Why the Best YA Fiction Often Defies Classification

Afew years ago, I received a phone call from a desperate sixth grade reading teacher. “Help!” she cried, “I have a literary mutiny on my hands. I need your help now!!” I immediately raced upstairs. Our sixth graders read Louis Sachar’s Holes as a required novel. The teacher uses Holes as part of her unit on fantasy. In a time where many middle schoolers are steeped in Harry Potter and Paolini, Holes just did not seem to fit into that the same category of fantasy. “Mr. Smith,” they argued, “It can’t be fantasy. It’s too real.” What followed was a long discussion about the different types of fantasy. We debated over the effects of rattlesnake nail polish, the existence of yellow spotted lizards, the role of coincidence, Sachar’s use of the legend of Kissin’ Kate, the folktale qualities of Madame Zeroni’s curse, and the quest for treasure. We adding a list called genre-busters, novels which do not easily fit into a single category. The more I think about my YA favorite titles of the past few years, the more bewildered I become. Zusak’s The Book Thief— historical fiction or fantasy? Anderson’s The Astonishing Life of Octavian Nothing—historical fiction or science fiction? Rosoff’s How I Live Now?—realistic fiction or science fiction? Shusterman’s The Schwa Was Here—realistic fiction or fantasy? I have come to the realization that genre might be dead, that many of recently published YA novels no longer fit into the predictable categories we typically designate for books. Is it time to despair? I think not. Rather, let us celebrate the innovative fashion in which today’s YA authors are bending the traditional definitions of genre. An exploration of early genre benders may provide some illumination, as well as an investigation of how many of today’s best YA novels are further blurring the lines between genres.