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M yths swirl about young adult (YA) literature, from Huckleberry Finn to Harry Potter: It’s literature for teenagers; it’s literature about teenagers; it’s stylistic and simplified literature; it’s overly didactic and, of course, shorter than a real novel. It is a rite of passage. But it is much more. It is about life, its histories and potentialities, transformations and choices; it is about conflicts between the claim of the individual and the claims of culture (Freud); it is about life’s fantastic flux of being. It is about new beginnings and other directions; of young heroes who wind up threads and carry wisdom, of the child-one who sees, clearly, that the emperor has no clothes. It is not only about rites of passage, but is also a rite of its own, an archetypal icon-bearer of the monomyths that recreate us, as an examination of Huckleberry Finn, The Chocolate War and Shabanu: Daughter of the Wind, three very different novels spread out over time, illustrate. Monomyths, or what Kerenyi named the great mythologems in his essay, “Prolegomena” (2-3), are the immortal plays of primordial history that act like themes of music in the collective consciousness of women and men. They are the “dramas of Providence” (Burke); we know them, but we are not sure of how we know them. They reside in the heritage of imagination that is ours as humans and they carry meanings for us that arrive in our conscious imagination in holistic thematic apprehensions. They are the bridge between earned knowledge and contemplative wisdom. These great myths, the mythologems, recreate us because they connect us to the wealth and beauty of the past and provide the lens through which we may contemplate the future from the conscious present. One of the most common and significant archetypes within these mythologems is the child archetype (Jung, 70). It is this archetype that young adult literature preserves in the “world history of literature for women and men of all ages. Young protagonists are not young because their intended readership is young. They are young protagonists because it is necessary. The choice of a young protagonist in a “I studied a minute, sort of holding my breath, and then says to myself: ‘All right, then, I’ll go to hell’ and tore it up” —The Adventures of Huckleberry Finn, Mark Twain, 1339.

Young Adult Literature: Rite of Passage or Rite of Its Own