The Many Different Loves of "Let's Talk about Love"
When people think of love, romantic love comes to mind. It is often tied with sexual attraction and the act of sex, seemingly inseparable.
As a result, asexual people who experience romantic attraction but not sexual attraction have a hard time explaining their identity to potential romantic partners as well as friends and family. In Claire Kann’s debut young adult novel Let’s Talk About Love the main lead is a Black biromantic asexual girl named Alice who is learning to redefine and appreciate the several types of love she experiences.
When it comes to asexuality, it is important to note that it exists on a spectrum that consists of a lack of sexual attraction as well as a lack of romantic attraction. Let’s Talk About Love features only one facet and experience of asexuality and should not be treated as a definitive text. However, there is no denying that it’s a notable book in more ways than one. Unlike most teen coming-of-age stories, this one is set in college during summer. This allows for a realistic, easygoing plot that focuses on self-discovery.
Unlike most teen coming-of-age stories, this one is set in college during summer. This allows for a realistic, easygoing plot that focuses on self-discovery.
When the novel opens, Alice has just been dumped by her girlfriend Margot because she doesn’t understand Alice’s asexuality. Alice is especially hurt because Margot thinks that Alice doesn’t want to have sex with her because she doesn’t love her. Since Alice is already uncomfortable with being open with her asexuality, this breakup makes things worse. As a result, she has a hard time recognizing her feelings for her new library co-worker Takumi and dreads coming out to him.
With the help of a therapist, Alice starts to get in touch with her feelings, becomes closer to Takumi and her friends Fennie and Ryan, and starts moving out from under her parents’ career expectations. As she does this, she comes to realize the various types of love she is capable of experiencing and enjoying without giving in to heteronormative expectations. A fun aspect of this is Alice’s love for pop culture.
Although it’s not a major part of the book, Alice’s passion for pop culture is such a quirky and charming part of her character that you can’t help but smile. Thinking of love and passion in terms of how much you enjoy a thing is valuable; to see Alice do this so naturally is wonderful. She jokes about getting a degree in watching Netflix and Hulu. She cosplays as Velma Dinkley from Scooby Doo. It’s amusing and nice because it becomes something she shares with her friends and Takumi out of love for them.
She comes to realize the various types of love she is capable of experiencing and enjoying without giving in to heteronormative expectations.
In fact, Alice’s love for her friends Feenie and Ryan are just as powerful as her feelings for her love interest Takumi. In the book, she finds herself becoming a third wheel to Feenie and Ryan, slowly drifting apart from them as she spends more time with Takumi. After an incident where she feels her friends abandoned her, she and her friends become estranged until they have a talk about how they need to balance their relationships with each other.
It’s important to note Alice’s friendships.
Some young adult books focus on romance more than friendship, especially when romance is a major part of the plot. When a girl gets a love interest in a book like The Fault in Our Stars or Pushing the Limits, it feels like the girl’s entire world revolves around them. Another notable factor in this book is the rarity of having a Black female teen dealing with things like romance and friendship instead of extreme hardship. Although Alice does deal with microgressions, her personality is that of a carefree Black girl trying to happily live her life.
Meanwhile, Alice’s relationship with Takumi is notable because it evolves from friendship to romance. In fact, ninety-five percent of the book involves friendship. While this caused the romance scenes to be rushed at the end, having their friendship grow to romance works in Alice’s favor. Alice is allowed to figure out what exactly attracts her to Takumi, what type of attraction she feels for him, and how much she likes him versus how much she is attracted to him. Takumi is allowed to do the same and his relationship with Alice is all the better for it.
Let’s Talk About Love is a wonderful exploration of love in various forms. Alice’s coming-of-age story is entertaining and thoughtful because it shows that friendship, romance without sex, and personal passions are filled with just as much love as anything sexual.
All in all, Let’s Talk About Love is a wonderful exploration of love in various forms. Alice’s coming-of-age story is entertaining and thoughtful because it shows that friendship, romance without sex, and personal passions are filled with just as much love as anything sexual. It forces the reader to consider what makes love special to them and why certain types of love are given a higher value than others. Let’s Talk About Love both entertains and starts a conversation; more people should be reading and talking about this book.
The Afro YA promotes black young adult authors and YA books with black characters, especially those that influence Pennington, an aspiring YA author who believes that black YA readers need diverse books, creators, and stories so that they don’t have to search for their experiences like she did.
Latonya Pennington is a poet and freelance pop culture critic. Their freelance work can also be found at PRIDE, Wear Your Voice magazine, and Black Sci-fi. As a poet, they have been published in Fiyah Lit magazine, Scribes of Nyota, and Argot magazine among others.
Just before 7 p.m on July 7, as protesters gathered in Belo Garden Park, in Dallas, Texas, I settled onto a hard wooden seat in the choir stall of St. John’s Abbey Church in Collegeville, Minnesota. As they chanted “enough is enough,” we chanted Psalm 59: “You have been a refuge in the day of my distress.” As they shouted, we sat in silence. As they marched, we bowed.
I imagine everyone was praying, in our own ways. At the church, we prayed in formal style, a monk beseeching God, the congregation responding: “Lord, hear our prayer.” One monk prayed for “Philando Castille and his girlfriend, Diamond Reynolds.” I wondered if Philando and Diamond were members of this church. I wondered what had happened, that they merited the prayers of this holy community.
I had no idea that just eighty miles away from where I sat, Philando had been killed by a police officer the night before.
On retreat at a writing workshop, I had not been keeping up with the news. I had no idea that just eighty miles away from where I sat, Philando had been killed by a police officer the night before. No idea that Diamond had somehow had the presence of mind to begin recording the incident even as her boyfriend sat bleeding beside her. I had no idea, but I prayed for Philando and Diamond: “Lord, hear our prayer.”
As peaceful yet angry people continued to gather and chant and march in Denver, I recited the Lord’s Prayer: “Thy kingdom come, they will be done on earth.” I received the blessing. I watched the men in black robes file out of their seats, bow to the cross, and head back to their mysterious—though likely mundane—monkish lives.
Later that night, I was drinking and laughing with my friends when the gunshots rang out on the streets of Dallas. Were we talking about church politics, or bad dates, or our cute dogs when the first police officer died? And then the second. And the third. And the fourth. And the fifth.
I slept well that night, but some of my friends at the retreat did not. One woman had a frantic text from a friend whose husband is a police officer in Dallas—whose husband was at the protest and hadn’t come home yet—whose husband, she thankfully learned later, was not physically harmed in the attack. One man from Nigeria received an early morning call from his sister. His family heard about the black man shot in Minnesota and they were worried, because he was a black man—in Minnesota. “Come home to Nigeria where it is safe,” his sister begged him.
It is a strange experience, to be on retreat while the world is falling apart. I did read some news stories, but not deeply. I did skim Facebook, but I didn’t participate in the conversations—not the important ones. Because I wanted my week away.
It is a strange experience, to be on retreat while the world is falling apart. I did read some news stories, but not deeply. I did skim Facebook, but I didn’t participate in the conversations—not the important ones. Because I wanted my week away. Even as people were dying, I wanted to walk by the lake, enjoy the beautiful gardens, gaze at the stained glass windows, listen to the breezes and the birds. And I did all of these things, but with an underlying consciousness that my space, the peace of my moment, was far from the reality of many.
Being on retreat during these events heightened the struggle I feel in the face of any national or international tragedy: What is the appropriate response? Or rather, the good response? How do I acknowledge and honor the pain of strangers? How do I live into the truth that we are all connected to each other? How do I maintain my own sanity and fulfill my ongoing obligations while still giving time and energy to address what is happening in the world?
Being on retreat during these events heightened the struggle I feel in the face of any national or international tragedy: What is the appropriate response? Or rather, the good response?
I care about the hurting people. I care about the injustices in the world. I want to speak and act against racism and homophobia and gun violence. I want to write powerful words and preach prophetic sermons and pray faithful prayers. And I want to watch Netflix. And I need to have supper ready by five because my daughter has gymnastics tonight.
I generally end up doing all of these things. I write and preach and pray and watch Netflix and make dinner. Though I increasingly recognize that not needing to worry about my nineteen-year-old son being shot by police is a luxury parents of black boys don’t have. And my ease makes me uneasy.
I want to speak and act against racism and homophobia and gun violence. I want to write powerful words and preach prophetic sermons and pray faithful prayers. And I want to watch Netflix.
Paul, the New Testament missionary/writer, and I have something of a love/hate relationship. One of his concepts I love is the metaphor of church as a body. “The body is not made up of one part but of many . . . If the whole body were an ear, where would the sense of smell be?” (1 Corinthians 12:14,17) This metaphor helps sustain me when I struggle with what to do, when I feel guilty that I’m not doing enough.
Paul specifically applies this metaphor to the church, but I consider its application to community more broadly. We are a body with each other—across the country and around the world. This may sound a little cheesy, and if you’re of a certain age you might have an image of swaying pop stars singing “We are the world” and be tempted to roll your eyes.
Go ahead and get the eye rolling out of your system. Then consider the implications of the metaphor. Being a body means that we are connected—head to toe connected. If you stub your toe, the message courses along your nerves all the way up to your brain. If you injure an eye, it makes your hands and arms less precise because it messes with your depth perception. An inner ear infection can make you tip over. . . . You get the idea. All connected.
Being a body means that we are connected—head to toe connected. If you stub your toe, the message courses along your nerves all the way up to your brain.
At a basic level, this connection means that what is harmful to some is, ultimately, harmful to all. As Martin Luther King said, “Injustice anywhere is a threat to justice everywhere.” When we say, “Black lives matter,” it is not a denial that other lives also matter. It is a claim that black lives are not being properly valued; and in failing to value black lives, we harm the quality of life for everyone. I do not want to live in a society where anyone of any race gets abused or shot by police for having a toy gun or reaching for his ID or asking to see a search warrant or being a little grumpy when they get pulled over for failing to signal a lane change. As Paul reminds us, “If one member suffers, all suffer together with it” (1 Corinthians 12:26).
I do not want to live in a society where anyone of any race gets abused or shot by police for having a toy gun or reaching for his ID or asking to see a search warrant or being a little grumpy when they get pulled over for failing to signal a lane change.
In addition to telling us why we should work for justice—because we are all connected—this metaphor also gives us insight into how we can continue to do the work of justice. The eye focuses on seeing. The stomach digests the food. The legs hold us up and move us forward. And we each do the work that is in front of us to do, while trusting that other parts of the body are doing the work that is in front of them to do. “For as in one body we have many members, and not all the members have the same function, so we, who are many, are one body in Christ, and individually we are members one of another” (Romans 12:4-5).
I teach my children and preach to my congregation and write my columns. Others research the criminal justice system and police brutality and traffic stops. Others organize rallies and gather people on social media and in real life. Others promote legislation that will address the systemic racism in our country. Others work from within police departments to change police policies and procedures. The work being done is as varied as the people doing it.
A body works best when the eyes do the seeing and the stomachs the digesting and the legs the walking. Movements for justice work best when we each do what we are given to do. When we do it well. And when we cheer on others who are doing the work they have been given to do.
A body works best when the eyes do the seeing and the stomachs the digesting and the legs the walking. Movements for justice work best when we each do what we are given to do.
This is a comfort to me. Because there is so much I am not doing. There is so much I cannot do. And some things that, if I’m honest, I don’t want to do.
This body metaphor is a comfort to me because I was praying with a bunch of monks while people were marching in the streets insisting that Black Lives Matter. I need to trust that my contemplation and prayers, conversations and tears, are also part of the work that must be done.
At a recent meeting of (mostly white) local clergy, we were asked whether or not our congregations would add their names to a “Black Lives Matter” banner.
“When I brought it up at church,” said another pastor, “one of our members pointed out that LGBTQ people still face a great deal of oppression in this country, too. She wanted to know where her banner was.”
And, of course, the common rejoinder to Black Lives Matter—not explicitly stated at that clergy meeting but certainly underlying many of the reasons given by churches who declined to have their names on the banner—“All lives matter.”
None of the pastors in the group are overtly racist. None of them said their churches were not signing on to the banner because they think black people are inferior or they want to go back to the days of Jim Crow. The churches represented by these pastors are not filled with neo-Nazis and KKK members.
So I’ve been contemplating my colleagues’ responses to this request to sign on to the BLM banner. I’ve been wondering how a movement described by Eboni Marshall Turman of Duke Divinity School as “the Jesus event of the 21st Century”[1] has come under such suspicion from “progressive” white Christians.
I’ve been wondering how a movement described by Eboni Marshall Turman of Duke Divinity School as “the Jesus event of the 21st Century” has come under such suspicion from “progressive” white Christians.
There are plenty of reasons, I suppose—reasons connected to white power and privilege, to racial ignorance and fear. I won’t deny the myriad economic, sociological, and psychological dysfunctions at work in white critique of BLM. But as a pastor, I’m most interested in the theological roots of white suspicion, which I think is connected to a belief in what biblical scholar Walter Brueggemann calls the “myth of scarcity.”[2]
In the story of the Exodus, argues Brueggemann, Pharaoh is convinced that there is not enough—not enough money, not enough power, not enough food—to go around. It is this fear of scarcity that causes him, with the administrative help of Joseph, to hoard food in the first place, and then to use the hoarded food to exploit the Israelite people during the famine. In order to access the food Pharaoh has stored up in his silos, the people give up their money, and then their land, and finally their freedom.
When Moses leads the Israelites out of Egypt, they again face the specter of scarcity as they wander the desert. But the economic system established by God in the wilderness differs vastly from the market economy created by Pharaoh in Egypt. God does not ask for money or land or lives in exchange for food. The food—in the form of manna and quail—simply appears on the ground each morning and evening. The people are allowed to take the food freely. The only catch is that they cannot take more than they need. Any food they tried to hoard “bred worms and became foul” (Exodus 16:20).
The food—in the form of manna and quail—simply appears on the ground each morning and evening. The people are allowed to take the food freely. The only catch is that they cannot take more than they need.
Jesus reenacts this wilderness miracle when he feeds the hungry crowds on the mountainside. The disciples insist that five loaves and two fish are not enough to feed the thousands who have gathered, but Jesus says to pass around the food anyway, and in the end everyone has enough. Over and over again, the biblical story shows how the human belief in scarcity is confounded by the reality of Divine abundance.
The death-dealing effects of the myth of scarcity—in the stories of scripture and in our lived experiences—are starkly evident when we consider economic systems and other concrete realities. Overwhelming problems such as human poverty and environmental degradation are directly grounded in our fear that there is not enough stuff to go around—not enough money, not enough resources. So those of us who can hoard stuff for ourselves do—because you never know when famine will strike.
Over and over again, the biblical story shows how the human belief in scarcity is confounded by the reality of Divine abundance.
But it’s not just food and crude oil and money we fear are in short supply. The comments I have heard about the Black Lives Matter movement convince me that our fear of scarcity goes well beyond concrete things. We also fear that there is not really enough of intangible things—things that we desperately want but find difficult to grab and hoard. Things like respect, status, energy, attention, dignity…
In listening to well-meaning liberals question and criticize BLM, I keep bumping up against this idea that if we are specifically for one group of people, we must be against other groups of people. Because there is just not enough for-ness to go around. If we are for Black Lives Matter, we must be against the idea that all lives matter. If we are for dismantling racism, we must be against dismantling homophobia and patriarchy. If we are for victims of police brutality, we must be against the police.
In listening to well-meaning liberals question and criticize BLM, I keep bumping up against this idea that if we are specifically for one group of people, we must be against other groups of people. Because there is just not enough for-ness to go around.
These lies, I believe, are born out of the myth of scarcity—a myth to which we are all susceptible. The reality, of course, is that we can be specifically for one group of people without being against others. The struggle for the rights and dignity of black people in the United States is necessary for the movement toward the rights and dignity of all people. Saying “Black Lives Matter” is to name those who should be, but are not yet, included in our national belief that all lives really do matter.
The founders of the BLM movement—Alicia Garza, Opal Tometi, and Patrisse Cullors—identify as queer black women. The BLM movement is a strong voice for LGBTQ justice. Their insistence that Black Lives Matter in no way suggests that queer lives don’t matter, that women’s lives don’t matter, that any other lives don’t matter. Demanding respect for the lives of people in a particular group does not diminish the respect afforded to people in a different group—or people (which is most of us) whose identities overlap multiple groups. There is enough respect—an abundance of respect—to go around.
The reality, of course, is that we can be specifically for one group of people without being against others. The struggle for the rights and dignity of black people in the United States is necessary for the movement toward the rights and dignity of all people.
It is the lie of scarcity that suggests that offering respect to one group diminishes the respect of another. It is the same lie of scarcity that says being pro-BLM means you must be anti-police. In reality, being anti-police brutality is being pro-police doing their jobs well. Holding abusive police officers accountable is supporting those police who work hard for more just communities. Affirming the worth of black people makes all communities more prosperous and safe, which will ultimately save the lives of police and community members alike.
The myth of scarcity is deeply engrained in our spirits and is at the root of much human sin, including the sin of racism—whether overt or covert. As an alternative to this myth of scarcity, Brueggemann suggests a “liturgy of abundance”—a realization and proclamation that this world contains enough for us all. Enough food and shelter and natural resources; enough respect and attention and dignity. This liturgy of abundance assures us that we don’t have to parcel out what and who we will be for and against; we can be for all good things and all people in this world.
It is the lie of scarcity that suggests that offering respect to one group diminishes the respect of another.
It is hard to live out the liturgy of abundance in a culture obsessed with scarcity. But if we are going to believe in abundance, spring is the time to do it. When the birdsong drowns out the traffic noise, and a strong breeze brings a rain of pink and white petals, and yellow daffodil clumps pop up in even the sparsest yards.
If we are going to believe in abundance, Easter is the time to do it. When we celebrate the story of courage overcoming fear, of love overcoming hate, of life swallowing up death forever.
It is hard to live out the liturgy of abundance in a culture obsessed with scarcity. But if we are going to believe in abundance, spring is the time to do it.
If we are going to believe in abundance, now is the time to do it. When we can add our voices to those proclaiming that Black Lives Matter, to those insisting that people valued least in society be granted the dignity they deserve, to those who understand that there is enough of everything good to go around.
***
[1] Turman, Eboni Marshall. “Seven Writers Assess the Movement: Black Lives Matter.” Christian Century. March 16, 2016.
[2] Brueggemann, Walter. “The Liturgy of Abundance, the Myth of Scarcity.” Christian Century. March 24-31, 1999, (Bruegemann explores this concept in many of his other writings as well.)
From the moment I started reading young adult literature, I enjoyed many things about the genre.
I liked how there were subgenres like fantasy, contemporary, and verse novels (i.e., books written in poems that tell a story). I liked reading about teenagers who save the world. I liked seeing teenagers experiencing real-life issues that no one wants to talk about, like mental illness and feeling out of place. Yet I eventually noticed that some of the stories involving black characters only revolved around personal and socioeconomic issues.
As I mentioned in my discussion of Nicola Yoon’s Everything Everything, it was rare for me to find stories of black teenagers in romantic bliss. Although I felt somewhat validated reading young adult books as a teen, they also gave me the impression I had nothing happy to look forward to. I felt like my entire teenage experience would be defined by suffering because I never read about a black teen who was in a happy relationship or confident in themselves. I wanted black characters who were actual characters that felt a wide range of emotions and lived different experiences. Most importantly, I wanted black girl nerds.
When you think of nerdy girls in young adult literature, there is a certain type of girl that comes to mind. They are usually white and gorgeous or white and awkward. Not to mention, they might be so troubled that they need a guy to save them by instantly falling in love with them. After reading so many young adult books with nerdy white female protagonists, I was starting to think that there would never be one with a black female lead. Then I read The Unforgettables by G. L. Thomas and felt validated in more ways than one.
The major reason The Unforgettables appealed to me so much was because of Felicia Abelard, one of the main characters of the book. She is a Haitian American teenager who lives in a culturally rich home and loves comics, Japanese anime, and cosplaying. She is confident in herself to the point where she wears her kinky hair big despite her mother’s wanting her to straighten it. Yet she is also afraid to stand out too much due to strict parents and being bullied. Felicia Abelard is one of the most complex black female characters I’ve ever read in a young adult book, and also the most relatable.
Not only was Felicia Abelard’s nerdiness appealing, but it also broke the mold for what a nerdy female character was supposed to be. In many young adult books and coming-of-age films, the nerdy girl is relegated to what is known as the Manic Pixie Dream Girl trope. According to the website TV Tropes, a Manic Pixie Dream Girl is a quirky, childlike girl whose purpose is to give a male lead character a better outlook on life. In young adult literature, characters who fit this trope include Sam from Stephen Chbosky’s The Perks of Being a Wallflower, Dulcie from Libba Bray’s Going Bovine, and Alaska in John Green’s Looking for Alaska. Although some books deconstruct the trope, its pervasiveness in young adult literature and film suggest an unhealthy appeal.
In The Unforgettables, the other main character is Paul Hiroshima, a biracial Japanese teenage boy. Prior to reading the book, I was concerned that Felicia Abelard would become Paul’s Manic Pixie Dream Girl. However, the moment I read their very first encounter, I knew I wouldn’t have anything to worry about. When the two first meet, a yard sale is going on at one of their neighbors’ houses. When the two spy a collection of rare comics called Hit Boy and Slash Girl, they quiz each other on the comics to see who will get to have them. Felicia’s passion for the comics makes Paul realize that she would enjoy the comics more than him, so he lets her take the comics home.
Felicia Abelard is one of the most complex black female characters I’ve ever read in a young adult book, and also the most relatable.
In this first meeting, the stage is set for a friendship as well as romantic attraction between the characters. Yet Felicia Abelard never becomes a Manic Pixie Dream Girl, because her life doesn’t revolve around Paul and vice versa. Instead, Felicia Abelard is just a girl who learns not to be afraid of living her best life while being friends with a guy she has feelings for. Although Felicia considers Paul an awesome guy, she also wants to play forward on her soccer team, survive her junior year of high school, and get a little more freedom from her parents. Meanwhile, Paul wants to adjust to moving to a new town and school, apply to art school, and survive his senior year. Although their feelings for each other start to change their friendship, Felicia and Paul still manage to be there for each other while living their own lives.
Through her grounded life, her unabashed love of nerdy things, and her complicated friendship with Paul, Felicia Abelard’s character arc becomes a poignant story to watch unfold. Felicia calls herself “Sidekick Supreme” to Paul’s “The 8th Wonder,” and together they call themselves “The Unforgettables.” Despite her heroic moniker, she is not a sidekick in Paul’s life, but she is one in her own life due to her fears. Initially, her fear of being bullied by her peers keeps her from playing forward on the soccer team. Furthermore, her fear of her parents’ disapproval keeps her from admitting her feelings for Paul. Finally, her fear of losing Paul as a friend keeps her from sustaining their friendship when things get muddled
Meanwhile, Paul is afraid of not being able to adjust to his new home and not being able to go to art school. Although he and Felicia have different fears, they hide from them behind masks both metaphorical and literal. For Felicia’s sixteen birthday, Paul makes her a superhero mask to go with her identity as “Sidekick Supreme” as well as one for his identity as “The 8th Wonder.” Since superhero masks are usually used by superheroes to hide their civilian identity from others, it makes sense that Felicia and Paul’s masks symbolize their need to hide from themselves and others.
In a sea of suffering black protagonists and white Manic Pixie Dream Girls, she is Felicia Fantastic, and she is unforgettable
Eventually, Felicia ends up shedding her mask to express her feelings for Paul. In turn, this inspires Paul to come clean to his parents about applying to art school. Although the two aren’t able to become a couple, Felicia and Paul rekindle their friendship and move on with their lives. After being asked out by a senior classmate, Felicia goes to the senior prom. Meanwhile, Paul goes to the prom with a friend and ends up attending a summer session at an art school.
By shedding their masks, Felicia and Paul allow themselves to get more out of life and appreciate each other more. This makes Felicia her own hero as well as hero to Paul. In fact, Paul comes to appreciate Felicia so much that he gives her a painting of herself as well as a hand-made comic book that features them as The Unforgettables. The comic book contains a bonus comic that has The 8th Wonder becoming a solo hero called Felicia Fantastic. At the end of the comic, there is a note from Paul says, “You were never my sidekick. You were always my hero.”
Although she fights personal fears instead of bad guys, Felicia Abelard is still a hero in her own right. She is a hero for Paul and herself by learning to face her fears. Most of all, she is a hero to me for being her nerdy, beautiful brown self. In a sea of suffering black protagonists and white Manic Pixie Dream Girls, she is Felicia Fantastic, and she is unforgettable.
The Afro YA promotes black young adult authors and YA books with black characters, especially those that influence Pennington, an aspiring YA author who believes that black YA readers need diverse books, creators, and stories so that they don’t have to search for their experiences like she did.
Latonya Pennington is a poet and freelance pop culture critic. Their freelance work can also be found at PRIDE, Wear Your Voice magazine, and Black Sci-fi. As a poet, they have been published in Fiyah Lit magazine, Scribes of Nyota, and Argot magazine among others.
Nicola Yoon's "Everything, Everything" Is Everything
As a teen, I had a soft spot for contemporary YA romance. I especially enjoyed the romance in The Sisterhood of the Traveling Pants series by Ann Brashares.
I liked these books because the female characters showed me that even if you had personal issues, you could still find love. However, at some point, I found myself asking, “Why can’t black girls have a YA romance?”
Carmen Lowell, a half Puerto Rican character from the Traveling Pants series, was one of the few women of color I read in YA romance. I enjoyed reading about her because she was caring toward her family and friends and pursued a romantic relationship despite her confidence issues. However, by the end of the final book, Sisterhood Everlasting, she is the only one not in a relationship. Although she is very satisfied with her life, it bothered me that she couldn’t be married or dating someone when she is the only lead of color.
I found myself asking, “Why can’t black girls have a YA romance?”
In addition to being one of the few women of color in YA romance, Carmen Lowell was the only female character of color I read who had happy romances. Other books like Sharon M. Draper’s Romiette and Julio and Jacqueline Woodson’s If You Come Softly had black female romantic leads, but their relationships also involved social issues. Both Romiette and Julio and If You Come Softly dealt with the racism that came with being in interracial relationships. While I was impressed by both authors’ takes on this important issue, part of me also wanted a book with a romance free of social tension.
Last year, I discovered Nicola Yoon’s Everything, Everything when it became a New York Times bestseller. After doing some research, I discovered that this book not only had black female lead but was also written by a black author. After waiting several months, I borrowed a copy from my local library to read and was totally enamored by the book. If this book were food, it would be cotton candy, filled with fluffy, sugary sweet moments that melted on my heart.
If this book were food, it would be cotton candy, filled with fluffy, sugary sweet moments that melted on my heart.
One of the things I enjoyed most about the book is the main character, Madeline Whittler. Even though she is isolated from the world, she isn’t portrayed in a negative light. Instead, she is a quirky young girl who loves books and board games and yearns to experience life more fully. She spoke to my teen self, the me that had a hard time fitting in. In addition, Maddie being African American and Japanese gave me the long awaited representation I wanted as a black and Vietnamese person. As someone who rarely saw biracial characters who were black and Asian, this was very validating.
In addition to enjoying Maddie’s character, I liked that her romance happened gradually. Maddie Whittler can’t touch anyone or go outside the house because she has a rare disease that makes her allergic to everything. As a result, she has to communicate with Olly online and through each other’s windows. (They use mirror writing.) For a time, she is also allowed to have quarantined visits from him as long as they don’t touch each other. This makes the moments when they can interact in person all the more precious.
Black YA leads in films are just as rare as black YA romance leads, and people have been craving this.
Out of all my favorite moments between Maddie and Ollie, my favorite is when they kiss for the very first time. At this point, they’ve only touched once before without anyone knowing. Maddie and Ollie’s feelings for each other have grown to the point where they can’t keep it to themselves anymore. They need to touch each other and express their feelings to validate them. The kiss is so beautiful and special, and Maddy savors it.
By the time I had finished the book, I had been thoroughly entertained and even taught a few lessons. The most important lesson is summed up in the quote, “Love is worth everything, everything.” This book shows that whether it is romantic love or familial love, it is worth experiencing and fighting for. It is a simple yet relatable message that makes the book memorable.
In addition to being ecstatic about the book itself, I am also excited for the movie adaptation, which will star Amandla Sternberg and Nick Robinson. When I heard this news, I was so thankful. Black YA leads in films are just as rare as black YA romance leads, and people have been craving this. Last year, Twitter user Mariah started the hashtag #WOCforAlaskaYoung in response to the casting call for the YA film Looking for Alaska. She and many others tweeted that they wanted Alaska to be played by a woman of color. Even John Green, the author of the book being adapted, stated that he supported the campaign.
Everything, Everything is everything I always wanted in a YA romance, and that is amazing.
Nicola Yoon’s Everything, Everything shows that black girls can have a happy young adult romance. It provides some much-needed representation on the page and tells a beautiful story of love. If the movie is as successful as the book, then hopefully we can get more books and movies with black female leads. Right now, Everything, Everything is everything I always wanted in a YA romance, and that is amazing.
The Afro YA promotes black young adult authors and YA books with black characters, especially those that influence Pennington, an aspiring YA author who believes that black YA readers need diverse books, creators, and stories so that they don’t have to search for their experiences like she did.
Latonya Pennington is a poet and freelance pop culture critic. Their freelance work can also be found at PRIDE, Wear Your Voice magazine, and Black Sci-fi. As a poet, they have been published in Fiyah Lit magazine, Scribes of Nyota, and Argot magazine among others.
When I was a teen, the most relatable young adult book I ever read was The Outsiders by S. E. Hinton.
The Outsiders validated my experiences with being out of place among my peers and made me feel that my own story could be valuable someday. However, it also made me conscious of my ethnicity, especially since all of the characters were white.
Inspired by the real-life clashes of two high school gangs known as The Greasers and The Socs, the book is told from the perspective of a fourteen-year-old Greaser named Ponyboy Curtis. Published in 1967, the book is such a popular classic that it is required reading for many middle school and high school students.
The Outsiders validated my experiences with being out of place among my peers and made me feel that my own story could be valuable someday. However, it also made me conscious of my ethnicity, especially since all of the characters were white.
As I read more YA books as a teen, I noticed that there weren’t a lot of books with black characters that had the same impact as The Outsiders. Although there were black YA authors like Sharon M. Draper and Walter Dean Myers, I couldn’t connect to their stories. Most of the books by black YA authors that I read discussed socioeconomic issues like teen pregnancy, racism, and rape. While I knew that there were black teens who did experience these things, I wasn’t one of them. I was a nerdy black misfit who felt like no one could see the real me.
Most of the books by black YA authors that I read discussed socioeconomic issues like teen pregnancy, racism, and rape. While I knew that there were black teens who did experience these things, I wasn’t one of them. I was a nerdy black misfit who felt like no one could see the real me.
Besides The Outsiders, the only book that I connected to was Bronx Masquerade by Nikki Grimes. Not only was Bronx Masquerade written by a black author, but it also featured many characters of color. Written in verse, the book uses the style of a poetry slam to tell the thoughts and emotions of eighteen teens as they navigate their identity. The book spoke to me as a budding poet who was unsure whether or not my point of view was valuable. As the first novel I read in verse, the book showed me a unique way to tell my story. However, as influential as this book was, I would soon forget about it.
Since I couldn’t find any other books I could relate to, I ended up reading more YA by white authors than black. Between high school and college, I read many contemporary and YA fantasy authors, including Laurie Halse Anderson, John Green, Richelle Mead, and Suzanne Collins. The only black YA author I read was Jacqueline Woodson. She stood out to me because her work included coming-of-age stories with black characters that didn’t feel generic at all. Although I couldn’t relate to any of it, I still appreciated it. Some of her work is influenced by poetry, especially titles such as If You Come Softly and Brown Girl Dreaming.
As a result of reading mostly white YA authors, I started to feel like I could never truly belong in YA literature. I wanted a black character in a John Green romance and a black character who was magical like Harry Potter, but they seemed hard to find. Black teens had experiences that were just as varied and complex as those of white teens, but I kept seeing the same stories getting told and being published. I eventually forgot about Bronx Masquerade because it reminded me of how rarely I could find stories that related to me.
In 2015, I bought Daniel Jose Older’s Shadowshaper after seeing that it was an YA urban fantasy book with an Afro-Latina protagonist. I also discovered the grassroots book campaign We Need Diverse Books and the contemporary YA book Juliet Takes a Breath by Gabby Rivera. All of them would plant the seed for a new relationship with YA books.
Shadowshaper was the most incredible book I’d read in a long time. It combined art and the supernatural for a creative, awesome magic system. It was set in a culturally rich environment that was palpable and interesting. It dealt with real-life issues including colorism, gentrification, and cultural appropriation. To top it off, there was a diverse, inclusive cast of characters that entertained and related to me. Shadowshaper began to reshape my opinion of YA literature by massaging my senses with words and color.
While Shadowshaper changed my opinion of YA fantasy and sci-fi, Juliet Takes a Breath changed my opinion of contemporary YA. I ended up reading the book twice within two months and writing a feature article to help promote it. This book became my best friend, one that I wanted to keep turning to for guidance and empathy. Victor Hugo once wrote that books were cold but safe friends, but this book is one of the warmest things I have read. After reading Shadowshaper and Juliet Takes a Breath, I became determined to find the books I wanted to read as a teen and spread the word about them.
After reading Shadowshaper and Juliet Takes a Breath, I became determined to find the books I wanted to read as a teen and spread the word about them.
Afro YA books matter because black teens need to see themselves in words. They matter because I am feeding myself books I should have devoured as teen. They matter because The Outsiders showed me my worth as a writer, while Brown Girl Dreaming showed me my worth as a black writer.
We Need Diverse Books has been saying what I felt throughout my teens and early twenties: We need diverse books, and we demand them. We demand them, we uplift the authors who write and represent them, and we tell the world about them. We have always been here, and we aren’t going anywhere.
The Afro YA promotes black young adult authors and YA books with black characters, especially those that influence Pennington, an aspiring YA author who believes that black YA readers need diverse books, creators, and stories so that they don’t have to search for their experiences like she did.
Latonya Pennington is a poet and freelance pop culture critic. Their freelance work can also be found at PRIDE, Wear Your Voice magazine, and Black Sci-fi. As a poet, they have been published in Fiyah Lit magazine, Scribes of Nyota, and Argot magazine among others.
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