By Megan L. Musgrave
This ebook is a research of the evolving relationships among literature, our on-line world, and teenagers within the twenty-first century. Megan L. Musgrave explores the ways in which younger grownup fiction is changing into a platform for a public dialog in regards to the nice merits and poor hazards of our expanding dependence upon expertise in private and non-private lifestyles. Drawing from theories of electronic citizenship and posthuman concept, Digital Citizenship in Twenty-First Century younger grownup Literature considers how the imaginary kinds of activism depicted in literature can urged children to form their identities and offerings as voters in a electronic culture
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Extra info for Digital Citizenship in Twenty-First-Century Young Adult Literature: Imaginary Activism
An important question that pervades this chapter is why the language of overcoming still persists in YA illness and disability narratives, and what it looks like when some authors attempt to write new kinds of narratives that dismiss, or sometimes outright criticize, the language of overcoming as an insult to ill and disabled individuals. The intervention of technology, and the consideration of the ill or disabled body as a cyborg body, is shifting and complicating the public construction of both adolescence and disability in the posthuman era.
The doctor’s lines read like a pamphlet, and don’t provide Chess with any of the answers she seeks. Instead, she ponders the problem of living with a chronic condition, of never getting better: “There is no better here. / This is me. / With a horrible disease CYBORG BODIES IN ILLNESS AND DISABILITY NARRATIVES 13 / that never goes away. / Can you protect me / from that? ” (2014: 159). Though the story ends with Chess understanding her condition better, she overtly rejects the hopeful language of the overcoming narrative and her questions about the larger problem of feeling unprotected from “anything” remain unanswered.
A gimp” (2011: 15). Her anger is multifaceted; she believes she’ll never run again, she hates her “legless” appearance, and like Hazel and Chess, Jessica adapts to living with near-constant pain—phantom pain, in this case, that serves as a constant reminder of the leg she lost. Jessica’s pains also remind her of how out of control she is of her own experience: “They’re unpredictable. And always different. Sometimes the missing part of my leg burns. Sometimes it stabs. Sometimes it feels twisted.