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• W1573670363 abstract "The early “problem novel”—covering such topics as divorce, abuse, addiction, sexuality, and the struggle for identity in the face of overwhelming social pressures—faced critics’ charges of being more didacticism than narrative, more ideology than poetry. While one can easily argue that ideologies, of whatever stripe, underpin all literature, how an author creates stories, how she weaves together words to describe often diffi cult issues facing young readers, can make the author’s ideological viewpoint that infl uences a story’s ideology—the author’s perspective of the “problem”—seem more or less heavy-handed. It was charges of that heavy-handedness that the problem novel has faced from critics. In some ways, the term “problem novel” is a refl exive one, unwittingly acknowledging perceived problems with the genre itself. Current novels deal with many of those same issues, but now the genre is more often termed “social realism.” I prefer that term, particularly for its connotations. There is a sense of community and world view evoked in its acknowledgement of a “social” context in a story, an acknowledgement that these novels explore the interrelatedness of the individual and larger social constructs and how larger institutions or cultural patterns may nurture or harm children. The “problem novel” has been more than simply titularly redefi ned as “social realism”; the current generation of authors of these books is redesigning the function of narrative, particularly the function of aesthetics in social realism. Indeed, in a number of these current “social realism” novels, aesthetics is the ideology and the means for the individual to explore, confront, and not merely survive the problems that assault them, but also recreate themselves. In Nikki Grimes’s The Bronx Masquerade (2002), for example, eighteen students of an inner-city school who are dealing with issues such as alienation, neglect, racism, sexism, violence, and family loss, each fi nd ways to translate their pain into poetry when their teacher inaugurates “Open Mike Fridays” and students read aloud poems they have written. Each entry is organized as part of a repeated tripartite pattern: an interior monologue of the character, followed by his or her poem, then a commentary by central character Tyrone (some of the students return for additional poems, others are only heard from once). The novel is a masterpiece of interlocking images, as students borrow and re-envision one another’s poetic images—and redefi ne their images of themselves. Poetry becomes a way for the students to articulate their own pain, to communicate with one another, and" @default.
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• W1573670363 date "2008-01-01" @default.
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• W1573670363 title "Social Realism and Poetic Narration" @default.
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