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@ -16,7 +16,7 @@ I'm also justifying my recent exorbitant spending on my office as a way to stop
## Reading
Most of my reading from here on out is going to be prep work for my college class and for the coming school year. I read through all of *Speak* by Laurie Halse Anderson, which I'm glad to say is as good as I remember it — it was a favorite of mine as a teen. I also recently learned that there's a graphic novel version that I'd like to get my hands on one day. Frankly, I'd love to teach this book one day in the classroom (not for a college course) — even if it is dated in terms of publication year (the themes are perennial) — but that's not really possible with the age group that I teach right now.
My next read is *All Boys Aren't Blue* by George Matthew Johnson, which I'm about halfway through. I think it's an essential book in the current YA landscape, even if cloyingly self-important in spots. I'm happy to have my syllabus and am generally enjoying it, though I expected something far more controversial given the ire it has attracted. Johnson explains elementary concepts around racism, homophobia, and patriarchy with simple language and remarkable patience to make the text accessible for young people and those beginning their journeys toward confronting their biases, but as someone who has been steeped in those ideas for over a decade now, it all feels a little too basic.
My next read is *All Boys Aren't Blue* by George Matthew Johnson, which I'm about halfway through. I think it's an essential book in the current YA landscape, even if cloyingly self-important in spots. I'm happy to have it in my syllabus and am generally enjoying it, though I expected something far more controversial given the ire it has attracted. Johnson explains elementary concepts around racism, homophobia, and patriarchy with simple language and remarkable patience to make the text accessible for young people and those beginning their journeys toward confronting their biases, but as someone who has been steeped in those ideas for over a decade now, it all feels a little too basic.
I'm also refreshing myself on chapters from *Literature for Young Adults: Books (and More) for Contemporary Readers* by Joan L. Knickerbocker and James A. Rycik, which is our textbook for the course and is about as exciting as it sounds (though useful). I know *The House on Mango Street* by Sandra Cisneros well enough that I was able to plan from memory, but I pulled two poems from *Silent Dancing: A Partial Remembrance of a Puerto Rican Childhood* by Judith Ortiz Cofer to pair with it. I first read the better part of *Silent Dancing* in undergrad — I think for a world lit class — and really loved it; the title story is particularly resonant and haunting. I'd like to go back and read it in full when I'm less bogged down with work.