A Case for "Exit Here"

Sex, drugs, and rock and roll—a few of the cornerstones of realistic young adult literature. Now throw in a good portion of porn, rape, murder and a cast of callus, delinquent (even criminal) characters that have no respect for themselves or others—yes, we are still talking about young adult fiction. All of these, and more, can be found in Exit Here (2007), by Jason Myers.

So what could possibly be the value of having a book like Exit Here on the young adult classroom or library shelf?

Myers tackles some of the traditional themes of the young adult novel: searching for self, redemption, learning right vs. wrong, the price of knowledge, and taking responsibility for ones actions. Exit Here is overly sensational, gritty, and probably would be improved by being whittled down by about 100 pages. But the scary, drugged-up, dangerous world that Myers creates is by default, sensational. The reader is lured into this scary world with the hope that something good will happen; that these characters will realize that tweaking on cocaine, date rape, violence and generally hating life has got to come to an end eventually, even if it comes at a costly price. Fortunately there are a few bright spots at the end of Exit Here but like in life, there is not always a happy ending for everyone. Isn’t that a good lesson, too?

There are attempts at literary writing in Exit Here, and a few motifs are present. With the washing/water motif; Travis Wayne regularly attempts to “wash away” his guilt of a crime the reader doesn’t quite know about, but is known to be lurking in the recent past. When he has difficulty dealing with his emotions, he swims to exhaustion in his affluent family’s backyard pool. He ex-girlfriend works at The Waterfront restaurant, and he takes her to the shores of “the biggest lake in the state” for a romantic weekend, only for the water to be too cold to swim. Soon, he realizes that it is impossible to reclaim the past, and “good girl” Claire helps Travis to realize that there is a price to pay for living the way he has lived and he has to “come clean” the right way. The reader works through the torrid conclusions of Travis’s relationships with every character, each one more horrific than the last. The other strong motif is that of the loss of innocence associated with landmarks and buildings. Laura Kennedy lost her virginity to Travis in a playground. That same playground is set for demolition, and Travis convinces his father to donate the property to the city he even returns there in a vain attempt to stop the loss of his reality. There are also the images of the abandoned elementary school, the closing of the Victoria Theatre, and of course the decrepit, abandoned Last Chance Motel.

Myers is not didactic in Exit Here, and the reader is left to make many of the leaps in judgment all on his or her own. Almost every character in the book essentially asks if there is redemption, even for bad people who have done really bad things. Travis asks, “Don’t you think you can right your wrongs?” (74) Laura Kennedy asks, “Do people deserve a second chance?” (174), Claire asks, “Do you think I am a good person?” (204) and finally Natalie claims the answer to these questions, “We all get what we deserve” (320). Self loathing is prevalent in the text, and in several instances characters come right out and admit that they hate themselves. Travis admits it regularly. If he felt fine about his actions, and those of his “friends”, readers would also hate him. But he is changing. This holds the story together, and the reader’s interest, knowing (hoping) that there will be a comeuppance for many of the characters.

Early in the novel, Michael tells Travis, “I’ve watched you spend your whole life not feeling bad about anything you have ever done” (49). By the end, readers know the intimate and hidden details of Travis’s sordid life, and await the reckoning that his actions require and his own realization of redemption.

A Interview with Daria Snadowsky - Part 1

As part of an ongoing conversation about sexuality in YA literature, I interviewed author Daria Snadowsky about writing authentic sexualtiy in the YA novel general, and specifically in her own work, Anatomy of a Boyfriend. 

As a writer, how do you make a scene involving sexuality authentic? Or to put it another way, how does one write sexuality in a realistic, original, and literary way?

I’m not sure if there’s a bright-line rule for how to write a realistic sex scene because it depends so much on the story, the context, the narrator’s voice, etc. In Anatomy of a Boyfriend, realism was easily achievable because Dom, the main character, is an aspiring doctor. Consequently, Dom naturally thinks in clinical terms and describes situations in an open-minded, unbiased way as if she were performing an experiment on herself and penning a lab report. I’m not sure if the scenes would have worked as is had she not been a scientist.

In your opinion, what is the place of realistic sexuality in young adult literature?

I believe all YA literature is an ideal genre to include realistic depictions of sexuality because many YA readers themselves are beginning to have sexual experiences. And even if they’re “late bloomers,” they’re probably still thinking about sex a lot, so it’s important they have outlets to learn more about it. And since young people are often embarrassed to talk about sex with each other or with their parents, books are a wonderful, private way for readers to satisfy their curiosity and find kinships with nonjudgmental characters.

This type of literature is valuable for teens because it presents much-needed unromanticized accounts of the highs and lows of love and sex. When we grow up on fairytales like Sleeping Beauty and Snow White, it's perfectly natural for us to expect that our first loves will last forever and that we'll know exactly what to do when the lights dim. In contrast, Anatomy of a Boyfriend shows all the humiliation and disappointment and awkwardness (as well as the magic and wonder and peace) that's part and parcel of falling in love and being intimate.

Could you discuss your thoughts about the level of sexuality and detail you used in your book?

I remember back when I was a teenager, I was naturally very curious about "making out." What happens when? What will I feel? What will he feel? What will I be thinking? How do you do everything? Is it instinctual or is it learned? For better or for worse, so many books "fade to black" after the first kiss, so we never see what happens. Or if they don't, the intimacy is often described in very melodramatic, romanticized or euphemistic terms. And that's just not reality. So in this book, I wanted to demystify in an unabashedly honest, non-threatening and sometimes humorous way what occurs, physically and emotionally, during "hooking up." Judy Blume's Forever (1975) serves that purpose to a large extent, but I wanted to get even more detailed and graphic in Anatomy of a Boyfriend. And since Dom never had a sexual experience before, it makes sense that she goes into such a high level of detail when describing her physical experiences because they’re all so new and unexpected and exciting to her.

The social ramifications of sexuality tend to play a large part in the novel, as well as in many YA novels featuring sexuality. Could you comment on how you handled this in Anatomy of a Boyfriend?

Anatomy of a Boyfriend highlights not just the physical elements of intimacy but also the emotional elements, which, unfortunately, are often left out of sex ed classes in school. Dom’s decision to get physical with Wes didn’t just have physical consequences—it affected how she saw herself and her relationships with her family and friends. The most important line of the book is when she wonders to herself, “How is it that mankind can engineer condoms to prevent pregnancy and STDs but not be able to invent some sort of emotional safeguard? Is it even possible to abstain from falling in love?” Dom’s story demonstrates that although sex carries tons of physical risks, if we're careful, odds are we can avoid them. But there is nothing we can do to ensure we won't fall in love or be heartbroken. So for every line where Dom describes what happens to her sexually, I always followed it with an emotional description, because you can't separate the two.

Can you discuss finding a balance between being authentic and sensational sexuality?

Again, it depends so much on other aspects of the story, but I suppose one thing all authentic sex scenes have in common is that they’re not gratuitous--they service the theme and contribute to the characters’ development. In Anatomy of a Boyfriend, each sex scene depicts a sexual “first” and describes Dom’s reaction to it. We never see Dom and Wes do the same thing twice because it wouldn’t really add anything new and would only slow down the pacing.

Thanks, Daria, for your wonderful comments, and your willingness to contribute them. You are truly is an asset to the YA writing community.

Review: Loose Girl - A Memior of Promiscuity by Kerry Cohen

The Blurb: "For everyone who was that girl. For everyone who knew that girl. For everyone who wondered who that girl was. Kerry Cohen is eleven years old when she recognizes the power of her body in the leer of a grown man. Her parents are recently divorced and it doesn't take long before their lassitude and Kerry's desire to stand out--to be memorable in some way--combine to lead her down a path she knows she shouldn't take. Kerry wanted attention. She wanted love. But not really understanding what love was, not really knowing how to get it, she reached for sex instead. Loose Girl is Kerry Cohen's captivating memoir about her descent into promiscuity and how she gradually found her way toward real intimacy. The story of addiction--not just to sex, but to male attention--Loose Girl is also the story of a young girl who came to believe that boys and men could give her life meaning. It didn't matter who he was. It was their movement that mattered, their being together. And for a while, that was enough. Kerry Cohen's journey from that hopeless place to her current confident and fulfilled existence is a cautionary tale and a revelation for girls young and old. The unforgettable memoir of one young woman who desperately wanted to matter, Loose Girl will speak to countless others with its compassion, understanding, and love."
The Review: Author Kerry Cohen bares her soul in Loose Girl: A Memoir of Promiscuity, a book about the juxtaposition of sex and love and how we as humans attempt to make sense of ourselves and the people in our lives. She explores her desire, and the basis for those feelings. A good read for young women who are exploring their identity and how they relate to the opposite sex, and possibly for young men, who are attempting to understand their female counterparts. It made me consider the relationships over the course of my life, and how I have dealt with the situations over the years, from what I knew then, to what I (think I) know now.

The first half of the text is when she was in high school, the majority was from college, and Cohen is a YA author, so readers in their late teens may be able to relate, however this book is marketed for adults.

If it wouldn’t have been a memoir, I am not sure if I would have kept reading. There were moving parts to the book, but often Cohen was trying to explain through introspection why she used ‘boys’ to satisfy her need for love. It was essentially a long psychotherapy session where possibly Cohen worked out her problems on the page for ten years. Quite a bit of telling. Maybe I was looking for details. There were a lot of ‘boys’ and lists of names that really blurred together, and made the tale a little bland and generic. There were only a few instances where I could feel her fire and passion, and the rest was just washed over.

*spoiler alert*? She never really explores her past from a position of knowledge. I think it was a missed opportunity, the “I understand now, it was like this, but back then I didn’t understand…” I wanted to see and KNOW that she now understands. But maybe the need for male attention, like other types of addiction is always lurking under the surface. Her transition into the whole person she is know, is only realized in the last few pages. I wanted more.

I can see how this would appeal to certain people, maybe those who are naturally introspective, and the issues she deals with are very real.

Something Extra: Her website is excellent, and her Q & A With Kerry Cohen interview and the responses from readers are powerful. This book definitely has a strong appeal for many women. "Adolescent promiscuity is epidemic, but no one talks about why. [...] That old dichotomy of the slut and virgin is still alive and well."

Bottom Line: It takes a lot for someone to reveal themselves in this way and expose themselves to the world in such an intimate fashion. The book is worth reading for that aspect alone. Though I wanted more, it caused some deep introspection of my own life, for which I was surprised and grateful. Cohen's book opens a conversation that is long overdue.
Grade: B-

Review: Nick & Norah's Infinite Playlist by Rachel Cohn and David Levithan

The Blurb: “It all starts when Nick asks Norah to be his girlfriend for five minutes. He only needs five minutes to avoid his ex-girlfriend, who’s just walked in to his band’s show. With a new guy. And then, with one kiss, Nick and Norah are off on an adventure set against the backdrop of New York City—and smack in the middle of all the joy, anxiety, confusion, and excitement of a first date. This he said/she said romance told by YA stars Rachel Cohn and David Levithan is a sexy, funny roller coaster of a story about one date over one very long night, with two teenagers, both recovering from broken hearts, who are just trying to figure out who they want to be—and where the next great band is playing. Told in alternating chapters, teeming with music references, humor, angst, and endearing side characters, this is a love story you’ll wish were your very own. Working together for the first time, Rachel Cohn and David Levithan have combined forces to create a book that is sure to grab readers of all ages and never let them go.”

The Review: Rachel Cohn and David Levithan capture the reality of teenage life in Nick & Norah’s Infinite Playlist, and focus on deep characters from a male and female perspective. Nick and Norah have interesting lives, and as the evening unfolds for them, their lives and choices unfold for the readers. I loved Norah’s independent power, and Nick’s softer self-deprecating side.

Personally, I enjoyed seeing teens at this level. Nick and Norah have already been sexually active, prior to the storyline. They had made choices about drugs and alcohol, and decided for themselves that there really isn’t anything interesting about them. So now what? Now that these traditional hurdles have been overcome, the authors show us a night that changes the lives of their characters, one that is emotionally charged with excitement, sexual tension, decisions, and emotional angst and healing. Nick and Norah have to apply their prior knowledge in new ways, get over their emotional baggage, and determine how to proceed with a new love interest. By providing the reader with both perspectives, Nick & Norah is an excellent read for older YA readers, and adults.

This book struggles with some parents, and in some classrooms and school libraries, because of the language component. Levithan peppers the sections from Nick’s point of view with so many explicatives that they virtually become meaningless. I tend to think that because they make good choices throughout the book, and appear to have made them in the past, that this makes up for the language issue. Nicholle has argued that trading one vice for another is still a vice. She may have a point, but in a market overpopulated by books featuring teens behaving badly, it is refreshing to see teens making good choices. Levithan's opinion? "Who the f&*$ cares if characters use the word f&*$?It harms no one."

So blah, blah, blah, movie. It was PG-13, and the language and “feel” of Nick and Nora’s Infinite Playlist definitely leans toward an “R”. Levithan’s narrative alone would have garnered an “R” rating. A great book for older YA readers was turned into a feel good movie for tweens. A movie that could have been like Superbad, Nick & Norah was turned into something akin to a grittier High School Musical.

Something Extra: Cohn and Levithan were interviewed in 2006 by blogger Little Willow. Their comments offer insight to the novel, and to attitudes about YA fiction in general. (Incidentally, they love the movie. Hmmmm.)

Bottom Line: A excellent read, and a great representation of life in the big city. These teens make good choices, applying their life experience for the better. Popular enough to turn into a film, and now just a piece of flotsam in the fantasy flooded YA market, this book will make you wonder why there aren’t more books out there like Nick & Norah.
Grade: B+

Review: Story of A Girl by Sara Zarr

The Blurb: "When she is caught in the backseat of a car with her older brother's best friend - Deanna Lambert's teenage life is changed forever. Struggling to overcome the lasting repercussions and the stifling role of "school slut," she longs to escape a life defined by her past.
With subtle grace, complicated wisdom and striking emotion, Story of a Girl reminds us of our human capacity for resilience, epiphany and redemption."

My Favorite Quote: "They never tell you this part in sex ed, how to talk about what you did and why you did it and what you thought about it, before, during, and after."

The Review: In a nutshell, this is what all realistic YA fiction that deals with sexuality is about, and why YA readers read books like Story of a Girl by Sara Zarr. They want answers to these excruciatingly important questions. The social ramifications of developing one's sexuality is constantly present in the average YA reader's life. The story is about a quiet girl who made what she (and her father) considers a mistake when she was in 8th grade, and it is haunting her still, almost three years later, because no one knows how to talk about it.

Zarr portrays the complex family with ease, giving each of her characters a position to operate from, and for the most part allows them to change though the book. Zarr was able to convey feelings of despiration that many teens (and adults) can empathize with, and when the lead character Deanna was falling into her old trap again I was genuinely panicked. I didn't want Zarr to let me down, and she held up her end of the bargain.

I did find the book "tamer" than I expected, and thought the family drama was a bit high for my taste (only because it was everpresent), and the additional -Story of a Girl- sections seemed like a trope that was tacked on and a bit unnecessary.

Something Extra: Sara Zarr also appears to be one of the few authors that regularly updates her blog. At her website there is a treasure trove of material about her and her writing. And there is a great interview with Zarr by Ellen Papazian at Bitch Magazine.

The Bottom Line: With the over-all literary and thematic elements of family, sexuality, responsibility, religion, and coming of age, it was easy to see why Story of a Girl was a National Book Award finalist for Young People's Literature. An excellent read, from an excellent author.

Grade: A-

My Interview Archive

This is a list of interesting interviews from YA authors about their craft:

Sherman Alexie: A Texas Book Festival audio interview with John Jahnski on writng, featuring his books Flight, and The Absolute True Diary of a Part-time Indian.

Laurie Halse Anderson: A "YA Lit Bitch" interview with Ellen Papazian from Bitch Magazine about feminism and craft, specifically featuring Wintergirls and Speak.

Melvin Burgess: an interview with Joanne Stapley on his YA book review blog Once Upon a Bookcase about teen sexuality and writing, featuring his book Doing It.

Kerry Cohen: an excellent Q & A from her website, on her attitudes about adolescent sexuality, and her book Loose Girl: A Memior of Promiscuity.

Rachel Cohn and David Levithan: a blog interview with Little Willow about their YA novel Nick & Norah's Infinite Playlist, the use of language and realism, and excitement over the film version.

Sara Hantz: an interview with Joanne Stapley on her YA book review blog Once Upon a Bookcase about teen sexuality and writing, featuring her book The Second Virginity of Suzy Green.

Joanna Kenrick: an interview with Joanne Stapley on her YA book review blog Once Upon a Bookcase about teen sexuality and writing, featuring her book Screwed.

Ron Koertge: an interview with Sarah Erwin from The Book Source about his writing style and his books The Brimstone Journals and Stoner & Spaz.

Margo Lanagan: an interview at with Jeff VanderMeer at Clarkesworld Magazine on her novel Tender Morsels and the contraversy over its violent content.

Serena Robar: an interview with Joanne Stapley on her YA book review blog Once Upon a Bookcase about teen sexuality, the curent state of sexuality in YA fiction, featuring her book Giving Up the V.

Laura Ruby: an interview with Joanne Stapley on her YA book review blog Once Upon a Bookcase about teen sexuality, the curent state of sexuality in YA fiction, featuring her book Good Girls.

Tanya Lee Stone: an interview with Joanne Stapley on her YA book review blog Once Upon a Bookcase about teen sexuality, the curent state of sexuality in YA fiction, featuring her book A Bad Boy Can Be Good for a Girl.

Sara Zarr: a "YA Lit Bitch" interview with Ellen Papazian from Bitch Magazine about sexuality and Christianity in her book Story of a Girl.

Is There "Too Far" in YA Fiction? Part I

The following comments were originally posted at Once Upon a Bookcase in response to Joanne Stapely’s question, How Far is Too Far in YA Novels?

Young Adult (YA) fiction, like all fiction, is genre specific. Real YA fiction will, by definition, deal with contraversial topics (they call them 'problem novels' after all) like sexuality, independence, violence, and more. Most reading is done with escapism in mind, and often realistic YA fiction allows readers to “try on” a persona for a while, in the privacy of the purely individual reading world. I often feel when reading articles like this one about Tender Morsels by Margo Lanagan, that the real fear for parents (I am one myself) is that children will be exposed to things we, as parents, would rather not expose them to, such as rape and death.

To quote the article, “the truth is that when children are exposed to deeply disturbing scenarios in teenage fiction, they are made painfully aware that the world contains cruelty beyond their experience and their imagination.” First of all, “children” and “teenage” are two different age groups in my opinion. But beyond that, don’t children and teenagers need to know the world contains cruelty? Do we just not allow them to read about the Holocaust because it was gruesome and terrible? Might as well throw The Book Thief by Markus Zusak on that fire then. Wait a second… How many awards has that book won? And the narrator is Death! But I digress… Both The Book Thief and Tender Morsels are Printz Honor books. The ultimate irony here is that Tender Morsels is about exactly this issue, the loss of innocence.

Topics are only controversial because parents have different ideas than their children about what is appropriate for them to read about. Since when do children and their parents agree on anything? I think it is the publishing industry’s responsibility to provide the full range of topics and subject matter, and the readership to decide (by buying the book, or not buying it) what is appropriate.

Here is an excellent interview from Margo Lanagan on Tender Morsels at Clarkesworld Magazine by Jeff Vandermeer