Laurie Halse Anderson has written for all ages, but her most popular books are those written for young adults. These books include Speak, Catalyst, Prom, and Wintergirls. A common trait found in all of these books is her spectacular use of characterization. Some reviewers have criticized Catalyst and Fever 1793 for weaknesses in characterization and plotting but all of Laurie Halse Anderson's books remain highly popular with young readers, who identify with Anderson's honest portrayal of adolescence. Susan Butterworth said, “The first-person narrative voice, keen observation, and details of time and place distinguish Anderson's young adult novels” (Gale). Laurie Halse Anderson’s amazing ability to write in a very realistic first person allows readers to easily relate to the main character. There are several reasons as to why she writes like this and what makes it successful. These reasons include Anderson’s life, her weaving of comedy with tragedy, and the extreme differences between each book. Each of these reasons for this ability is wonderful because they are what make her books more likeable.
One reason as to why Anderson’s ability exists is her life. Laurie Halse Anderson was born October 23, 1961 in Potsdam, NY to a Methodist minister and a manager. While speaking with Joan Kaywell about weaving comedy with tragedy, she said, “I come from a fairly messed-up family with a dark and twisted sense of humor. As a kid, we went through some ugly things, but my parents and other relatives were always quick with a witty observation or wry remark” (78). She has been an avid reader and writer from a very young age and received a degree in languages and linguistics from Georgetown University in 1984. Laurie worked as a freelance repor...
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Speak, by Laurie Halse Anderson, is a story written in the first person about a young girl named Melinda Sordino. The title of the book, Speak, is ironically based on the fact that Melinda chooses not to speak. The book is written in the form of a monologue in the mind of Melinda, a teenage introvert. This story depicts the story of a very miserable freshman year of high school. Although there are several people in her high school, Melinda secludes herself from them all. There are several people in her school that used to be her friend in middle school, but not anymore. Not after what she did over the summer. What she did was call the cops on an end of summer party on of her friends was throwing. Although all her classmates think there was no reason to call, only Melinda knows the real reason. Even if they cared to know the real reason, there is no way she could tell them. A personal rape story is not something that flows freely off the tongue. Throughout the story Melinda describes the pain she is going through every day as a result of her rape. The rape of a teenage girl often leads to depression. Melinda is convinced that nobody understands her, nor would they even if they knew what happened that summer. Once a happy girl, Melinda is now depressed and withdrawn from the world. She hardly ever speaks, nor does she do well in school. She bites her lips and her nails until they bleed. Her parents seem to think she is just going through a faze, but little do they know, their daughter has undergone a life changing trauma that will affect her life forever.
In both the film and novel, "Speak" by Lauren Halsen Anderson uses literary devices to demonstrate the experience the protagonist, Melinda Sordino faced as a teenage rape victim, as well as the steps necessary to cope and move on with her life. Both film and book share a great similarity in the conflict that goes on, as well as the flash backs indicated throughout this piece of work. Also, the symbolism shaped by the protagonist makes it more clear to understand the tramautic event. Moreover, the novel and film appears to be both familiar in many ways due to these elements followed by examples.
At the age of ten, most children are dependent on their parents for everything in their lives, needing a great deal of attention and care. However, Ellen, the main character and protagonist of the novel Ellen Foster, exemplifies a substantial amount of independence and mature, rational thought as a ten-year-old girl. The recent death of her mother sends her on a quest for the ideal family, or anywhere her father, who had shown apathy to both she and her fragile mother, was not. Kaye Gibbons’ use of simple diction, unmarked dialogue, and a unique story structure in her first novel, Ellen Foster, allows the reader to explore the emotions and thoughts of this heroic, ten-year-old girl modeled after Gibbons’ own experiences as a young girl. Kaye Gibbons’ experiences as a child are the foundations for this.
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In the graphic novel Fun Home, by Allison Bechdel, sexual self-discovery plays a critical role in the development of the main character, Allison Bechdel herself; furthermore, Bechdel depicts the plethora of factors that are pivotal in the shaping of who she is before, during and after her sexual self-development. Bechdel’s anguish and pain begins with all of her accounts that she encountered at home, with her respective family member – most importantly her father – at school, and the community she grew up within. Bechdel’s arduous process of her queer sexual self-development is throughout the novel as complex as her subjectivity itself. Main points highlight the difficulties behind which are all mostly focused on the dynamics between her and her father. Throughout the novel, she spotlights many accounts where she felt lost and ashamed of her coming out and having the proper courage to express this to her parents. Many events and factors contributed to this development that many seem to fear.
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Center stage in Kaye Gibbons’ inspiring bildungsroman, Ellen Foster, is the spunky heroine Ellen Foster. At the start of the novel, Ellen is a fiery nine-year old girl. Her whole life, especially the three years depicted in Ellen Foster, Ellen is exposed to death, neglect, hunger and emotional and physical abuse. Despite the atrocities surrounding her, Ellen asks for nothing more than to find a “new mama” to love her. She avoids facing the harsh reality of strangers and her own family’s cruelty towards her by using different forms of escapism. Thrice Ellen is exposed to death (Gibbons 27). Each time, Ellen has a conversation with a magician to cope with the trauma (Gibbons 22-145). Many times Ellen’s actions and words cause it to be difficult to tell that she is still a child. However, in order to distract herself, Ellen will play meaningful games (Gibbons 26). These games become a fulcrum for Ellen’s inner child to express itself. Frequently, Ellen will lapse into a daydream (Gibbons 67). Usually, these daydreams are meant to protect herself from the harsh reality around her. Ellen Foster’s unique use of escapism resounds as the theme of Kaye Gibbon’s Ellen Foster.
Librarians, parents, and teachers have all recommended the Little House books as wholesome fare for young readers. Many readers still admire the virtues exemplified in the books. Although the social environment is different than today’s social enviroment, Laura is easy to identify with, bridging the time gap (“Little House…” 802).The consistent point of view, strong sense of security, and delicate balance of the books brings praise from all of Wilder’s fans. Readers love that Wilder is able to give a dramatic truth to a book with the restraint of harsh language (Zochert 223). “This is the truth of the Little House books: the real things” (Zochert 224).
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Lindberg, Laurie. "Wordsmith and Woman: Morag Gunn's Triumph Through Language." New Perspectives on Margaret Laurence: Poetic Narrative, Multiculturalism, and Feminism. Ed. Greta M. K. McCormick Coger. Westport, CT: Greenwood, 1996. 187-201.