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Explore the world of contemporary realism problem novels, depicting ordinary people facing issues like drugs, divorce, and more authentically. Dive into vicarious experiences and profound themes through the lens of the characters. Uncover the history of problem novels from 1960-1970, contrasting good and poor examples, and understanding the difference between romance quests and adventurous quests. Witness the ups and downs of believable plots, rich characterization, and insightful themes, while avoiding pitfalls like predictability and sensationalism. Discover the balance of realism and artistry in depicting life's trials and triumphs.
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Experientially True: • An author’s honest attempt to depict people in ordinary situations without sentimentality or a glossing over of anything.
What kinds of problems? • Anything: drugs, divorce, abortion, educational disabilities, parental abuse....
Allows readers to: • experience situations vicariously or • to explore a situation that they are in through the eyes of others.
1960-1970 • Differed from earlier works dealing with adolescents. • Poorer families. • Harsher settings. • Colloquial Language. • Attitude: kids got to see good and bad • Sexual content • Pessimism • Dysfunctional families
1967 • The Outsiders, • the House of Tomorrow, • Mr. and Mrs. Bo Jo Jones, • Sounder, • Too Bad About the Haines girl.
The Good Problem Novel • Believable plot • Rich characterization • Setting enhances the story • Worthwhile theme (something to think about) • Style is smooth • Is subtle • Gives insight into dealing with problem highlighted
Poor Problem Novel • Predictable plot • Setting is extraneous • Stereotypes • Didactic - Preachy • Trendy • Dialogue is forced & unnatural Facts don’t match with what we know of the real world • Unlikely coincidences move the plot • Sensationalistic
Tragedies • Noble character – stays noble even in the face of the “tragedy” • An overwhelming “problem” • A struggle with the problem and some “outcome” (usually a good one in the adolescent tragedy).
The Romance • “In the Roman manner” – Romance languages –Stories traditionally were adventure and love stories
The Romantic Quest • Adventure and Accomplishment • Entering the adult world • Hero’s worth must be achieved • Worth challenged • Challenge overcome • Loses some part of self (body, soul, childhood, etc)
Love “Quest” • The “problem” is a “pairing” • Protagonist doesn’t risk or lose as much as in the adventure quest • Characterization is VERY important in the love quest – we must “know” them • “other” issues are involved also, but love is the “adventure”