YASFYet Another Syndication Format (Web feed format)
YASFYugoslav Association of Sasakawa Fellows
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References in periodicals archive ?
Nevertheless, Mendlesohn's arguments seem sensible, and her conclusions regarding trends in YASF often align with Applebaum's to paint YASF as a socially conservative genre.
Applebaum's and Mendlesohn's related concern is not only that young readers will learn to fear the future and to wallow in dejected fatalism, but that they will also reject reading fiction entirely as a result of YASF's social conservatism.
What is especially noticeable here are Mendlesohn's implicit assumptions: (1) YA and SF are two distinct genres; (2) YA and SF, as genres, have differing and distinct values, generally speaking; (3) the values of YA and SF are in conflict; (4) as a result, YASF is inherently a flawed genre, since the values of YA undermine those of SF.
While her story world is dystopian and the author biography on the back cover states that Dunnion "frequently worries about the future," her novel does not conform neatly to either critic's generalizations concerning the YASF genre, although in a general sense Big Big Sky does fulfill many of their expectations.
Mendlesohn complains throughout her book that many YASF novels are not in fact SF by her definition, and Big Big Sky is perhaps only SF in its trappings.
(Among Dunnion's bleak predictions for the future is the survival across aeons of the valley-girl "like" and questioning lilt.) Dunnion's novel thus fulfills the expectations of Applebaum and Mendlesohn, but not entirely--which is likely the case for any YASF novel when examined closely.
Bernard Beckett's Genesis offers another YASF dystopia, one in which the future island society of Plato's Republic isolates itself from the outside world.
At the story's core, the struggle occurs not between technology and humanity but between "Ideas"--and so Genesis might superficially fall into the schemas set forth by Applebaum and Mendlesohn and be counted as another example of socially conservative YASF, when in fact the novel valorizes and elegizes radicality and subversion.
We might wonder why either Applebaum or Mendlesohn cares about YASF at all, if both consider it a flawed genre.
If YASF is a genre, with actual literary qualities shared between books, then it is to the books we must look, not to marketing departments, when determining what is and is not YASF.