In Mike Cadden\u2019s article, \u201cThe Irony of Narration in the Young Adult Novel\u201d, <\/i>he examines the common trend of first-person narration throughout young adult novels. He picks up on the preferred technique for this genre of literature and how these types of novels are so popular to many. However, the irony of the use of \u201cauthenticity\u201d is interesting to notice as a trend in YAL. Margret A.Edwards pinpoints the nature of this irony, explaining that the reader (usually an immature young adult) will hear \u201can authentic voice that continues to illuminate their experiences and emotions, giving insight into their lives\u201d(Barber 123). But its not always an accurate depiction of the situation. The \u201cpreferred technique\u201d replicated in young adult literature is quite ironic where the main character is speaking through the reader. One of Cadden\u2019s main points driving the article was how \u201can authentic adolescent’s voice\u201d presented in the form of first-person narration \u201care inherently ironic because the so-called adolescent voice is never- and can never be- truly authentic.\u201d[2] This gives the reader a false grasp of the world and the problems specifically brought up in the novel. This is called dramatic irony in which there is a discrepancy of the character\u2019s limited understanding of the situation in a particular moment in the plot, and at the same time the reader is trying to see what is actually going on. We discussed in class the various ways the a novel is interpreted depending on what perspective the reader is viewing it from. In TFIOS <\/i>we are given an insight into the perspective of Hazel Grace through first- person narration. The point of view clearly illustrates Hazel\u2019s inner struggles and thoughts, leaving out a gap in narration where we don\u2019t get to see the perspective of Hazel\u2019s parents, friends, or even Gus. In a single-voiced text, such as TFIOS, <\/i>there is always a clear and dominant voice communicating to the reader. We tend to believe what this character is saying and try to form an opinion off of that. There is no right or wrong perception, although the novel does not explore any other positions. Depending on who is reading the YA novel they tend to relate to the narrator or narration differently, unbeknownst to the author.<\/p>\n
<\/p>\n
Work Cited:<\/p>\n
1.Barber, Peggy, and Gerald G. Hodges, eds. “(Margaret A.) Edwards Award, 2000.” American Library Association Handbook of Organization 1999-2000. Chicago: American Library Association, 1999. 123<\/b><\/p>\n
2. Cadden, Mike.\u201d The Irony of Narration in the Young Adult Novel.\u201dVolume 25, number 3(Fall 2000).Project Muse. Web. 22 Sept. 2014. (3)<\/b><\/p>\n
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