Reviewed by: Queer Anxieties of Young Adult Literature and Culture by Derritt Mason Jonathan Alexander (bio) Queer Anxieties of Young Adult Literature and Culture. By Derritt Mason. University Press of Mississippi, 2020. Over a hundred years ago, psychologist G. Stanley Hall identified adolescence as a period of “storm and stress,” borrowing the phrase “Sturm und Drang” from German romanticism. Whatever the psychic and physiological realities of this period of human maturation, adolescence has been popularly and persistently—even romantically— figured as a turbulent time. The contemporary boom in young adult (YA) literature has capitalized on such anxieties by offering readers a range of narratives of young people struggling to find their way in the world, and sometimes, in the case of dystopian YA, raging against the machinery of adult oppression not just on a micro (familial) level but on a macro (political) stage as well. When marginalized identities become part of the story, the pressures of adolescent anxieties assume particular shape as befitting the personal, cultural, and social nuances of identities and accompanying bigotries and prejudices. Derritt Mason, in Queer Anxieties of Young Adult Literature and Culture, turns our attention to the anxious specifics of queer YA and, in doing so, underscores how anxiety is never just a thematic of YA, especially of queer YA, but an often-unnamed pressure in the production and critical reception of YA. Mason forcefully makes his claim early in his study, asserting that we should embrace YA “as an anxious genre” (6). The case of queer YA affords him a specific purchase on what he means by “anxious genre,” particularly as he invites us to see how “the longer history of anxiety and adolescence collide[s] with contemporary concerns about queer youth and the content of texts for young people” (6). Not only is YA about the anxieties of adolescence; it itself, as a genre, is the product of anxieties about young people, with anxieties about queer young people offering a rich set of flashpoints for revealing and critically analyzing what we are so often anxious about. For instance, in depicting the lives of queer young [End Page 330] people, writers and publishers (and readers) often have to grapple with the problem of authenticity and voice: “what is an ‘authentic’ and ‘original’ GLBTQ voice? What constitutes ‘fresh insight’ into queer lives?” (5). In a way, the problem of voice is the problem of all YA; how can an adult writer capture and represent the voices of young people, as such voices embody their cares, concerns, struggles, and hopes? When the anxieties of queer youth are central to the story, the anxieties seem compounded by the representation of queer identities in homophobic and transphobic cultures. For Mason, the compounding assumes the form of both the pressure to represent a group of young people facing particular problems and the pressure of such works potentially to serve as a remedy for such problems. As Mason eloquently puts it, “Queer YA and cultural texts that seek to address queer youth proliferate as both an anxiety management strategy (a potential antidote to the fact that queer youth are in crisis) and a producer of additional anxiety (what if this address fails in its mission?)” (9). Such anxieties serve to mirror, perhaps metonymically, larger, literary anxieties about YA as a genre. Mason quotes Peter Hunt on this issue: critics of YA often worry over “what is good for the child socially, intellectually, and educationally, and what we, really, honestly think is a good book” (13). Borrowing from the theoretical energies of affect theory, Mason sets up his book as a series of case studies about the contours of such anxieties in queer YA. His central claims are, on one hand, hopeful and, on the other, critical: “[D]oes it not inspire at least a bit of hope that anxiety about the well-being of queer youth and the status of their representation in popular texts seems to connect so many of us? It may be that, in centering affect in our analysis of queer YA, we might better attune ourselves to the structures of feeling that attend adolescent queerness and those moments when our own anxieties, as adults, tend to...
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