Challenges readers to work harder than they have been working for young adult literature in general and ALAN in particular. Suggests ways to promote young adult literature. (SR)

Discusses the ways literature instruction might be used to foster the idea of peace in today's troubled and violent social atmosphere. Argues that selected literary texts help young people envision the possibilities of peace. Provides titles and outlines of several literary works that would be useful for such purposes. (HB)

Examines the novel "Lyddie" by Katherine Paterson. Describes the titular character's travels from farm girl to factory worker and, finally, to college student. Summarizes the novel's plot. Characterizes the story as a spiritual quest resulting in self-reliance. (HB)

Describes censorship cases that have affected the author while he served on intellectual freedom committees of the International Reading Association and/or the National Council of Teachers of English. Recommends four books as valuable resources for protecting the freedom of teachers and students to have access to materials, and the freedom of all…

Calls attention to an important instructional resource that high school English and history teachers can use to engage their students in critical thinking about the Vietnam War. Gives some ideas for helping teenagers to make connections between the young adult novel "Chinese Handcuffs" and the Vietnam War. Suggests the integration of "Chinese…

Describes how a high school English teacher used the novel "Cold Sassy Tree" in an elective course entitled Thanatology: A Literary Approach. Notes that the novel clearly addresses virtually every aspect of death, dying, grieving, and loss through an artful array of three-dimensional characters. (RS)

Examines criticism of and resistance to Robert Cormier's young adult novel "The Chocolate War." Argues that the book should be taught as tragedy and that teachers should pay their high school students the compliment of assuming their humanity and thus their need and ability to grapple with true tragedy. (SR)

Describes the author's experiences (starting in eighth grade) leading up to his teaching career. Discusses his reasons for continuing to graduate school. Notes that it was James Moffett--along with personal experience as a teenager and young teacher--who taught him to define English as an interdisciplinary subject. (SG)

Considers whether the tales of Robin Hood should be presented as fact or fiction. Discusses the appropriateness of the tales for use in literature programs. Presents arguments for Robin Hood as fact and arguments for Robin Hood as fiction. Considers different versions of the tale. (SG)

Discusses the kind of support and practical actions that principals must provide to teachers under fire from community challenges. Lists and discusses 10 specific steps that can be taken by principals that support and defend their teachers when criticized or challenged. (HB)

Gives a report on the activities of the ALAN workshop at the 1991 convention of the National Council of Teachers of English. Briefly discusses the activities of 14 young adult authors at the conference who shared the backgrounds for their novels. (HB)

Discusses issues related to the use of gay and lesbian literature in secondary English classes. Describes how one English teacher uses A. M. Homes's novel "Jack" to help students understand the problems faced by homosexuals in today's society. (HB)

Discusses Susan Cooper's series of five books for young adults based on the King Arthur legends. Notes that a reading of modern tellings of that story can lead students to both delight and interest in literary research. (SR)

Describes young adult novels that may prove to be classics of the genre. Discusses "The "Chocolate War" by Robert Cormier, "The Outsiders" by S. E. Hinton, "The Witch of Blackbird Pond" by Elizabeth George Speare, and "On Fortune's Wheel" by Cynthia Voight. (HB)

Demonstrates that a careful reading of the book for young adults, "Holes" by Louis Sachar, reveals how this contemporary story is grounded in folklore, and that it is this debt to folk literature that allows readers to accept an improbable plot. Shows how the story weaves together elements from traditional folk literature and stretches them across…