Pub Date : 2020-12-28DOI: 10.14325/mississippi/9781496830982.003.0008
Derritt Mason
This chapter explores how fanfiction writers deploy characters from the television show Glee in the context of the It Gets Better anti-bullying YouTube project to imagine scenarios where the project’s teleological narrative fails to describe the lived experiences of queer youth. Glee reached peak popularity in 2010–2011, the year that It Gets Better was launched and queer YA began undergoing a publishing boom. In fanfiction that combines Glee with It Gets Better, fans repurpose It Gets Better to bring critical elements to the YouTube project that are missing from its official stories: sexual pleasure, and the possibility that it doesn’t always get better. These traces in material culture of young people writing back to It Gets Better, Mason concludes, illustrate problems with Jacqueline Rose’s argument about the untouched “middle space” between adult authors of children’s literature and the genre’s young audiences.
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Pub Date : 2020-12-28DOI: 10.14325/mississippi/9781496830982.003.0003
Derritt Mason
This chapter illustrates how queer young adult literature might provide more nuanced versions of risk than the limited yet pervasive narrative of “at-risk.” Mason challenges the idea that “risk,” when associated with queer youth, necessarily entails harm and violence; he considers instead the pleasurable risks offered by queerness. This chapter rethinks the assumed constitution of risk by asking: at-risk of what? What does it mean for queer youth to actively “risk” (as a verb) versus being labelled as “at-risk”? Mason’s alternate version of risk emerges from Isabelle Holland’s 1972 novel The Man Without a Face, which is often censured by contemporary critics for its ostensibly outdated and problematic content, including an intimate teacher/student relationship. Drawing on Deborah Britzman, Mason argues that this relationship offers a model of queer pedagogy that illuminates the productive and pleasurable aspects of risk, including risk’s potential for altering our approaches to sexuality and relationality.
这一章说明了酷儿青年文学是如何提供更微妙的风险版本，而不是有限但普遍的“风险”叙事。梅森对“风险”与酷儿青年联系在一起必然带来伤害和暴力的观点提出了质疑;相反，他考虑的是酷儿身份带来的愉悦风险。本章通过以下问题重新思考风险的假定构成:风险是什么?对于酷儿青年来说，主动“冒险”(作为一个动词)和被贴上“有风险”的标签是什么意思?梅森对风险的另一种看法来自伊莎贝尔·霍兰德(Isabelle Holland) 1972年的小说《没有脸的人》(The Man Without a Face)，这本小说表面上过时，内容有问题，包括亲密的师生关系，经常受到当代评论家的谴责。梅森借鉴了黛博拉·布里兹曼(Deborah Britzman)的观点，认为这种关系为酷儿教育学提供了一种模式，阐明了风险的有益和令人愉快的方面，包括风险改变我们对待性和关系的方式的潜力。
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Pub Date : 2020-12-28DOI: 10.14325/mississippi/9781496830982.003.0004
Derritt Mason
This chapter puts into conversation two temporally and formally distant texts: C.M. Ralph’s video game Caper in the Castro, created during the height of the AIDS crisis in 1989 and recently restored in 2017; and David Levithan’s 2013 young adult novel Two Boys Kissing, which is set in the present-day but narrated by a ghostly chorus of gay men—called the “shadow uncles”—who died during the worst of the AIDS epidemic. As a video game, Mason argues, Castro allows us to play with and feel the anxieties about HIV/AIDS that continue to circulate in queer YA and its criticism—including Levithan’s novel, which confines HIV/AIDS to historical trappings, keeping it detached from the social worlds of its young contemporary protagonists. This is consistent with the treatment of HIV/AIDS elsewhere in young adult literature, which habitually mis- and underrepresents the virus in order to preserve the innocence of its protagonists.
本章讨论了两个暂时和形式上遥远的文本:C.M.拉尔夫的电子游戏《卡斯特罗的Caper in the Castro》，创作于1989年艾滋病危机最严重的时期，最近于2017年恢复;以及大卫·利维坦2013年的青少年小说《两个男孩接吻》，这部小说以现代为背景，但由一群被称为“影子叔叔”的同性恋男子幽灵般的合唱讲述，他们在艾滋病最严重的时候去世了。梅森认为，作为一款电子游戏，《卡斯特罗》让我们能够体验并感受在酷儿青少年游戏及其批评中持续流传的对艾滋病毒/艾滋病的焦虑——包括列维坦的小说，它将艾滋病毒/艾滋病限制在历史的陷阱中，使其脱离了当代年轻主人公的社会世界。这与青年文学中其他地方对艾滋病毒/艾滋病的处理是一致的，这些文学为了保持主人公的纯真，习惯性地歪曲和低估了这种病毒。
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Pub Date : 2020-12-28DOI: 10.14325/mississippi/9781496830982.003.0001
Derritt Mason
This chapter traces the emergence of queer themes and characters in young adult literature, as well as critical commentary on queer YA, to demonstrate how anxiety is the affective form that best characterizes this subgenre of children’s literature. Mason argues that, in the long tradition of children’s literature criticism, queer YA criticism functions as an illuminating index of anxieties about how adults address queer youth. This chapter draws on sociological work on adolescence, as well as psychoanalytic theorists Adam Phillips and Julia Kristeva, to illustrate how adolescence and young adult literature are themselves the products of adult anxiety. Anxiety characterizes the affective economy through which queer young adult literature circulates, Mason argues, while itself evincing a queer temporality that places delay and forward-oriented growth in tension with one another. Overall, Mason demonstrates the utility of children’s literature and its theories for thinking more broadly about adult concerns and anxieties.
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Pub Date : 2020-12-28DOI: 10.14325/mississippi/9781496830982.003.0006
Derritt Mason
This chapter moves readers from Andrew Smith’s adolescence-as-dystopia to the popular animated Netflix series Big Mouth, which represents adolescence as a horror show. Like Grasshopper Jungle, Big Mouth provides audiences with monstrous avatars for the storm and stress of adolescence. Instead of horny, rampaging mutant mantises, however, Big Mouth offers viewers Hormone Monsters, haunted houses, ghosts, and other Gothic tropes as embodiments of those anxieties that surround puberty and its horrifying humiliations. Unlike Grasshopper Jungle, Big Mouth universalizes queerness, celebrates the polymorphous perversity of childhood, and uses camp to defuse many of the anxieties that attend other representations of adolescent sexuality. Big Mouth offers us a kind of camp with strong ties to shame—what Kathryn Bond Stockton calls “dark camp”—and illustrates how shame and debasement can function as a powerful model of relationality, one that unites the show’s young protagonists through shared queer feelings.
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