Cody Miller and Kathleen Colantonio-Yurko
As English language arts teachers, we believe young adult literature offers an avenue for voices and experiences that are largely ignored by canonical texts. LGBTQ voices are among those omitted from many English language arts textbooks. In the past, we relied heavily on young adult literature to provide our students LGBTQ texts. However, the mostly white faces on LGBTQ young adult titles did not reflect the racial diversity of LGBTQ students we taught. Finding and teaching young adult literature that focused on LGBTQ people of color became a professional missions of ours. Similarly, Durand calls for researchers to study young adult literature featuring LGBTQ people of color (83). Our paper seeks to answer Durand’s call through classroom practice by providing teachers texts and strategies to incorporate young adult literature that focuses on LGBTQ people of color into secondary English language arts curricula.
We offer texts that we have taught before in our 9th and 10th grade English language arts classes or texts we suggested to individual students. However, we want to recognize that there is no singular LGBTQ experience. There is no monolithic white LGBTQ experience, nor is there a monolithic experience for LGBTQ people of color. Furthermore, within the identifier “people of color” there exists broad cultural and racial diversity. Students and teachers must be cautious of not perpetuating singular views about LGBTQ people of color; they must recognize that race, ethnicity, religion, nationality, ability, language, gender identity, sex, class and other social identities intersect with sexuality to form an individual’s experiences of society and power. We offer texts we have taught and suggest other texts that we have read, but these lists are just a beginning; teachers, teacher educators, and students should work together to find, read, and teach more texts that center on the lives of LGBTQ people of color.
LGBTQ Young Adult Literature and Race
Recent writings on multicultural literature have been updated to include LGBTQ narratives under the umbrella of “multicultural literature” (Temple, Martinez, and Yokota). However, it is important to avoid the common tendency of treating “racial diversity” as a wholly separate and removed category from “sexuality.” Previous scholarship has found that intersectionality is typically lost when LGBTQ literature is used within secondary classrooms due to the myopic focus on characters’ sexualities, which is problematic considering “no one is solely sexual” (Blackburn and Smith 633). Furthermore, a narrow focus on the sexuality of characters for the sake of inclusion simplifies the realities and experiences of LGBTQ people and allows students to disregard sociopolitical and cultural factors that contribute to inequities and marginalization (Blackburn and Clark).
Unfortunately, too much of LGBTQ young adult literature has focused on white experiences (Garcia; Garden). White people do not hold a unique claim to LGBTQ identities, but we reproduce the idea that LGBTQ identities are white when we fail to acknowledge the role race plays while naming and teaching LGBTQ young adult literature. As Puar notes, “Any singular-axis identity analysis will reiterate the most normative versions of that identity” (93). In other words, a focus solely on sexuality will reinforce whiteness, while a focus solely on race will reinforce heteronormativity. All LGBTQ young adult literature is racialized, so we should call the majority of LGBTQ young adult literature what it is: white LGBTQ young adult literature. A failure to acknowledge the whiteness in most young adult literature will only perpetuate the message that LGBTQ identities are coupled to whiteness.
Fortunately, there is a growing number of young adult texts focusing on LGBTQ people of color. These texts can become powerful curricular material in secondary English language arts classrooms. Hermann-Wilmarth and Ryan note that texts focusing on LGBTQ people of color “help readers expand their notions of who ‘counts’ in various racial, sexual minority, and religious communities” (97). It is important to acknowledge that among the growing number of young adult literature focusing on LGTBQ people of color, the “T” is still largely underrepresented. Young adult literature publishing agencies must do more to support the work of trans writers of color and their work. Supporting trans writers of color means supporting work about trans youth of color. A report co-authored by the Trans People of Color Coalition and the Human Rights Campaign found that transgender women of color face an increased risk of violence and often feel unsafe in seeking resources due to the intersecting forces of racism, sexism, and transphobia. Our work does not remedy this problem, nor does it dismantle the political and cultural forces centering LGBTQ issues on whiteness. Nevertheless, honoring the reality of LGBTQ people of color in the classroom through literary studies is an important first step for fostering critical consciousness in students.
We are critical of the standards movement, especially its emphasis on mandated testing and its neoliberal foundations which seek to usurp the democratic aims of education in favor of market-based approaches. Yet we also recognize that teachers and students live in a standards-based policy landscape. Thus, part of being a multicultural educator is understanding how to do social justice work while navigating oppressive school systems and mandates. Scholars like Beach, Thein, and Webb and Duncan-Andrade and Morrell have called for teachers to use the mandated standards to advance the aims of a social justice-oriented English education. We concur with their call and their assessment that critical curriculum and instruction will ensure that students exceed the demands of standardized tests. Duncan-Andrade and Morrell argue that teachers should be able to “justify” their social justice curriculum and teaching to cautious audiences, including parents and administrators. To that end, we have acknowledged how our strategies fulfill the needs of the Common Core State Standards. The standards do not drive our work. Rather, a commitment to equitable and inclusive classrooms grounds our curriculum and teaching. But being able to use mandated standards to “justify” the teaching of texts that feature LGBTQ characters of color is essential in navigating our educational reality while simultaneously working to change it.
We understand that homophobia and transphobia embedded in school systems makes teaching LGBTQ texts difficult. For many teachers across the nation, including ourselves, teaching an LGBTQ text as an entire class novel may be nearly impossible. Thus, we believe it is important to “do what you can” (Hermann-Wilmarth and Ryan) within your professional context. For us, that meant structuring “book clubs” for students and including titles that focus on LGBTQ people of color. We refer to “book clubs” as a curricular and classroom structure in which teacher select a variety of books and group them based on common themes so that students can read choice texts within a thematic unit. Incorporating LGBTQ texts through book clubs was an effective way for us to prevent parental pushback.
Clark and Blackburn have suggested that presenting LGBTQ texts as optional readings perpetuates homophobic and transphobic attitudes because students are able to opt out and thus avoid reading about LGBTQ experiences. While we find that argument defensible, we also feel it is important to acknowledge Burke and Greenfield’s suggestions that students may choose to not read LGBTQ texts because they themselves are LGBTQ or have LGBTQ family members but are not ready to share that publicly. Furthermore, sometimes the only way to incorporate LGBTQ texts into the classrooms is through choice reading due to the politics of the school. Teachers, parents, and administrators should do more to change those politics, but we want to honor the reality that many classroom teachers, especially new teachers, face. Book clubs are a seemingly small, but important, first step.
The following list outlines how we structure book club units:
- We provide an overview of all the available texts during a book club unit to the entire class when we begin a new unit. We note the basic premise of the plot and the major characters’ identities.
- We provide time for students to examine each book that seemed interesting to them in class after the introduction. Students usually take five minutes on each book they noted seemed interesting. Students are prompted to read the back of the book, the first few pages, and the synopsis.
- Students write down and rank their top three choices from the book club options. Students note why they want to read each book.
- We organize students into groups based on their book club comments. We strive to ensure that all students receive their top pick, but cannot guarantee it since the quantity of books is not limitless.
- Students create a plan for how they’ll complete the book given our schedule. We let students know how many reading days they’ll have in class. Students then note how many pages they need to read and if they need to plan to come in during lunch to catch up.
- From this point, students are given 30 minutes each day in class to read their book club. Students make annotations for the text after each reading period. Students can use these annotations for classroom discussions.
- Once a week, students are allotted time to discuss their book club text with their peers. These discussions can take a variety of formats as outlined further in the section below.
- We typically require students to complete a multi-piece project at the end of the book club units to demonstrate their understanding and meaning-making process with the texts.
Multimedia Character Analysis
Teachers should create assignments that require students to analyze topics around identity and power. Our Multimedia Character Analysis (Figure One) is an assignment to help students analyze characters in terms of identities, relationships, experiences, and changes. The cycle symbol in the center of the graphic indicates the relational nature of all four categories.
Students curate images from other texts to illustrate the four categories for a character from their book. In Figure One, we require students to select different number of images for different categories, but this can be amended. Students can create their Multimedia Character Analysis using technology tools like Piktochart, Glogster, Google Drawing or any other preferred application. We encourage students to use video or audio clips as their “images” if the platform allows permits. Finally, students should be required to write a reflection in which they explain the significance of their images to their books with textual evidence. Students should also be asked to explain how the four categories intersect within the text. This assignment can be implemented for all students during a book club unit, but we are most interested in helping students analyze LGBTQ characters of color. Students use this assignment to understand that no character (or person) is solely one identity, and the various identities characters hold shape their relationship to power.
In analyzing Aristotle and Dante Discover the Secrets of the Universe using the multimedia character analysis, one student used the scene in which one of the titular characters is the victim of a homophobic attack point out that “men are socialized to be afraid of showing any affection for another male regardless of sexuality.” She placed this analysis in the “experience” section and used it to connect to the “identities” section. The student also used the identities section to observe that Dante’s shame of being Mexican is “related to his shame of being gay.” The student continued by adding that the “dominant racial group, white, made Dante ashamed of being Mexican. The dominant sexual group, straight, made Dante ashamed of being gay.” The student also noted how this shame impacts the character’s relationships with others for the “relationship” segment, and notes that the homophobic experiences the character faces cause a shift in the character in the “changes” segment. The student used the multimedia character analysis to connect the character’s identities, relationships, changes, and experiences throughout the course of the book.
Book Club Discussions
Book clubs usually offer small, intimate avenues for discussion that are different from whole class discussion formats such as the Socratic Seminar. The smaller setting of book clubs offers a wide range of types of discussion formats students can partake in. Figure Two provides different formats for discussions that we have used, as well as their strengths and points of concern based on our experiences. Students should be given a range of options for discussion formats and then select the one they and their group feel most comfortable with. Regardless of format, students should be given the autonomy to create their own discussion questions to pose to their groups. Teachers need to model how to write high-quality, open-ended, text-based discussion questions, and then allow students to generate questions to bring to their discussions. The content in students’ graphic organizers from the previous section can be a starting point for generating discussion questions.
Offering multiple ways to engage in discussions for the book clubs results in discussion days where some students are in a section of the room recording short videos while some students are at their desk writing blog posts, and other students are huddled together having a face-to-face conversation. Regardless of format, we provide students with 20 to 25 minutes to unpack their thinking about the books they’re reading. Face-to-face groups use this time to chat in real time while students who opt for digital responses can use this time reading and responding to their peers digitally. Students then write a brief reflection on what they discussed, what they learned, and how their thinking of the book has developed due to their discussion.
Additionally, teachers and students should collaborate to establish norms of discussion to ensure everyone’s voice is heard. At the beginning of the school year, we ask students to list what they think is necessary to have a dialogic classroom for our collective learning. From students’ responses, we establish our classroom norms. For instance, students note that it is important for us to focus on the content of classroom discussion contributions rather than the person making the contribution. Students also ask that we “call in” rather than “call out” peers when something problematic has been stated. Protocols can help ensure everyone’s voice is heard. We often use text protocols from the National School Reform Faculty to help structure our classroom discussions. Many of the protocols provided by the National School Reform Faculty are adaptable to the various types of discussion we outlined earlier in this section. It’s important to solicit student feedback when implanting a new protocol. We ask students what they believe the strengths and weaknesses of specific protocols are in order to tailor our instruction for future classroom sessions.
Teachers should also be prepared to challenge students’ thinking, especially if students are engaging in homophobic or transphobic discourse. Book discussions can be a powerful vehicle to transform students’ understanding of experiences dissimilar to theirs. However, teachers need to ensure that harmful myths and damaging misconceptions students may hold about LGBTQ individuals and communities are swiftly corrected. One way teachers can address such misconceptions is to provide an overview of important terms relating to LGBTQ topics. For instance, our students sometimes conflated sexuality with gender identity. Students would note that a character is “gay but not transgender,” thus setting up a gay or transgender binary. This observation opens up an opportunity to inform students that a character can be gay and transgender or gay and cisgender since all people have a sexuality and a gender identity. We would then provide an overview of the difference between sexuality and gender identity. It was also important for us to challenge notions of “normal” in book club discussions. Terminology plays an important role here. Students would note that one character is transgender while another character is “normal.” To disrupt this thinking, we introduced the term “cisgender” to students. Providing students with language like “cisgender” allows students to see that all people have gender identities, which decenters cisgender as the default identity. The organizations Teaching Tolerance and Gay, Lesbian, and Straight Education Network (GLSEN) have teacher-friendly guides to important terms and concepts relating to LGBTQ topics. We suggest that teachers first develop a robust understanding of the terms and concepts before attempting to address the terms and concepts with students.
We have our list of suggested young adult literature focusing on LGBTQ people of color (Figure Three). By no means is this list exhaustive. Rather, the list is composed of books we taught in book clubs or texts we recommended to students individually. Nearly all of the texts on our list are realistic fiction. We recognize that as a limitation. The number of science fiction and fantasy young adult titles feature LGBTQ characters of color is growing, and it is important for students to understand that LGBTQ people of color belong in all genres. Incorporating young adult literature that focuses on LGBTQ characters of color in other genres, like fantasy, is an important next step for this work.
Our list also includes suggested pairings for the titles. Dodge and Crutcher suggest that pairing LGBTQ texts with canonical texts can fulfill the demands of the Common Core State Standards while promoting the aims of social justice teaching and creating inclusive classrooms for LGBTQ students. Our own high school English language arts teaching experiences bolster their argument. One way we organized our curriculum is to have the entire class read the suggested “pairs well with” text and then provide book club options that thematically relate to the whole class read. Many, but not all, of our “pairs well with” texts come from the Common Core Text Exemplars for grades 6-12. Teachers can then construct thematic essential questions to allow students to analyze across the texts. These essential questions can guides students with writing sub-questions for small group discussions. We have provided sample essential questions for the pairings in Figure Three. Of course, we encourage teachers to create their own “pairs well with” texts and essential questions for their students.
Despite legal wins such as the right to marry and serve openly in the military, LGBTQ students and teachers still live in a society and learn in a school system that is structured to oppress them. To say that LGBTQ students endure less safe and affirming school environments than their straight peers would be an understatement. In addition, LGBTQ students of color face more types of discrimination than their white LGBTQ peers in public schools across the nation due to their racial and ethnic identities (Diaz and Kosciw; Fondas).
Too many schools still lack LGBTQ-inclusive curriculum and affirming teachers. Even teachers who see themselves as supportive of LGBTQ individuals and rights express trepidation in using LGBTQ literature in their classrooms (Thein). Malo-Juvaro’s mixed-methods study found that pre-service teachers held a variety of views about using LGBTQ YAL in their future classrooms. Some saw LGBTQ YAL as a way to reduce homophobia and support inclusion for LGBTQ students in schools, while others suggested that LGBTQ issues were unnecessary to teach and could offend other students. Greathouse and Diccio found that pre-service teachers who develop an ally stance by studying LGBTQ YAL in their teacher education programs do not implement ally work in the classroom due to fears about negative responses from parents, community members, and administrators. These findings reveal that the potential for LGBTQ literature instruction to transform classrooms and schools has yet to be met in teacher education programs or classroom practice. In short, serious obstacles still remain for creating inclusive schools for LGBTQ students.
Given this less than ideal picture, our commitment to equitable and inclusive classrooms remains crucial. Making our classrooms inclusive and equitable spaces for LGBTQ students must involve acknowledging that “LGBTQ” is not synonymous with “white.” In working to implement anti-heterosexist pedagogy, teachers must include the impact of race in their content, analysis, and instruction. Our article offers suggestions for how that work might look while still adhering to state-mandated standards. It is our hope that providing instructional tools, texts, and ways to “justify” the work to other stakeholders will open the door for more teachers to teach young adult literature titles that center on LGBTQ people of color. Our students deserve nothing less.
Beach, Richard, Amanda Haertling Thein, and Allen Webb. Teaching to Exceed the English Language Arts Common Core State Standards: A Critical Inquiry Approach for 6-12 Classrooms. 2nd ed., Routledge, 2016.
Blackburn, Mollie V., and Caroline T. Clark. “Analyzing Talk in a Long‐term Literature Discussion Group: Ways of Operating Within LGBT‐inclusive and Queer Discourses.” Reading Research Quarterly, vol. 46, no. 3, 2011, pp. 222-248.
Blackburn, Mollie V., and Jill M. Smith. “Moving Beyond the Inclusion of LGBT‐themed Literature in English Language Arts Classrooms: Interrogating Heteronormativity and Exploring Intersectionality.” Journal of Adolescent & Adult Literacy, vol. 53, no. 8, 2010, 625-634.
Burke, Brianna R., and Kristina Greenfield. “Challenging Heteronormativity: Raising LGBTQ Awareness in a High School English Language Arts Classroom.” English Journal, vol. 105, no. 6, 2016, pp. 46-51.
Clark, Caroline T., and Mollie V. Blackburn. “Reading LGBT-themed Literature with Young People: What’s Possible?.” English Journal, vol. 98, no. 4, 2009, pp. 25-32.
Diaz, Elizabeth M., and Joseph Gregory Kosciw. Shared Differences: The Experiences of Lesbian, Gay, Bisexual, and Transgender Students of Color in Our Nation’s Schools. GLESN, 2009.
Dodge, Autumn M., and Paul A. Crutcher. “Inclusive Classrooms for LGBTQ students: Using Linked Texts Sets to Challenge the Hegemonic ‘Single Story.’” Journal of Adolescent & Adult Literacy, vol. 59, no. 1, 2015, pp. 95-105.
Duncan-Andrade, Jeffrey Michael Reyes, and Ernest Morrell. The Art of Critical Pedagogy: Possibilities for Moving from Theory to Practice in Urban Schools. Vol. 285. Peter Lang, 2008.
Durand, Elizabeth Sybil. “At the Intersections of Identity: Race and Sexuality in LGBTQ Young Adult Literature.” Beyond Borders: Queer Eros and Ethos (Ethics) in LGBTQ Young Adult Literature, edited by Darla Linville and David Lee Carlson, Peter Lang Publishing, 2016, pp. 73-84.
Fondas, Nanette. “Schools are Failing Minority LGBTQ Students.” The Atlantic, 18 Nov. 2013, www.theatlantic.com/education/archive/2013/11/schools-are-failing-minority-lgbt-students/281600/.
Garcia, Antero. Critical Foundations in Young Adult Literature: Challenging genres. Vol. 4. Sense Publishers, 2013.
Garden, Nancy. “LGBTQ Young Adult Literature: How It Began, How It Grew, and Where It Is Now.” The ALAN Review, vol. 41, no. 3, 2014, pp. 79-83.
Greathouse, Paula, and Mike Diccio. “Standing but not Delivering: Preparing Pre-service Teachers to use LGBTQ Young Adult Literature in the Secondary English Classroom.” Study and Scrutiny: Research on Young Adult Literature, vol. 2, no. 1, 2016, pp. 35-52.
Hermann-Wilmarth, Jill M., and Caitlin L. Ryan. “Destabilizing the Homonormative for Young Readers: Exploring Tash’s Queerness in Woodson’s After Tupac and D Doster.” Beyond Borders: Queer Eros and Ethos (Ethics) in LGBTQ Young Adult Literature, edited by Darla Linville and David Lee Carlson, Peter Lang Publishing, 2016, pp. 85-100.
Hermann-Wilmarth, Jill M., and Caitlin L. Ryan. “Doing What You Can: Considering Ways to Address LGBT Topics in Language Arts Curricula.” Language Arts, vol. 92, no. 6, 2015, 436-443.
Human Rights Campaign & the Trans People of Color Coalition. A Matter of Life and Death: Fatal Violence Against Transgender People in America 2016. Human Rights Campaign & Trans People of Color Coalition, 2016.
Malo-Juvera, Victor. “A Mixed Methods Study of Pre-service Teachers’ Attitudes Toward LGBTQ Themed Literature.” Study and Scrutiny: Research on Young Adult Literature, vol. 1, no. 1, 2015, pp. 1-45.
Puar, Jasbir K. Terrorist Assemblages: Homonationalism in Queer Times. Duke University Press, 2007.
Temple, Charles, Miriam Martinez, and Junko Yokota. Children’s Books in Children’s Hands. 5th ed., Pearson, 2014.
Thein, Amanda Haertling. “Language Arts Teachers’ Resistance to Teaching LGBT Literature and Issues.” Language Arts, vol. 90, no. 3, 2013, pp. 169-180.
Alexie, Sherman, and Ellen Forney. The Absolutely True Diary of a Part-Time Indian. Little, Brown, 2007.
Alvarez, Julia. How the Garcia Girls Lost Their Accents. Algonquin Books, 1991.
Bambara, Toni Cade. Gorilla, My Love. Reissue ed., Vintage Books, 1992.
Beam, Cris. I am J. Hachette Book Group, 2012.
Cisneros, Sandra. Woman Hollering Creek and Other Stories. Vintage Books, 1992.
Davis, Tanita S. Happy Families. Random House, 2013.
Farizan, Sara. Tell Me Again How a Crush Should Feel. Algonquin Young Readers, 2015.
Hansberry, Lorraine. A Raisin in the Sun. Random House, 1995.
Lahiri, Jhumpa. The Namesake. Houghton Mifflin Harcourt, 2003.
Lee, Harper. To Kill a Mockingbird. Lippincott, 1960.
Revoyr, Nina. The Necessary Hunger. Simon and Schuster, 2011.
Rice-Gonzalez, Charles. Chulito: A Novel. Magnus Books, 2011.
Rivera, Gabby. Juliet Takes a Breath. Riverdale Avenue Books, 2016.
Sáenz, Benjamin Alire. Aristotle and Dante Discover the Secrets of the Universe. Simon and Schuster, 2014.
Salinger, J.D. The Catcher in the Rye. Little, Brown, 1951.
Shakespeare, William. Twelfth Night. No Fear Shakespeare Ed., SparkNotes, (Original work published 1602), 2003.
Woodson, Jacqueline. The House You Pass on the Way. Penguin Group, 2010.
Yee, Paul. Money Boy. Groundwood Books, 2013.
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Figure One: Multimedia Character Analysis
|Common Core English Language Arts Reading Literature standards addressed:
Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.
Analyze how complex characters (e.g., those with multiple or conflicting motivations) develop over the course of a text, interact with other characters, and advance the plot or develop the theme.
Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyze the cumulative impact of specific word choices on meaning and tone (e.g., how the language evokes a sense of time and place; how it sets a formal or informal tone).
Common Core English Language Arts Writing standards addressed:
Use technology, including the Internet, to produce, publish, and update individual or shared writing products, taking advantage of technology’s capacity to link to other information and to display information flexibly and dynamically.
Draw evidence from literary or informational texts to support analysis, reflection, and research.
Figure Two: Small Group Discussion Formats
|Discussion Format||Strengths||Points of concern|
|Small group discussion||Students are probably most familiar with this format of discussion.
Students are able to receive support or challenge from their peers and teach immediately.
|Students have a limited audience as they are only able to discuss with peers in their class.|
|Book chats on Twitter||Students can have real time conversations with peers, including peers in other classes.
Students can create their own hashtags, which makes following and archiving the discussion easier.
Students learn how to cultivate a professional identity on social media.
|Students need parent permission to create a Twitter account.
Some schools may block Twitter. The use of Twitter relies on school’s Internet access.
|Blogging||Students can set up their own blogs, post their questions and insights, and respond to peers.||Responses from students will not be immediate due to nature of posting and responding.|
|Video Responses||Students can create video responses to share with their peers and respond to their peers via video. Flipgrid is a good tool for this type of discussion.
This format supports students who are more comfortable with speaking than writing as their form of expression.
|Teachers will need a learning management system to post and store the videos for students to view and post a reply.
Responses from students will not be immediate due to the nature of uploading and watching a video.
|Common Core English Language Arts Speaking and Listening standards addressed:
Initiate and participate effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grade-level topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively.
Present information, findings, and supporting evidence clearly, concisely, and logically such that listeners can follow the line of reasoning and the organization, development, substance, and style are appropriate to purpose, audience, and task.
Make strategic use of digital media (e.g., textual, graphical, audio, visual, and interactive elements) in presentations to enhance understanding of findings, reasoning, and evidence and to add interest.
Figure Three: Suggested Books
|Title||Centers on||Pairs well with||Sample essential questions|
|Chulito: A Novel by Charles Rice-Gonzalez||Protagonist is a gay Latino.||Twelfth Night by William Shakespeare||How does society define and regulate “masculinity”?|
|Aristotle and Dante Discover the Secrets of the Universe by Benjamin Alire Sáenz||Titular characters are Mexican-American boys who are questioning their sexuality.||The Absolutely True Diary of a Part-Time Indian by Sherman Alexie||How do community expectations impact individual’s actions and choices?|
|Happy Families by Tanita S. Davis||Protagonists have a transgender African American parent.||A Raisin in the Sun by Lorraine Hansberry||What responsibilities do family members have to each other?|
|The House You Pass on the Way by Jacqueline Woodson||Protagonist is a biracial (white and black) female questioning her sexuality.||To Kill a Mockingbird by Harper Lee||How do gender and race shape an individual’s power within a community?|
|I am J by Cris Beam||Protagonist is a biracial (Puerto Rican and Jewish) transgender boy.||“Eleven” by Sandra Cisneros||What signifies someone’s growth from “childhood” to “adolescence”?|
|Tell Me Again How a Crush Should Feel by Sara Farizan||Protagonist is a lesbian daughter of Iranian immigrants.||How the Garcia Girls Lost Their Accents by Julia Alvarez||What social and cultural factors impact the relationship between parents and their children?|
|Juliet Takes a Breath by Gabby Rivera||Protagonist is a Puerto Rican lesbian.||Catcher in the Rye by J.D. Salinger||How do gender, race, and class shape “coming of ages” narratives?|
|Money Boy by Paul Yee||Protagonist is a gay Chinese-Canadian immigrant.||The Namesake by Jhumpa Lahiri||How does being situated between two cultures impact individuals?|
|The Necessary Hunger by Nina Revoyr||Protagonist a gay Japanese-American female.||“Raymond’s Run” by Toni Cade Bambara|