Dail 1

Alyssa Dail
Dr. Schumacher-Schmidt
13 December 2018

Young Adult Literature: Filling the Representational Void

Problem and Purpose

Within the walls of the secondary English classroom, one can predict which titles live on

the literary syllabus. Well-known titles such as To Kill a Mockingbird, The Great Gatsby, and

Crime and Punishment consistently secure a place in the hands and minds of the modern

American student. This is because well-known and widely taught titles, such as these, reside in

the Western Literary Canon. However, the Western Canon is problematic as it is not

representational of all human voices and perpetuates many racist and sexist views. It is

dominated by the white male voice as, historically, this specific subgroup exclusively maintained

the resources and freedom to read, write, and obtain publication. Consequently, the Western

Canon asserts ethnocentric ‘universal truths’ and fails to acknowledge the diverse cultures and

experiences that exist in the United States today.

As teachers formulate curricula and lesson plans, they are required to consider the diverse

needs of learners. This includes recognizing the diversity of culture and outside experiences that

students bring with them to the classroom. However, recommended readings stand in stark

contrast to this philosophy of representation. For example, the recommended high school

literature in the Common Core State Standards consists of predominately canonical texts

including those by Chaucer, Shakespeare, and Wilde. Although there is some diversity amongst

authors including Zora Neale Hurston and Toni Morrison, there is an alarmingly small

percentage compared to the diversity of the American classroom and society. These
Dail 2

recommended authors and novels are ubiquitously taught in high schools across the country,

comprising the Secondary Literary Canon.

Effective teacher assessment frameworks expect educators to consider students’ cultures

as they formulate lessons. This appears in research-based frameworks, such as the Danielson

model, because students connect with content and educational practices that resonate with their

personal identities and experiences. Not only is the canonical compilation of authors non-

representational of the students, but the actual events and experiences in these texts fail to grasp

students’ interest or empathy. When titles from the secondary canon are taught, students do not

connect with the books because the plotlines, protagonists, and perspectives do not reflect their

experiences.

The United States Department of Education and teachers must recognize that canonical

texts do not hold special literary significance. They are simply books that many people have

enjoyed (and still enjoy today), but the ubiquity of popularity should not formulate what students

read in the current classroom. Reverential significance cannot place certain works on pedestals

and dictate that everyone must read them; no book holds that much inherent worth. Instead,

educators must reassess who the modern student is in their specific classrooms and which texts

connect with their experiences and identities. Essentially, there is no perfect secondary canon;

books should be selected with each individual student in mind.

This movement for representational literature is of utmost significance as high school

students are losing a love for reading due to the pedestaled classroom bookshelf. They are

repelled by the reading list established in most English classrooms and often resort to online

summaries for a faux reading. Students are graduating high school with the perception that they

dislike reading when, in actuality, they have simply not discovered representational literature.
Dail 3

One can find a plethora of representational literature and diverse authors within the category of

Young Adult Literature (YAL). YAL is a category of literature that is written for the ages of

thirteen to twenty. These novels most often have a teenaged protagonist and focus on issues

relevant to adolescent readers and contemporary social issues. This is why YAL belongs in the

modern classroom and requires advocacy.

Although YAL is necessary to provide students with representation in literature,

previously taught classical texts should not be completely discarded as they were the building

blocks for modern literature, capture culture throughout history, and often offer well-crafted

narratives. Instead, classic literature should be recognized and critiqued through synthesis with

contemporary literature and society. Since canonical texts most often propagate racial,

socioeconomic, and gender bias, it is important to recognize these issues while teaching these

texts. Although facilitating students’ recognition of these issues in classics can help them

critique inequality in modern society, studying only classical works leaves students disconnected

from the joy reading once offered. These problematic books are not representational of society’s

current issues or students’ adolescent experiences. To fill the representational void, YAL should

be taught to represent modern society and students. I will show how this can be done through

analysis and synthesis of the canonical work To Kill a Mockingbird, by Harper Lee, and the YAL

work Dear Martin, by Nic Stone.

These texts pair well for analysis as they both deal with issues of race, and both are

relevant today. To Kill a Mockingbird was voted America’s favorite novel as the 2018 “Great

American Read” (McClurg). Elected by popular vote, this award indicates that To Kill a

Mockingbird is still highly praised and people agree with its message. A New York Times

bestseller and an “essential reading” according to Booklist, Dear Martin has also gained
Dail 4

significant public attention due to its relevant discussion of current political events, including

police brutality and Affirmative Action.

Literature Review
A case for the integration of Young Adult Literature (YAL) into the secondary English classroom

is best made by first analyzing the development of the literary canon. Educators and policy

makers must recognize that YAL emerged in retaliation to the misrepresentation of minority and

adolescent voices. By understanding the problematic elements of the canon, the integration of

YAL into the secondary classroom emerges as the natural solution.

The Development of the Canon
Critics of the canon assess both how the canon was formed and its current validity.

Researchers Al-Shalabi et al. define the literary canon as a composed body of works that are

considered to embody the values of society, endorse universal themes, and embrace aesthetic

language. This is the definition of the literary canon today, but John Guillory explains that the

concept of a canon was first established by early Christians who were concerned with

distinguishing orthodox from heretical texts (233). The canon continued to develop, and scholars

gained control of its growth. As time passed, the canon accepted new authors including

minorities like Toni Morrison; however, when one analyzes the authors who appear in the literary

canon, a pattern emerges. Most authors appear to be white men, and this is understandable as

white men were historically afforded the time and education needed to compose literature and

find publication. This fact, along with the historic suppression of women and minority voices,

causes the ‘timeless works’ found in the canon to mainly represent the perspective of white adult

men (Goebel). The values and voices that appear in canonical literature often fail to represent

and connect with the entire populace. The canon’s inability to represent all human experiences is

exceptionally problematic as the contemporary definition claims that the canon maintains

universal truths that are ubiquitously relevant.

Dail 5

Critics of the canon recognize its issues and argue for representational and inclusive

literary works to be added to the canon (Al-Shalabi et al.). There have been strong movements

for more inclusion of women and minority authors since the 1960s; however, works of literature

are often considered to belong in the canon only if they maintain popularity for a significant

amount of time. Since many representational texts, including a large portion of YAL, are newer,

they have not been granted the opportunity to stand the test of time (Rybakova and Roccanti).

This is why scholar Jessica Munns argues that “the canon is dead” (26). Teachers cannot rely on

the canon as a sound library of educational literature—they must look elsewhere to find books

with which students can find representation.

Bridging the Gap Between the Canon and YAL
The literature within the canon is studied today because it has been determined to hold

significant literary merit in terms of its ability to stand the test of time through privilege of voice

and embodiment of fictitious universal themes. The issue is this set of criteria does not consider

the adolescent audience; the texts taught in the classroom must connect with the reader (Sulzer

and Thein). Many scholars offer a solution to bridge this representation and connection gap: we

must pair our study of canonical works with YAL works (Bright, Rybakova and Roccanti).

These scholars, along with others assert that looking for intertextual relationships between

canonical works and YAL helps students both connect with their reading and practice synthesis.

They can read YAL and move into the canonical works as they are ready.
In this argument, YAL acts as a stepping stone to reach the study of canonical literature.

Although it recognizes that there are intertextual relationships between YAL titles and canonical

literature in terms of topic and plot, it wants students to reach the study of full canonical works in

high school. There is significant history and culture attached to canonical literature, and

secondary English literature should prepare students to be able to study classic literature;

however, I wish to disagree with many scholars and argue that canonical works should only
Dail 6

complement the study of YAL in the classroom. Studying classics should not be the syllabus’s

end goal.
Young Adult Literature Value
Many scholars argue that YAL can be included in the classroom to teach theme and

language without it being a stepping stone to classic literature (Avoli-Miller, Beumer,

Greathouse). In fact, Johnathan Ostenson and Rachel Wadham assert that the Common Core

State Standards can be satisfied through the study of exclusively YAL. In addition to the literary

challenge that YAL offers, many YAL titles teach social consciousness and empathy surrounding

prevalent issues more than classic texts of similar subject matter (Sherr and Beise). I am inclined

to agree with these scholars—YAL fosters analytical readers while also engaging the student and

teaching them social consciousness.

In recent years, movements in support of YAL have begun to develop and grow. One

such movement, #DisruptTexts, supports a community of teachers that wishes to disrupt the

pedestal of the Secondary Literary Canon. The leaders of the movement explain that their

mission is to, “aid and develop teachers committed to anti-racist/anti-bias teaching pedagogy and

practices” (Ebarvia et al.). Each week they facilitate a Twitter chat that analyzes and critiques a

canonical work, allowing others to add to the discussion surrounding the problems and validity

of well-known texts such as The Crucible, Lord of the Flies, and this paper’s canonical focus, To

Kill A Mockingbird. One of #DisruptText’s founders emphasizes the importance of the

restructuring of what is taught in the high school English classroom by explaining that students

in middle school (grades 6-8) can explain their favorite genres and their habitual reading

patterns, but high school students rarely identify as independent or habitual readers (Torres). The

fact that students lose passion for reading while in school is alarming. It reveals that not only is

high school failing to cultivate a love for reading, it is also extinguishing the spark once alive in

young readers. Therefore, movements such as #DisruptTexts are of utmost importance.

Dail 7

I wish to add to the conversation that supports the teaching of primarily YAL by

comparing the YAL novel Dear Martin with the canonical work To Kill A Mockingbird in order

to demonstrate that Dear Martin provides a more engaging and pertinent narrative for the

adolescent audience. Both novels cultivate social consciousness surrounding the topic of race, as

both novels advocate for empathy and racial equality. I will holistically analyze the novels with

focus on plot, characters, and formal elements. Through comparison of construction, I will show

that Dear Martin communicates a more significant and pointed commentary about modern race

issues and should be taught in the secondary English classroom.

Evaluation of To Kill a Mockingbird
To Kill a Mockingbird, written by Harper Lee in 1960, tells the coming-of-age story of

Louise “Scout” Finch. Scout lives with her father, Atticus, and her brother Jem in Maycomb,

Alabama. Scout and Jem are infatuated with their recluse neighbor, Arthur “Boo” Radley, who

begins to leave gifts for the children. While this innocent plot unfolds, the racist residents of

Maycomb write the narrative of a prejudiced trial. Bob Ewell accuses Tom Robinson, a black

man, of raping his white daughter Mayella Ewell, and the town supports Bob’s accusations on

the basis of racial prejudice. Atticus, a lawyer, agrees to take Tom’s case and clearly proves

Tom’s innocence. Despite this, Tom is sentenced as guilty and shot while trying to run away

from prison.
Not only does Atticus compile a convincing argument for Tom’s innocence, he also

shows that it was Bob who hit his daughter. Angered by his embarrassment in court, Bob attacks

Scout and Jem in retaliation. Boo Radley comes to the children’s defense and stabs Bob, killing

him. To protect Boo from the public eye, the sheriff, with the support of Atticus, reports that Bob

fell on his own knife. As Scout observes and tells these events through the perspective of six-to-

nine-year-old eyes, she learns from life and her father that you cannot truly know someone until

you have experienced their life situation.

Dail 8

Analysis of Society
Harper Lee’s To Kill a Mockingbird, published in 1960 and set in the 1930s, offered a

progressive voice within the context of its time. Atticus’s message that you cannot truly know a

person until “you climb into [someone’s] skin and walk around in it” was (and still is) a

progressive sentiment emphasizing the importance of empathy for the underrepresented (36). It

frames the novel’s support for intentionally recognizing and understanding ‘the other’ by

following the lives of the mockingbirds of the text: Arthur ‘Boo’ Radley and Tom Robinson. By

following the lives of those who live in innocence and learn of the evil in the world, the question

is posed asking how one can maintain faith in humanity amid serious evil such as racism.
Social problems are explicated through the imagery of Maycomb; the town is described

as tired, and “in rainy weather the streets [turn] to red slop; the grass gr[ows] on the sidewalks,

the courthouse sag[s] in the square” (11). Through this negative description, Lee indicates that

the racist and traditionalist ways of the town are detrimental to future success. These oppressive

traditions are deteriorating, and only progressive thought can rejuvenate and perpetuate progress

within the dying town. Through the general denouncement of prejudice and praise for faith in

humanity and good, one can see why To Kill a Mockingbird lives fondly in the heart of the

United States population.

Lee clearly exposes the racism in Maycomb through the unfair trial and conviction of

Tom, and this has been historically praised. She identifies characters, such as Mrs. Henry

Lafayette Dubose and the women of the Amanuensis Club, that have both good and evil in them.

Although these characters express gross racist comments, they also show humanity and

determination to do good, such as when Mrs. Dubose fights her morphine addition throughout

the last months of her life. These ‘morally gray’ characters make the novel appear a sincere
Dail 9

account of the complicated nature of humans and the ability one has to be well-intending but not

socially conscious.

These elements make the novel read as a relevant and conscientious text—considering

the importance of empathy and the complications of humanity and politics. However, this

backdrop of complicated human nature masks the problematic development of primary

characters in the novel.

Analysis of Characters: The Mockingbirds of Society

Tom Robinson

During its time of publication, To Kill a Mockingbird was indeed progressive, but a

modern perspective reveals that the idealist approach to perceiving evil and good in humanity is

problematic when applied to the novel’s treatment of race. Although the novel appears to be

rounded and nuanced, the main plot point, Tom’s character and trial, is treated with a simplicity

that makes the handling of his character and race problematic. As the trial unfolds, there is no

obscurity or question that Tom is innocent and that Bob Ewell is the one who beat his daughter.

Tom is portrayed as the epitome of innocence and sympathy, caring even for the downtrodden

character of Mayella Ewell. His character fails to develop beyond the ideals he embodies;

instead, when the jury finds Tom guilty, despite his readily apparent innocence, he attempts to

run away from prison and is shot by the police seventeen times.

Tom never gets to have a true voice of his own, and he does not get to defend himself.

Atticus always attempts to do this for him—he stands guard and protects Tom from the lynching

mob and later acts as his voice in court. However, when Tom is moved to a different prison and

Atticus can no longer protect him, Tom attempts to escape and is fatally shot. A tragic figure, his

character arc flies as a mockingbird of the text—an empathetic character in need of protection.
Dail 10

Atticus even says it is a sin to kill a mockingbird, and the trope of the mockingbird continues

throughout the novel; “Mockingbirds don’t do one thing but make music for us to enjoy…but

sing their hearts out for us. That’s why it is a sin to kill a mockingbird” (98). Essentially, since

Tom is a mockingbird in the novel, Atticus is saying that it is a sin to kill him because he offers

innocence and purity to society. Although Atticus recognizes that Tom is good and hopes the

town can progress to see this too, he keeps Tom one dimensional and simple. He must be

protected, so he can sing.

Society expects Tom to sing the melody of a hardworking and supplemental member of

society. This is the song he tries to sing throughout his life by helping Mayella with chores and

keeping a low profile. Many readers notice this behavior and declare the trial and death of Tom a

tragedy due to his prior “good and innocent” behavior. However, this prior behavior only makes

his entire character more problematic. Tom’s melody is not beautiful or the definition of an

upstanding black man; it is the tune of oppression and marginalization. Society forces Tom into

the role of “quiet innocence;” his unfair trial embodies the public attention Tom tried to avoid by

silencing his own voice and opinion. Therefore, his life album consists of struggling to appease

society and still experiencing society turn against him—indicating his total lack of autonomy and

agency.
Atticus Finch
Another mockingbird, Arthur “Boo” Radley, is spared the courtroom that Tom faces

when Atticus intentionally misreports the cause of Bob Ewell’s death. For both mockingbirds,

Atticus does his best to protect them from the cruelty and judgment of society, but he only

succeeds in saving the white Boo Radley, the man who actually does kill someone. Atticus’s

support of the sheriff’s decision to report that Bob Ewell “fell on his knife” indicates that he

considers his judgment supreme (290). By supporting the story of Bob’s accidental death,

Atticus essentially decides to speak for Boo just as he speaks for Tom throughout the trial. The
Dail 11

compilation of these decisions earns the adoration of many readers. However, these very reasons

make his character fit the shallow stereotype of white savior—one who helps minorities in order

to assert their own superiority.

Although it may not seem that Atticus’s motivations are selfish, the way the novel

portrays him molds the stereotype. The novel follows his life closely but fails to show any

shortcomings or misjudgments; everything Atticus does is portrayed in a positive way.

Additionally, the amount of time the novel spends on Atticus’s life and thoughts compared to the

minority characters emphasizes his larger importance. Though Atticus may not think himself

always right and superior, it is how his character is portrayed to the reader. He is not a beacon of

truth; instead he is a flawed character that perpetuates the stigma that the white man is the natural

protector and leader.

Bob Ewell
In addition to the troublesome representations of the ‘morally upstanding’ characters,

Bob Ewell’s statically evil character is problematic. A completely outspoken racist and abusive

father, his actions bait the reader to despise his character. The modern reader can denote him a

radical, a character of the past. Consequently, his character can cause the modern reader to argue

that racism is no longer the issue it was in the 1900s—the court cases that appear today do not pit

the epitome of innocence and evil against one another. The manifestation of social problems and

rhetoric displayed in To Kill a Mockingbird are outdated even though institutional and

interpersonal racism are still prevalent today. Ultimately, this text fails to make connections

between the idealistic explorations of good and evil and the real-life complicated nature of life

and court trials.

Louise “Scout” Finch
In addition to the general love and praise gifted to this novel, teachers opt to have

students read To Kill a Mockingbird because it is told through the perspective of a child, Scout.
Dail 12

A coming-of-age story for the young protagonist, the novel captures the attention of young

readers as they follow Scout. They empathize with her character as she grows and reconciles her

childish ideals and spirit with the adult issues of social and racial inequality. Scout must face the

harsh realities of racism as she watches the trial of Tom Robinson and later experiences the

violence of Bob Ewell. Despite this, she still embraces her childhood and ends the novel with

Atticus reading her a story.

Although Scout’s adolescent narration enables students to connect with the novel, her

perspective as a white child prevents access into the minds of the minority characters. The

reader is unable to know the thoughts of the main black character, Tom, as he endures an unfair

trial and attempts to escape prison. Although Scout expresses genuine distress over the

mistreatment of Tom, it only adds to the oversimplification of his character through her naïve

perspective. Due to the absence of Tom’s voice, To Kill a Mockingbird cannot serve as an

empowering novel through which to study race.

Problems: Drawing Back the Curtain
By drawing back the curtain of relevancy that frames the plot and character development,

the empty tropes of the white savior, helpless minority, and evil villain are uncovered. Although

To Kill a Mockingbird could be analyzed as such in the classroom, students would be left with a

hunger for round characters that do represent the social experiences and discussions surrounding

race today.
Although the voice of a child protagonist entices the young reader, To Kill a Mockingbird

does not carry enough modern significance to be consistently taught in the secondary classroom.

A placeholder in the classroom for spreading a message for racial social consciousness and

equality, one can select a better title than To Kill a Mockingbird. It many conjure the attention of

some students, but it does not meet the diversity of all students. There are better options in terms

of character development and relevant discussion surrounding the topic of race.

Analysis of Dear Martin
Dail 13

Dear Martin, written by Nic Stone in 2017, follows the life of Justyce McAllister, a black

teenager who is academically at the top of his class at Braselton Prep. He is the captain of his

debate team and earns early acceptance into Yale University. Despite all his success, however,

Justyce continuously encounters racism—both interpersonal and systematic. He is arrested while

trying to assist his intoxicated girlfriend, placed at the expense of racially charged jokes, and shot

by an off-duty white policeman. Although Justyce lives through the shooting, his best friend

Manny Rivers dies from his injuries. Justyce watches as the public defends the character of

police officer, Garrett Tison, by defaming Justyce’s character.

Frustrated by all the racial injustice that he experiences throughout his senior year,

Justyce writes a journal to Martin Luther King. In his letters, he asks Martin (he writes on a first

name basis) what he would do to navigate current social issues—how he would practice

“intergroup and interpersonal living” today (51). Through these questions and expressed

frustrations, the reader—both those who have experienced the same struggles as Justyce and

those who can empathize with and learn from Justyce—is able to do what Atticus recommends,

walk in Justyce McAllister’s shoes. The reader is able to see instances of racism that would

appear on television but also instances that appear in classrooms and on couches. By reading

Dear Martin, the reader is able to assess the prevalence of racism in society today and ask what

they can do to perpetuate social change and advancement.

Analysis of Society
Nic Stone’s Dear Martin offers a fresh voice to the discussion of race that captivates

adolescent readers. From the very first scene where Justyce McAllister is violently arrested for

appearing to be carjacking the vehicle of his intoxicated girlfriend while trying to get her home

safely, prevalent social issues take a front seat. Raising discussion about police brutality,

conversational racism, and black identity, this text is relevant within today’s political and social

climate.
Dail 14

Police Brutality
As the plot progresses and life evolves for Justyce, police brutality remains a constant.

Although Justyce’s arrest is deemed a mistake, he still rubs his wrists and feels phantom

handcuffs frequently throughout the novel. Haunted by the arrest, Justyce acts as a voice of

justice for all those who have experienced psychological and social distress due to racial

profiling. A resilient voice, Justyce argues in a debate tournament that “racial disparities in the

US criminal justice system are largely due to racial profiling” (80). Through analysis of the

myth of the “superpredator” and drug use versus drug conviction numbers, Justyce articulates

research-based arguments that earn him victory. Although the novel does not delve into his

debate points deeply, it provides a space for students to conduct personal research to shape

informed opinions about the arguments made in this book. This debate also shows students that

they can act as a voice for social issues with which they have concern; their voices matter.
Police brutality is brought to the forefront of the novel when Justyce and Manny are shot

by an off-duty police officer, Garrett Tison. Tison shoots the two teenagers over a dispute about

loud rap music playing in Manny’s car. When Manny refuses to turn the music down, Tison fires

shots into the car, killing Manny and severely injuring Justyce. The entire situation follows

Justyce’s perspective, so the reader is able to undoubtedly know that despite any threat that

Garrett Tison felt, Manny and Justyce had no ill intent or weaponry in the vehicle. As the trial of

Garrett Tison approaches, there is a large portion of the public that supports Manny and Justyce

and opposes the negative portrayal of Justyce that the media attempts to spin (discussed later in

the Black Identity and Justyce McAllister sections). Similar to the “Hands Up Don’t Shoot”

movement, protesters ride around playing loud music in their cars at the time that the shooting

occurred each day. This type of public statement is both relevant and serves as an example of

how students can let their voices be heard.

Conversational Racism
Dail 15

Not only does racism appear at a systematic level, it also appears at a relevant

interpersonal level. Justyce observes how Manny interacts with his group of close white friends.

These friends, led by the voice of Jared Christensen, embrace their lifetime friend Manny and

say they honestly believe that racism is an issue of the past. Jared articulates this opinion by

twisting the words of Martin Luther King, “This is a color-blind society, my brethren…people

are judged by the content of their character instead of the color of their skin” (32). The plot

critiques Jared’s true belief in his statement, however, when he accuses Justyce of earning early

acceptance into Yale solely due to his race. Through comparison of almost identical test scores,

Jared’s inaccurate and racist assumption of Justyce’s scores and grades being lower indicates that

this is not a color-blind society.

In addition to discussions about Affirmative Action, conversational racism appears in

relaxed social situations. At a party, one of Manny’s white friends named Blake approaches

Manny and Justyce exclaiming, “There’s this fine-ass black girl here from Decatur Prep, and I

was thinking you guys could wingman it up for me… I think if she meets my niggas, I’ll have a

good chance of getting’ her upstairs” (90). Justyce gets into a physical altercation with Blake

over his use of the racial slur, and Blake defends his use of the slur by saying, “Nobody owns

words” (91). Blake is written in an unsympathetic light, clearly intoxicated and remarkably

disrespectful toward woman and the black community. However, his statement of “nobody owns

words” is probed further throughout the text. As Justyce writes to Martin Luther King, he

documents a conversation where he almost used the racial slur. He says, “What if, no matter

what I do, the only thing white people will ever see me as is a nig—an ‘n-word’? (So glad I

caught myself, Martin)” (49). Justyce’s commentary indicates that he tries to omit the slur from

his vocabulary—posing the question of if the word is empowering when exclusively used within

the black community or a perpetuator of stereotype when used by anyone.

Dail 16

Black Identity
In addition to interracial conflicts, black identity within the black community is also

deliberated by Justyce. He feels disjointed from his white classmates due to their latent racist

comments and judged by the black community members from his childhood as they accuse him

of intentionally staying connected to white people to achieve success. One of his old friends

says, “Don’t get it twisted, my dawgs. These white boys might be standing here next to y’all, but

y’all still ain’t nothin’ but niggas to them…Ain’t no amount of money nor intelligence can

change that shit” (44). As the media turns Justyce into a violent figure to defend Garrett Tison’s

character, Justyce begins to wonder if his old friend is right and seeks the acceptance that the

Black Jihad (a gang) offers. After explaining his entire situation, however, the leader of the gang

responds by pulling out a gun and asking Justyce if he is ready to fight back. Justyce realizes

this juxtaposes all that Martin Luther King would want and leaves—violence and segregation are

not the answer.

Although Justyce is sure that the Black Jihad is not the solution, he still is disconnected

from both the white and local black community. He writes to Martin near the end of the novel,

“I CAN’T not notice when someone is eyeing me like I’m less than, and at this point, my mind

automatically goes to race” (201). No perfect solution is offered because this is a situation that

minorities find themselves in across the United States. The question is not what Justyce should

do, but what the nation can do to end racism.

Analysis of Characters: The Round and Heard
Justyce McAllister
Within a novel that exposes and explores race issues, Justyce serves as a relevant and

developed protagonist. A coming-of-age story for Justyce, Dear Martin follows Justyce’s

personal writings to Martin Luther King as he asks how he can interact and succeed in a world

that is still filled with racial prejudice and oppression. The reader is able to follow Justyce’s trial
Dail 17

and error as he tries to live like Martin. He pursues integration by going along with Jared’s

insensitive ‘stereotypes statement’ Halloween concept and dresses like a ‘thug.’ Frustrated with

Manny’s white friends not understanding his experiences and overwhelmed with grief over

Manny’s murder, Justyce goes to the Black Jihad (a gang) in search of belonging. These actions

are not part of the solution—rather missteps in the process of figuring out how to navigate race

relations and oppression. It is missteps like these that make Justyce a realistic and relatable

protagonist—raising analytical questions instead of offering formative answers like Atticus.

Justyce also experiences racism on a systematic level, not only during his arrest and later

shooting, but also through the trial process. As news outlets loop together his connection to the

Black Jihad and Quan Banks, a black man who shot and killed Garrett Tison’s partner earlier that

year, a story is spun that Justyce is a violent individual with malicious intent. Although Justyce’s

involvement with Quan is completely innocent—they were childhood friends—the news uses it

to consider the possibility that he was planning to harm Garrett Tison. One of Justyce’s

professors explains, “These people have to justify Garrett’s actions. They need to believe you’re

a bad guy who got what he deserved in order for their world to keep spinning the way it has”

(151). Unlike Scout, Justyce experiences the prejudice and oppression exposed in the novel

personally. He is the voice of the oppressed but also of the inquisitive and agency-filled

protagonist.
Justyce refuses to lose youthful optimism for the future; he learns that instead of asking

what Martin would do, he should ask who Martin would be. Martin would be himself, so Justyce

must figure out who he is. Much like Scout ending her tale with a story, Justyce ends his by

concluding that his coming-of-age story is not complete. He has the right question—now he

must find the answer.

Manny Rivers
Dail 18

Manny Rivers develops as a round character prior to his death in Dear Martin. The child

of two wealthy parents, Manny grew up in economic privilege. This privilege connects him to

the culture of wealth that makes him feel accepted and supported by friends like Jared. However,

it becomes clear that social status is affected by race as he experiences conversational racist

comments from his friends and the snap-judgment-trigger-pull that takes his life. Prior to his

death, Manny asserts more vocal autonomy. When he realizes that Justyce is right and his

friends are prejudiced, he decides to quit basketball, a sport he hates but felt socially expected to

play as the school’s token ‘black player.’ While quitting, one of his friends ‘jokes’ that he cannot

leave, “until the Massah set[s] [him] free,” and Manny hits him in retaliation (109). Although

this violent response is not praised, it does indicate a change of awareness in Manny. Unlike

Tom Robinson, he refuses to turn his voice or music down—a symbol for all the strong and

innocent lives that have been taken due to racial prejudice.

Shemar Carson and Tavarrius Jenkins
Although the other cases of young black men being shot by police in Dear Martin,

Shemar Carson and Tavarrius Jenkins, are also fictional characters, the stories of their deaths

directly relate to the deaths of other young black men in American society. Shemar is a young

black man who was unarmed and shot by a police officer in Nevada, and Tavarrius is a sixteen-

year-old black teenager who was shot by police while he was helping an older white woman in a

Lexus. Both died from their injuries. These characters are only mentioned in the context of their

shooting cases, making their characters relatable to well-known cases of police brutality in

America, including the shootings of the unarmed Stephon Clark and Michael Brown. Not much

else is published about these young men beyond what is relevant to their cases. Therefore, the

impersonal descriptions of Shemar and Tavarrius highlight the loss of detailed lives and the

importance of putting an end to police brutality.

Garrett Tison
Dail 19

The fact that Garrett Tison witnessed the shooting of his partner by the hands of a black

man brings some humanity to his character. Justyce considers the possible post-traumatic stress;

“It’s no excuse, of course. But Jus[tyce] knows the effects of trauma are real” (142). Although

Garrett’s actions are undeniably heinous and racially charged, they are contextualized in a

believable narrative. Unlike Bob Ewell, Garrett’s psychological trauma can receive some

understanding. He is not a flat character; instead, he is a realistic example of a police officer

who is both racist and has not received proper mental health care after a traumatic event.
However, the trial of Garrett Tison still shares some disturbing parallels with the trial of

Tom Robinson in To Kill a Mockingbird. Although Garrett is the one technically on trial, the

scene reads as if Manny and Justyce are the accused—as if Garrett’s innocence depends on

defaming the young men’s characters. While Justyce’s connection to Quan and other members

of the Black Jihad maintain no correlation to this case, they are the trial’s focus. Despite

attempts made to brand Justyce a violent and troubled teenager, there is no evidence to indicate

that Garrett shot Manny and Justyce due to any other reason than a snap judgment based on race.

Regardless of this clarity, the jury is “unable to reach a consensus regarding the felony murder

charge,” and a mistrial is declared (193). After reading the blatantly unfair trial in To Kill a

Mockingbird, one may claim that unfair trials no longer occur on the basis of race, but the trial of

Garrett Tison shows that corruption in the court system is still a prevalent and serious issue

today.
Formal Elements and Author
In addition to the relevant plot and characters of the novel, the structure is enticing as it is

a combination of third-person narration, letters, and script-fashioned dialogue. Within the letters

to Martin Luther King, the reader is able to fully know Justyce’s thoughts, but the third-person

narration and script-fashioned dialogue sections enable the reader to learn more about various

characters without a biased or unreliable narrator. This exposes students to a variety of responses
Dail 20

and opinions about race issues and provides examples of constructive dialogue about difficult

issues, such as when one of Justyce’s teachers asks, “Do you guys feel we’ve achieved full

‘equality’ with regard to race?” (23). During such conversations, the reader is able to hear a

variety of perspectives: from characters who believe racism is no longer prevalent to characters

who think it affects minorities daily. Additionally, the letters written to Martin Luther King

contextualize the responses to modern race issues within the larger narrative of the fight for

equality and offers ample opportunity to discuss the larger subject of racism throughout time,

including the era portrayed in To Kill a Mockingbird.

Dear Martin acts as a representational text of minority adolescents through Justyce who

navigates a coming-of-age story while traversing systematic and interpersonal racism.

Additionally, the author Nic Stone is a black woman who is equipped to speak to and represent

the social issues depicted in the novel. Like Harper Lee, she grew up in Alabama. Both authors

write what they know—Lee writes as an observer of racism and Stone writes as one who has

experienced racism. Both are honest to what they know, but Stone’s account is both more

relevant and contemporary in terms of modern race issues. Also Stone, as an author, acts as a

representational role model for female students of color, showing that they can write what they

know and be heard.

Conclusions
Dear Martin does not offer all of the answers; instead, it opens a dialogue about race

issues for the classroom to research and discuss. To Kill a Mockingbird fails to instigate the

same level of thought and discussion as it portrays race issues in an outdated way and develops

flat characters that perpetuate stereotypes. In order to ethically study To Kill a Mockingbird,

significant time must be spent analyzing its problematic elements instead of focusing on modern

and relevant issues. To Kill a Mockingbird can cause people to think that race issues are a matter

of the past, but Dear Martin shows that race issues and inequality are current social problems.
Dail 21

Additionally, YAL instigates social and intellectual growth for students by representing

their experiences and causing them to critically consider their environment. A relatively new

category of literature, more classroom quality YAL needs to be produced to revive a love for

learning in the high school English classroom. While more high-level vocabulary YAL must be

published, there are some quality titles worthy of the classroom bookshelf that pair well

with/could replace canonical works.

Suggested Other Pairings
Unwind by Neal Shusterman raises issues surrounding power and governmental control.

With an unsettling plot that allows the dismemberment of teenagers, the government controls

who gets to reach adulthood. This book would raise excellent discussion surrounding

governmental power and personal autonomy. Due to its critique of government involvement and

control, 1984 would pair nicely with this title and bolster discussion surrounding themes of

power and corruption.

Every Exquisite Thing by Matthew Quick explores the theme of aestheticism and the

repercussions of art for art’s sake. Additionally, Quick’s novel presents eloquent prose and

poetry sure to entice the secondary classroom. Every Exquisite Thing pairs well with Oscar

Wilde’s The Picture of Dorian Gray based on theme and one direct reference to Wilde’s work.

Eleanor and Park by Rainbow Rowell is a love story that delves into the themes of love

and wealth as the protagonists are originally separated based upon socioeconomic status.

Throughout the novel, they realize love can supersede status just as the protagonists do in Pride

and Prejudice. Since Jane Austen’s work contributed to the modern novel, it is an excellent

complement to Eleanor and Park.

Possible Objections
Educators may struggle to gain approval to teach YAL titles like Dear Martin in the

classroom because they are both unconventional in vocabulary and are often politically oriented.
Dail 22

However, all literature has some form of political bias; older literature simply appears neutral

because it covers issues that no longer seem controversial. Teachers must argue that the

classroom needs relevant social discussion, including discussion of a political nature. YAL both

instigates this discussion and often provides a model for civil and respectful political dialogue.

Although the profane language used in YAL may make it seem inappropriate for the classroom,

one must remember that authors, such as Shakespeare, used phrases that were profane during

their lifetimes. Quality literature represents the current world, and this principle applies to YAL.

By exploring current social issues and speech patterns, YAL represents the experiences of

students and prompts them to consider and critique the world around them. A vessel of current

issues and voices, YAL fills the representational void on the secondary English classroom

bookshelf.
Works Cited

Al-Shalabi N., Salameh F.A., Thebyan Q., & Umari K. “The Ameerican Literary Canon:
Impervious to Change?” International Forum of Teaching & Studies, vol. 7, no. 2, May
2011, pp. 50-55

Avoli-Miller, Kathy, “Young Adult Literature in the 21st Century Classroom.” Library Media
Connection, vol. 32, no. 3, Nov/Dec 2013, pp. 16-18.

Beumer Johnson, Angela. “Multiple Selves and Multiple Sites of Influence: Perceptions of
Young Adult Literature in the Classroom.” Theory into Practice, vol. 50, no. 3, June
2011, pp. 215-222.

Bright, Amy. “Writing Homer, Reading Riordan: Intertextual Study in Contemporary Adolescent
Literature.” Journal of Children’s Literature, vol. 37, no. 1, 01 Mar. 2011, pp. 38-47.

Ebarvia, Tracia, et al. “Disrupt Texts.” Disrupt Texts, disrupttexts.org/.

Goebel, Bruce. “Expanding the Literary Canon and Reading the Rhetoric of “Race”.” The
English Journal, vol. 84, no. 3, 1995, pp. 42–48.

Greathouse, Paula, et al. “Supporting Students’ Right to Read in the Secondary Classroom:
Authors of Young Adult Literature Share Advice for Pre-Service Teachers.” SRATE
Journal, vol. 26, no. 2, 01 June 2017, pp. 17-24.
Dail 23

Guillory, John. “Canon.” Critical Terms for Literary Study. 2nd ed., edited by Lentricchia, Frank
and Thomas McLaughlin, The University of Chicago Press, 1995, pp. 233-249.

Lee, Harper. To Kill a Mockingbird. J. B. Lippincott Company, 1960.

McClurg, Jocelyn. “’To Kill a Mockingbird’ is America’s favorite novel, reports PBS ‘The Great
American Read.’” USA Today. Oct. 2018.

Munns, Jessica. A cultural studies reader: History, theory, practice. New York: Addison-Wesley
Longman. 1996.

Ostenson, Jonathan and Rachel, Wadham. “Young Adult Literature and the Common Core: A
Surprisingly Good Fit.” American Secondary Education, vol. 41, no. 1, Fall 2012, pp. 4-
13.

Rybakova, Katie and Rikki Roccanti. “Connecting the Canon to Current Young Adult
Literature.” American Secondary Education, vol. 44, no. 2, 01 Mar. 2016, pp. 31-45.

Sherr, Michael and Brian Beise. “Using Young Adult Literature to Enhance Empathy Skills:
Preliminary Findings in BSW Education.” Journal of Baccalaureate Social Work, vol.
20, no. 1, Jan. 2015, pp. 101-110.
Stone, Nic. Dear Martin. Crown Books for Young Readers, 2017.

Sulzer, Mark A. and Amanda Haertling Thein. “Reconsidering the Hypothetical Adolescent in
Evaluating and Teaching Young Adult Literature.” Journal of Adolescent & Adult
Literacy, vol. 60, no. 2, 01 Sept. 2016, pp. 163-171.

Torres, Julia. “A Multicultural YA Renaissance: Texts and Strategies to Engage and Motivate
Every Reader.” #TheEdCollabGathering, session 4, workshop 12. Sept. 2018.