Justin Scholes and Dr. Jon Ostenson, English Department

In the last several years, there has been tremendous growth in the amount of literature written for and read by young adults. With this spike, the discussion has grown concerning the subject matter of these novels, and a general curiosity as to what teens find appealing in these works. One major recent trend in YA literature is the dystopian novel.

A dystopian novel is set in a world where society has seemingly progressed to a state that nears perfection, through means of better government, technological advances, or scientific control. However, the protagonists in these novels come to realize that the utopian world they inhabit is not perfect, but flawed in many ways. That realization typically leads the protagonists on a journey of truth-seeking, difficult choices, and self-discovery.

Laura Miller, in her article for The New Yorker, raises the question, “What‟s behind the boom in dystopian fiction for young readers?” (“Fresh Hell” 2010). This study sought to answer that question by examining trends in the literary elements of twenty dystopian YA novels, and making connections with research in adolescent development.

One trend we found in these novels is that the protagonists become frustrated with complacency in their societies. Conner, a character in Shusterman‟s novel Unwind (2007), reasons, “This isn‟t a perfect world. The problem is people who think it is” (75). This kind of frustration often comes after a situation where someone is treated unfairly, or ignored when they need compassion. Seeing others stand by unconcerned while someone is being mistreated—or worse, seeing others agree with the mistreatment—leads the protagonists to reconsider their perspectives on the society they live in.

One reason teenagers may be attracted to this common theme in dystopian novels is their changing cognitive abilities during adolescence. Laurence Steinberg notes that “the cognitive changes of adolescence also provide the logical foundation for changes in the young person‟s thinking about social, moral, and ethical problems. These changes in thinking are important prerequisites to the development of a system of values that is based on the individual‟s own sense of right and wrong and not merely on rules and regulations handed down by parents or other authority figures” (300). Young adult readers are likely interested in characters that are going through similar changes, characters that are questioning the values that surround them and reforming moral standards based on personal experience.

Another significant trend in the novels is that the protagonists struggle with not knowing who to trust. This is played out in many situations, from confusion within a character‟s own family, to doubt about the entire structure of his or her society. In The Hunger Games trilogy, Katniss is constantly unsure of whom she should trust. Her caution is vindicated time and time again as she discovers others‟ ulterior motives or secret agendas.

Although there is a heavy amount of distrust within these dystopian novels, it is not too heavy-handed for the average adolescent. Dr. Harold Koplewicz writes, “Normal struggles, crises, insecurities, and rejections may make even the average „well adjusted‟ teenager feel as if his world is falling apart. In reading about worlds and lives that are literally falling apart, kids are reading about emotions that are as intense as their own” (“Hunger Games‟: Why Kids Love Disaster, Distress, and Dystopia” 2011). Thus, a teenager that is experiencing some “insecurities”—perhaps discovering that they can no longer trust a close friend, etc.—can readily accept and even feel empathy with characters who also feel as if there is no one they can trust.

Another dominant trend in the dystopian YA novels is the injustice of one‟s potential being limited by the way the society or government functions. In Epitaph Road (2010), Kellen will always be a lower-class citizen, even if he scores well on a government examination to secure a decent occupation. In Birthmarked (2010), Gaia is left to a meager life because she has a scar that is too noticeable for her to be accepted in upper society. Every novel has a unique setting, but the trend remains: life is dictated to the protagonists, leaving them with no opportunities to reach their own potential.

Young adult readers are at the ages when their choices and achievements have more influence on their future opportunities. Some teenagers question the basis for their future potential—for example, they might ask why an exam or set of grades are the determining factor in their future options. Both authority figures and society as a whole enforce the idea that young adults will be categorized based on this or that. It is possible that young adults relate to characters in dystopian novels because they too feel the frustration of being classed into a permanent caste. Steinberg notes that adolescents “become much more able to imagine their possible selves—the various alternative identities that they may adopt” (265). With a better understanding of what they could become, nothing is more frustrating than having others destroy those dreams by saying that teenagers need to be this or that, and act this way or that. Young adult readers may be drawn to not only the trend of protagonists caught in this trap, but also in the trend of those protagonists breaking free of society‟s constraints.

We are still examining other trends across the novels, and looking at ties to adolescent development research. We are also approaching the final step in the study, which is to consider ways to approach these novels in the secondary English classroom. How can these trends inform teachers? How can teachers approach these subjects in a way that fosters appropriate development in students?

Future studies can examine the effect that these novels have on young adult readers: Do they ground teenagers with a realistic tone about the world? Do they inspire hope and ambition? Do these novels have value in regards to character education in the secondary classroom?

Works Cited

• Collins, Suzanne. Catching Fire. New York: Scholastic Press, 2009. Print.
• —. Mockingjay. New York: Scholastic Press, 2010. Print.
• —. The Hunger Games. New York: Scholastic Press, 2008. Print.
• Koplewicz, Dr. Harold. “„Hunger Games‟: Why Kids Love Disaster, Distress, and Dystopia.” huffingtonpost.com. 25 Jan. 2011. Web. 29 June 2011.
• Miller, Laura. “Fresh Hell.” newyorker.com. 14 June 2010. Web. 28 June 2011.
• O‟Brien, Caragh. Birthmarked. New York: Roaring Brook Press, 2010. Print.
• Shusterman, Neal. Unwind. New York: Simon & Schuster, 2007. Print.
• Steinberg, Laurence. Adolescence 7th Ed. New York: McGraw-Hill, 2005. Print.
• Patneaude, David. Epitaph Road. New York: Egmont USA, 2010. Print.