Seminar paper from the year 2011 in the subject Didactics for the subject English - Literature, Works, grade: 1,0, University of Frankfurt (Main) (Amerikanistik), course: 20th Century Adoles/Scenes, language: English, abstract: The term “adolescence” describes the phase of life between late childhood and adulthood. It contains not only the physical maturation but particularly the psychological and mental development from a child to an autonomous, responsible adult. Also literature has ever and anon created adolescent protagonists who have to deal with typical problems of coming of age. A prime example for such a novel of initiation is “The Catcher in the Rye”. This novel nearly fulfils all aspects a novel of initiation has to deal with. Although “The Catcher in the Rye” was published sixty years ago, it still finds general approval to people all over the world. Another very successful novel of initiation is DBC Pierre‟s “Vernon God Little” which was written in 2003 and won the Man Booker Prize in the same year. The Daily Mail described the 15-year old protagonist Vernon Gregory Little as “one of the most engaging narrators since Catcher in the Rye ́s Holden Caulfield”1 and Sam Sifton from the New York Times says that Vernon Gregory Little is a “Holden Caulfield on Ritalin”2. There is no doubt that these two novels have considerable similarities: In both novels, the main character is a male adolescent who tells his story as a first person narrator. Both stories have their sets in the United States and both deal with issues concerning adolescence. I want to research which further similarities these two books have, in particular concerning adolescence. Therefore I am going to take a deeper look into typical issues these two adolescents have to deal with. First of all, I am going to give a short overview about the plot to the reader so the reader understands further issues of my work. Then, I will examine typical signs for adolescence like external and internal conflicts and language use of the protagonists of “Vernon God Little” and “The Catcher in the Rye” as well as the historical context of these two books. I am going to examine all these aspects in order to find out how the two novels explore the problems associated with adolescence and the narrators‟ messages regarding society.

“If Huckleberry Finn were set on the Mexican-American border and written by the creators of South Park, it might read something like this.” —San Francisco Chronicle Hailed by critics and lauded by readers for its riotously funny and scathing portrayal of America in an age of trial by media, materialism, and violence, Vernon God Little was an international sensation when it was first published in 2003 and awarded the prestigious Man Booker Prize. The memorable portrait of America is seen through the eyes of a wry, young protagonist. Fifteen-year-old Vernon narrates the story with a cynical twang and a four-letter barb for each of his townsfolk, a medley of characters. With a plot involving a school shooting and death-row reality TV shows, Pierre’s effortless prose and dialogue combine to form a novel of postmodern gamesmanship. “A dangerous, smart, ridiculous, and very funny first novel . . . Pierre renders adolescence brilliantly, capturing with seeming effortlessness the bright, contradictory hormone rush of teenage life.” —Sam Sifton, The New York Times

By the New York Times bestselling author of The Bone Clocks and Cloud Atlas | Longlisted for the Man Booker Prize Selected by Time as One of the Ten Best Books of the Year | A New York Times Notable Book | Named One of the Best Books of the Year by The Washington Post Book World, The Christian Science Monitor, Rocky Mountain News, and Kirkus Reviews | A Los Angeles Times Book Prize Finalist | Winner of the ALA Alex Award | Finalist for the Costa Novel Award From award-winning writer David Mitchell comes a sinewy, meditative novel of boyhood on the cusp of adulthood and the old on the cusp of the new. Black Swan Green tracks a single year in what is, for thirteen-year-old Jason Taylor, the sleepiest village in muddiest Worcestershire in a dying Cold War England, 1982. But the thirteen chapters, each a short story in its own right, create an exquisitely observed world that is anything but sleepy. A world of Kissingeresque realpolitik enacted in boys’ games on a frozen lake; of “nightcreeping” through the summer backyards of strangers; of the tabloid-fueled thrills of the Falklands War and its human toll; of the cruel, luscious Dawn Madden and her power-hungry boyfriend, Ross Wilcox; of a certain Madame Eva van Outryve de Crommelynck, an elderly bohemian emigré who is both more and less than she appears; of Jason’s search to replace his dead grandfather’s irreplaceable smashed watch before the crime is discovered; of first cigarettes, first kisses, first Duran Duran LPs, and first deaths; of Margaret Thatcher’s recession; of Gypsies camping in the woods and the hysteria they inspire; and, even closer to home, of a slow-motion divorce in four seasons. Pointed, funny, profound, left-field, elegiac, and painted with the stuff of life, Black Swan Green is David Mitchell’s subtlest and most effective achievement to date. Praise for Black Swan Green “[David Mitchell has created] one of the most endearing, smart, and funny young narrators ever to rise up from the pages of a novel. . . . The always fresh and brilliant writing will carry readers back to their own childhoods. . . . This enchanting novel makes us remember exactly what it was like.”—The Boston Globe “[David Mitchell is a] prodigiously daring and imaginative young writer. . . . As in the works of Thomas Pynchon and Herman Melville, one feels the roof of the narrative lifted off and oneself in thrall.”—Time

Presents an alphabetical reference guide detailing the lives and works of authors associated with the English-language fiction of the twentieth and twenty-first centuries.

Studienarbeit aus dem Jahr 2004 im Fachbereich Anglistik - Literatur, Note: 2,0, Universität Potsdam, Sprache: Deutsch, Abstract: Vernon God Little” was written in 2003 by D.B.C. Pierre. It won The Man Booker Prize in in the same year. Since the novel about the teenager Vernon Little has its setting in the United States, in Texas, to be more precise in a small town by the name of Martirio, one might assume it was written by an American author. Additionally, Finlay was already an internationally published cartoonist and designer before he started writing his novel. “Vernon God Little” is a contemporary satire on American society in its first decade of the new millenium. Furthermore, it can be categorized as a novel of initiation.Its protagonist Vernon Little finds himself in the blurry state of a teenager- not yet a real grown up man, neither a boy, only just starting to be confronted with life ́s realities. Because of its recent date of publication there is no secondary literature on “Vernon God Little” to be found. There are articles on the web that did provide me with at least some background information. Why these two novels? “The Catcher in the Rye” is probably the greatest classic of novels about adolsecents in American post-war literature. The novel became mandatory reading and was included in reading lists of schools and colleges. It was very successful even in Korea and Israel, was forbidden in Australia and became a mandatory lpart of the curriculum in German schools. (vgl. Neis 1982, 8-9) Its reception was and still is, coined by controversy. Its critics have felt offended by the liberalism and the obvious social critcism that Salinger ́s work conveys. There are still, more than fifty years after its first being publishied, new ways of interpreting Catcher. These two novels have certain fundamental similarities. On the one hand, they both share a fairly critical outlook on the society of the time they are written in. On the other, the observer in both cases is a boy at the brink of society to the adult world. This means, subject and object in both novels share the same formal outline – I intend to compare these outlines and figure out if the classic and the newcomer have the same shape. Since The Catcher in the Rye is widely known novel I will not discuss or reproduce its contents. Instead, I will concentrate on and offer insight into D.B.C. Pierre ́s “Vernon God Little” in the first part of my work, then I will compare the two novels.

From the acclaimed, award-winning author—when a dinner-party guest named Miles locks himself in an upstairs room and refuses to come out, he sets off a media frenzy. He also sets in motion a mesmerizing puzzle of a novel, one that harnesses acrobatic verbal playfulness to a truly affecting story. Miles communicates only by cryptic notes slipped under the door. We see him through the eyes of four people who barely know him, ranging from a precocious child to a confused elderly woman. But while the characters’ wit and wordplay soar, their story remains profoundly grounded. As it probes our paradoxical need for both separation and true connection, There but for the balances cleverness with compassion, the surreal with the deeply, movingly real, in a way that only Ali Smith can.

One of the New York Times’s 100 Best Books of the 21st Century Winner of the 2006 Orange Prize for Fiction, another bestselling masterwork from the celebrated author of Swing Time and White Teeth "In this sharp, engaging satire, beauty's only skin-deep, but funny cuts to the bone." —Kirkus Reviews Having hit bestseller lists from the New York Times to the San Francisco Chronicle, this wise, hilarious novel reminds us why Zadie Smith has rocketed to literary stardom. On Beauty is the story of an interracial family living in the university town of Wellington, Massachusetts, whose misadventures in the culture wars—on both sides of the Atlantic—serve to skewer everything from family life to political correctness to the combustive collision between the personal and the political. Full of dead-on wit and relentlessly funny, this tour de force confirms Zadie Smith's reputation as a major literary talent.

The protagonist of Tobias Wolff’s shrewdly—and at times devastatingly—observed first novel is a boy at an elite prep school in 1960. He is an outsider who has learned to mimic the negligent manner of his more privileged classmates. Like many of them, he wants more than anything on earth to become a writer. But to do that he must first learn to tell the truth about himself. The agency of revelation is the school literary contest, whose winner will be awarded an audience with the most legendary writer of his time. As the fever of competition infects the boy and his classmates, fraying alliances, exposing weaknesses, Old School explores the ensuing deceptions and betrayals with an unblinking eye and a bottomless store of empathy. The result is further evidence that Wolff is an authentic American master.

Starting high school is never easy. Seniors take your lunch money. Girls you’ve known forever are suddenly beautiful and unattainable.The guys you grew up with are drifting away.And you can never get enough sleep. Could there be a worse time for Scott’s mother to announce she’s pregnant? Scott decides high school would be a lot less overwhelming if it came with a survival manual, so he begins to write down tips for his new sibling. Scott’s chronicle of his first year of bullies, romance, honors classes, and brotherhood is both laugh-out-loud funny and touchingly wise.

“Beautiful and haunting . . . one of literature’s most unlikely picaresques, a road novel in which the rogue heroes can’t seem to leave home.”—The Boston Globe SHORTLISTED FOR THE MAN BOOKER INTERNATIONAL PRIZE • NAMED ONE OF THE BEST BOOKS OF THE YEAR BY San Francisco Chronicle • Chicago Tribune • St. Louis Post-Dispatch • The Kansas City Star • Booklist Homer and Langley Collyer are brothers—the one blind and deeply intuitive, the other damaged into madness, or perhaps greatness, by mustard gas in the Great War. They live as recluses in their once grand Fifth Avenue mansion, scavenging the city streets for things they think they can use, hoarding the daily newspapers as research for Langley’s proposed dateless newspaper whose reportage will be as prophecy. Yet the epic events of the century play out in the lives of the two brothers—wars, political movements, technological advances—and even though they want nothing more than to shut out the world, history seems to pass through their cluttered house in the persons of immigrants, prostitutes, society women, government agents, gangsters, jazz musicians . . . and their housebound lives are fraught with odyssean peril as they struggle to survive and create meaning for themselves. Praise for Homer & Langley “Masterly.”—The New York Times Book Review “Doctorow paints on a sweeping historical canvas, imagining the Collyer brothers as witness to the aspirations and transgressions of 20th century America; yet this book’s most powerfully moving moments are the quiet ones, when the brothers relish a breath of cool morning air, and each other’s tragically exclusive company.”— O: The Oprah Magazine “A stately, beautiful performance with great resonance . . . What makes this novel so striking is that it joins both blindness and insight, the sensual world and the world of the mind, to tell a story about the unfolding of modern American life that we have never heard in exactly this (austere and lovely) way before.”—San Francisco Chronicle “Wondrous . . . inspired . . . darkly visionary and surprisingly funny.” —The New York Review of Books “Cunningly panoramic . . . Doctorow has packed this tale with episodes of existential wonder that cpature the brothers in all their fascinating wackiness.”—Elle