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One of many arresting moments in Tey Meadow's Trans Kids comes at the coda to the book's Introduction. Meadow surprises the reader by adopting the secondperson voice. "Perhaps while reading this chapter," Meadow (2018:23) writes, "you turned the book over in your hands, searching for an author photo. Perhaps you wondered if, in fact, I am transgender." I like the tactile nature of this statement: the book is something you touch and hold, which draws attention to the theme of embodiment that is central to Meadow's story. It also turns out to be a provocation; had you reached that point in the book and had not yet searched for a picture of the author, curiosity may have gotten the best of you. You would gone searching and found that, in fact, a headshot of Meadow appears on the back cover. And so what? Why would that matter? As Meadow suggests, the eagerness to find certainty amid the "the complexities of gender"-indeed, as the book convincingly shows, gender is increasing in significance today, despite the premonitions among some that gender would eventually be "undone"-is a common feeling. "You are like many of us," Meadow notes. It is a statement that both brings a sense of relief (had you been caught off guard by Meadow speaking directly to you, as I had, then it is comforting to know that one should not feel so embarrassed) while urging responsibility of the reader: to locate oneself and reflect on one's relationship to gender and how one relates to the gendered identities of others, and all uncertainties, confusion, and assumptions that go along with these relational practices. The book's opening chapter is titled "Studying Each Other," and Meadow, as I see it, is signaling that readers are not merely studying the young people in the text. You cannot study trans kidsand by extension, what gender means-without studying yourself. Trans Kids has by now received much recognition within Sociology and beyond, culminating in the book receiving the 2020 Distinguished Book Award from the American Sociological Association. It is well deserved because Trans Kids is a remarkable book. For a few years, I reviewed albums for a music and culture website and somehow avoided this favorite line of music reviewers: that an album "rewards repeated listens." I have my chance to use it now. Trans Kids urges and rewards just this: the patience to read closely and re-read, to reflect and return to its pages. I was
Teaching Sociology, 2019
2020
The last twenty years have seen a proliferation of books for young people dealing with transgender experience and issues. This paper charts the emergence of transgender fiction for children and young adults, and its development during that period. It will address several questions arising from this phenomenon. How does the representation of trans experience differ when presented for a child readership rather than adults, and for younger children rather than adolescents? How are the representations of gender identity, gender expression and sexuality affected by considerations of audience? What are the tropes (or cliches) of trans fiction, and how have they changed? Whose points of view do the stories represent? Does it matter whether their authors are themselves trans? Is it more possible today than twenty years ago to assume some knowledge in child readers, or must every story “start from scratch”? There is no single answer to any of these questions, but the article will note some o...
Journal of Literary Education
The last twenty years have seen a proliferation of books for young people dealing with trans experience and issues. This article charts the emergence of transgender fiction for children and young adults, and its development during that period. It will address several questions arising from this phenomenon. How does the representation of trans experience differ when presented for a child readership rather than adults, and for younger children rather than adolescents? How are the representations of gender identity, gender expression and sexuality affected by considerations of audience? What are the tropes (or clichés) of trans fiction, and how have they changed? Whose points of view do the stories represent? Does it matter whether their authors are themselves trans? Is it more possible today than twenty years ago to assume some knowledge in child readers, or must every story “start from scratch”? There is no single answer to any of these questions, but the article will note some of th...
2020
As a powerful form of media, children's literature can help young people develop deeper and more nuanced understandings about gender, gender identity, and gender expression (Crisp, Gardner, & Almeida, 2017; Crisp & Hiller, 2011; Tsao, 2008). Gender identity is a person's internal understanding of their gender, or "the roles, behaviours, activities, attributes and opportunities that any society considers appropriate for girls and boys, and women and men. .. different from. .. binary categories of biological sex" (World Health Organization, n.d.). Gender expression denotes the ways in which we outwardly communicate our gender (Crisp, 2020; GLAAD Media Reference Guide, n.d.). Schema and stereotypes about gender identity and expression develop between the ages of three and five (American Psychological Association, 2015). This article shares how Kerry Elson used children's literature to explore gender identity with young children. Kerry is in her eleventh year of teaching and has been teaching in New York public schools for five years. She identifies as White, cisgender, and nondisabled. The population of the school where Kerry teaches kindergarten and first grade, Central Park East II in East Harlem, New York, is richly diverse in language, ethnicity, and the lived experiences of the community. Eighty-eight percent are students of color-about 47 percent Latinx, 31 percent Black, 10 percent interracial, Asian, and American Indian.
Educational Leadership Quarterly, 2013
2016
awoke a passion for children's literature in me that had laid dormant since my youth. Thank you to my thesis committee member, Dr. Yolanda Hood, and her team at the University of Central Florida's Curriculum Materials Center (CMC). Their knowledge, resources, and willingness to share both were incredibly helpful during my thesis-writing journey. Thank you to Dr. Lee-Anne Spalding for allowing access to your expertise of children's literature as part of my thesis committee. A special thanks to my thesis chair, Dr. Sherron Killingsworth Roberts, who was not only a well of wisdom and knowledge, but also an incredible mentor and role model. Thank you to my family, friends, and partner for repeatedly listening to me read my writing aloud. Thank you to everybody who has been involved in my journey for believing in me and pushing me forward. v
The ALAN Review 37.2, 2010
Revista SOLETRAS, 2014
The author of Geography Club (2003), Brent Hartinger, argues that LGBTI fiction in the United States has moved beyond its preoccupation with identity and coming out, and now includes characters who just happen to be gay (Hartinger 2009). He is defining his own practice as a writer accurately enough, but it's not true to say that the coming out novel for teens is dead-or that it should be. Every young person's experience of coming to terms with his or her sexuality is unique, but before we assume that acknowledging LGBTI sexuality is no longer a problem, we need to remember that it can still be a matter of life and death in an increasing number of communities. Namaste (2011) calls on academics to continue to make the invisible lives of transgender people, in particular, visible by focusing on the alarming facts of their homelessness, their suffering of poor health and violent crime, and the tragic rate of transgender suicide. It is too comfortable for theorists such as Butler (1990) and Garber (1991) to focus on LGBTI as merely contesting intellectual constructions of gender. For Namaste the function of discourse about diversity is to achieve social justice. The list of titles that feature LGBTI subjects for teens published in the United States over the past 15 years is quite remarkable, although Milne (2013) is cautious about the sanitised image of reality that is constructed in many of these texts. The narrative of 'progress, self-discovery and acceptance', as she sees it, is mostly positioned within the white middle class with supportive families, and the fiction sanitises 'some of the harsher lived realities of queer youth, who are at a much higher risk of suicide, homelessness and substance abuse than their heterosexual counterparts' (2013, p. 177). Milne argues that it sanitises lived urban experiences to a degree that fiction about heterosexual teens does not. In asking why that might be, we need to understand first who the implied readers of LGBTI fiction are. The cost of the books tells us, if nothing else does, that enthusiasm for
2020
The packaging of a book – its peritextual materials including front cover, blurb, acknowledgements, afterword, and author notes – provides information that can contribute to a potential reader’s decision whether or not to purchase, borrow, or read the story it encases. As such, the choices made by authors, illustrators, editors, and publishers regarding books’ peritextual features can offer important insights into the spaces books are intended to occupy within their contemporary market. This article examines the peritextual materials of a broad range of British and American transgender young adult novels published in the twenty-first century, in the context of the We Need Diverse Books movement and Time’s “transgender tipping point” which coincided in the mid-2010s. In doing so, it shows how the field of transgender young adult fiction has developed over the last five or so years to include more variety, intersectional diversity, and Own Voices authorship, as well as considering how...
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