research about the tough topic (I’m not telling) that undergirds the story. The research can lead to student-made Public Service Announcements or White Papers about the topic. They can also do “Signature Colors” for themselves or others, based on how the protagonist Claudia did for herself and her loved ones.
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Let Me Hear A Rhyme (Quill Tree, 2019) is historical fiction, if the late 90s is far enough back to call it historical. Set in Brooklyn, in the midst of the New York City hip-hop scene, Quadir, Jarrell, and Jasmine are trying to get their friend Steph’s music recognized. Steph, who was recently murdered, had stashed away some of his recorded music tracks, which Quadir, Jarrell, and Jasmine discovered. Knowing they can’t get a deal for the deceased Steph, they rename the artist Architect, and try to find a record deal. In true Tiffany D. Jackson style, this book is filled with some twists and turns, some secrets, some dips into social issues that we all need to be talking about, and this one adds a little romance, too. During and after reading this, students can sample some of the music and artists alluded to throughout the book, or analyze the lyrics from one of Steph’s songs.
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I am still contemplating Grown​ (Quill Tree, 2020), which I read in two days, and have re-read a few times since. 17-year-old Enchanted is a good singer—so good that when the famous singer Korey Fields invites her on his tour and hypes up the possibility of a record deal, Enchanted is ecstatic. Even her parents agree to it, with caution, of course. Once she is on tour, Enchanted experiences some things she wasn’t expecting, as she oscillates between feeling grown and sophisticated or feeling powerless and terrified. This mystery thriller addresses some of the same topics we read about during the R. Kelly trials through the lens of Enchanted. 
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​While Tiffany D. Jackson writes books that delude and dismay us, she also writes historical fiction like The Awakening of Malcolm X: A Novel by Ilyasah Shabazz with Tiffany D. Jackson (January 2021). This novel takes us through Malcolm Little’s days in the Charlestown prison, where he discovers Islam and becomes Malcolm X. Though this is a work of fiction, Tiffany D. Jackson and Ilyasah Shabazz use quotations from Malcolm X in every chapter, and keep the timeline accurate. 
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This book, like all of Tiffany’s books, can be read as a self-selected text. If it is read in a book club, or as a class novel, students can create an historical timeline, researching the events in the United States at the time. This can also be a powerful text to generate conversations about education, self-education, literacy, and how power, privilege, justice, and liberation play a role in each. 

In the same way that Tiffany can go all out on equity, power, and antiracism in a boom like the Awakening of Malcom X, she can also subtly weave important social topics into a ghost story. White Smoke (Quill Tree, 2021) features teen Marigold who moves with her recently blended family from California to the Midwest. While Mari is trying to deal with vanishing items, doors opening, strange shadows and sounds, she is also trying to deal with all kinds of changes—to home, school,  life, family. Threaded through the spooky story are topics like gentrification, the criminalization of marijuna, poverty, and racism. Readers can keep track of character alibis, motives, credibility, and evidence to make a case for their thoughts as they move through the story. 
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Jim Crow meets Stephen King in this modern adaptation of King’s Carrie. In Jackson’s book, The Weight of Blood  (Quill Tree, 2022), Springville High is about to host their first integrated prom. While Madi is getting ready for the big event, she is also handling some bullying, some family secrets, and something just plain evil. Students can research some moments in our history around desegregation and the responses. Students can write their own retelling of a favorite story threading in a social issue they think is important to address.
Tiffany has also written a Marvel story, STORM: Dawn of a Goddess (Random House, 2024), and short stories in His Hideous Heart: 13 of Edgar Allan Poe's Most Unsettling Tales Reimagined by Dahlia Adler (Flatiron, 2019), Blackout co-authored with Dhonielle Clayton, Angie Thomas, Nic Stone, Ashley Woodfolk, Nicola Yoon (Quill Tree, 2021), and Whiteout co-authored by the same group of women (Quill Tree, 2022).
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Ms. Jackson has also written a few picture books. Santa in the City (Dial, 2021) was her first. Deja comes home from school crying, as she has spent the day thinking about how Santa might not be able to visit her in her city apartment. When Mommy sees that Deja is upset, she takes Deja through the city to show her some of the helpers in the community. Mommy also reminds Deja that Christmas is magical, and that “Nothing stops Santa from coming to town.”
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In her second picture book, Trick-or-Treating in the City (Dial, 2024), Janelle wants to celebrate her favorite fall holiday, but her dad has to run the store and her mom has to work. Janelle’s friends offer invitations to a variety of fun ways to celebrate Halloween beyond the trick-or-treating Janelle usually does with one of her parents. After listening to their stories and considering all of her options, Janelle decides on the perfect way to spend her Halloween.

Both of these picture books can be read toward a complete author study, and might inspire young adults to write their own children’s picture book stories.
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And, now, for the news you have been waiting for. . . In just under two weeks (Scholastic Press, July 1, 2025), you will be able to read Tiffany ‘s debut middle grade novel Blood in the Water. Kaylani is on vacation with some family friends in Martha’s Vineyard, which is not like her home in Brooklyn. It’s a decent vacation—new friends, beaches, and mystery. When the community hears about the death of a teenage boy, Kaylani becomes obsessed with figuring out what happened. Like the ocean, this story is constantly in motion, with wave after wave of twists, trunks, and thrills. Though the story is geared toward middle grades, it is written in the same TDJ-style that we know and love, and will make a perfect summer read.


​The Scammer
(Quill Tree, October 7, 2025) can be pre-ordered now, and I can’t wait for this one. Jordyn is enrolled in pre-law at an HBCU (I’m getting Howard University vibes). Everything is cool until Devonte, the brother of Jordyn’s roommate arrives on campus. He is just out of prison and needs somewhere to stay . . . just until he gets something together for himself. Good thing he is charming and has lots of friendly advice to help out the young college students, right? 
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I haven’t gotten to read The Scammer yet, and I anxiously await for my pre-ordered copy to arrive. It will be perfectly timed, a few weeks into fall and right before Halloween. I already know that I will be turning pages and experiencing another thrill. I am counting on Tiffany D. Jackson to continue her lifetime of writing young adult books that taunt us, trick us, and tantalize us. I intend to continue sliding right into the shoes of each protagonist, not knowing if I am about to lead or mislead through the next ride. I might not be able to trust all of her characters, but I can definitely trust the brilliant storytelling of Tiffany D. Jackson. ​

Coming Out Amid Complex Identity in Queer Young Adult Literature

6/16/2025

 
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Meet our Contributor:
​Christian George Gregory is an Assistant Professor of Education at Saint Anselm College and was formerly a Lecturer at Teachers College, Columbia University, where he received his Ph.D. in English Education. He holds two degrees in literature from the Bread Loaf School of English at Middlebury College, was the recipient two fellowships from the NEH, a semi-finalist for the Bechtal Award, and garnered the JSTOR Lesson Plan award. He has written for multiple edited collections, as well as English Journal, English Education, QED: A Journal in GLBTQ Worldmaking, the International Journal of Dialogic Pedagogy, and International Journal of LGBTQ Youth, where he serves on the Editorial Board. He is the former Program Chair for the AERA’s Queer SIG and currently serves on the judging committees for ALAN’s Walden and NCTE’s REALM Awards. He is a published poet and was a semi-finalist for the Writers Retreat for Emerging LGBTQ Voices through Lamda Literary for his young adult novel, Two Davids. His research interests include the migration of queer theory to queer pedagogy, classroom discourse, and expanding the canon in English Education.

Coming Out Amid Complex Identity in Queer Young Adult Literature 
by Christian George Gregory

As I have written elsewhere, Young Adult Literature reached a publishing turning point after the surprising blockbuster sales of various series--Harry Potter, Twilight, and The Hunger Games (Gregory, 2021). The effect was a proliferation in sales and titles, and an ancillary effect was how YAL nested other genres into what was once was the commonplace “coming-of-age” narrative. YAL splayed into a variety of sub-genres, all under the umbrella of YAL. ​
The Splay of Genres in Queer YAL
A similar trend of genre-splaying has occurred in queer young adult literature (QYAL). QYAL is now set in fantastic, mythic, and supernatural realms as easily as it situates itself into rom coms that normalize queerness. As a member of the Walden Awards committee this year, I read over 120 works of Young Adult Literature that evidenced this variety of sub-genres. This past year, queer works embraced an array of sub-genres. Among them: a profound tale of political and poetic activism (Libertad); a post-apocalyptic zombie narrative (Hearts Still Beating); a scavenger-hunt rom-com set in the world of country music (Every Time You Hear This Song); a BIPOC royal romance (Prince of the Palisades); a summer camp tale of frenemies who fall in love (Wish You Weren’t Here); a lesbian vampire story set in a historical Yiddish theater (Night Owls); a glossy cotton-candy romp (Hot Boy Summer); a Sapphic Much Ado About Nothing (Here Goes Nothing); a K-Pop Sapphic work of suspense (Gorgeous Gruesome Faces); and a tale of a prince and snake boy consort battling for control of a magical pearl (The Legend of the White Snake). Book analyst Kristen McLean notes that within queer literature there has emerged a “growth in fantasy, in general fiction, in sci-fi, and that really speaks to the richness of the story world and the fact that these things are cross-pollinating” (Patton, 2023). LGBTQ+ fiction sales have spiked in both Adult and Young Adult fiction, marking a “renaissance of gay literature.” The entry and splay of genre-based LGBTQ literatures has, in fact, inverted the hierarchy of coding books (the BISAC code), as McLean observed that many books list “LGBTQ+” as their secondary BISAC code.
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Coming Out Narrative Fatigue
This inversion represents both the broadening and normalization of LGBTQ+ narratives that mark a cultural trend among publishers and readers of the post-coming out era. A common feeling, one voiced by a former student, was generally that ‘no one needs to read another coming out narrative.’  This sentiment suggests coming out narrative fatigue. Narrative fatigue can happen amid repetition in publishing and the arts, since often successful work is replicated less successfully than the original. One may look no further than the proliferation of teen “battle-to-the-death narratives” since Hunger Games. This fatigue may put off publishers from supporting coming out narratives. For this post, I offer a recent publication, Anthony Nerada’s Skater Boy, which returns to the coming-out narrative, and I would like to provide a means of thinking about the complexity of identity formation and fulfillment. 
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Skater Boy is a queer love story in which the protagonist Wesley “Big Mac” Mackenzie, a ‘punk,’ truant, and titular ‘skater boy’ falls for Tristan, an out and proud ballet dancer. The work is essentially it is a coming-out love story, with Wes coming into his identity through his love relationship as he navigates coming out to the Tripod, his skater friends, and his burgeoning interest in photography. In his preface and letter to the reader, Nerada claims that Wes’s challenge is not “just his sexuality [….] but the internal conflict of being gay while also being labeled a punk (something he never truly felt he was)” (Neruda, xii).  In considering Nerada’s words, I offer that not only is there a splay of genre but also internalized identities. Here, coming out is not accepting his queerness, since Wes understands he is gay; rather, Wes’s journey is how to safely situate himself within his worlds of family, punk-friends, and school communities. Dialogical Self Theory is a particularly useful lens through which to consider Wes’s navigation toward fulfillment. 

Skater Boy through the lens of Dialogical Self Theory
In their work on Dialogical Self Theory, Hermans and Hermans-Konopka chart the conditions of the post-modern self. They make the claim that dynamics that constitute the complexity of interpersonal relations such as “conflicts, criticisms, making agreements, and consultations” (p.190) also occur within the self. Thus, the self is a “society of mind” (p.190). This society of the mind is comprised of multiple identity positions, or "I-Positions"; that is, various ways in which we identify ourselves or parts of ourselves in the world. These I-Positions may include gender, gender identification, sexuality, ethnicity, cultural identification, or professional identifications (skateboarder, punk-rocker, artist, guitarist); They may include familial role or roles (son; sister; youngest; sibling; granddaughter or grandson); religious or spiritual affiliations (Muslim; Jewish; Catholic; Protestant; Agnostic; or Secular Humanist); or any other ways in which one has have come to understand oneself, such as introvert or extravert.
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In Skater Boy, Wes is a skater, queer, a rebel, a son, an aspiring photographer, a trauma survivor, and someone (perhaps) with oppositional defiance disorder. The success of Nerada’s work is how coming out is part of an overall growth narrative that embraces multiple I-Positions. Wes never doubts his sexuality, but he does continue to repress it. But he represses other impulses as well: his patience, his creative talent, his ambition, his feelings of love in general. Wes’s wholeness comes not merely from coming out to his friends and family, but from arresting his self-sabotage, from reaching toward his ambition and talent as an artist, and from reconciling his love of Golden Girls with Metallica. Ultimately, he moves beyond the trap of the self-imposed/self-fulfilling label of ‘punk’ to some queer multi-hyphenate. 

Navigating Internal, Conflicting Identity Positions

Initially, Wes contends with admonishing forces beyond the simple coming out narrative of self and external acceptance. He has a “rap sheet full of detentions,” a way Wes feels the school misapprehends and ‘criminalizes’ his behavior institutionally, even as he does “slam a kid into the lockers” (Nerada, p.10). Wes is out to himself, yet not to his mother or “The Tripod,” his two skater friends. What the novel does so effectively is to present characters in various states of denial, suppression, and expression of sexuality. Wes’s skater friend Brad kisses Wes when he is drunk, and his drinking exacerbates as he struggles with denial. In contrast, Tristan, Wes’s dancer boyfriend, claims his proud and out identity in his performance bio of The Nutcracker. For the author, these two figures represent Wes’s own feelings of repression and expression, and Wes careens between these expressions.  In one troubling moment, Wes asks Tristan to “hide” from the Tripod, which, in effect, re-closets his boyfriend. Tristan responds, “I can’t be with someone who’s embarrassed to be seen with me” (Nerada, p. 179). Tristan provides a form of queer counsel, stating to Wes, “Coming out isn’t a one-time thing…You don’t think I get scared every time I meet someone new? I’m a Black gay man” (Nerada, p. 152). For Wes, Tristan becomes an important figure for clarity and change. Tristan’s very real fears—not only rejection but also violence—help Wes to identify his own fears of rejection from his mother and his friends, the Tripod, and the school community. As it turns out, these fears are ungrounded. 
For instance, when Wes uses an Instagram post to effectively announce his queer relationship status, his fears are soon allayed at school when he was “like nothing ever happened” (Nerada, p. 189), even as his skater friend Tony is less shocked at the revelation than he is insulted that Wes didn’t tell him directly as his best friend, the narrative contends with the ever-shifting effects on Wes. When he comes out to his mother, the event is not trauma-based, but loving and supportive. The work ends with Wes’s fulfillment of multiple identities: in coming out, Wes concurrently submits his work to a photography context, applies to college, shows up for Tristan, and accepts his soon-to-be step-father into the family. Coming out is also coming into being through multiple identity pathways. 
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Skater Boy as QYAL for this Moment?
Let’s consider why a novel about someone not in denial of their sexuality yet fearful of external acceptance may be prescient for this moment. Activists, teachers, and librarians know that we are living in a time of anti-woke hostilities. Queerness is become recloseted with the “Don’t Say Gay” laws of Florida, and ‘ranked’ for internal division with J.D. Vance’s “normal gay guy vote,” suggestive of ‘abnormal’ queerness (Gomez, 2024). Yes, this is a regression, and a manically fast and furious erosion of rights. Even as queerness claims narratives space, political forces aim to efface identity, suppress, and divide a community at one time unified. 

The pushback against DEI, trans rights, and even the threat to gay marriage have been laid out in Project 2025, which “articulates an authoritarian vision for America in which LGBTQ+ people, who comprise nearly 8% of the adult U.S. population (and 22% of Millennials), are stigmatized, marginalized, and relegated to second class status, and in which married mother-father families are privileged” (Cahill & DiBlasi, p.3). This blueprint is certainly the impetus of the administrations talking points and rhetoric on air and online. Much of this amounts to hate speech, which has consequently resulted in increased violence against the LGBTQ+ communities. It is within this context of active marginalization that queer and trans* youth reside. Even while they may self-identify, they face fears of marginalization, recrimination, and violence. Skater Boy serves as a narrative to find one’s path through the nettles, among the throng of potential foes. For young queer readers, they may discover an echo of both their own fears and a narrative toward queer growth and fulfillment that, even amid institutional counterforces of hate, are buoyed and supported by pockets of queer intimacies and love.
References
Cahill, S. and Connor DiBlasi. (2024). Project 2025’s Threat to LGBTQI+ Equality, Safety, and Health, Racial and Gender Equity, and Sexual and Reproductive Health. The Fenway Institute.

Gomez, H. (2024). Vance, in Joe Rogan interview, predicts Trump could win 'the normal gay vote’ NBC News. https://www.nbcnews.com/politics/2024-election/vance-joe-rogan-interview-trump-normal-gay-guy-vote-rcna178135

Gregory, C.G. (2021). From stacks to desks: A history of Young Adult Literature and the case for inclusion. In B. Maldonado (Ed). Arts integration and Young Adult Literature: Strategies to enhance academic skills and student voice. Rowman & Littlefield.

Hermans, H. J., & Hermans-Konopka, A. (2010). Dialogical self theory: Positioning and counter-positioning in a globalizing society. Cambridge, UK: Cambridge University Press. 

Nerada, A. (2024). Skater boy. Soho Teen. 

Patton, E. (2023). A renaissance of gay literature marks a turning point. NBC News. https://www.nbcnews.com/nbc-out/out-news/lgbtq-fiction-gay-literature-publishing-turning-point-rcna127922

Growing Up in the Worlds of Ursula K. Le Guin’s YA Novels

6/11/2025

 

Meet Our Contributor:

Dr. Amy Piotrowski is an associate professor of English education at Utah State University.  She teaches undergraduate courses in English education and secondary education as well as graduate courses in literacy.  Her scholarly interests focus on digital literacies, young adult literature, and teacher education.  Before going into teacher education, she taught middle school Language Arts, high school English, and college composition in Texas.  Her chapter “Flipping the Teaching of Young Adult Literature with Preservice Teachers” was published in the book Towards a More Visual Literacy: Shifting the Paradigm with Digital Tools and Young Adult Literature. She is also the recipient of ​Richard A. Meade Award for Research in English Education, 2022.
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Growing Up in the Worlds of Ursula K. Le Guin's YA Novels
​by Amy Piotrowski

Ursula K. Le Guin is known for her philosophically complex works of literature that defy simple categories of genre (Cadden, 2005). She argues in her essay “The Child and the Shadow” that fiction, especially fantasy fiction, can provide the young reader a “guide of the journey to self-knowledge, to adulthood, to the light” (Le Guin, 2024, p. 879). Reading allows adolescents to confront who they are and might become, making Le Guin’s YA novels open-ended stories of self-discovery and growth (Cadden, 2006). The overarching themes across the texts I discuss here include how in adolescence we must learn to use our abilities for good, build trust with others, and accept the dynamic nature of life.
Earthsea Series
The first three books of this series each feature its own adolescent protagonist. A Wizard of Earthsea introduces readers to Ged, a boy whose magical talents lead him to attend a renowned school for wizards on the island of Roke. As Ged learns to use his abilities, he must undertake a journey that mirrors his psychological development. The Tombs of Atuan is about a teenager named Tenar, who was taken from her home when she was a young child to serve as priestess to deities known as the Nameless Ones. When the wizard Ged shows up searching for something hidden in the underground Tombs that Tenar oversees, Tenar has to decide whether or not to break free of the isolated and bleak life she has known. The Farthest Shore is the coming of age journey of an adolescent prince named Arren as he accompanies Ged, who is now middle-aged and the powerful archmage, on a journey to discover why magic is failing across Earthsea. Something has upset the balance of the world, and Arren and Ged set out to restore it.
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The Beginning Place
This novel that today could be considered new adult literature - the protagonists are both 20 years old - takes readers between the world of reality and a magic forest land of perpetual twilight. Hugh stumbles into a strange forest world one evening as he runs to escape the stress of life with his emotionally struggling mother. Irene has been coming to this forest world for years to escape her terrible home life. The world of the forest with its peaceful stream, rolling mountains, and friendly inhabitants in a village dubbed Mountain Town seems idyllic, but all is not as it appears to be. There is a vague and strange threat looming over Mountain Town, so the town’s leaders send Hugh and Irene on a dangerous quest to end this threat. The novel depicts the transition to adulthood as a literal journey where one cannot turn back, one can only go forward. Attebery (1982) suggests that the novel shows how the escapist world of fantasy isn’t a place we can live forever. I’d add that the novel shows that the twilit liminal time of life of adolescence also isn’t a place we can spend our whole lives.
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​Very Far Away From Anywhere Else
Very Far Away From Anywhere Else is a work of realistic fiction, unlike the other novels in this post which are all works of fantasy. The focus of the novel is the friendship between two high school seniors, Owen, who is a budding scientist with dreams of attending a prestigious university, and Natalie, who is a talented musician and composer. Owen and Natalie grapple with the pressure to conform to the expectations of society and their parents. The novel does a good job of capturing the trepidation about the future that teens can feel as they approach the end of high school. I really liked Le Guin’s irreverent tone through Owen’s narration as the story shows the importance of imagination and what it can feel like to not fit in.
Annals of the Western Shore trilogy
Set in a world of city-states, villages, and rural lands along the western shore of a fictional continent, each novel in the series is its own story, following a different adolescent who must come to terms with growing up in a world that can be brutal and oppressive. Each of the series’s protagonists must figure out how to build a life, even under difficult circumstances. Taken together, this trilogy examines how stories can bridge divides and connect people.
 
Gifts takes place in the sparse Uplands where teenaged Orrec’s family eeks out a living raising cattle. Orrec awaits the day he will show the power passed down in his father’s family called the unmaking, the ability to destroy someone or something with just a look. Gry, Orrec’s best friend, has inherited her mother’s gift of calling animals, an ability highly prized for hunting. When Orrec fears that his power to unmake might be out of his control, he blindfolds himself, while Gry refuses to use her gift to call animals to waiting hunters. Orrec and Gry must decide how they want to use their abilities.
 
Voices is set in the coastal town of Ansul, which has been under occupation by the army of a neighboring land for the past seventeen years. The novel’s protagonist, Memer, lives in the house that the people of Ansul have smuggled their books to for safekeeping, as the occupiers have banned all books under penalty of death. Memer’s experience living under occupation and the arrival in Ansul of a famous storyteller leaves the reader pondering the meaning of freedom beyond just the absence of constraints as well as different ways to resist oppression.
 
Powers is the story of a young slave in the city-state of Etra. Gavir is content as a slave for a wealthy family until a devastating tragedy leads Gavir to wander away from Etra, question the life he has known, and come to grips with the dehumanizing, corrosive effects of cruel social systems.
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References
Attebery, B. (1982) The Beginning Place: Le Guin’s metafantasy. Children’s Literature, 10, 113-123. https://dx.doi.org/10.1353/chl.0.0196.
Cadden, M. (2005). Ursula K. Le Guin Beyond Genre: Fiction for Children and Adults. Routledge.
Cadden, M. (2006). Taking different roads to the city: The development of Ursula K. Le Guin’s young adult novels. Extrapolation, 47(3), 427-444. https://doi.org/10.3828/extr.2006.47.3.7
Le Guin, U. K. (2024). The child and the shadow. In B. Attebery (Ed.) Le Guin: Five novels. (pp. 873-884). The Library of America.
​

    Dr. Steve Bickmore
    ​Creator and Curator

    Dr. Bickmore is a Professor of English Education at UNLV. He is a scholar of Young Adult Literature and past editor of The ALAN Review and a past president of ALAN. He is a available for speaking engagements at schools, conferences, book festivals, and parent organizations. More information can be found on the Contact page and the About page.
    Dr. Gretchen Rumohr
    Co-Curator
    Gretchen Rumohr is a professor of English and writing program administrator at Aquinas College, where she teaches writing and language arts methods.   She is also a Co-Director of the UNLV Summit on the Research and Teaching of Young Adult Literature. She lives with her four girls and a five-pound Yorkshire Terrier in west Michigan.

    Bickmore's
    ​Co-Edited Books

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    Meet
    Evangile Dufitumukiza!
    Evangile is a native of Kigali, Rwanda. He is a college student that Steve meet while working in Rwanda as a missionary. In fact, Evangile was one of the first people who translated his English into Kinyarwanda. 

    Steve recruited him to help promote Dr. Bickmore's YA Wednesday on Facebook, Twitter, and other social media while Steve is doing his mission work. 

    He helps Dr. Bickmore promote his academic books and sometimes send out emails in his behalf. 

    You will notice that while he speaks fluent English, it often does look like an "American" version of English. That is because it isn't. His English is heavily influence by British English and different versions of Eastern and Central African English that is prominent in his home country of Rwanda.

    Welcome Evangile into the YA Wednesday community as he learns about Young Adult Literature and all of the wild slang of American English vs the slang and language of the English he has mastered in his beautiful country of Rwanda.  

    While in Rwanda, Steve has learned that it is a poor English speaker who can only master one dialect and/or set of idioms in this complicated language.

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