In what will no doubt set a dangerous precedent for the years to come, this week, to celebrate the CBCA’s Book Week, we’re doing something very special here at the Boomerang Blog. We’ve invited a selection of Australian children’s author to drop by and guest blog for us – one for every day of the week.
We’re kicking off with Melina Marchetta, whose books include the quintessential Australian young adult book, Looking For Alibrandi, which became a successful film, and On The Jelicoe Road, recent winner of the prestigious 2009 US Printz Award for excellence in young adult literature.
When I was in Year Six, my best friend and I were in charge of discarding the garbage in the school incinerator. As much as I’m thankful for recycling bins and child protection these days, it was there that our imaginations went haywire and we managed to bludge whole afternoons. Except for the term when my teacher read the class Ivan Southall’s Hills End. Setting our hair alight no longer interested me because I was desperate to return to class and listen to a story about a group of country Australian kids and their teacher separated from the rest of their town because of a storm and a lie. I savoured the love triangle between Paul, Frances and Adrian, I loved the moral dilemma faced by Adrian, long demoralised by his father, and I was introduced to the importance of the secondary characters. When Ivan Southall died last year I felt a sadness that we never got to meet. I would love to have told how important his work was to me.
By high school, I enjoyed any story written about teenagers. Most were from the US, like Paul Zindel’s My Darling My Hamburger. I remember in Year Eight, Judy Blume’s Forever being passed around the room with the important sex references dog eared for quick consumption. It wasn’t until I studied at university that I was truly introduced to Australian YA and I fell in love with the genre because of novels like John Marsden’s So Much To Tell You, Simon French’s All We Know and Isobelle Carmody’s Obernewtyn.
Although my own novels aren’t specifically written for a particular audience, I’m forever grateful that they’ve found a home in the hands of teenagers who don’t go around questioning where the adults are in a story about boarding school territory wars. Teenagers don’t care much about audience or themes or finding out why a story works the way it does. But they do love language and they’ll go around quoting their favourite lines. When you ask them why it’s their favourite, their response isn’t about the use of assonance and alliteration and juxtaposition. Instead they say, “I just like the sound of it. It makes me feel something.”