Radical Change Theory and Synergistic Reading for Digital Age Youth

Books with digital age characteristics . . . stimulate curiosity and foster community.

—Elizabeth Lennox Keyser, 1999

Today’s students think and process information fundamentally differently from their predecessors.

—Marc Prensky, 2001

Prologue

One of our favorite books is McGillis’s The Nimble Reader: Literary Criticism and Children’s Literature.¹ McGillis applies various literary theories—among them the New Criticism, structuralism, feminism, and postmodernism—to much-loved, time-honored books such as E. B. White’s Charlotte’s Web (1952), in each case coming up with a fresh interpretation of a well-known text. The Nimble Reader makes the point that the meaning of any object, experience, or creative endeavor can be evasive and changes according to the lens through which it is viewed. Theory uncovers, illuminates, reveals, explains, predicts, and adds value and dimensions to what otherwise might have been overlooked.

That is what we hope Radical Change Theory does—we hope that it stimulates thinking, brings new perspectives, and adds value to what is already recognized as an immense treasure: the body of children’s literature and the young (and old) readers who love and appreciate it. As an addition to the assortment of approaches McGillis covered, we anticipate that Radical Change Theory is a way to see the mosaic of contemporary children’s literature in a new light, to examine and explain some parts of it that may have gone unnoticed. We offer it as a way to think about contemporary youth in relation to their literature, and we suggest applying Radical Change Theory in retrospect in order to highlight and appreciate “radical” authors and illustrators of the past who wrote for “radical readers” in their times. Radical Change Theory is only one perspective among many, and we realize that the phenomena it addresses could be explained or augmented in other ways, as McGillis demonstrated.

Introduction

The 2008 Caldecott Award for the most outstanding picture book for children published in the United States in the previous year was presented to Brian Selznick, author and illustrator of The Invention of Hugo Cabret, which is hundreds of pages longer than an ordinary picture book.² Approximately 300 of its 533 pages are wordless black and white sketches that tell the story—not illustrating the text but replacing it. Hugo Cabret is a twelve-year-old boy living in the walls of a Paris train station in 1931; he becomes involved in a mystery adventure with the pioneer silent film maker George Méliès, a fitting element for a largely visual book. Selznick notes that he thinks of the book as somewhere between a graphic novel, a picture book, and a film.³ Each sequence of drawings can itself become a miniature silent move if the reader employs a flipbook technique. Hugo Cabret offers a highly interactive reading experience with vivid visual appeal, intertextuality, and multiple layers of meaning. It also provides a dramatic departure from the typical picture-book tradition and joins a number of other radically changed books that have special appeal for digital age youth.

While it was perfectly clear to almost everyone during the 1990s that technology was changing, almost no one acknowledged the concomitant change in a sizeable and growing cadre of handheld books for youth. Some of those who did notice expressed puzzlement and regret at the break from a more traditional form and format; others expressed curiosity. Some others sought explanations.⁴ One purpose of this essay is to provide one explanation for the nature and character of these “changed” books and to demonstrate that they are somewhat different from but firmly rooted in more traditional children’s literature.

But not only are books changing—at least some young readers are as well. In the 1990s, as youth who were born in the late 1970s began to mature, we, along with some other educators and scholars, noted what seemed to be a change from previous generations in how many youth approached thinking, learning, creating, and engaging with media, including reading handheld books. Various terms, including the net generation, digital natives...