By Sandra L. Beckett
In Crossover Fiction, Sandra L. Beckett explores the worldwide pattern of crossover literature and explains the way it is reworking literary canons, options of readership, the prestige of authors, the publishing undefined, and bookselling practices. This research may have major relevance throughout disciplines, as students in literary experiences, media and cultural reports, visible arts, schooling, psychology, and sociology research the more and more blurred borderlines among adults and teens in modern society, significantly with reference to their intake of pop culture.
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Additional info for Crossover Fiction: Global and Historical Perspectives
The English-language Japanese edition is popular with young Adult-to-Child Crossover Fiction • 29 readers learning English. Adult novels that cross over very often deal with childhood and adolescence. Sandra Cisneros’s internationally acclaimed novel House on Mango Street, which was published in 1983, describes the life of a young Mexican-American girl growing up in a working-class Chicago neighbourhood. The novel became the representative Chicano work in the canon, but it was also adopted by both Latino and non-Latino teenagers, and is now widely taught to middle and high school students.
28 The fact that many teenagers are reading adult novels is certainly nothing new, but they are now actively being encouraged to do so by critics, organizations, publishers, and bookstores. Adult-to-Child Crossover Fiction • 33 The Marketing of Adult Books for Young Readers In the past, many adult novels have been adopted by children and young adults without any effort on the part of publishers. In recent years, however, publishers have begun taking a very proactive role in promoting adult fiction to young readers, sometimes with massive marketing campaigns.
The sophisticated cover illustration, which portrays a mature young woman in profile, would have little appeal for children. The novel was an immediate international success with a wide and diverse readership, as were the sequels. As a popular woman’s writer whose books appealed to children, Montgomery was not viewed as a serious writer by the literary establishment. Her books continued to sell well throughout the twentieth century, but they were increasingly considered, by critics and the readers they influenced, to be primarily for a young audience.