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The Body – Human, Humanoid and Other – in Young Adult Literature

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The Body – Human, Humanoid and Other – in Young Adult Literature THE UNIVERSITY OF HULL The Body – Human, Humanoid and Other – in Young Adult Literature being a Thesis submitted for the Degree of Doctor of Philosophy in English in the University of Hull by Laura Anderson BA English Literature and Theology (University of Hull) MA English Literature (University of Hull) (December 2019) I declare that this thesis is my own work and has not been submitted elsewhere. 1 Contents Abstract p. 4 Acknowledgements p. 5 Introduction p. 6 - Readership p. 7 - Which Texts and Why p. 12 - The Critical Body p. 23 - Chapter Outlines p. 36 - Introduction Summary p. 40 Chapter One – Family p. 41 - Naming the Family p. 51 - The Impact of Absent or Missing Family p. 56 - Mothers p. 58 - Fathers p. 66 - Siblings p. 69 - Families of Choice p. 74 - The Physical Impact of Family p.81 - Chapter Summary p. 85 Chapter Two – Beauty, Sex, Sexuality and Gender` p.88 - Beauty p. 90 - Sex p. 107 - Queer Romance p. 122 - Chapter Summary p. 132 Chapter Three – Humanity, Cyborgs and the Supernatural p. 133 - Death and Cyborgs p. 134 - The Body and Consciousness p. 145 - Consciousness beyond Death: A Being without a Body p. 151 - The Body and Trauma p. 156 - The Morality of Transformation p. 157 - The Aging and Dying Body p. 175 - Chapter Summary p. 177 Conclusion p. 180 2 - The Future of the Body in YA Literature p. 180 - The Body Summarised p. 191 - Final Conclusion p. 197 Bibliography p. 200 Primary Sources p. 200 Secondary Sources p. 202 3 Abstract Although a relatively new category of literature, the rapid growth in popularity, diversity, and production of YA (Young Adult) literature over the preceding decades has prompted this thesis to focus on texts released between 1995-2015, a period that coincides with the rise and prevalence of internet use. In a world that is increasingly focused on the digital, the importance YA literature places on the body is significant and worth closer examination. Using philosophical and literary theories, this work explores how the body creates identity and a concept of self through experience and genetics. The range of bodies within YA literature is vast; the selected texts in this study demonstrate the variety of bodies and how they are used. Beginning with a critical understanding of the human body, this work will consider how the body forms relationships and identity through choice, biology, and circumstance before expanding from familial to romantic relationships, to contemplate how the body enacts and presents the themes of beauty, sex, sexuality, and gender. The thesis questions how these qualities change, and are challenged, as the body shifts from human to ‘other’. By investigating these non-human bodies, the thesis aims to reach a better understanding of the human condition, and humanity emerges as these cyborgs and supernatural beings allow for reflection on how their bodies differ and what these differences mean. The thesis concludes by discussing how these fictional bodies are transposed into fanfiction and what this reveals about the perceived ownership, use, and purpose of such beings textually and in a wider social context. 4 Acknowledgements Huge thanks are owed to Valerie Sanders for consistent dedication, patience and kindness always. Further thanks are due to Marty for his unwavering support and to my friends and family for the many years spent listening to my complaints, theories and excuses. 5 Introduction This thesis aims to explore how the physical form creates meaning for the self, kinship, sexuality, and humanity. The body in YA literature is a conduit enabling relationships, experience, and transformation. It is the purpose of this thesis to examine and explain how particular bodies in YA texts are used to engage with the challenging spiritual and moral dilemma of what it means to be human. To effectively evaluate the human condition through the lens of the corporeal body, I have chosen to use a range of literary and philosophical frameworks. Understanding how the body challenges the concepts of life, death, human and non-human beings, requires a robust and comprehensive defining of these states. There is precedent for literary critics to draw from philosophical theories to better understand the body in literature. Judith Butler’s work uses philosophical theory and understanding to find meaning in bodies, gender, sex, and self. While this is arguably ground-breaking work which helped to create queer theory, and also a useful framework for examining bodies in the selected texts, there remain aspects of the body that Butler does not consider. Consequently, this thesis broadens the scope of critical work deemed relevant to help comprehend the body, identity, and relationships. YA literature is a relatively new field of study and while work has been undertaken to explore aspects of the body in YA literature, there is limited work that attempts to use existential philosophy as a prism through which to perceive the body and its purpose. Although it may appear unexpected, or perhaps overlooked, YA literature does discuss the nature of existence through the medium of the body. YA literature is saturated with human and non-human beings all striving to find their identity and place. This journey to discover, affirm or change their interpretation of self is inescapably tied to their physical form, and the relationship between how the concrete and the abstract are used to create a body has special relevance. 6 Readership YA literature readership is not passive; it is active, reactive, and reciprocal, with readers responding to the texts and other readers with their own interpretations, works, and actions. The use of the body in YA literature spills from the texts into the very body of the reader, with readers tattooing themselves with key phrases, symbols, or imagery from the texts1, or dressing as their favourite characters. No longer is the body in YA literature committed to paper, it has become flesh, with the bodies of the textual recreated by living beings. This desire to embody or represent a textual character is not new but supported by the film adaptations of many YA texts; the once few physical manifestations of a fictional character have become mainstream. Because of its flexible and diverse content, subject matter, and style, YA literature attracts a correspondingly diverse and sometimes unexpected readership. The readership of YA literature is wide ranging as shown by the mixed ages of Stephenie Meyer’s Twilight (2005) fan base. Evidence of the divergent, and on occasion, niche, readership of the Twilight saga and other YA literature can be found throughout the internet. There is a Twilight fan group on the social media website Facebook that is dedicated to mothers who are fans of the saga. The group, as of April 2017, had 7094 likes and defines itself as follows: THIS GROUP IS ALL ABOUT THE TWILIGHT SAGA! WE ARE HERE TO HAVE FUN, MEET OTHER MOMS, AND FORM FRIENDSHIPS, ALL WHILE DISCUSSING OUR FAVORITE CULLEN OR TWILIGHT CHARACTER. IN THIS GROUP WE WILL ALSO PASS ALONG ANY MOMMY RELATED THINGS! (https://www.facebook.com/pg/TwilightMomsClub/about/?ref=page_internal – accessed 17/04/17) The page also contains a link to an online shop selling Twilight fan merchandise, much of which is targeting the ‘Twimom’ audience. Though demonstrating that YA 1https://www.buzzfeed.com/laraparker/incredible-tattoos-inspired-by-the-fault-in-our- stars?utm_term=.qmwDmZkLK#.nroNJ1Z8O – Accessed 16.06.2018 https://www.thedailybeast.com/twilight-tattoos-breaking-dawn-edward-bella-jacob-and-more-photos- Accessed 16.06.2018 7 undoubtedly attracts an adult audience, it does prompt the question of what do we mean by ‘adult’? During the 2014 YALC event Crossover – Not just for Kids, Meg Rosoff mused on what the word ‘adult’ implies. She questioned the age range of ‘adult’, pondering if the upper limit should be twenty-one or twenty-five. This suggests an American outlook with Rosoff’s aligning the age of adulthood with the legal drinking age in America. While it is generally accepted that the readership of YA literature is wider than the ‘Young Adult’ title would suggest there is very little concrete evidence of exact numbers and ratios of readership. This would be an area of further study that would greatly benefit the whole field of YA literature research, although organising and regulating such a study would be an intense and complicated piece of work. Though there is evidence of adult readership as seen through the ‘Twimom’ fan group it is difficult to build a clear picture of how many adults read YA literature, as they might read it but not engage with or make any expression of their reading habits online or in society. There is still a stigma attached to YA literature, and many still regard it as intellectually and academically inferior to adult literature; consequently, this may impact the number of adults willing to come forward to acknowledge their readership of YA texts. Prior to its current incarnation as YA literature, there was a move to call the genre adolescent literature, but the move away from this title is telling. Adolescent literature would suggest a readership aged between thirteen and nineteen, which is not an accurate description of the real ages of readers; hence the change to ‘young adult’. There is now a further proposed sub-categorisation in the form of 'New Adult Fiction'. This arises from publishers’ demands for books focusing on slightly older young adults. As with all newly formed terms, there are discrepancies in the exact definition of the proposed titling. According to the website goodreads.com, 'New Adult fiction bridges the gap between Young Adult and Adult genres. It typically features protagonists between the ages of 18 and 30.' The Guardian, states, however, that this new genre is 'meant to be for readers aged 14-35', while Brian Klems at the writersdigest.com suggests that: Although the definition of New Adult is still solidifying, generally the term encompasses novels with characters in their late teens or early 20s exploring what it means to be an adult.
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