Readers, Realism, and Robert Cormier Sylvia Patterson Iskander (bio) The young-adult novels of Robert Cormier—The Chocolate War, I Am the Cheese, After the First Death, The Bumblebee Flies Anyway, and Beyond the Chocolate War—have been criticized for the bleak, hopeless world they describe. Norma Bagnall says of The Chocolate War, "hopelessness pervades the entire story"; "there are no adults worth emulating"; "only the ugly is presented through the novel's language, action and imagery" (214). Anne Scott MacLeod describes Cormier's work as "a world of painful harshness, where choices are few and consequences desperate" (74). Robbie March-Penny states that I Am the Cheese depicts a "completely ruthless" system and The Chocolate War presents "a frightening universe" (81, 83). Some of these comments have been answered in an article by Betty Carter and Karen Harris, who argue that "Cormier does not leave his readers without hope, but he does deliver a warning: they may not plead innocence, ignorance, or prior commitments when the threat of tyranny confronts them" (285). Yet the objections point accurately to problems raised by these novels. The almost universal distress about Cormier's work springs directly from the power and consistency of his imagined world, which convinces readers that it bears a recognizable relationship to the "real world" and yet appears to leave no room for anything but pessimism about the survival of Cormier's protagonists. Because of this, several school boards and parental groups in New York, Massachusetts, South Carolina, and Arizona have tried to ban Cormier's novels from the classroom. Agreement between author and audience is not always possible for readers of Cormier's novels. The conventions of the genre of the young-adult novel, according to MacLeod, may deal with harshness and stern reality, but they must offer some hope, "some affirmative message" (74). She among others does not find any affirmation of the traditional adolescent "themes of adjustment, acceptance, and understanding" (80) in any of Cormier's novels. She feels, for example, that when Jerry, the protagonist of The Chocolate War, is carried off the football field on a stretcher, Cormier "has abandoned an enduring American myth to confront his teenaged readers with life as it more often is—with the dangers of dissent, the ferocity of [End Page 7] systems as they protect themselves, the power of the pressure to conform" (76). She correctly states that the "discussion of political evil [in I Am the Cheese] is cast in fiercely contemporary terms" and that Artkin, Miro, and the general in After the First Death "disavow their humanity in the same moment that they seal their innocence by choosing never to question nor even to contemplate questioning" (77). MacLeod does not, however, mention either Ben Marchand or Kate Forrester, who are positive role models in After the First Death. She comments on Cormier's powerful ability to reach the innermost thoughts of his readers and to make them question the contemporary systems within which they find themselves, but she does not explore this subject. There are, it seems to me, three aspects of this problem. First, who is Cormier's reader, or what are some of the characteristics of young-adult readers? Teenagers stand at a threshold; not fully committed to the adult world, they are uncertain of their own strength, yet they clearly tend toward moral idealism. Second, what do adults consider appropriate reading for adolescents? Many parents and critics feel strongly that literature for teenagers at this vulnerable period in their lives should help them develop their sense of moral choice and responsibility by presenting clear-cut guidelines. Finally, what does Cormier require of his readers? The answer to this question touches on the concerns raised by the other questions, for, rather than asking his readers to endorse simple affirmations, Cormier demands that they respond to ironies and qualifications. The reader—parent, school board member, or young adult—who rejects a Cormier novel as totally without hope has failed to recognize its positive elements because these are presented ironically and indirectly. The successful reader must recognize the various levels of reality present in these novels and extrapolate beyond the novel's close to see an...
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