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How to write a literary analysis

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The Guardian

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ampires, fallen angels and their brooding kin still crowd the young-adult shelves of your local bookstore. But they are having to make room for a new wave of dystopian fiction, kicked off by the jaw-dropping success of Suzanne Collins's The Hunger Games trilogy, set in a post-apocalyptic North American totalitarian state.

Books for young people set in a post-apocalyptic or dystopian worlds are not new. Three notable early examples are Madeleine L'Engle's science fantasy A Wrinkle in Time (1962), William Sleator's suspense novel House of Stairs (1974) and the politically intriguing The Giver (1993) by Lois Lowry. Some of the big names of the new wave, along with Collins, are British-based American author Patrick Ness, Mortal Engines writer Philip Reeve, and young adult science-fiction novelist Scott Westerfeld. But what is it that attracts teenage readers to dystopian fiction?

There are a number of opinions, but the main drift seems to be that books set in either chaotic or strictly controlled societies mirror a teenager's life; at school, at home, with their peers and in the wider world. Let's call it the "my own private dystopia" theory.

I'm going to offer a much simpler explanation. Teenagers like to read dystopian fiction because it's exciting. It all comes down to the story. The story comes first, and the setting - extraordinary though it may be - is of secondary importance.

For the most part, dystopian fiction owes more to myth and fairytale than science fiction. These are essentially heroes' journeys - they just happen to be set in an imagined future world. The hero, reluctant or willing, is just as likely to be female as male. Something happens - an event, or a messenger arrives bearing news - and the teenage protagonist is catapulted out of their normal existence into the unknown. They cross the threshold into a world of darkness and danger, of allies and enemies, and begin a journey towards their own destiny that will change their world. They will be tested, often to the very edge of death. The stakes are high. The adults are the oppressors. The children are the liberators. It's heady stuff, far removed from the routine of everyday life.

The outer, global journey of the characters is matched by an inner, emotional and psychological journey. These are no cartoon superheroes. They, like their teen readers, have to deal with recognisable concerns and problems, including friendship, family, betrayal, loss, love, death and sexual awakening.

A new wave of dystopian fiction at this particular time shouldn't come as a surprise to anyone. It's the zeitgeist. Adults write books for teenagers. So anxious adults - worried about the planet, the degradation of civil society and the bitter inheritance we're leaving for the young - write dystopian books.

We create harsh, violent worlds. These are dark, sometimes bleak stories, but that doesn't mean they are hopeless. Those of us who write for young people are reluctant to leave our readers without hope. It wouldn't be right. We always leave a candle burning in the darkness.

And we write good stories. That's why teenagers read them.

Moira Young's new book, Blood Red Road, is published by Marion Lloyd Books/Scholastic

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Why is dystopia so appealing to young adults?

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As an author for young adults, Moira Young offers intriguing insights into why the current crop of dystopian fiction is so popular with teenage readers

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creative writing

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Cliffnotes

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Lord of the Flies at a Glance

In Lord of the Flies, British schoolboys are stranded on a tropical island. In an attempt to recreate the culture they left behind, they elect Ralph to lead, with the intellectual Piggy as counselor. But Jack wants to lead, too, and one-by-one, he lures the boys from civility and reason to the savage survivalism of primeval hunters. In Lord of the Flies, William Golding gives us a glimpse of the savagery that underlies even the most civilized human beings.

Written by: William Golding

Genres: social commentary, allegory

First Published: 1954

Setting: Deserted tropical island

Major Thematic Topics: evil; outlets for violence; human nature; speech; silence

Motifs: savagery versus civilization

Major Symbols: main characters; Piggy's glasses; the beast; fire; conch shell; Lord of the Flies

Movie Versions: Lord of the Flies (1963); Lord of the Flies (1990)

The three most important aspects of Lord of the Flies:

The major theme of Lord of the Flies is that humans are essentially barbaric if not downright evil. The stranded boys begin by establishing a society similar to the one they left behind in England, but soon their society has degenerated into rival clans ruled by fear and violence; before the book is over, three boys have been killed.

The novel is an allegory, which is a story in which characters, settings, and events stand for things larger than themselves. For example, the island represents the world; Ralph and Jack symbolize different approaches to leadership.

William Golding wrote Lord of the Flies following World War II, during which the Nazis exterminated six million Jews and the United States dropped two atomic bombs on Japan. In this context, the novel's profound pessimism is understandable.

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Get free homework help on William Golding's Lord of the Flies: book summary, chapter summary and analysis, quotes, essays, and character analysis courtesy of CliffsNotes. In Lord of the Flies , British schoolboys are stranded on a tropical island. In an attempt to recreate the culture they left behind, they elect Ralph to lead, with the intellectual Piggy as counselor.

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Naval officer arriving several months later

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Naval officer arriving several months later

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C7-8

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Sparknotes

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lord of the flies free online study guide

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Lord of the Flies: Study Guide | SparkNotes

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From a general summary to chapter summaries to explanations of famous quotes, the SparkNotes Lord of the Flies Study Guide has everything you need to ace quizzes, tests, and essays.

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AKA Jack - To be corrected

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Théo

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movie trailer 1990