Textual Strategies for Promoting Deep Reading in...

Textual Strategies for Promoting Deep Reading in Adolescents

Michelle McRae B.A (Hons) Dip. Ed.

Submitted in fulfilment of the requirements for the degree of

Doctor of Philosophy

Deakin University

September, 2017

Acknowledgement

It has been a privilege to spend the past three years immersing myself in the world of literature, creative writing, and research. That I count this time a privilege and not a trial is

due to the guidance and support of Dr Leonie Rutherford.

Abstract DeepReading,unlikehabitualreading,requiresconcentratedthoughttobebroughttothereadingprocess.BothhigherorderthinkingskillsandcognitiveTheoryofMind(ToM)aredevelopedthroughdeepreading.Despitethesebenefits,deepreadingskillsareindeclineamongstAustralianadolescentsnecessitatingfurtherresearchinthisarea.Iarguethatthetextualstrategiesusedwithinmodernisttextscanaidintheprovocationofdeepreadingwhenusedinwritingforteenagers.Acorrelationwasfoundbetweendeepreadingskills,asespousedbyMaryanneWolf,andtheeffectsofmodernisttextsontheirimpliedreader.TotestthisconnectionthelensofmodernismwasappliedtotheanalysisoftwocontemporaryAustralianyoungadulttexts,Somethingintheworldcalledlove(2008)bySueSaliba,andTouchingearthlightly(1996)byMargoLanagan.Drawingonmoderniststrategiessuchas;spatialform,unreliablenarration,withheldinformation,metaphorandthesubversionofnarrativetradition,anovel,ToMyOtherSelfwasthencrafted.Thenovelpurposedtobothdefamiliariseandraiseepistemologicalquestionsinthereader,therebyprovokingdeepreading.Toevaluatetheefficacyofthesetextualstrategiesthenovelwasgiventothreeteenagerswhokeptareadingjournaloftheircommentsastheyread.Theircommentswerethenanalysedtogiveinsightintothenatureofreadingandtheeffectsofthemodernisttechniquesused.Onthenatureofreading,itwasfoundthatcognitiveToMwasevidentindeepreadingandaffectiveToMinshallowreading,alsothatreadersarenothomogenous.Asformoderniststrategies,complexcharacters,spatialstructure,withheldinformation,andthedefamiliarisationofnarrativetraditionsallcontributedtoadeeperreadingexperience.Forliteracyspecialists,thisknowledgecouldpotentiallyimprovemethodsoftextrecommendation.Forliterarytheoriststhisresearchprovidesanalternativemethodologytowhatiscommonlyusedwithinthefieldofliterarystudiesforgatheringrealreaderresponses.Anawarenessofthesetextualstrategiesforwriterscanaidinthewritingofprovocativetextsforyoungpeople,whichmayincreasethecomplexityoftextsandpromptdeepreading.

TableofContents

Novel:ToMyOtherSelf Provided in hardcopy

Chapter1:Introduction.....................................................................................................1Aims...........................................................................................................................................1Outlineofexegesis.....................................................................................................................1Approachtoresearch.................................................................................................................2Preliminarydefinitions...............................................................................................................3Importanceofdeepreadingfordevelopmentaloutcomes.........................................................4Thelinkbetweenmodernismanddeepreading.........................................................................4CreativeArtefact:ToMyOtherSelf............................................................................................5ToMyOtherSelf–synopsis........................................................................................................5Researchcontribution................................................................................................................6

Chapter2:Theintersectionofdeepreadingandmodernism–aliteraturereview............8Whatisdeepreading?................................................................................................................8Howdoesdeepreadingdifferfromotherkindsofreading?.....................................................10Howdoesdeepreadingdevelop?.............................................................................................11Whyisdeepreadingimportant?..............................................................................................12Whatismodernism?................................................................................................................14Theeffectofmodernism..........................................................................................................15Textualfeaturesofmodernisttexts..........................................................................................15Defamiliarisationandmodernism............................................................................................16Thetextualstrategiesofmodernism........................................................................................18

Moralambiguity..........................................................................................................................18Unreliablenarration....................................................................................................................18Complexcharacters.....................................................................................................................19Dislocatedchronologyorspatialform........................................................................................20

Chapter3:Themultiplefacesofdefamiliarisationanditsroleinproducingdeepreading.........................................................................................................................................22

Somethingintheworldcalledlove...........................................................................................24Encouragingambiguitythroughunreliablenarration.................................................................25Encouragingambiguitythematically...........................................................................................27Encouragingambiguitythrough‘typographicaloddities’............................................................27Encouragingambiguitythroughbinaries.....................................................................................29Encouragingambiguitythroughmetaphor.................................................................................30

Touchingearthlightly...............................................................................................................32Theimpactofspatialform...........................................................................................................32Complexcharacterscreatedthroughtheuseofbinaries...........................................................34Reachingthethirdwayviametaphor.........................................................................................35

ToMyOtherSelf......................................................................................................................37Multipleperspectivesthroughtheuseofspatialform...............................................................37Theeffectofunreliablenarrationoninterpretation...................................................................38Theepistemologicalchallengeofwithheldinformation.............................................................41Defamiliarisationthroughmetaphor...........................................................................................41Thedefamiliarisationofnarrativetradition................................................................................43

Chapter4:Astudyofthreereaders:thenatureofreadingandhowatextcanalterthatreading............................................................................................................................46

Fieldworkdesign......................................................................................................................46

Method....................................................................................................................................48Analysis....................................................................................................................................49ThelinkbetweendeepandshallowreadingandcognitiveandaffectiveToM..............51Theindividualityofreaders......................................................................................................53TheInfluenceofthetextonreading.........................................................................................57

Complexcharacters.....................................................................................................................57Theeffectofspatialstructure.....................................................................................................60Theeffectofdefamiliarisingnarrativetraditions........................................................................61Theeffectofwithheldinformation.............................................................................................62

Chapter5:Conclusion......................................................................................................68

ListofReferences............................................................................................................73

Appendices.....................................................................................................................77Appendix1:Lettertoparticipants............................................................................................77Appendix2:Codesheet............................................................................................................78Appendix3:Spreadsheetofparticipants’comments................................................................81

Chapter1:Introduction

Thisthesis,TextualStrategiesforPromotingDeepReadinginAdolescents,consistsofanovelandexegesis.Theprimaryquestionbeingaskedis:Canthetextualstrategiesutilisedinmodernisttextsprovokedeepreadingwhenusedinwritingforateenageaudience?Inordertoaddressthisquestiontheconceptsbothofdeepreadingandmodernismwereexaminedbeforebeingappliedtotheprocessofwritingandanalysis.Arisingfromthisresearchareinsightsinto:craftforwriters,theimportanceandrelevanceofdeepreadingforliteracyexperts,andalternateformsofmethodologyandanalysisforliterarytheorists.

AimsThisthesisaims:

- Toidentifystrategies,throughthestudyofmodernism,thatprovokedeepreading;

- Tocreateanovelthatwillincreasethecognitiveloadonthereader;- Toeffectivelygatherdatathatdisplaysreaders’thoughtsastheyread;- Togaininsightintothenatureofreading;- Toassesstheefficaciesofthestrategiesemployedinthecreationofthenovel.

OutlineofexegesisChapter1setsoutthewarrantforresearchclearlyarticulatingtheneedandgoalsoftheresearchaswellasintroducingthemainconceptsofeachchapter.Chapter2isacomprehensiveliteraturereviewwhichdefinesbothdeepreadingandmodernismanddetailshowtheirconceptsintersect.Thechapterthenturnstothetextualstrategiesimplicitinmodernismsuchasmoralambiguity,unreliablenarration,complexcharacters,subvertingnarrativetraditions,anddislocatedchronologyorspatialform.Thesehavetheeffectof

defamiliarisingthereader,whichinturnprovokeshigherorderthinkingandincreasedcontemplation.Chapter3reflectsontheprocessofwritingthenovel.Itdrawsonboththeoryandotheryoungadultnovelstoexplainwhycertaindecisionsweremadeandtheeffectthesedecisionshadonboththetextandimpliedreader.Inparticular,thischapterfocusesonthedefamiliarisationeffectedthroughtheuseof:complexcharacters,metaphor,binaries,andunreliablenarration.Followingonfromthediscussionofthewritingprocess,chapter4outlinesthemethodologyemployedinthefieldwork,beforepresentingthefindingsfromthereaderjournals.Conclusionsaredrawnastothenatureofreadingandtheinfluenceofthetextuponreading.Chapter5concludesthisexegesiswithasummaryoftheprocess,themainfindings,therecommendationsthatcanbedrawnfromthefindings,andpossibleareasoffurtherresearch.Itconcludesbyclearlyarticulatinghowthisresearchprojectprovidesanoriginalandsignificantcontributiontothefieldsofliterarystudiesandwriting,withapplicationsalsoforliteracyspecialists.

Approachtoresearch

Therelationshipbetweendeepreadingandmodernismisscrutinisedinmultiplewaysthroughoutthisthesis.InChapter2,areviewoftheoreticalliteraturefoundcommonalitiesinthetheorybetweenthesetwofields,notingthetextualstrategiesofmodernismthatcouldproducedeepreading.Twoyoungadultnovelswereanalysedthroughthelensofmodernismtotheorisetheeffectsofmoderniststrategiesontheimpliedreader.Thesemodernisttextualstrategieswerethenutilisedinthecraftingofanovel,ToMyOtherSelf(TMOS)thataimedtoprovokedeepreading.Whileanalysissuggestedaresponsetothestrategiesemployeditwasimperativetotestmynovel’seffectonrealreaders.Thiswasachievedthroughfieldworkinwhichthreeteenagersreadthenovelandcompletedareadingjournal.Theircommentswerethen

analysedtakingnoteofreactionstomoderniststrategiesandthetypeofreadingemployed.

Preliminarydefinitions

Readingatitsmostbasiclevelistheabilitytodecodewords.Asreadingskillsdevelop,however,italsoinvolvesinterpretation,extrapolation,andmeaningproduction.Whilethereisarangeofreadingskillsdevelopedthroughpracticethisthesisfocusesondeepreading,whichistheapplicationofconcentratedthoughttothereadingprocess.DeepReadinginvolvesinferring,deducing,analysingandreflectinguponthetext.ItisdeepreadingthatistestedinthehigherlevelsofthereadingliteracyassessmentdomainoftheProgrammeforInternationalStudentAssessment(PISA).PISAisaninternationalsurveyconductedeverythreeyearstotesttheskillsandknowledgeoffifteen-year-oldstudents.PISAdefinesreadingliteracyas,'understanding,using,reflectingonandengagingwithwrittentextsinordertoachieveone'sgoals,todevelopone'sknowledgeandpotential,andtoparticipateinsociety'(Thomson,DeBortoli&Underwood2017,p.96).PISAacknowledgesthatthisdefinitiongoesbeyonddecodingandliteralinterpretations.Whilethereismuchcontentionrelatedtostandardisedtesting,thePISAinstrumentclearlyarticulatesthemanyformsthatreadingcantakeandthecomponentsofhigherlevelreading.

ThesesamegoalsarereflectedintheAustralianCurriculumwherestudentsarerequiredto,‘analyseandevaluatehowpeople,cultures,places,events,objectsandconceptsarerepresentedintexts’(ACELY1749),‘identifyandanalyseimplicitorexplicitvalues,beliefsandassumptionsintexts’(ACELY1752)and‘compareandcontrastinformationwithinandbetweentexts,identifyingandanalysingembeddedperspectivesandevaluatingsupportingevidence’(ACELY1754)(AustralianCurriculum2017).Thisrequirementgoesbeyondbasiccomprehensiontoincludeanalysis,reflection,andanalogicalskills.

Importanceofdeepreadingfordevelopmentaloutcomes

Accordingtothe2015PISAreadingscoresforfifteenyearolds,Australiawasslightlyaboveaverage,however,themeanscoreforAustraliahassteadilydeclinedsince2000(Thomson,DeBortoli&Underwood2017,p.95).ThistrendisofconcerninthelightoflongitudinalstudiessuchasSullivan's(2013)thatshowthelinkbetweenchildhoodreadingandsignificantcognitiveprogressbetweentheagesof10and16.Sullivan'sstudymeasuredcognitiveprogressbytestresultsintheareasofvocabulary,spellingandmathematics.DeepreadingisalsoimportantforthedevelopmentofTheoryofMind(ToM).ToMistheabilitytounderstandanotherperson'sactionsthroughthelensoftheirthoughts,beliefsandfeelings(Zunshine,2006,p.6).Apersonwithawell-developedToMisabletomakeinferencesastoanotherperson’sthoughts,emotionsandmotivations.AllfictionexercisesToMtoagreaterorlesserextent.Fictionisthestoryofotherpeople,creaturesorevents;howweimmerseourselvesinitisdependentonourToM.ThedevelopmentofdeepreadingskillsisimportantbothfortheliteracybenefitsandfortheaugmentationofToM.Currently,accordingtoPISAassessments,deepreadingskillsareindeclinewithinAustralia.Thisthesisconsiderstherolethatfictionaltextscanplayinencouragingdeepreading,andbyextensionaidinthedevelopmentofToMandhigherorderthinkingskills.

ThelinkbetweenmodernismanddeepreadingWhenthehigherorderthinkingskillsassociatedwithdeepreadingareconsideredalongsidethehistoryofliterarymovements,alinkwasidentifiedbetweenmodernistpracticesanddeepreading.Modernistwritingbegantoemergearound1910asareactiontothecommonliteraryconventionsthatwerefoundinVictoriannovels(Faulkner1977).Atthecruxofmodernismisanincreasedemphasisonepistemologicalquestions.Thesequestionsinducedbothbyformandcontentprovokehigherorderthinking.Inanalysingthetextualstrategiesinoperationwithinmodernisttextsasetoftechniquesemergethatcanbeusedinwritingaimedatadolescentstoprovokedeep

reading.Thishasimplicationsforwriterswhoseektoproducetextsthatactivatedeepreading,andforliteracyspecialistsastheyidentifybooksthataremorelikelytocognitivelychallengereaderstherebydevelopingdeepreadingandhigherorderthinkingskills.

CreativeArtefact:ToMyOtherSelf

Thenovel,providedinhardcopy,waswrittenutilisingtextualstrategiesfoundinmodernisttexts.Thesestrategiesaimedtoincreasethecognitiveloadonthereaderbyraisingepistemologicalquestions,therebyprovokingdeepreading.Inparticular,thesestrategieswere:complexcharacters,aspatialstructure,unreliablenarration,defamiliarisationofnarrativetraditions,andwithheldinformation.

Theversionofthenovelprovidedtoexaminersistheversionprovidedtotheteenagereadersintheempiricalresearch.Thenovelhasnotbeenfurthereditedenablingtheexaminertoexperiencewhattheparticipantsreadandclearlyidentifywhatparticipantsreferredtointheircomments.

ToMyOtherSelf–synopsis

Toldinalternatingchapters,ToMyOtherSelfdetailsthelifeofColinMaloneyatsixteenandattwenty-one.Sixteen-year-oldColinhasplansforhisfutureandplanstogetagirlfriend,HannahWestwood.AstheirrelationshipprogressesColinbecomesincreasinglyobsessiveculminatinginhimpunchingHannah.Distraughtatdiscoveringthatheiscapableofsuchviolenceagainstsomeoneheloves,Colinattemptssuicide.

Meanwhile,twenty-oneyearoldColinisstrugglingtounderstandhowhislifewentdownthepathitdid.FiveyearsonColinisstilldealingwiththefalloutfromdecisionshemadeasasixteen-year-oldwhenheseesHannahWestwoodonanewsreport.Thenextdayhefindshimselfwithafour-year-oldsonhe

neverknewexisted.Asthestoriesunfold,Colinmustcometotermswithwhoheis,thechoicesthathehasmade,andthechoicesthatcanstillbemadetoturnalifefromoneofsubsistencetooneofhope.

ToMyOtherSelfisastoryaboutperspectives.Itisabouthowweperceiveourselves,ourfuturesandourpast,andtherepercussionsofthis.Inthesameway,thetheoreticalresearchandfieldworkinterrogateshowreadersperceivelanguageandstoryandhowthisperceptioncanbemanipulatedthroughdefamiliarisationandambiguity.

ResearchcontributionLiterarystudiesandcriticism,literacyeducation,andcreativewritersallhaveastakeinthestrategiesofliteraryfiction,andinempoweringreadersbothtoengagewithfictionandtodeveloptheirdeepreadingskills.Withinliterarystudiesdiscourse,criticshaveanalysedmodernistfiction,andtheoristshaveconductedresearchintoreaders’responsesandmeaningcreationintheactofreading.Educatorshaveresearchedtheimportanceofdeepreadingforliteracydevelopment,whilelinguistshavebroughttheirdisciplinaryskillstobearonanunderstandingofthemechanicsofreading.Fromanotherangle,again,writerswithapassiontoextendthereadersofthefuturehaveastakeincraftingtextstoengageandchallengeyoungpeople.However,thisthesisisthefirsttoprogresstheseseveralfieldsbytheorisingandtestingtheeffectsofmodernistnarrativestrategiesonthedevelopmentofdeepreadingskillsinyoungadults.Itsresearchcontributioninvolvesthedevelopmentoftheory,itsapplicationtothewriter’scraftthroughthecreationofayoungadultnovel,andtherigoroustestingoftheorythroughempiricalevaluation.Themethodologybehindtheempiricalevaluationalsoaddstotheknowledgeandpracticeinliterarystudies.Currentlyempiricalresearchwithteenagereadersorlong-formfictionisrarelyused.Thisthesisutilisesbothanentirenovelandrequiredtheproductionofreadingjournalsbythreeteenagereaders.Thereaderjournalsprovideanalternatemethodofdatacollectionto

thesurveys,onlinereaderforums,interviews,focusgroups,andmedicalteststhatareoftenusedinliterarystudies.

Chapter2:Theintersectionofdeepreadingandmodernism–aliteraturereview

Theaimofthisresearchprojectistoidentifythetextualstrategiesthatcanprovokedeepreadinginteenagers.IbeginwiththeconceptofdeepreadingasarticulatedbyMaryanneWolf(2009).Thethinkingskillsactiveindeepreadinginthefieldoflinguisticsandliteracyeducationcorrespondtothoseencouragedinmodernistwriting.Thisledmetoexplorethekeyfeaturesofmodernismandtheeffectsofthesefeaturesonthereader.Thesefeaturesprovidedatoolkittoplaywithinthewritingofthenovel.Modernisttextsraiseepistemologicalquestions(McHale1987,p.9).Thesequestionshaveadefamiliarisingeffectonthereader.Thisdefamiliarisingeffectisenabledinthetextthroughunreliablenarration,complexcharacters,lackofamoralcentre,andaspatialratherthanchronologicalapproachtotime.

Whatisdeepreading?

DeepreadingskillshavebeenexplainedbyMaryanneWolfasthe'arrayofsophisticatedprocessesthatpropelcomprehensionandthatincludeinferentialanddeductivereasoning,analogicalskills,criticalanalysis,reflectionandinsight'(Wolf&Barzillai,2009,p.32).RichardVacca(2002),areadingexpert,usessimilartermstoWolftodescribewhathecallsstrategicreaders,'readerswhoknowhowtoactivatepriorknowledgebefore,during,andafterreading;decidewhat'simportantinatext;synthesizeinformation;drawinferencesduringandafterreading;askquestions;andself-monitorandrepairfaultycomprehension'(p.8).Thesetheoristsusedifferentlabels,however,theskillstheyseeasrequisiteforastrategicoradeepreaderarethesame.Theybothrequirethereadertobringhigherorderthinkingskillstothereadingofthetext,therebyprovidingmoremeaningandcontext.

TheskillsidentifiedbyWolfandVaccaarealsoevidentinthePISA(ProgrammeforInternationalStudentAssessment).Thetaskforreading

literacyhassixproficiencylevels.Thelowestlevelrequiresthereaderto'locateasinglepieceofexplicitlystatedinformation'whilstthehighestlevelrequiresthereaderto'makemultipleinferences,comparisonsandcontrasts…integrateinformation,…reflectandevaluate'(Thomson,DeBortoli&Underwood,2015p.102).Theseproficiencylevelsclearlyshowtheprogressivedevelopmentofreadingskills.Atthelowerlevelisdecoding,atthehighest,deepreading.Deepreadinghasitsparallelintheconceptandpracticeofclosereadinginliterarystudies.

Inherbook,TeachingLiterature(2003),ElaineShowalterdescribes‘close’or‘slow’reading.

Closereadingisslowreading,adeliberateattempttodetachourselvesfromthemagicalpowerofstory-tellingandpayattentiontolanguage,imagery,allusion,intertextuality,syntax,andform…Inasense,closereadingisaformofdefamiliarizationweusetobreakthroughourhabitualcasualreadingpractices.Itforcesustobeactiveratherthanpassiveconsumersofthetext’.(Showalter2003,p.98)

Thisslowreadingrequiresalesseningoftransportationandidentificationinsteadnecessitatingamorecriticalstance.Textualstrategiesproducingadefamiliarisingeffectarecentraltotheproductionofmynovelandwillbediscussedinmoredetailbelow.

Insummary,thetheoristsabovediscussatypeofreadingthatisalternatelydescribedasdeep,slow,orclosereading.Deepreadingassumesthoughtfulanddeliberatereading;whereWolftalksofreflectionandinsight,VaccamentionsdrawinginferencesafterreadingandPISA’sdiscussionofliteracylevelslistsbothreflectingandinferringaswellascomparingandevaluating.Theideaofreadinginformedbythehigherorderthinkingskillssuchas:inferentialanddeductivereasoning,analogicalskills,criticalanalysis,reflectionandinsightwillbedescribedasdeepreadingthroughoutthisexegesis.ThehigherorderthinkingskillsidentifiedbyWolfwereusedindevelopingthecodingframefortheanalysisofparticipantjournalsfromthefieldworkphaseoftheresearch.

Howdoesdeepreadingdifferfromotherkindsofreading?

Deepreading,asdiscussedabove,necessitatestheuseofhigherorderthinkingskills.Thereareothertypesofreadingthatutilisetheseskillstoalesserdegree.TheobviousextensionofShowalter’sdefinitionofclosereading,mentionedabove,isreadingthatishabitual,notrequiringcriticalattentionandthatencourageshighlevelsoftransportation.Green(2004)inherworkontransportationinfictiondefinestransportationas‘anintegrativemeldingofattention,imagery,andfeeling,focusedonstoryevents’(p.248).Shegoesontodescribeitasafeelingofbeing‘lostinabook’withtheresultof‘reducingnegativecognitiveresponding,creatingattachmentstoorfeelingsforcharacters,andmakingthenarrativeworldseemmorerealandnarrativeeventsmorelikepersonalexperience’(p.248).Readingthatishighintransportationdiscouragescriticalthinkingwhilstencouragingidentificationandempathywithcharacters.Greenalsoacknowledgesthatthisreadingismorelikelytooccurinbest-sellers,orwhatwewouldcallgenrefiction(Bortolussi&Dixon2015,p.534).

CritiquingGreen’sdefinitionoftransportation,Bortolussi(2015,pp.528-9)emphasisesthetextualfeatureswithinbooksthatdonotelicittransportation.

[Green’s]definitionoftransportationistoobroad,ontheotherhand,itisalsotoonarrow,inthatitdoesnotincorporatetheotherimportantprocessesthatwecouldreasonablyassumetobepresentduringanengagedreadingexperience.Goodliterature…makesusthink.Therefore,deepintellectualprocessingwouldseemtomakeforanintellectuallystimulatingreadingexperience.

WhileBortolussiseestheexclusionofintellectualprocessingasaweaknessinGreen’sdefinitionoftransportation,Green’sdefinitionclearlydelineatesbetweendifferenttypesofreadingandthepurposesbehindthem.ThebooksBortolussireferstothatelicitthisintellectualresponse:havecharactersthatarenotclearlylikableordislikable;usemultipleperspectives;featureunreliablenarrators;andraiseepistemologicalquestionsthwarting

identification(p.532).Thesefeaturesparallelthosefoundinmodernisttextsandwillbediscussedinmoredetailbelow.

Ontheotherhand,habitualorpleasurereading,isseenbyBortolussi(2015)astheantithesisofdeepreading.Thisinvolvesthefeelingofbeinglostinabookresultinginhighlevelsoftransportation,identificationwithprotagonists,andempathyforprotagonists.TheconceptsdevelopedbyBortolussiandGreenwereusedindevelopingthecodingframefortheanalysisofparticipantjournalsfromthefieldworkphaseoftheresearch.‘Identification’and‘empathy’wereusedascodesforwhatItermshallowreading,alongwith‘comprehension’,whichIdefineasanunderstandingofstoryevents,and‘mechanics’,whichreferstosurfacelevelpunctuationissues.

Howdoesdeepreadingdevelop?

Thetexthasaroletoplayinfosteringdeepreadingbutdeepreadingisalsoreliantontheskillanddevelopmentofthereader.MaryanneWolf(2007)identifiesfourstagesofreaderdevelopment:thenovicereader,decodingreader,fluentcomprehendingreaderandexpertreader.LeveragingworkfromneuroscientistssuchasMichaelPosner,shedetailstheprogressionofcognitiveactivityindevelopingreaders.Withnovicereadersthereisactivityinbothhemispheresofthebrain,moreactivitythanisfoundintheexperiencedreader.Asreadinganddecodingskillsbecomemorepracticedandautomaticlesseffortisrequiredfromthebrain(Wolf&Stoodley2007,p.125).Thebrainlearnsshortcutssothatbythetimethenoviceisafluentcomprehendingreaderthebrainhasreplaced'bi-hemisphericactivationwithamoreefficientsysteminthelefthemisphere'(Wolf&Stoodley2007,p.128).Itisatthisstagethatdeepreadingcanbegintoemerge.Activitybecomesmoreconfinedtothelefthemisphereforbasicdecodingallowingthepartsofthebrainformerlyusedfordecodingtoworkonmeaningandcomprehensionprocesses.Asdecodingbecomesmoreautomaticthereadergainstime.Thistimeisusedto,'integratemoremetaphorical,inferential,analogical,affectivebackgroundand

experientialknowledge'(Wolf&Stoodley2007,p.143).Theseskillsformthebasisofdeepreading.

Insummary,thebrainchangesitsprocessesandallowsmoresimultaneouscomplexthinkingskillsasitmastersreadingandisthenfurtherchallenged:the‘degreetowhichexpertreadingchangesoverthecourseofouradultlivesdependslargelyonwhatwereadandhowwereadit'(Wolf&Stoodley,2007,p.156).Thisfindingiscrucialtomyresearchproject.Higherorderthinkingskillsaredevelopedtoagreaterextentwhendeepreadingisexercised.Thisdevelopmentiscontingentnotonlyuponhowwereadbutthetextsthatareread.Textsinformedbymodernisttheory,asdemonstratedbelow,aremorelikelytoproduceadeepreadingresponse.

ThefindingofWolfthatbrainprocessesaredifferentdependingonthetypeofreadingundertakenissupportedbyresearchconductedbyPhillips(2015).ThirtyPhDstudentswereinstructedtoreadJaneAusteneitherforpleasureorasclosereading.WhilsttheywerereadingapassageanfMRI(FunctionalMagneticResonanceImaging)scanwasconducted.Theresultsshowedthatdifferentpartsofthebrainfireddependentuponthetypeofreadingundertaken.Closereadingstimulatedabroadsetofregionsinthebrainwhilstpleasurereadinghadamorelocalisedeffect.

Whyisdeepreadingimportant?

Asdiscussedpreviously,Wolfnotesthatdeepreadingislinkedtobraindevelopment.Higherorderthinkingskillsaredevelopedtoagreaterextentwhendeepreadingisexercised.Asdeepreadingispractisedreaders‘learntobuildknowledgeandgobeyondthewisdomoftheauthortothinktheirownthoughts’(Wolf&Barzillai2009,p.34).Inaninformationagecriticalthinkingskillsarepivotaltoevaluateinformationfromvarioussourcesforveracityandrelevance.‘They[students]mustbetaughtcriticalthinkingskillsthatwillhelpthemdeterminewhenandwheretofindinformationandthenhowtoidentify,access,evaluateandeffectivelyusethatinformation’(Breivik2005,p.22).

Deepreadingnotonlydevelopscriticalthinkingskillsitalsohasthepowertochangethewaywerelatetoeachotherbyhelpingusunderstandhowpeopleandsocietyfunction.TheoryofMind(ToM)positsamechanismbywhichthisunderstandingisoperationalised.ToMistheextenttowhichwecaninferanotherperson’sthoughtsandemotionsbasedontheirlifecircumstancesandbeliefsandthereforeunderstandtheirbehaviour(Zunshine2006).TheoristsdifferentiatebetweenaffectiveandcognitiveToM.JonathanDvashandSimoneShamay-Tsoory(2014)definecognitiveToMas‘thinkingaboutthoughts,intentionsorbeliefswhereasaffectiveToMinvolvesthinkingaboutfeelings’(p.284).TheoreticallyaffectiveToMislinkedwithahighlevelofidentificationandempathyforacharacterwhereascognitiveToMutilisesdeepreadingskills.Thisistestedinthefieldworkphaseofthisresearch.NotdifferentiatingbetweenthetwotypesofToM,LisaZunshine(2006)arguesthatreadingfictionengagesandthereforeexercisesandstrengthensToM.

TheoryofMindisaclusterofcognitiveadaptationsthatallowsustonavigateoursocialworldandalsostructuresthatworld.Intenselysocialspeciesthatweare,wethusreadfictionbecauseitengages,inaparticularlyfocusedway,ourTheoryofMind.(Zunshine2006,p.162)

Oatley(2002)extendstheconceptofthesocialpurposeofreadingtodevelophisanalogyofreadingassimulation.Heexplainsthat'[a]swithothersimulations,aprincipalpurposeistounderstandcomplexmatters,inthiscasepeople,theiractions,andtheirinteractions'(p.40).Hethuscontendsthatreadinghelpsustounderstandotherpeopleandhowsocietyoperates.

TheconceptofcognitiveToMembracestheskillsthatwereidentifiedaboveinthediscussionofdeepreading:inferentialanddeductivereasoning,analogicalskills,criticalanalysis,reflectionandinsight.ThusdeepreadingutilisesanddevelopscognitiveToMallowingthereadertounderstandalternativeperspectivesandworldviewsandusethatunderstandingtopredictwhatcharactersthinkandwhytheycarryoutactions.Zunshinewouldargue,

further,thatfiction’sdevelopmentofcriticalunderstandingofmotivationsandsocialstructuresistransferabletoareal-worldcontext.

Deepreadingencouragestheuseofhigherorderthinkingskills.Theseskillssuchasdeduction,inferenceandreflectionarerequiredtonegotiateepistemologicaluncertainty.Literaryhistorianspointoutthatsituationsofepistemologicaluncertaintyarethemainpreoccupationsofmodernisttexts.Thisuncertaintyiscreatedthroughtheuseofarangeoftextualstrategies.Mythesiscontentionisthatthesesametechniquescanbeusedtoprovokedeepreadinginanovelaimedatadolescentreaders.

Whatismodernism?

Modernistfictionisdifferentiatedfromotherfictionthroughitsforegroundingofepistemologicalquestions(McHale1989,p.9).Thesequestionsexaminethetransmissionandappearanceofknowledgeandtheeffectsofthisoncharacter,world,andreader.Faulkner(1977)seesthemainchangefromromanticismtomodernismasashiftfromtheworldofobjectstotheexaminationofthemindperceivingthem(p.36).Hence,wearegivenmoreinsightintocharacters’ownthoughtsandreflectionsratherthanlengthydescriptionofthesurroundingworld.Lodge(1977)alsonotesthispsychologicalelementasheexplains,‘Modernistfictionisconcernedwithconsciousness,andalsowiththesubconsciousandunconsciousworkingsofthehumanmind’(pp.45-46).Similarly,VirginiaWoolf(1966)labelsthemoderniststhe‘psychologists’.Whilethesenovelistsdetailthepsycheofthecharacterstheyalsoplaywiththepsycheofthereader,usingunreliablenarrationanddisjointedchronology.Thesefacetsofthemodernistnovelwillbeexaminedinmoredetailbelowastheyinformthewritingofmyownnovel,ToMyOtherSelf.

Theeffectofmodernism.

Therepresentationofepistemologicaluncertaintychangesthewaythereaderconstructsthetextintheactofreading.VirginiaWoolf(1966)notesaboutreadingmodernisttexts,‘Weareatonceconsciousofusingfacultieshithertodormant,ingenuity,andskill,amentalnimblenessanddexteritysuchasservetosolveapuzzleingeniously’(p.81).Thisisnottheideaofbeing‘lostinabook’,rathercomplexcognitiveprocessesareactivatedasthebookis‘puzzled’out.Woolfsawthedevelopmentofthisnewtypeofnovelas‘anencouragementtoamorecreative,criticalconsciousnessinnovelistandreader’(p.35).ThiscriticalconsciousnessincludesmanyoftheskillsoutlinedinMaryanneWolf’sdefinitionofdeepreading:analogicalskills,deductivereasoning,criticalanalysis,reflection,andinsight.VirginiaWoolfgoesontotalkabout‘creativeresistances’beingactivated(p.36).Thiscreativeresistanceallowsdistancefromthenarrative,breakingtheeffectoftransportationandidentificationandallowingdeepreadingtooccur.Modernismproducesthetypeofcriticalthinkingassociatedwithdeepreading,thereforeanexaminationofitstextualstrategieswillprovidevaluableinsightastohowanovelforadolescentscanbeconstructedtoprovokedeepreading.

Textualfeaturesofmodernisttexts

Whilsttherearenosetrulesforwhatmodernistnovelsare,thereis,asLodge(1977)notes,a‘familyresemblance’betweenthem(p.45).Keytothisresemblance,accordingtoLodge,isthelackof‘objective’events.Thisomissionofnarrativecertaintyhastheeffectofencouraging‘introspection,analysis,reflectionandreverie’(p.45).Lodgegoesontooutlinehowthelackof‘objective’eventsisachieved.

Amodernistnovelhasnoreal‘beginning’,sinceitplungesusintoaflowingstreamofexperiencewithwhichwegraduallyfamiliarizeourselvesbyaprocessofinferenceandassociation;anditsendingisusually‘open’orambiguous,leavingthereaderindoubtastothefinaldestinyofthecharacters…Modernistfictioneschewsthestraightchronologicalorderingofitsmaterial,andtheuseofreliableomniscientandintrusivenarrator.Itemploys,

instead,eitherasingle,limitedpointofview,oramethodofmultiplepointsofview,allmoreorlesslimitedandfallible:andittendstowardsafluid,orcomplexhandlingoftime,involvingmuchcross-referencebackwardsandforwardsacrossthechronologicalspanoftime.(Lodge1977,pp.45-6)

Inthequoteabove,Lodgedrawsattentiontoalackofcertaintythroughambiguousendings,unreliablenarration,andnon-chronologicalstructures.Thesefeaturescreateepistemologicalquestions:whoknowswhat,howdotheyknowit,whydotheythinktheyknowwhattheyknow?Theseepistemologicalquestionsaskedofthecharactersareparalleledinthereader,astheyassess:whoistellingthestory,whytheyaretellingit,thesignificanceofevents,andhowtheeventsfittogethertocreateunifiedmeaning.Whereasintraditionalnineteenth-centurynovelseventswerelaidoutchronologicallyandexplainedbyanarrator,inmodernismthesesupportsforthereaderareremoved.Thislackofsupport,therefore,hasadefamiliarisingeffectonthereader.

Defamiliarisationandmodernism

Defamiliarisationisageneraltermforachangeinperceptioninthereader.Stacydefinesdefamiliarisationsimplyas‘somethingordinary,commonplace,orfamiliar(anobject,event,situation,ortradition)is,inonewayoranother,madetoappearunfamiliar’(Stacy1977,p.8).Itencouragesthereadertoreassesswhattheyknowandhowtheyknowit.Shklovsky,whofirstcoinedthetermdefamiliarisation,notedthatas‘perceptionbecomeshabitual,itbecomesautomatic’(citedinStacy1977,p.32).InwritingfordeepreadingIamaimingforanon-automaticresponse,aresponsethatwillrequiremorecognitiveeffortthanbeing‘lostinabook’.Shklovskysawdefamiliarisationasthepurposeofart,andanecessarychallengetothegeneralpracticeofhabitualperception.‘Thetechniqueofartistomakeobjects“unfamiliar,”tomakeformsdifficult,toincreasethedifficultyandlengthofperception’(citedinStacy1977,p.34).Thisincreaseinthelengthofperceptionequatestotheemergenceofdeepreadingashigherorderthinkingskillsareutilisedtoreassessthefamiliar.Defamiliarisationisaneffectdemonstratedinthereaderandvarioustextualstrategiescanelicitthisresponse.

VirginiaWoolf(1966)doesnotprescribeanyparticulartextualstrategiesforthemodernistnovel,however,theuseofdefamiliarisingstrategiesisevidentinherdiscussionofthemodernistsas‘psychologists’.ShecitesanexamplefromHenryJameswhowritesofacharacter;shewas‘areadyvesselforbitterness,adeeplittleporcelaincupinwhichbitingacidscouldbemixed’(p.81).HereJamesusesmetaphoricallanguagetodefamiliarisethereader.Boththecupandthecharacteraredefamiliarised.Ratherthantheprotagonistsimplybeingdescribedasbittershebecomesareceptacleforthepotentialofbitterness.Thecupinturnistransformedfromadaintyteacupintosomethingmoresinister.Woolfspeaksofthepleasurethistypeoftextelicits.

Besidesinthisfinenessandsweetnesswegetanotherpleasurewhichcomeswhenthemindisfreedfromtheperpetualdemandofthenovelistthatweshallfeelwithhischaracters.Bycuttingofftheresponseswhicharecalledoutintheactuallife,thenovelistfreesustotakedelight,aswedowhenillortravelling,inthingsinthemselves.Wecanseethestrangenessofthemonlywhenhabithasceasedtoimmerseusinthem,andwestandoutsidewatchingwhathasnopoweroverusonewayortheother.Thenweseethemindatwork;weareamusedbyitspowertomakepatterns;byitspowertobringoutrelationsinthingsanddisparitieswhicharecoveredoverwhenweareactingbyhabitordrivenonbytheordinaryimpulses.(Woolf1966,p.82)

Woolfnotestheincreasedcognitiveprocessesthatareatworkonceourhabitualperceptionshavebeensubverted.Sheacknowledgesthelackoftransportationandidentificationwithcharactersasempathyisnolongerdemanded.InshortshedemonstratestheshiftinthereaderfromaffectiveTheoryofMindtocognitiveTheoryofMind.ShegivestheexampleofProustwhose‘wholeuniverseissteepedinthelightofintelligence.Thecommonestobject,suchasthetelephone,losesitssimplicity,itssolidity,andbecomesapartoflifeandtransparent’(Woolf1966,p.83).Defamiliarisationseesthecommonrevisionedtodeepenperception.WhilstWoolfmentionstheuseofmetaphorbothinregardtopeopleandobjects,defamiliarisationcanbeextendedtoevents,situations,andtraditions.Subversionsoftraditionalnarrativestructuresaswellasnarrativescriptsdefamiliarisethereaderandcausethemtoreassesswhattheyknowandhowtheyknowit.

PsychologistKeithOatley(2002)writesthatwhenweread'wetakeevents,phrases,movementsofastory,andassimilatethemtoaschemaofwhatwealreadyknow'(p.48).Wheneventsdon'tfitneatlyintoaschema,asoccurswhendefamiliarisationiselicited,weareforcedtoreassessourknowledgebasetopossiblyaccommodatenewinformationandideas.Thisreassessmentfostersinferentialanddeductivereasoning,analogicalskillsandcriticalthinking.Therearemanywaysthatthisresponse,whichleadstodeepreading,canbeprovokedthroughthetext.

Thetextualstrategiesofmodernism

Moral ambiguity

Oneofthekeyfeaturesofmodernismisitsmoralambiguity.VirginiaWoolfwrites,‘Wearenevertold…thatonewayisrightandtheotherwrong.Everywayisthrownopenwithoutreserveandwithoutprejudice’(Woolf1966,p.84).EmergingoutofVictorianliteratureandreactingtoitsculturallystrongbeliefinChristianity,modernismpresentsamoreuncertainandambiguousworld.‘Forthemodernwesternworldislesssureofitsvaluesthanmostpreviouscultureswithwhichwearefamiliar;relativismandsubjectivityarefactsofeverydayexperience’(Faulkner1977,p.15).Modernism’slackofcertaintyforcesthereadertoexercisetheirownjudgement,orsuspendtheirjudgement,ratherthanbeingdirectedtowardjudgementseitherbytheconsequencesofeventsorbythenarrator’svoice.Innottellingthereaderwhatisrightandwrongmodernisminvitesalevelofcomplexitywhichencouragesdeepthought.

Unreliable narration

Unreliablenarrationcausesthereadertoquestionboththetruthofeventsandtheideologiesimplicitinthetext.RobertBaah(2014)inhisworkoftheteleologyofunreliablenarrationidentifiesfourdistinctpurposesofunreliablenarrators;tosubverttheworldviewofthenarrator,toexaminethe

consequenceofimagination,toreconceptualiseunderstandingoftruthandfalsehoodandtobeasourceofnarrativehumour.Thefirstthreeofthesepurposesinvolveprocessesofknowledgeacquisition.Knowledgeandthesolidityofknowledgeisquestionedfirstbytheprotagonistsandthenbythereader.Thisquestioningoftheveracityofknowledgeistypicalofmodernism.

AnexampleoftheeffectunreliablenarrationhasonthereaderisfoundindeReuck’s(1993)analysisoftheworkofmodernistnovelistHenryJames.‘[Unreliablenarrators]provideadequateguidanceforthereceiveronlyuptoapoint…butwheretheirjudgementsaboutthemselvesareconcerned,wefindthemcruciallywanting,sothatwereinterprettheirutterancesatsuchjunctions,recastingthepresentedworldtoincorporateelementsoftheirinner(psychic)make-up’(pp.355-6).Thereader’sre-analysisinvolvesquestioningwhatisknownandhowitisknown.Theirthoughtprocessesinvolvededucingandthinkingcriticallywhicharebothdeepreadingskills.Moreexamplesofunreliablenarrationaregivenintheanalysisoftwoyoungadultnovelsinchapter3andthisconceptalsoinformshowmynovelwaswritten.

Complex characters

Lackofreliablenarrationandamoralcentreinmodernistliteratureresultsinmorecomplexcharacters.Thesecharactersevolveoverthecourseofthenovel.Charactersareneitherentirelygoodnorentirelybadrather,theyexistincontradiction(Woolf1966).WoolfusesDostoevsky’sStavroginasanexampleofthis:‘thatcontrastwhichmarkedStavrogin’sappearance,sothathewasatonce“aparagonofbeauty,yetatthesametimethereseemedsomethingrepellentabouthim”,isbutthecrudeoutersignoftheviceandvirtuewemeet,atfulltilt,inthesamebreast.’(Woolf1966,p.86).Thiscontradictiondeniesthereaderasettledreadingexperienceaseventsandperspectivesneedtobequestionedandconstantlysubjectedtoaprocessofre-evaluation.

Complexcharactersrequiremorecognitiveeffortonthepartofthereader.WoolfdiscussesProust’scharacterization:‘itisthroughwhatpeoplethinkandwhatisthoughtaboutthem,throughtheknowledgeandthoughtsoftheauthorhimself,thatwecometounderstandthemveryslowlyandlaboriously,butwiththewholeofourminds’(Woolf1966,p.88).Thecomplexityofthecharacterisationmeansthatcharactersdonotfiteasilyintothereader’sexistingschemas,rather,eachaction,thoughtandresponseneedstobeassessed.Thisrefusalofcharacterstofitschemaresultsinanincreasedcognitiveloadonthereaderastheyformtheirownjudgementsratherthanrelyingonknownprototypes.Thisprocessrequiresmoretime,asalludedtobyWoolf,andinvolvesmultiplecognitiveprocesses.

Dislocated chronology or spatial form

McHale(1989)identifiesstrategiesofimpededforminmodernism.Theseincludedislocatedchronologyandwithheldorindirectlypresentedinformation.Thesestrategiesareusedforepistemologicaleffectasknowledgeisnotsimplyrevealedforthereader,ratheritneedstobeteasedoutasnarrativeislayereduponitselfquestioningcharacter,world,narrative,andreader.Frank(1945)takesthediscussionofdislocatedchronologyastepfurtherasheregardstimeinmodernistnovelsasspatialratherthanchronological.FrankusesProustasanexample.Proustbelievedtimewasexperiencedmorefully,orpurely,whenthepastandpresentwerejuxtaposed.Injuxtaposingpastandpresentaclarityisgiventotimewheredifferencesareaccentuatedasthereaderisimploredbytheverystructureofthenoveltomakecomparisonsandfindmeaninginthecontrast.‘Habit,thatuniversalsoporific,ordinarilyconcealsthepassageoftimefromthosewhohavegonetheiraccustomedways:asatanymomentoftimethechangesaresominuteastobeimperceptible’(p.238).Themanipulationoftimeintoaspatialratherthanchronologicalarrangementsdefamiliarisesnotonlytimebutthewayanovelisperceived.Injuxtaposingtime,allowingittocoexistinpast,present,andevenfuture,charactersinterrogatethemselvesasthe

spatialdimensionoftimecreatesanewspacewheremeaningsabound.‘Proustforcesthereadertojuxtaposedisparateimagesofhischaractersspatially,inamomentoftime,sothattheexperienceoftime’spassagewillbefullycommunicatedtotheirsensibility’(p.239).Thisconceptoftimeexistingspatiallyratherthanchronologicallybecomesoneofthecornerstonesofmynovel.

Insummary,deepreadingasdefinedbyMaryanneWolfinvolvestheuseofhigherorderthinkingskillssuchasinferentialanddeductivereasoning,analogicalskills,criticalanalysis,reflectionandinsight(Wolf&Barzillai,2009,p.32).Thesesameskillsareidentifiedindescriptionsofstrategic,slow,andclosereading.ThedevelopmentofdeepreadingisimportantnotonlyfortheincreaseduseofhigherorderthinkingskillsbutalsobecauseoftherolethatdeepreadingplaysinthedevelopmentofcognitiveToMwhichhasrepercussionsforthewayweunderstandandinteractwitheachother.Thehigherorderthinkingskillsevidencedindeepreadingarealsoencouragedinmodernistwritings.Anunderstandingofthefeaturesofmodernismsuchasunreliablenarration,complexcharacters,lackofamoralcentre,andspatialforminformsthewritingofmynovelwhilethehigherorderthinkingskillsidentifiedbyWolfbecomesthecodefortheanalysisofparticipants’commentsintheempiricalresearchelementofthisthesis.Thefeaturesofmodernismhaveadefamiliarisingeffectonreaders.Similarly,deepreadingaimstodefamiliarisethereadingprocessascriticalratherthanhabitualthoughtisapplied.

Chapter3:Themultiplefacesofdefamiliarisationanditsroleinproducingdeepreading.ThischapterexamineshowtworealistAustralianyoungadultnovelsutilisetextualstrategiesevidencedinmodernisttextstodefamiliarisethereader.ItthenexamineshowthesetextsinfluencedthewritingofToMyOtherSelf(TMOS).Thedefamiliarisationcausedbythesetextsincreasesthecognitiveloadontheirimpliedreaderresultingindeepreading.Somethingintheworldcalledlove(2008)bySueSalibaandTouchingearthlightly(1996)byMargoLanaganbothlookatthematurationoftheirfocalisingcharacter.Growthhaslongbeena‘dominantpattern’inYAliterature(Trites2014,p.54)astheadolescentprotagonistsseektounderstandthemselvesandthepowerstructureswithintheirsociety(Oziewicz2015,p.2).ThispatternarguablybeganwithJ.D.Salinger’sTheCatcherintheRye(1951)whichexploredtherelationship‘betweenthesubversiveadolescentandacritiqueofwidersociety.’(Hilton&Nikolajeva2012,p.7).TheprevalenceofthegrowthpatternwithinYAliteraturecanbeviewedasunderminingadolescentempowermentasempowermentcomesthroughgrowingupandmaturingratherthanbyothermeans(Trites2014,p.1).Despitethiscommonpatternofgrowth,YAliteraturehasevolvedbecominglessformulaicanddidactic.Tritesnotesthis,‘Justasadolescentsdonotgrowinaone-size-fits-allpattern,manynarrativeswrittenforyoungadultsdefythepredictablepatternofthebildungsroman-influencednovelaboutamaturingteenager’(2014,p.54).Thiswillingnesstostepbeyondthefamiliargrowthpatternhasresultedindiversityofsubjectmatterandexperimentationinstyle(Cart2016,p.81).This‘growingsophistication’oftheYAgenrehasalsobeenattributedtoitsincreasingadultreadership(Cart2016,p.x).ContemporaryYAnovels,forthemostpart,stillexplorethetransitionfromchildtoadultthroughgrowthandyetwiththebroadeningofthegenrethisisbeingexpressedthroughdifferentstylistictechniquesandwithincreasingdiversityofboththemeandcharacter.

Thisdeviationfromacommonscript(growth)demandsmorefromthereaderinbothimaginationandattention(Nikolajeva2014,p.35).Asidentificationislessenedthroughthetext’sdeploymentofmorediversecharacters,unreliablenarration,andunpredictablestylisticelementsmorematurereadingisdevelopedleadingtoincreasedempathy(Nikolajeva2009,p.185-6).YAliteraturehasbeengraduallyincreasinginsophisticationwhichnecessarilyrequiresmorecognitiveeffortfromthereaderanddevelopsreadingmaturity.Thisincreaseinsophisticationhasseentheincorporationofsomeelementsofliterarymodernismastruthisbroughtintoquestion.WithinAustralianYAliteratureGaryCrew’sStrangeObjects(1990)isanearlyexampleofaYAnovelthatutilisesaspatialstructure.Morerecently,JustineLarbalestier’sMySisterRosa(2016)usesunreliablenarrationassheexaminestheprotagonist’spsychologyinasimilarwaytomodernistauthors.AmbiguityandtheuncertaintyoftruthisalsothefocusofIlluminae(2015)byAmieKaufmanandJayKristoffastheyusemultipleunreliablenarrators.ExperimentationwithstyleisbecomingmorecommonwithinYAfictionandmorenovelsareusingsomeelementsofmodernistwritingtechniques.WhilstwecanseethistrendemergingwithinYAfictionwhatisyetunknownistheeffectofthesetechniquesupontherealreader.Thenovelschosenforanalysisbelowutilisethecommongrowthpatternandyetreworkit,relyingonmoderniststrategiestocreateresonance.InnowayisthisresearchacomprehensivecoverofrecentAustralianYAfictionthatutilisesmodernisttechniques,ratheritisaclosereadingoftwotextsthathavenotpreviouslybeenapproachedthroughamodernistlens.Little has been written about Something in the world called love

(Something), and Touching earth lightly (TEL) has previously only been analysed

through a feminist lens (Harris 1999; James 2006; McCormack 2002).BothSomethingandTELarecomplexandyettheauthorshavemadedifferentnarrativechoicestoachievethiscomplexity.WhereSalibaexploresambiguityandtextualuncertaintythroughbinaries,unreliablenarration,andtypographicaloddity,Lanaganutilisesaspatialratherthanchronologicalform,metaphor,andcomplexcharacters.Bothtextsexplorethecomplexitiesoflife

wherechoicesandjudgementsarerarelyblackandwhite,butareinsteadcontinuallychallenged.Asdiscussedinchapter2,defamiliarisationoccurswhenevents,charactersorlanguagearemadetoappearunfamiliar(Stacy1977,p.8).VirginiaWoolf’sdiscussionoftheworksofthe‘psychologists’,asshetermsmodernists,identifiesafeelingofdefamiliarisationascentraltothenovelsasthereadertakespleasureinseeingtheworlddifferently(1966).Defamiliarisationcausesapausewherethereaderisforcedtoreassesstheirknowledgebase.Thisplacesagreatercognitiveloadonthereaderastheythinkmorecritically,reflectandgaininsight.Bothofthesetextseffectdefamiliarisationbutthroughdifferentmeans.ThestrategiesusedbybothSalibaandLanagansuchascomplexcharacters,textualuncertainty,unreliablenarration,unconventionalgrammar,theuseofmetaphor,andtheuseofaspatialratherthanchronologicalform,worktocreatethisdisorientingpauseinthereader.Itisthisthataddscomplexityandprovokesdeepreading.

SomethingintheworldcalledloveSomethingintheworldcalledlove(Something)tellsthestoryofEsma,aneighteen-year-oldgirlwhomovesintoasharehousewithKaraandSimon.ItdetailsEsma’sjourneytofindagencyofherown.Theopeningpassagecontextualisesthenarrative,alludestoitsmainconcerns,andintroducesthetextualstrategiesthatcoalescetoplaceagreatercognitiveloadonthereader.Thenovelexemplifiesmodernistpoeticsthroughitsuseofunreliablenarration,ambiguity,defamiliarisingmetaphors,andcomplexcharacters.Thestoryopenswiththeselines:

Autumn‘it’strue,there’ssomethingintheworldcalledlove.esmafeltitwhenshemovedintothehousewiththebluestairsandthebrokenbalcony,carltongardensoppositesoshecouldseeallthewaytothesky.

therewaskarabesideher,behindthewall,andsimonbelowwithhisroomthatlookedouttotheroad,tworoadsactuallysoyouhadachoiceasyouwereleavingorarriving,whichwaytotake,ornot.butanyway,esmaatthebeginningsawonlyoneway.(p.1)

FromtheoutsetthereaderiskeptfromempathisingwithEsmathroughthenarrativedistancecreatedbytheexternalnarrator.Thisnarrativedistanceeffectsdefamiliarisationthroughpreventingsurfaceidentificationwiththeprotagonist.AsdiscussedbyVirginiaWoolfthisdestabilisingofempathyencouragesapleasure‘whenthemindisfreedfromtheperpetualdemandofthenovelistthatweshallfeelwithhischaracters.Bycuttingofftheresponseswhicharecalledoutintheactuallife,thenovelistfreesustotakedelight…inthingsinthemselves’(Woolf1966,p.82).ThisapproachactivatescognitiveratherthanaffectiveTheoryofMind(ToM)asthereaderempathiseswiththeprotagonistlessandinsteadpondersontheirthoughts,intentions,andbeliefs(Dvash&Shamay-Tsoory2014).Narrativedistanceisachievedintheopeningpassagesthroughtheinsightgiventothereaderbytheexternalnarratorwhichishiddenfromthecharacter,inthiscaseitistheawarenessofchoice.Thereader,throughtheexternalnarrator,hasincreasedaccesstoinformationwhencomparedtoEsma.ThereaderisthereforeabletojudgeandseethesignificanceofeventsbeforeEsma.Thereader’sincreasedaccesstoknowledgecreatesadisparitybetweenthereaderandEsmathatpositionsthereaderasacriticalobserverratherthanparticipant.ThisstrategyemphasisesEsma’snaivetybutalsorequiresthereadertoholdintheirmindcompetingpiecesofinformation.AsseenintheopeningpassagethereadermustreconcilethatthereischoicebutatthisstageEsmaisunawareofit.ItrevealsEsma’scharacterasonewhoseeseventsasunfoldingratherthanhavinganyagencyofherown,andforetellsthejourneyleadingtoEsma’srealisationofherownidentityandagency.

Encouraging ambiguity through unreliable narration Thereader’sperceivedincreasedaccesstoknowledgeissoonbroughtintoquestionastheexternalnarratorprovestobeunreliable.Thisiswitnessedin

thecompetinginformationaboutthe‘reality’ofEsma’sloveforKara.Esma’sloveforKaraisalludedtoearlyon,

foralthoughkarawasorderedandexact,shewasalsosomethingelse.andesmawillcometoexperiencethatsomethingelse,thatpartofkarathatwillmakeherfeelconnectedandspecial–thatwillgiveherflight.(p.11)

ThissuggeststhattherelationshipwithKarawillbesignificantintheformationofEsma’sidentity.ThenatureofthisrelationshipisimpliedasEsmarealisesforherself,‘andrightthen,thetruthrestedinfrontofher,pureandbold…yes,shewasinlovedeeply,awfullyinlovewithkara’(p.93).WhereearlierthenarratorforeshadowedthepaththatEsmawouldtake,herethenarratorisconspicuouslysilentallowingthereadertoacceptthe‘truth’ofEsma’sfeelings.However,theunreliabilityofthisnarratorialdirectionisborneoutintheclosingpages.ThistimeitisEsmaproclaimingtruth,

‘it’strue,thereissomethingintheworldcalledlove.’andsherememberedwhatshe’dfeltwhenshe’dfirstmovedintothehouse.afeelingoflove.yesshehadfeltthat.butshe’drealisednowthatshehadmisplaceditssource.ithadn’tbeeninkaraorthehouse,orevensimon.ithadn’tbeeninherconnectionwithkara,butinherself.(p.184)

Thenarrator,throughsilence,endorsescontradictorynotionsoflovecausingthereadertoreassesseventsandcharacters.ThenarratorialstylerepresentsforthereaderEsma’sfeelings,whicharetruebutalsofluid,denyingthereaderanynarrativecuestoguideinterpretationoftruthandfalsehood.RobertBaahinhisworkontheteleologyofunreliablenarratorsconceptualisesfourdistinctpurposesofunreliablenarrators;tosubverttheworldviewofthenarrator,toexaminetheconsequencesofimagination,toreconceptualiseunderstandingortruthandfalsehoodandtobeasourceofnarrativehumour(2014).HereSalibausesunreliablenarrationtobreakdownthebinaryoftrueandfalseandofferamiddleground.Esmaislearningtoseeandacceptambiguitiesinlife.TheunreliabilityofthenarratorparallelsforthereaderthedisorientationthatEsmaisexperiencingasherworld-viewischallenged.InthiswaySalibais‘transferringepistemologicaldifficultiesfromcharactertoreader’(McHale1989,p.9).ToMyOtherSelfalsoutilisesunreliablenarrationbuttoadifferent

effectwhichisdiscussedbelow.TruthandfalsehoodisjustoneofthebinariesthatSalibadeconstructsinthefurtheringofhermaintheme–thethirdway.

Encouraging ambiguity thematically IntheopeningparagraphsSalibabeginstheexplorationofoneofthemainthemesofthebook;thatislifeisn’tfoundinbinariesbutinthein-between,inthethirdchoice.Thisthemeisintroducedbyambiguityandtextualindefiniteness.Ambiguityandtextualindefinitenessoperatenotmerelyasatextualdevicebutasathematicconcern.ThisuseofambiguitymirrorsWoolf’sviewofmodernisttextswhere,‘wearenevertoldastheEnglishnovelistssofrequentlytellus,thatonewayisrightandtheotherwrong.Everywayisthrownopenwithoutreserveandwithoutprejudice’(Woolf1966,p.84).Esmaundertakesthejourneytoembraceambiguityalongwiththereader.WewillseehowthisisencouragedbelowinthelexicalchoicesofSaliba.Esmaachievesalevelofmaturitythateschewssimplicityandratherthanacceptingthechoicesthatseemtobeinfrontofherrealisesherownagencyinfindinganotheroption.Thisthemeemergesinthebinariespresented,isfurtheredthroughthenon-useofcapitalletters,andisfinallyexplicitlystatedbyEsma.Thisoccursinthescenewheresheisfacedwiththepossibilityofmovingoutorsurrenderingthedog,Esmafinallyassertsherownagency,

andthenathirdwaypresenteditselftoher–somethingbetweenthedoghavingtoleaveandesmabeingforcedtofindsomewhereelsetolive.itwasmoresubtleandcomplexthateitherofthoseextremes…butitcamefromsomethingdefiniteandrealinsideesma.(p.181)

ThroughoutthenovelSalibainvitescontemplationofthecomplexandthenuancedthroughEsma’sdiscoveryofthe‘thirdway’.

Encouraging ambiguity through ‘typographical oddities’ Fromtheoutsetthereaderisfacedwiththecognitivechallengeofunorthodoxpunctuationinthetext’savoidanceofcapitallettersanditsuseofunconventionalspacing.Thistypographyintroducesafurtherlevelof

indefinitenesstothetext.Stacynotesinhisdiscussionofdefamilarisationthat,‘manyofthemodernists,especiallynovelists,haveresortedtosometimessignificant,sometimesmerelydisturbingtypographicalodditiesofonekindoranother’(Stacy1977,p.21).Disruptionoftypographicalconventionshastheeffectofslowingdownthereadingspeedasthereaderneedstogivegreaterattentionandefforttothetext.Thisslowerreadingspeedallowsthebrainmoretimefordeepreadingtooccur(Wolf&Barzillai2009,p.33).Thelackofcapitallettersandunconventionalspacingsillustratethemainthemeofthebookinthattheyrefusetoestablishhierarchiesofsignificance.Nowordisgivenpre-eminenceoveranother,rathertheunconventionalspacingsallowsentencestofloataswholeorasfragments,asintheintroduction.Theycausethereadertoreassesstheimportanceofeachindividualphrase.

therewaskarabesideher,behindthewall,andsimonbelowwithhisroomthatlookedouttotheroad,tworoadsactuallysoyouhadachoiceasyouwereleavingorarriving,whichwaytotake,ornot.(p.1)

Intheintroduction‘roadtotake,’and‘ornot’areondifferentlinesandyettheyformpartofthesamesentence.Theyarefragmentsandneedtobepiecedtogethertocreatethewhole.Inthiscase,thebelated‘ornot’addsadualityofmeaningtotheprecedingfragment.Doesthe‘ornot’refertothechoicetonotdosomething,ordoesthe‘ornot’cancelouttheoptionofchoice?Thetextisambiguousandbyseparatingthesephrasesapauseiscreatedforthereaderwherethefirstpartofthesentenceiscomprehendedandthenitissubsequentlyquestioned.Thispausebetweenlines,theslowingdownofreadingcanbeequatedtoastillnessthatKoopmandescribesas‘anemptyspaceortimethatiscreatedasaresultofreadingprocesses:theslowingdownofreaders’perceptionsofthefictionalworld,causedbydefamiliarisation’(Koopman&Hakemulder2015,p.80).Koopmanseesstillnessasapreconditionforreflection,adeepreadingskill.Unconventionalpunctuationleadstoaslowerreadingratewhichgivesgreatertimeforreflection.

Encouraging ambiguity through binaries Salibabothintroducesambiguityandencouragesitsconsiderationthroughheruseofbinaries.Inthisopeningpassage,KaraandSimonaresetupinoppositiontoeachother.KaraisbesideEsmaandSimonisbelowher.ThesecharactersrepresentdifferentchoicesforEsmaanddifferentdirectionsEsmacouldtakeintheformationofheridentity.TheyarealternatechoicesforEsma,metaphoricallyrepresentedbythetworoadsleadingtothehouse.Whilsttheimpliedreaderisinitiallypositionedtoseetheseasromanticchoices,however,asthestoryprogressestheromanticschemaissubverted.Asinformationisprogressivelyrevealedthereaderfindsthechoiceisbetweenalternateformsoffriendship.WithKarathefriendshipmodelofferedisoneofdominanceandexclusionofothersofferingnospaceforEsma’sownagency.ThiscontrastswiththerelationshipwithSimonwhichallowsEsmaotherrelationshipsandopportunities,suchaspoliticalactivismrelatedtopuppyfarms.EsmaismanipulatedbyKaraintochoosingasingleloyalty.ThismanipulationisevidentinKara’sploytohavehersistermovein,necessitatingSimon’sevictionfromthehouse.ThisunacceptableultimatumistheimpetusforEsmatocontemplatethethirdway.

ican’tletchloemoveinandican’tspeakthepassionofwhy.therehastobeathirdway–that’sit!(p.85)

Thethirdwaypresentsitselfthroughthepotentialsolutionofanunusedsunroom.ThroughthethirdwayEsma‘glimpsedadifferentwaytobe’(p.90).Esmabeginstoassertherownagencyandseebeyondthesimplistictwochoicespresentedtoher.ThethemeofthethirdwayisextendednotonlythroughthechoicesrepresentedthroughbinariesbutthroughSaliba’suseofoxymorons.Salibarepeatedlysetsuptwocontradictoryideasandletsthemcoexistinuncomfortabletension.‘Wishingandfear’(p.7),‘breathwithsubstance,afterwithbefore,deadnesswiththewishingofayoung,hopefulgirl’(p.9),‘mother,sister,saviouranddread’(p.23),‘silenceandchaos,anumbnessandamadness,ashatteringapartandstayingsosostill’(p.30),‘happierandmoreterrified,

excitedandmorefearful’(p.34),‘theworldwasburstingandfullandforeveroritwasblankanduselessanddead.eternalismandnihilism’(p.72).Asseenintheabovephrases,Somethingintheworldcalledloveoverflowswithbinaries.WhiletheyoftenreinforcethetwochoicesthatEsmafeelsforcedintoandsubsequentlyrebelsagainsttheyalsoadvocatefortimeswhentheseeminglydisparatecoincide.UponthisbackdropofbinariesSalibaexploresthein-betweenspaces,theambiguousanduncertain,thespacesthatcannotbeclearlyarticulatedbutliesomewherebetweenthetwoextremes.Lifeandchoiceandwhoweareisnotdefinedbyoneemotionorsensibilitybutacacophonyoffragments,aconcertoffloatingsentences.

Encouraging ambiguity through metaphor Salibafurtherprobesthisnotionthroughtheuseofmetaphor.LakoffandJohnson(1980)detailhowmetaphorisintrinsictooureverydaylifeanddefineourrealities(p.3).HereSalibausesanextendedmetaphortobothdefamiliarisethereaderandexploretheholisticnatureofidentity,addingcomplexitytohercharacter.

esmawillwonderattheleavesandbranchesandskyandgrass,howtheyallfittogetherindifferentwaysdependingonhowyoulookatthem.awholeworldofshiftingrelationsandforcesthatmakeyouthinkyoucouldre-maketheworldanywayyouliked.(p.13)

Theimageofthegardenandseasonsareintroducedintheopeningparagraphsandtheystandascontrasttothehousewithitsperfectlyspacedfence.Inthegardenstheseeminglydisparatecoexistinfluidity.Theimageofthegardenisfurtheremphasisedthroughthecomplexmetaphorofseasonsasastructuraldevicetodividethebook.Seasonseachhavetheirowncharacteristicsintermsofweather.Winterequateswithcoldness,whilesummerequateswithheat.Seasonsarenotliterallydefinedbyanemotion,however,Salibadrawsoncommonseasonalmetaphorstobothframethenarrativeandexplorethefragmentarynatureofhumanemotions.TraditionallySummerisassociatedwithfun,enjoymentandfrivolity,Autumnwithdecline,Winterwithsadnessanddesolation,andSpringwithhopeandrenewal.Esmalivesthroughallfour

seasonsequatingthemwithdifferentemotionsandlettingthisemotionguideherdecisionsduringthisphase.

perhapsthereareseasonsinsideusall,happeningagainandagain.andit’simpossibletotrytobesummer–topretendtobesummerallthetime.(p.135)

ItisonlytowardtheendofthenovelthatEsmamergestheseasons,therebyacceptingallpartsofherself.

itwasimportantallofasudden,asithadneverbeenbefore,thatshedidnotdismissherself,allthebitofherselfshefeltwerewrongorundesirable.allthefailures.inthepastshewouldhaveembracedthisfeelingofspringandlockedherwinterselfintoshame.(p.146)

MetaphorbecomesthevehicleforSalibatofurtherthediscussionoftheholisticnatureofpersonalityandthehumanpsyche.Indoingthisshecreatesacomplexcharacterwhoisnotdefinedbyasingleattributebutadynamicmingling.ThisissimilartothewayinwhichWoolfdescribesthecontradictionsfoundinDostoevsky’sStavrogin(1966,p.86).ThisthemeoftheintegratedormingledselfisfurtheredthroughSaliba’suseofintertextuality.EsmaisstudyingtheworkofthePortuguesepoet,FernandoPessoa,whohadapproximately75heteronyms.Eachheteronymhasauniquecharacter,worldview,andwritingstyle.PessoaisintroducedearlyonwhenEsmaiswritinganessay.Simonasks,‘whichoneofyourpersonaswillwritetheconclusion?’(p.16).Later,inthescenewhereEsmaandAlaintaketheinjureddoghome,AlainquotesPessoa:‘eachofusismorethanoneperson,manypeople,aproliferationofouroneself’(p.168).Esmareflectsonthisastheyapproachthehouse,‘theplaceshe’dcomeandgonefrominsomanymoods,andassomanypeople’(p.169).TheuseofintertextualityallowsSalibatodelveintoadeeperdiscussionoftheselfthanwouldbepossiblesimplybyreportingEsma’sthoughts.Intertextualityalsobreaksdownthedistinctionbetweentheself-containednarrativeandreallife.Forthereader,ittransformsthediscussionoftheselffromthatwhichconcernsonlyEsma.ThispromotesanalogicalthinkinginthereaderastheyunderstandEsma’sstorytobeoneof

universalresonance.Throughmetaphor,binaries,andcomplexcharacterisationSalibaencouragesandexploresambiguity.TheopeningpassageofSomethingintheworldcalledloveoutlinesthestrategiesthatareusedthroughoutthenarrativetoreconsiderthecommoncoming-of-agestory.Thestoryistoldwithanuanceandcomplexitythatallowsanexplorationofwhatitmeanstobeone’sselfandtheagencyandfreedomthatisrealisedwhenlifenolongerisseenthroughbinaries.

TouchingearthlightlySimilarlytoSaliba’snovel,MargoLanagan’s(1996)Touchingearthlightly(TEL)isacoming-of-agestory.WhereSalibausesanoftenwhimsicalvoice,Lanagan’sisgrittyanddark.Bothbooksexplorethethemeoffindingagency.TouchingearthlightlytellsthestoryofChloeandherfriendshipwithJaney.ChloetakesontheincreasinglyoverwhelmingroleasJaney’sprotector.WhenJaneydiesChloebeginsthejourneytofindoutwhosheiswithoutJaney.

The impact of spatial form LanaganseparatesTouchingearthlightlyintotwosection,‘now’and‘then’.‘Now’outlinesChloe’srelationshipwithJaneyandJaney’srelianceonChloe.ThissectionendswithJaney’sdeath.‘Then’continuesthestoryandexamineshowChloegrievesanddefinesherselfwithoutJaney’sphysicalpresence.Despitethisclearseparationoflifewith,andthenwithoutJaney,Janeykeepsseepingintothe‘then’sectionintheformofanalepses(flashbacks)1.TheseanalepsescreateacounterpointtoChloe’sgrief.Throughanalepses,Lanaganutilisesaspatialratherthanchronologicaltimeframe.JosephFrank(1945)detailstheadvantageofdeployingaspatialform:

1 Genette (1983) defines an analepsis as ‘any evocation after the fact of an event that took place earlier than the point in the story where we are at any given moment’ (p. 40). Other terms such as retroversion (Bal 1985, p.54) are sometimes used in literary criticism, however, for consistency the term analepsis will be used throughout this thesis for what is commonly referred to as the flashback.

Bycomparingthesetwoimagesinamomentoftime,thepassageoftimecanbeexperiencedconcretely,intheimpactofitsvisibleeffectsonthesensibility,ratherthanasameregapcountedoffinnumbers.(p.238)

LanagangivesustheanalepsisaswellasthenarrativeofChloegrieving.Bothnarrativesarewritteninpresenttense,theonlydifferentiationistheitalicsofthetextsignallingtheanalepsis.Anexampleoftheimpactspatialformcanprovokeisevidencedinthejuxtapositionofthefollowingscenes.Thefirstisananalepsis.ItisfocalisedthroughChloeanddescribesJaneyandChloetakingatriptothesnow.Janey’sfeetareimaginedas‘looseinthesocks,tinklingtogetherlikecrystalsorchardsofcharcoal’(p.110).Chloeparticularlynoticesthespacearoundthem.Thenaturedescribedhereisominous:

Rocksandgroundwithlittleplantsshowdarkthroughthemeltingblue-whiteness,andthesunlitsnowburnsintheireyesandleavesweird-shapedprintsinthemlikeleopardskin.(p.110)

ThisiscontrastedwiththedescriptionofChloeinthepolicestationinawarmandoverbrightroom:‘shehardlyhasroominhermindtoevenacknowledgethatotherpeoplearethere’(p.110).Lanagansetsupajuxtapositionbetweenthesetwoscenes,onenaturalandoneartificial,Janeyisaliveinoneyetabsentthroughdeathinthesecond.ThefirstsymbolisesthestateofJaneyafterherdeath:cold,onewithnature,‘charcoal,earth,leopard’(p.110).ThisdescriptioncontrastswithChloewhoiswarminthestationintheartificialenvironmentoffluorescentlights.SimilartoJaney,however,Chloeisisolateddespitebeingsurroundedbypeople.Thejuxtapositionofthesetwonarrativesallowsa‘unifiedspatialapprehension’wherebothpresentandpastarebroughtintosharperfocusthroughtheproximityoftheother(Frank1945,p.235).Interpretationreliesonthereaderaccessinganalogicalskillsandintegratingthetwonarrativestocreatethemeaningsthatlie,notinonesceneortheother,butbetweenthescenes.TogetherthesescenesspeakofthedepthofChloe’sgrief,herclaustrophobia,herisolationbothfromJaneyandotherssurroundingher,andthecontrastbetweenChloebeingaliveandJaneydead.

Complex characters created through the use of binaries This‘now’and‘then’binarystructureisparalleledinthecontrastsdrawnbetweenJaneyandChloe,asLanaganexploresherkeythemeoffindingtheself.Theinfluenceofthecharacters’relationshipontheiridentitiescreatescomplexitythatthwartshabitualreading.Asthecharactersmaturethroughthecourseofthenovelpredictionsarereassessedbythereader.Inthe‘now’sectionChloeandJaneyexistinaparasiticrelationshipwhereChloefindspassionandcreativityinJaneyandJaneyfindsprotectionandcommon-senseinChloe.Eachgirlfeedsofftheothertoremedyaperceivedlackintheirownidentity.Janeycomments,‘togetherwemakeuponegifted,gorgeousperson’(p.139).TheextricationofChloefromJaneyistheimpetusforthenarrative.LanagangivesbothChloeandJaneycomplexitybysituatingidentityasdynamicandrelationalratherthanstatic.Inthe‘now’sectionChloefeelsboththeburdenofresponsibilityforJaney,andalsointernalisestheideathatwithoutJaneysheisnondescript.

She’dbeengratefultoberescuedfromherowntimidity,herownsteadiness.She’dfeltherselfchange,gainingcourageandcuriosityandsomeofJaney’sweirdsenseofhumour.(p.43)

UponfindingJaney’sbodyChloestillfeelsasenseofonenesswithJaney:

Theredidn’tseemtobemuchdifferencebetweenherbodyandJaney’sexceptthatherswasboundtogetherandkeptwarmwithclothing(p.104).

OnewouldexpectthisdualitytodiscontinueuponJaney’sdeath,however,JaneyisstillpresentinthesecondhalfofthenovelasanactivecounterpointandindeedintegratedpartofChloe.

Shelooksfromtoptobottomofthememories,herownandJaney’sbodymergedwithinthem;shetoocarriescrushedboneinthebackofherhead,bruisesbandherupperarm(p.116).

Lanagandeniesasimplisticviewofaninnateidentity.Chloe’sidentityisformedbothrelationallyandthroughevents.Identityisthereforeafluidconstruct.DespiteJaney’sdeathandChloe’sgrowingself-reliance,Janeyremainsbothpart

ofChloeandpartofthenarrative.ThememoriesofJaneycontinuetoshapeChloeasmemoriesinfesttheliving.Despitethis,Chloebeginstoact.Thisstartswithherphotographywhichfeelslikeherfirstindependentaction(p.204).ItisnoteworthythatJaney’sdeathisthecatalystforherphotographyprojectasChloeseekstodocumentJaney’slife.ThisassertivenesscontrastswithChloe’searlierlackofagencyasevidencedinherresponsetosexwithTheo:shenever‘wentafteranything’forherself(p.14).Chloeisthefocalisingcharacterthroughwhichthereaderidentifies.ThebinaryofJaneyandChloe,andtheimplicationsoftheirrelationshipforidentity,raisescomplexquestionsforthereader.IsChloebetteroffwithoutJaney?CouldChloeeverhavefoundherownagencywithJaney?DidJaneyseekherowndemisetofreeChloeoftheresponsibility?LikeSaliba,Lanaganusesandthendeconstructsbinaries.Lifeisn’tbeforeandafter.Itisfragmentaryandoverlapping.Identityisn’tfixedandindividual.Itisfluidandpiecemeal.Itisconstructedthroughtheeventsoflifeandtherelationshipswithinit.LikeSaliba,Lanagancreatescomplex,dynamiccharactersthatrefusetobedefinedbyasingleattribute.

Reaching the third way via metaphor ThebinaryofJaneyandChloeasoppositesandyetpartofeachotherisfurtheredthroughLanagan’suseofmetaphor.IsaacandNickrepeatedlydiscusshousearchitecture.Isaacpromoting‘touching-earth-lightly’typehouseswhileNicktakesmoreofapragmaticapproach(p.42).Isaactalksofapartmentsandthelivesofthepeoplewholiveinthemasconformingto‘prettifiedboxes….Youliveinthatkindofspace,youendupthinkingthat’stheonlyspaceyoudeserve’(p.35).ChloeismetaphoricallylinkedtotheapartmentswhilstJaneyrepresentsthe‘touch-earth-lightlyhouse’.Chloe’slifeisstuckina‘prettifiedbox’.Thisisamplifiedbyherroleinanoperawhereshedressesasaprincessandwalksacrossstageonlytosittherestillfortheentireshowwhilsttheactionoccursbelowher(p.94).ChloeseeshersalvationfrommundanityinJaney.ChloehasthelooksandJaneyhasthetalent.Asmentionedpreviously,Janeycomments,‘togetherwemakeuponegifted,gorgeousperson(p.139)’.JaneysuggeststhatChloe’sonlycontributionisherlookswhileJaneyhasthe‘gift’.

Nick,ontheotherhand,proposesathirdwaywherethereisroominabalancedenterprisefor‘houses’ofbothkinds,forthepracticalandthevisionary.Apartmentsarenecessary‘justasameansofsupportingthosefewfantastictouch-earth-lightly-typecommissions’(p.35).Chloe’spurposepriortoJaney’sdeathistosupportJaney.ThisdiscussionisfurtherexploredinthescenewhereIsaacshowsJaneyabookoftheartworkofAndyGoldsworth,anartistwhotakesordinaryobjectsandstacksthemorrearrangesthembeforephotographingthem.Inthisway,hetransformstheordinaryintotheextraordinary(p.57).ThisisametaphorforthetransformationthatChloeisundergoing.LanaganalsousesmetaphortodescribeChloe’sgriefandherchangedperceptionsastheformerlyhabitualisrenderedstrange.Thisuseofmetaphorhasadefamiliarisingeffectonthereader.TheimageryrepresentstheforeignnessoftheworldasperceivedbyChloe.ThisuseoflanguageisakintothatdescribedbyVirginiaWoolf.

Wecanseethestrangenessofthemonlywhenhabithasceasedtoimmerseusinthem,andwestandoutsidewatchingwhathasnopoweroverusonewayortheother.Thenweseethemindatwork;weareamusedbyitspowertomakepatterns;byitspowertobringoutrelationsinthingsanddisparitieswhicharecoveredoverwhenweareactingbyhabitordrivenonbytheordinaryimpulses.(Woolf1972,p.82)

AsChloewitnessesIsaacgivingthenewsofJaney’sdeath,‘itbecomestrueagainandbludgeonsthemeach’(p.112).‘Chloefeelsskinned,flinchingfromthecrueltyoftheair.ShesitsheldinonepiecebyhermotherwhiletheblowsofwhatIsaacistellingfallagain’(p.112).Inthiskeypassagethereader,likeChloe,comprehendsfromadistance,throughafogofmetaphor,theviolenceofgrief.LanaganfurtherexploresdefamiliarisingthehabitualthroughmetaphorinthescenewhereChloeemergesfromherbedroomandgoestothekitchen.Thekitchenchairbecomesnolongersimplyachairbutasymbolforabsence.Chloecontemplatesthefridge:

Outlandishthingssitonalltheshelves:eggcartonslikeportedspaceships,asilverboxofcreamcheese(whysilver,forcheese?),arowofmagicpotsinthedoor-rack-mustards,capers,pestosauce,Tabasco.Trappedflavours–noneofitmakessense(p.135).

Thisdescriptionmakescommonobjectsappearsurreal.Theuseofdefamiliarisationherecreatesspaceforgreaterreflectioninthereaderastheycontemplatehowgriefchangestheperceptionofevenmundaneobjects.Itgivesinsightintothe‘mindatwork’(Woolf1972,p.82)andtheeffectofgriefonperception.Insummary,bothofthesenovelstaketheclassicYAcoming-of-agescriptandreworkit.SalibaandLanagantakedifferentapproachesandyettheybothproducecomplextextsthroughtheuseofdefamiliarisingstrategiesthatincreasethecognitiveloadonthereader.Bothauthorsexploretheambiguityoflifenotonlythematicallythroughstoryevents,butalsothroughthestructure,metaphor,binariesandcomplexcharactersemployed.

ToMyOtherSelf

Multiple perspectives through the use of spatial form ToMyOtherSelf(TMOS)utilisessomeofthesesamedefamiliarisingtechniquesasittellsthestoryofColin’ssearchforidentity.SimilartoTouchingearthlightlyTMOSutilisesspatialformalternatingperspectivesandexperiencesoftwenty-one-year-oldColinandsixteen-year-oldColin.InthefirstchapterColinconfesses,‘butIcan’tleavemeandthat’sperhapsthepersonIwanttoleavemostofall’(p.1).Hedescribeswithironyhowhislifewasmeanttoturnout.Thechapter’sconcludingaphorism,‘Tomyyoungerself:Don’tbother’(p.15),isironicallyjuxtaposedwiththeyoungerColin’syouthfulcertaintyasherepeatsthedescriptionofthefuture,thistimeasavisionofhowlifewillturnout.Theabutmentofthesetwonarrativesbringsadifferentperspective,andsignificance,toeach.ThereaderintegratesolderandyoungerColintoforgemeaning.Thequestionscreatedinthisspacemayberelatedtothestory:WhyhasColin’slifegottentothispoint?HowhasColinchangedsomuch?Thesequestionscouldalsosuggestmoreuniversalthemes:canpeoplechange?Dopeoplehaveagencytocreatechoice?Thisstructureraisesepistemologicalquestionsasthereaderisrequiredtoengagetheirinferentialanddeductive

reasoning,analogicalskills,andcriticalanalysistocreatemeaningsthatlieinthecontrastbetweenthenarratives.Thesearealldeepreadingskills.

The effect of unreliable narration on interpretation

Oneofthemainreasonsforthechosenstructurewastheimplicationsforinterpretation.Theconstructionandmodificationofbothstoryandmeaningisadeepreadingskill.TMOSchallengesthisability.TothisendneitheroftheColinsarereliablenarrators.WhereSalibautilisesanunreliablenarratortobreakdownthebinaryoftruthandfalsehoodTMOSusesanunreliablenarratorto‘subvertthemoraland/orepistemologicalworldviewofthenarrator’(Baah2014)YoungerColinhasanunambiguous,essentialistworldview.Hedoesnotbelievepeoplecanchange–circumstancesmay,butnotpersonality.

Ithinkthatwhoweareisembeddedinuswhenwe’reborn.Wedevelopandmatureandcanchangesurfacestuff,butoutbasicmake-upneverchanges.(p.235)

TheextensionofthisessentialistworldviewisfoundinhisresponsetohittingHannah.Hestates:

Guyswhohitgirlsarepower-obsessedidiotswhopreyonpeopleweakerthanthem.TodayI’vejoinedtheircohortandIdon’tknowifIcanliveknowingthat.(p.340)

YoungerColinresidesinaworldofabsoluteswhichallowsnooptionofredemption;hencethisbeliefleadshimtoattemptsuicide.OlderColinbeginshisstoryrecognisingthatHannahdeservestohaveabetterlifethanhe(p.5).ThiscertaintyissimilartotheessentialistworldviewofyoungerColin.Intheend,however,olderColinfindsthathecanstartlivingagainwithagency.

SohereIam,twenty-one,almosttwenty-two,withnopermanentjob,prettymuchbroke,nodegree,noacceptanceintouniyet,andmyfutureisacompletemystery.Andyet…lifeisbetterthanit’severbeen…WouldIchangethings?Definitely.DoIregretthings?Definitely.ButI’mstartingfromnow.(pp.337-8)

OlderColinmoderatestheextremeworld-viewespousedbyyoungerColin.Themultipleworld-viewspresentedthroughtheunreliablenarrationprovideopportunityformorenegotiationandreflectiononthepartofthereader.Asthereaderprogressesthroughthenovel,Colin’sperceptionsofHannaharecalledintoquestionbythecompetingnarrativeinformationseededthroughoutthetext.ThereadermustinferanddeducetoformanaccuratepictureofbothHannahandColin.ColinvacillatesbetweentrustanddoubtinHannahandtheirrelationship.ThereaderisintroducedtothepossibilityofinfidelityonolderColin’sfirstvisitwithHannahinprison.

‘Ishedefinitelymine?’Shegivesmealookofpurerage.(p.84)

Whileitisimpliedthatthisquestionisansweredintheaffirmativeitisneverexplicitlystatedcreatingroomforepistemologicaluncertainty.Itintroducesearlyinthenovelthepossibilityofinfidelity.ThiscreatesacontrastwiththenarrativeofyoungerColinwho,atthisstage,idolisesHannah.

Shelaughsalot.Ilikepeoplewholaugh.Herlaughterismusicalandkind.It’shardtothinkoflaughterbeingkind,buthersis.Itmakesthepeoplearoundhersmile.(p.92)

HannahispossiblyunfaithfulandHannahisseeminglyperfect.Thereadermustsimultaneouslyholdthesecompetingpiecesofinformationandwaitformoreinformationtoassesstheirveracity.Thetext,thus,teachesthereadertodeployamorecriticalmind-framepredisposingthemtodetectcharacterbiasandtoformtheirownjudgements.

Deepreadinginvolvesconstantlypiecingtogetherevents,feelingsandmovementsandmeasuringwhatisknownagainstwhatisexpectedandalteringexpectationsaccordingly.Zunshinereferstothisprocessofgatheringinformationandmeasuringitagainstwhatisalreadyknownastakingevents'underadvisement'.Informationistaggedwiththesourceoftheinformation;whosepointofview,whosaidittowhom,whenitwassaidetc.Asmoreinformationcomestohandtheinformationcanbeconfirmedordiscarded(2006,p.48).Themoregapsandthemoresurprisingeventsthatoccurina

narrativethemorecognitiveactivityisrequiredinordertoadjustexpectations.Thecontrastingnarrators’interpretationofHannah’smoralcharacterareevidentinthescenewhereyoungerColindefendsandcomfortsHannahafterhermumhascalledheraslut.HeisseeminglysurehereofHannah’scharacter.

‘It’snottrue,’Isay.‘Howdoyouknow?’‘Iknowyou.’Isaywithakisstoherbrow.‘Right.AndIsleptwithyoudidn’tI?’‘Thatdoesn’tmakeyouaslut.You’rethemostcaring,fun,amazingpersonIknow.’(p.277)

ThiscertaintyisagainsubvertedlaterinthenovelasColinisrackedwithdoubtfollowingafightwithHannah.

Icanseeheratthebedroomwindow.Danielisbehindherandshepullsdowntheblind.YesIrememberthegoodtimes,butIalsoremembertheguysthatalwayssurroundher,Irememberthephotosaroundhermirror,IrememberthestockofcondomsinhertopdrawerandIseethesilhouettesofherandDanielinherroom.TheblindisdrawnbutI’mnotanidiot.Icanseearmsreachingoutandbodiesentwined.(p.317)

Atboththeprimaryandsecondarynarratologicallevels2,thenovelneverprovidesadefinitiveanswerastowhethertherelationshipbetweenHannahandDanielissexual,leavingthereadertoeitherexperienceepistemologicaluncertaintyorformtheirownjudgementsthroughdeductionandinference.Theresponseofthereadertoepistemologicaluncertaintyisexploredinthefollowingchapterwhichanalysesresponsesofrealreaderstothetext.Thetwo,temporally-separatednarrativeincarnationsofColininhabitfundamentallydisparatepersonalitiesaffectingthenarrativevoiceandaddingtoitsunreliability.YoungerColinisoverlyoptimisticandobsessive.Thereaderisawareofthisfromthesecondchapterwherehemakeshislistofimprovementsandiscertainhewill‘win’Hannah.OlderColinisoverly 2 According to the work of Genette (1983) the primary narratological level is the level upon which the analepsis is embedded (p. 48). In the case of TMOS the narrative of older Colin is the primary level with younger Colin’s narrative the secondary level.

pessimisticanddoubtfulofhisownabilitiesbothasaparentandasaperson(p.2).Theseviewscreateadisjunctionbetweenthestorylinesthatthereaderneedstoresolve.Eachnarratorisquestionedbytheother,raisingepistemologicalquestionsinthereaderastheyarerequiredtointegrateinformationfrombotholderandyoungerperspectivestoformjudgementsandcreatemeanings.

The epistemological challenge of withheld information Thenovel’splotiscircular:itbothfinishesandstartswithColin’ssuicideattempt.Fortheimpliedreader,thispromptsare-evaluationofthe‘gaps’presentedbyeventsnarratedearlier,andinducesthereadertopiecetogethertheexplicationofthestateofolderColin’slife.Armstrong(2013)talksaboutinterpretationbeingfuturalaspatternsandexpectationspredictwherethestorywillgoandthesearecontinuallymodifiedasthereaderlearnsmore.Inevitablyasreadersbecomemoreexperiencedtheirfuturalinterpretationsbecomemoreaccurateastheyaremorefamiliarwithtexttypeandgenrepatterns.Apredictablestoryrequireslimiteddeepreadingskillsfromreaders.Thestructureemployedwasabletochallengebothfuturalinterpretationthroughthedefamiliarisationofnarrativetradition(discussedbelow)butalsotoinciteretrospectiveinterpretation.TheplotcruxinwhichColinpunchesHannahandthenattemptssuicideencouragesthereadertoreassessallthattheyknowaboutolderColin.ThatsequenceofeventscreatesanewfiltertounderstandColinandhischoicesandthereaderthencanreinterpreteventsthroughthisnewinformation.ThewithheldinformationaboutthepunchprovokesepistemologicalquestionsthroughoutthereadingprocessasthereaderseekstofindreasonsforthechangeinColinandforhissuicideattempt.

Defamiliarisation through metaphor Defamiliarisationisalsoatplaythroughoutthenovelinitsuseofmetaphor.Wordsorphrasesareintroducedintoanunfamiliarcontextinordertobreakthefamiliarpatternsthebrainexpects.Thisforcesthebraintopauseasitreassessestherelationshipbetweenthewords.AsdiscussedaboveLanagan

usesthistogreateffectinTouchingearthlightly.AnexampleofthisinTMOSiswhenColinkissesHannahontheswinginthepouringrainandhesays,‘Shetastesofrainbow’(p.202).Despiterainbownotbeingatastethisstatementaccessescommonschemasofrainbowsassymbolsofhappiness,joy,andhope.ColinseesallofthisinHannah.TheuseofmetaphorinthisinstancegivesthereadergreaterinsightastotheintensityofColin’sfeelings.WhereLanaganusesbuildingsinTELtorepresentChloeandJaneyIuseabridgetometaphoricallyrepresentColin.Inbothinstancesthemetaphorisusedtoaddanotherlevelofcomplexity,bothtothecharacterandthenarrative.Colinwantstobecomeanengineerandbuildbridges.HedescribeshisfavouritebridgetoHannah:

‘Sothisbridgeisprettyimpressivebutasyougooverityounoticeabigdipinthemiddlewheretheroadgoesdownandseemstoalmosttouchthewaterbeforerisingagain.Itdoesn’tmakesense…itturnsoutthattheengineermiscalculatedandastheybuiltthebridgefrombothsidesoftherivertheyrealizedthatsomethinghadgonewrongandthetwosidesweren’tgoingtomeetinthemiddle.’‘Sotheymadethedip?’‘Yepbutbeforethattheengineerkilledhimself.’‘Andthat’syourfavouritebridge?Withthatstory?’Shelooksskeptical.‘Yeah.’Isaydefensively,‘thebridgestillworksbutitisn’tperfectandbecauseit’snotperfectit’sinteresting.’(p.101)

Colinismetaphoricallyrepresentedbythebridge.Thetrajectoryofthebridgemirrorshislife.Hebeginsoptimisticallybeforealmosttouchingthewaterandbecomingobsolete.AftersurvivingthesuicideattemptColinfindsawaytoriseagainandapproachnewchallenges.ThepassageaboveforetellsColin’ssuicideattemptbutthisiscounterbalancedbythehopefoundinthefinalsentencewhereimperfectiondoesnotequalobsolescence.ThismetaphorisextendedneartheendofthenovelwhenColintakesSamtothebeachandgoesintothesurf.

Iwalkintotheoceananddiveunderawave.BubblesburstallaroundmeasIcomeupontheotherside.Idiveagainandcomeup.EachtimeI’mbuffetedalittlemore,butI’mokay.Iseethebiggestwaveofthesetcoming.Istandandwatchit.Idareittohitme.ItdoesandI’mpulledunder.Isomersaultoverandover.IalmostmakeittothesurfacebutI’mpulledbackdownagain.MybreathisalmostgoneandIstartfighting.IfightforSam;Ifightforthewastedyears;IfightforHannah;butmostofallIfightforme.Forthemethatdeservestolive.

OxygenrushesinasIbreakthesurface.IgulpintheairasIfloatintheocean.IlookbackattheshoreandseethestillsleepingformofSam.AnotherwavecomesandIbodysurfitin.(pp301-2)

Thepurposeofmostbridgesistocrossbodiesofwater.Thegreatestthreattothesebridgesiswater.HereColinconfrontsthewateranddecidestofight.Thisshowshisemergingagencyasheacknowledgesthepastandstilldecidestomoveforward.Inbodysurfingheshowsamasteryoverthewaves.TheuseofmetaphorinTMOSbothdefamiliarisesthereaderandaddsdepthandcomplexitytocharacters.

The defamiliarisation of narrative tradition TMOSsubvertsthenarrativetraditionoftheyoungadult(YA)realismgenreaddingtothedefamiliarisationexperiencedbythereader.AllthetextsdiscussedinthischapterbroadlyfitintotheYArealismgenre.TheobviousfeaturesofYArealisminclude:theadolescentprotagonist,theadolescentnarrator,therealisticcontemporarysetting,anddifficultsubjectmatter(Ross,1985,p.175).RobertaSeelingerTritesgoesbeyondthesetextualelementstoidentifythedistinguishingfeatureofYAliteratureasaninterestinhowsocialpowerisdeployedandhowitshapestheprotagonist(2000,p.2).IncontrastRossnotesthekeyfeatureofYArealismtobethecoming-of-ageoftheadolescentprotagonist(Ross,p.175).BothSomewhereandTELshowthegrowthoftheirprotagonistastheyrecognisetheirownidentityleadingtoanincreaseinagency.TMOSdoesshowacoming-of-age,albeitadisturbingone,astheyoungerprotagonistrealisesthathisidentity(essentialistatthispoint)isnotonehedesires.ThisprovisionalityofidentitydifferstoSomethingintheworldcalledlove.ThestructureinTMOSencouragesthenotionthatidentityisanongoingjourneyratherthansomethingtobeachieved.Colin’scoming-of-age,ifcoming-of-ageisdefinedashavingagency,isfoundashereconcileshispastthroughhisrelationshipwithSam.TMOSreflectstheemergingsophisticationandunpredictabilitywithinYAliteratureasseenthroughtheworkofauthorssuchasSonyaHartnett,MarkusZusak,andWillKostakis.TMOSincludesanadultnarrator,multipleperspectives,andadelayedcoming-of-agestory.Ratherthanpromotingidentityasasolidplatformuponwhichtoarriveitisviewedas

anever-changingentity.ThissubversiondoesnotmakeTMOSeasiertoreadasthereadercannotrelyonpredictionsbasedonpatternsinprevioustexts.WritingTMOSwasabalancingactbetweenkeepingthenovelreadableandengagingwhilealsochallengingthereader.TMOSiscraftedtochallengeavidreaderswhoalreadyhaveaknowledgeoffamiliargenrescriptsandsowillexperiencethepauseandreflectioninducedbythesubversionofthesescripts.Justaspatternsareevidentingenretheyarealsoevidentwithinsub-genres.TMOSexistswithinasub-genreofYAnovelsthatdealwithpartnerdomesticabuse.TMOSiswrittenfromColin’spointofviewasaperpetratorofdomesticabuse.Thiscontrastswithmostofthenovelsinthissub-genrethatwritefromthevictim’sperspective(BreathingUnderwater(Flinn2001)istheexceptiontothis).Someexamplesoftextsinthissub-genreare:BitterEnd(Brown2011),Dreamland(Dessen2004),andStay(Caletti2011).Thesetextsdehumanisetheperpetratorofferingnochanceforredemption.WhileTMOSdoesnotcondonedomesticviolenceitoffersanotherperspectivefromthatwhichiscommonlyused.Inthiswayitdefamiliarisesanarrativetraditionprovokingthereadertomorecriticalthought.Insummary,bothSomethingintheworldcalledloveandTouchingearthlightlyarecomplexexamplesofYArealism.Theyutilisevarioustechniquesthatareevidentinmodernismtoprovokedefamiliarisationanddeepreading.Somethingexplorestheambiguityoflifewhereabsolutesarerare.Thisambiguityiscreatedthroughunreliablenarration,typographicaloddities,themanipulationofbinaries,andmetaphor.Eachtechniqueaddsalayerofcomplexityandrichnesstothenovel.TELisstructuredinaspatialformasitusesbinaries,metaphor,andanalepsestoprobetheintersectionofidentity,relationship,andgrief.Thesetechniques,evidentinmanymodernisttexts,encouragedepthinperceptionashigherorderthinkingskillssuchasinferentialanddeductivereasoning,analogicalskills,reflection,insightandcriticalanalysisareactivated.Thesehigherorderthinkingskills,asdiscussedpreviously,arethebedrockofdeepreading.Bothbooksofferacomplexexplorationofidentityandagency.ToMyOtherSelfincludessomeofthetechniqueslistedabove.Inparticular,spatialform,unreliablenarration,withheldinformation,metaphor,

andsubversionofnarrativetradition.ThefollowingchapterteststheefficaciesofthesestrategiesinTMOSthroughanempiricalstudyofrealreaders.

Chapter4:Astudyofthreereaders:thenatureofreadingandhowatextcanalterthatreading.Theimportanceandvalueofdeepreadingwasestablishedthroughtheliteraturereview.Ahypothesiswasthenmadeassertingthatthestrategiesofmodernisttextscouldstimulatethistypeofreading.Inordertotestthishypothesistwoyoungadultrealistnovelswereanalysedtakingnoteofthemodernistfeaturestheycontainedandtheeffectofthesefeaturesontheimpliedreader.Thesetechniqueswerethenutilisedtocraftanovelaimedatanadolescentaudience.Inchapter3thenovelwasanalysedandcomparedtotwoothercontemporaryrealistYAnovelsshowinghowthesefeatureswereused.Itwasalsoimportant,however,totestthenovelonrealreaders.Whatfollowsisanoutlineofthemethodologyemployedandthedatagatheredthroughthisempiricaltest.FindingsfromthedatareinforcedthelinkbetweendeepreadingandthedevelopmentofcognitiveToM.Thereaders’commentsconfirmedthatreadersarenothomogenousinthemeaningstheyproduceastheyread,rather,theirreadingisinfluencedbytheirworldview,experiences,andmentalacuity.Eachreaderisonanindividualcognitivejourney.Complexcharactersandtheuseofspatialstructurecontributedtodeepreadingasdidthedefamiliarisationofnarrativetraditions.Theefficacyofuntaggedanduninterrupteddialoguetoproducedeepreadingsuggeststheimportanceofwithheldinformation,lessnarratorialguidance,andmultipleperspectives.

Fieldworkdesign

Thefieldworkconsistedofthreeadolescentreaderskeepingareadingjournal.Readingjournalswerechosenasotherinstrumentsusedinthefieldtotestresponsestofictionalworkswereunabletoprovideimmediacyandallowforindividualresponse.

Withinthefieldofliterarystudiestherearevariedmeansofobtainingdata:surveys,analysesofonlinediscussions,analysesofliterature,and

psychologicalexperiments.Inhisresearchintomemoryimageswhilstreading,MichaelBurkeadministeredquestionnairestouniversitystudents.Questionsincluded:'Didanyparticularwords/clauses/sentencesinthispassageemoteyou?'(2011,p.188.)Thelimitationtothistypeofsurveyquestionisthatthequestionitselfmayinvokereflectionthatdidnotoccurduringreading.Burkealsohasstudentsreadexcerptsratherthanentirenovels.Thisisproblematicasitisgenerallynothowrealreadersencounterfiction.AsJacobs(2015)notestherehavebeenfewstudiesthathaveutiliseduncondensedlong-formtexts.PeterStockwellanalysesonlinereadinggroupdiscussions.Heseesforumsas'offeringawealthofunmediateddata'(2009,p.12).DavidMiallreliesontheworkofpsychologistsinERP(EvokedResponsePotentials)studies.Thesestudiesmeasuretheresponse'generatedbytheelectricactivityofthebrainandaremeasuredatanumberoflocationsonthesurfaceofthescalp'(2011,p.327).OthertheoristssuchasMariaNikolajeva(2014)relyonanalysingliteraturetoprovidedata.

WithinthefieldofEducationinterviewsandsmallgroupresponsesseemtobethemostprevalentmethodofgainingreaderresponses(Blackford2004;Benton1986,Hubler1998).WhileBlackfordandHubleruseinterviewstogainageneralreactiontonovelsandreading,Bentonusessmallgroupstoexplorereactionstopoetry.

Readingjournalswerechosenasotherinstrumentsusedinthefieldtotestresponsestofictionalworkswereunabletoprovideimmediacyandallowforextendedindividualresponse.Diarystudieshavebeenusedextensivelyinthehealthandsocialsciencestoresearchareassuchasposttraumaticstress(Chun,2016),languageacquisition(Taguchietal.2012),andchronicpain(Fisheretal.2017).Theyarealsousedwithineducation,bothasalearninganddiagnostictool.Baugh(2016)notes,

Responsesreflectthedegreeofstudents’personalengagementwiththetext…Journalsalsoserveasavaluableformativeassessment,revealingmuchaboutstudents’basicunderstandingofthetextandhowwellstudentsapplyreadingstrategiesandliteracyvocabularytonewcontexts.(p.37)

Bartlett(2015,p.91)identifiesseveraladvantagesofdiarymethods:theyprovidedata‘gatheredinrealtime(orasnearrealtimeaspossible)’;bycollectingdataovera‘definedperiodoftime’,diariesfacilitate‘theunfoldingofalongitudinalstory,relatedtothetopicofinterestthatisframedwithintheparticipants’ownwordsorpictures’.Inthisstudythejournalsfacilitatedrealtimeresponse,limitedtothetimereaderstooktoreadthenovel.Thenovelitselfwasthetopicofinterest,whilethediaryallowedpersonalisedresponses.Thediarywasabletochartreaders’changingviewsaboutaspectsofthenovel,suchascharacter,astheirreadingprogressed.

Thesamplesizeandmethodologywerechosentoprovideasnapshotintothreeteensreadingaspecifictext.Itisnotalargesamplesizeandstandsasacasestudyonly3.Neithergeneralisabilitynorrepresentativenessisclaimed,ratherthestudyprovidesinsightintothreespecificreaderswhilstprovidingamethodologythatcouldbeadoptedinalargerstudy.Ifthethesisconsistedonlyofreaderresponsethesamplesizewouldnecessarilybelarger.Themethodologywasselectedasameansofgainingimmediatefeedbackonanunpublishedlong-formtext.TherehavebeenotherstudiessuchasKoopman’s(2016),andKiddandCastano’s(2013)thatuseavarietyofshorteranddifferenttexttypes.Thiswasnottheaimhere.Theresearchwaslimitedbyboththerespondent’sabilitytoclearlyarticulatetheirthoughts,andtheirmotivationtowritedowncomments.

Method

TheprojectreceivedEthicsapprovalfromDeakinUniversity’sHigherResearchEthicsCommitteeonthe14thDecember2015.Allparticipantsreturnedconsentformssignedbythemselvesandtheirparents,orguardians,

3 A case study ‘consists of detailed investigation of one or more organizations … with a view to providing an analysis of the context and process involved in the phenomenon under study’ (Meyer 2001, p. 329). In this instance the reading of three teenagers was explored with analysis given both to the context, TMOS, and the cognitive processes involved in deep reading.

givingpermissionforparticipationintheproject.Onreceiptofthepermissionformparticipantsweregiven:acopyofthenovel,anotepad,andaletterexplainingwhatwasrequiredinthejournal(appendix1).Hereisanexcerptfromtheletterexplainingwhatwasrequiredinthejournal.

Weareinterestedinyourthoughtprocessesasyouread.Tothatendwewouldlikeyoutojotdownsomebriefthoughtsasyouread,creatingareadingdiary.Thethoughtsdon’thavetobelong,singlesentencesarefine,alongwithapagenumber.Thekindsofthingsweareinterestedininclude:

• predictionsofwhatmighthappen• impressionsofcharacters/events,• howsomethingmakesyoufeel,• whatsomethingremindsyouof,• ifyoudon’tunderstandsomethingorsomethingsuddenlymakes

sense• iftherearelinksyou’remakingwithinthestoryorbetweenthe

storyandlife.

Thesearesomeideasbuteveryone’sthoughtsareuniqueandweareinterestedinyours.

Participantshadamonthtoreadthenovelandcompletethejournal.Themanuscriptwasprovidedinprintform,givenresearchthatsuggeststhatthedigitalformaddsanothervariablethatcouldaffectdeepreading(Wolf&Barzillai,2009).Asthedemandsoftheresearchrequiredthatparticipantsreadthenovelinunderamonthandkeepajournal,thisinevitablyself-selectedforavidreaders.Avidreadersaregenerallythemostwidelyreadandthereforeareabletocompareanddiscriminatemoreeffectively.Participantswereallseventeenyearsofageasthisisthetargetaudienceofthenovel.ParticipantsalllivedintheoutersuburbsofMelbourne.Thereweretwofemalereadersandonemale.

Analysis

Onreceiptofthejournalscommentsweretransposedintoasingledocumentwithidentifiersomittedandpseudonymsgiven.Athematic

analysisoftheresponseswasthenundertakenusingacodingframeaccordingtothehigherorderthinkingskillsidentifiedbyWolfandBarzillai(2009)intheirdiscussionofdeepreading.Thesewereinferentialanddeductivereasoning;analogicalskills;criticalanalysis;reflectionandinsight(p.33).Codesforshallowreading,werethenadded:identification;affectiveempathy;comprehensionandmechanics.ThecodesforshallowreadingwerederivedfromGreen’sworkontransportation(2004).Green’sresearch,asmentionedinchapter2,foundthatreadingthatishighintransportationdiscouragescriticalthinkingwhilstencouragingidentificationandempathywithcharacters.

Figure1:Codesforanalysis

Toensureconsistencyinthecodingprocessacodesheetwasdeveloped,similartotheonedevelopedbyEvaKoopman(2016)inherstudyontheeffectofforegroundingonaffectiveresponses.Mycodesheetlinksthecodeswithadescriptionandanexampleofacommentthatexhibitedthecode(appendix2).Oncecommentswerecodedtheywerethenplacedintoaspreadsheetwhichallowedextrainformationtobeattachedforanalyticalpurposes.Thisspreadsheetcontained:thecomment,therespondent,thepageinthenovel,thecode,thecontext,thebroadnarratologicalelementsapparentonthatpage,aswellasassigningadeeporshallowdesignation(appendix3).Thenarratologicalelementswere

ShallowReading

identification

affectiveempathy

comprehension

mechanics

DeepReading

inferentialanddeductivereasoning

analogicalskills

criticalanalysis

reflection

insight

codedaccordingtoemergentcoding.‘Withemergentcoding,categoriesareestablishedfollowingsomepreliminaryexaminationofthedata’(Stemler2001p.139).Aftersomerefinement,thecodesdecideduponwere:introspection,untaggeddialogue,description,hypothetical,list,action,andColinnarrateddialogue.Passagescouldalsobecodedwithacombinationofthesecodes,forexampleaction/dialogue.

Oncethedatawasenteredandcodedthemainfociineachreader’sresponseswasidentified.Thedatawasthenanalysedindifferentways.Firstly,thefrequencyofshallowanddeepresponsesforeachreaderwascalculated.SecondlythedatawasanalysedforreferencetothemodernisttextualstrategiesusedwithinTMOS,inparticular,complexcharacters,spatialstructureandasubvertingofnarrativetradition.Finally,theshallowanddeepcommentsforeachnarratologicalfeaturewerecompared.Ifacommentreferredtotwofeaturesitwasincludedtwice.Thisallowedcomparisonstobemadeaccordingtothetypeoftextfoundinthenovel.

ThelinkbetweendeepandshallowreadingandcognitiveandaffectiveToM.Thereaders’commentsconfirmedthataffectiveToMwaspresentinshallowreadingwhilstcognitiveToMwasactivatedindeepreading.AffectiveToMrelatestothinkingaboutanother’sfeelingsanddesireswhilstcognitiveToMrelatestothinkingaboutanother’sthoughtsorbeliefs(Dvash&Shamay-Tsoory2014).TheshiftfromaffectivetocognitiveToMisthetransitionthatWoolf(1966)speaksofinregardstomodernismwhere‘themindisfreedfromtheperpetualdemandsofthenovelistthatweshallfeelwithhischaracters’(p.82).Thetextsoughttoprogressthereaderfromidentifyingwiththefocalisingcharacter,toutiliseamore‘creative,criticalconsciousness’(Woolf1966,p.35).This‘criticalconsciousness’necessitatestheuseofhigherorderthinkingskills.ThataffectiveToMispresentinshallowreadingandcognitiveToMindeepreadingaffirmstheimportanceofdeepreading.

ThefieldworkteststheefficacyofthetextindisruptingaffectiveToMtoprovokegreatercontemplation.AffectiveToMismostoftencodedasaffectiveempathywhichiscategorisedasshallowreading.AnexampleofthisiswhenEmmacommentedinresponsetoColinpunchingthewallaboveSam,

IfeelterribleforColinheisactuallyaverylonelypersonandhadalottodealwith.

EmmaunderstoodtheemotionsthatColinisfeelingasheisoverwhelmedbybeingafather.LukealsoexhibitedaffectiveToMwhenhestated,

thisemotionalhonestyfromColinissadanddifficulttoread.Luke’scommentrespondedtothesceneinwhichColinruminatesonhowhewisheshislifehadturnedoutdifferently,andthenpresentsaratherdiredescriptionofColin’sflat.LukedisplayedanunderstandingofColin’sstateofmind.ThesearebothexamplesofaffectiveToMwheretherespondentdisplaysempathyforthecharacter(forfurtherexamplesseeappendix3).CommentsthatshowcognitiveToM,anunderstandingofthethoughtsorbeliefsofanother,onlyoccurredinthecommentscodedasdeepreading.InresponsetoColingettingusedtoSamandadvisinghisyoungerselfto‘enjoyyourfreedom’(p88).Lukestated,

“enjoyyourfreedom”isinteresting,whenweareyoungwewanttomoveonwithlife;whenweareolderwithmoreresponsibility,welongforthefreedomofbeingyoung.

LukereflectedontheimplicationsofthestatementthatColinmadeinordertomakeassumptionsaboutauniversalsetofhumanfeelings,asdemonstratedbytheuseof‘we’inLuke’sdiscourse.Itisimportanttorememberherethatthereaderisseventeenandassuchwouldnothaveexperiencedtheresponsibilitiesthatheiscommentingabout;ratherheinferredbaseduponlearnedcontexts.Thiscommentwascodedasreflectionasitshowsanincreasedconsiderationorcontemplationofthetext.

ThelinkingofToMtodeepandshallowreadingreinforcestheimportanceofdevelopingdeepreadingskillsand,byextension,theimportanceoftextsthatencouragethis.Fromapsychologicalperspective,AnthonyBatemanandPeterFonagy(2012),emphasisethesignificanceofToMintheirdiscussionofmentalizing.

Mentalizingliesattheverycoreofourhumanity-itreferstoourabilitytoattendtomentalstatesinourselvesandinothersasweattempttounderstandourownactionsandthoseofothersonthebasisofintentionalmentalstates.Withoutmentalizing,therecanbenorobustsenseofself,noconstructivesocialinteraction,nomutualityinrelationshipsandnosenseofpersonalsecurity.(p.xv)

TheconceptofmentalizingparallelsthatofToM(Zunshine2006,p.6).Muchofourlivesrevolvearoundrelationshipswithothersand,therefore,mentalizing,orToM,ispivotaltoanyhumaninteraction.BatemanandFonagy(2012)assertthataffectiveToMisdevelopedautomaticallywhilstcognitiveToMtakeslongerandmorepractisetodevelop(p.20).ThatcognitiveToMcanbedevelopedbyasmalldegreethroughthepracticeofdeepreadingarguesfortheimportanceandsignificanceofdeepreading.Forthoseinterestedintheliteracyofyoungpeople,itsuggeststheneedforcontinuedefforttoengagetheminreadingandcontinuallychallengingthemthroughthetextsthatarerecommended.

TheindividualityofreadersAlltheparticipantswerethesameage,wereallavidreaders,livedinsimilarareas,andreadthesametext.Despitethis,comments,emphases,andconclusionsvariedamongstrespondents.Allthreereadersrecordedcommentsthatdisplayedbothshallowanddeepreadinginvaryingratios.Eachreaderisonanindividualcognitivereadingjourney.Thisisevidencedbothinthetypeofreadingundertakenandintheemphasesoftheircomments.Wecannotexpectidenticalresponsesfromrespondentsandthereforethecommentsshowtheeffectsofthesestrategiesonaparticularreader.

Reader ShallowComments DeepCommentsEmma 16 24Luke 14 16Lara 11 3Table1:Frequencyofshallowanddeepcommentsforeachreader

Readersinsertedtheirownmemoriesandexperiencesintothereadingofthetext.InresponsetoapassageofdialoguewhereHannahtellsColinthathismumofferedhermoneyforanabortionandthenaskedhertoleave,Emmacommented,

IguessIcanrelatemymumwas17withmeandwaskickedoutbyhermumandmygran.

Thisknowledge,whichwouldhaveshapedaspectsofEmma’slifeexperiences,alsohelpstoexplainherdislikeofColin’smumhere.Shegoesontostate,

IthinkI’monthevergeofhatingColin’smum.Iwasn’tfondofherbeforenow.Ireallydon’tlikeher.

Incomparisonneitheroftheothertworeadersfeltimpelledtocommentatthispoint.Emmaaccessedherownmemories,experiencesandfeelingstocreatemeaning.Similarly,responsesareshapedbytheworldviewofthereader.LukecommentedinresponsetothesceneinwhichColinfirstmeetsSamandthenaskshismotherforhelp,

WhydoeshestruggletocommunicatewithSam?Whydoesheconsistentlyhavetoaskhismumforhelpwiththingsthatseemobvious?

Dealingwithchildrenisonlyobviousifithasbeenpartofyourlifeexperience.Colinhasnoyoungersiblingsandhasisolatedhimselffromotherssincehisattemptedsuicide.Lukebroughttothetextanassumptionthatitisnormaltoknowhowtocommunicateandtodealwithchildren.InasimilarmannerLukecommentedthat,

his[Colin’s]mumdoesnotseemlikearegularmum,doesnotseemsoftandgentleandcaringbutmorebrutal.

Embeddedinthiscommentareassumptionsaboutthecharacteristicsthatmotherspossess.Thisisaclearreflectionofthereader’sowninteractionswithhismother,othermothersthatheknows,andexposuretoaprominentsocialdiscourse.Lukeinthisinstance,perceived‘regular’assoft,caringandgentleand‘irregular’assomethingmorebrutal.TheseassumptionsshapedthewaythatLukeapproachedthetext.Literarytheorist,DavidMiall(2011,p.324),assertsthatreaderscannothelpbutinserttheirownmemories,experiencesandfeelingsintoatext,andthatsignificance,ormeaning,isfoundintextswhentheyengagethereaderinreflectingontheirownexperiences.Aspectsofselfareinsertedintothestoryresultinginemotion,meaningandthepossibilityoftransformingtheself.Authorscanusherinthistransformationbyofferingrawmaterialssuchasconnectablecharacters,dilemmasandambiguities.Fromthese,readerscanconstructtheirownversionofthestorysothestoryisnotjustexperiencedbutcreatedasthereader'sownthoughts,judgments,experiencesandfeelingsaremergedwiththetext.Theprocessofmergingchangesboththestoryandtheself(Oatley2002,p.43).Thissetsupasituationwherethereader’sworldviewcanbechallengedorreinforced.Despitebeinggivenidenticalinstructions,allthreerespondentsdisplayeddifferentemphasesintheircomments.Emmafocussedmuchofhercommentsoncharactersandherfeelingstowardsthem:

ColinmakesHannahseemlikeareallyinterestingperson.IthinkIlikeherandIhaven’tevenmether.

LukeexhibitedahighdegreeofempathyoraffectiveTheoryofMind:

thisemotionalhonestyfromColinissadanddifficulttoread.Lara,incontrast,lookedatthemechanicsofthenovel,pointingoutsentencesthatdidnotmakesense,aswellaspunctuationerrors.

thesentence“youwanttolightthefireSam”doesn’tmakesense.

Shealsodiscussedthestructureofthenovel.

Ilikehowtheflashbackchapterandthepresentchapterrelatetogether,“don’tletdemonswin”and“thedemonscircle”.

Differencesininterpretationandapplicationwerealsoevidencedinthereaders’commentsoncompletionofthebook.Emmaidentifiedthemesandgeneralisedontheiruniversalsignificance.

Ittouchedonmanyideasthatarerelevanttoteensitalsorevealedhowourexpectationsforthefutureareboundtochange.Itdemonstratedhowmanyteensare,wegetsoconsumedwithinfatuationandlustwefallinlovewiththeideaofsomeone.

Lukesimplyconcludedthatthebookwas,‘verysadanddepressing.’Larawhosepreviouscommentsmostlyrelatedtothemechanicsofthebookwrote,

Whileitexploreddarkthemesandwassad,thehappytheme[s]balancednicely.Theideathathecould’veendeduphappy5yearslaterreallystoodouttomeandIthinkisagreatmessagetothereaders–nottogiveupbecausetherecanbehappinessandgreatthingsfoundlateron.

EmmaandLarabothmadethematicassessmentsastheyreflectedonthefuture,withEmmaalsocommentedonthenatureoflove,lustandinfatuation.Lukedidnotcommentonanyspecificthemesbutratherthefeelingselicitedthroughthetext.Noneofthereadersexhibitedanidenticalresponse.ThisreinforcestheworkofMiall(2011)andOatley(2002)mentionedabovewhereeachreadingvariesdependantonthereader.Thetextcanimplyaresponse,ormeaning,buttheresponseitselfistheuniquevoiceofthereader.Therecanbenoonesinglemeaningtoatextasalltextswillbeshapedbytheattitudesandexperiencesofthereader.

Thisresearchsupportsthefindingthatreadersarenothomogenousandassuchtheyeachbringtheirownpersonalities,experiencesandworldviewtothereadingofthetext.Thiscontextshapesthenatureoftheirreadingandmeaningsproducedwhiletheyread.Theempiricalcasestudiesacknowledgethatreadersdiffer.Thisfieldworkseekstodocumenttheprocessofresponse,andthetextualfeaturesinthenovelthatpromptedmoredeepreadingresponsesinthesereaders.Whatfollowsisastudyofhowcomplexcharacters,spatialstructure,withheldinformation,andsubversionofnarrativetraditionaffectedthereadingofparticipants.

TheInfluenceofthetextonreadingDespitethereaderexercisinglargeinfluenceovermeaningsproduced,thewriterhasaroletoplayinthestrategiesutilisedwithinatextthatpromotedeepreading.Thecognitiveprocessesemployedwithindeepreadingsuchascriticalanalysis,reflectionandinsightareessentialforgreatermeaningproductionandthedevelopmentofcognitiveToM.InthesectionbelowIanalysetheefficacyofsomefeaturesofmodernismtoproducedeepreading.

Complex characters Emmaofferedaninterestingcasestudyinthewaythatcomplexcharactersinfluenceinterpretationandthought.Asdiscussedinchapters2and3complexcharactersarethosethatcontaincontradictions.InTMOSthesecontradictionsareemphasisedduetothespatialformofthenovelwhichjuxtaposestwotimelines.Thespatialformreinforcestheneedtoreassesscharactersasthereaderisimpelledtoviewandcontrastthesamecharacterinadifferenttime.ThethreemaincharactersspokenaboutbyEmmawereColin,Colin’smotherandHannah.Emmaformedjudgementsonthecharactersandyetherperceptionswereconstantlyunderminedbythetext.Thisunderminingmadeherreassessthecharactersandformnewopinions.Informingnewopinionscriticalanalysis,

reflection,andinsightwerebeingactivated.ThetextpromptedthischangeinjudgementinregardstobothHannahandColin’smotherbutnotColin.ThecontinuingempathywithColinmaybearesultofthetextbeingwrittenfromColin’spointofview.EmmaseemedtoidentifystronglywithColin.Sheusedtermssuchas,‘Icanrelate’,‘it’ssad’,‘IfeelterribleforColin’,‘IwouldfeelrejectedifIwereColin’.ThemostnegativethingshesaidaboutColinwas,

hekeepstryingtopleaseher[Hannah]it’salmostannoying.WhileinwritingTMOSIwantedthereadertoinitiallyidentifywithColin.Iwashopingthisshallowresponsewouldtransitiontoincreasedreflectiononthetext.ThissimpleidentificationwithColinremaineddespitethescenewhereColinpunchesHannah.Forthisreaderthisstrategydidnothavethepredictedeffect.Forfuturework,itmaybeeffectivetoexplorewaystoproduceagreaternarrativedistancefromevents,similartostrategiesusedbySaliba(2008)inSomethingintheworldcalledlove.UnlikeEmma’srelationshipwithColinwhichwaslargelyidentificatoryandempathetic,herrelationshipwithHannahbeganpositivelybeforebecomingstrained.ItisimportanttorememberherethatTMOSiswrittenfromColin’spointofviewandthereforetheviewofHannahismediatedthroughColin.EmmabeganpositivelyinrespecttoHannah,usingtermslike,‘IthinkIlikeherandIhaven’tevenmether’and‘veryfunperson’.ShethenbegantoempathisewithHannah,‘IwouldbesofuriousifIwasHannah’and‘IfeelterribleforHannah’.TowardstheendtheidentificationbetweenEmmaandthecharacterofHannahbegantobreakdownasHannahargueswithColinandherfidelityisbroughtintoquestion.‘IcouldfeeltroublewithHannahfromthestart,younevertalktoanyonelikethat’,‘Prediction:HannahcheatsonhimwithDaniel.IhateHannahyoudon’tdothat’,‘Hannahhadthosecondomsforareason.ShewaslyingtoColin.’RememberingthattheviewofHannahismoderatedbyColin,EmmaclearlycameoutinsupportofColindespiteColinpunching

Hannah.EmmalikedandempathisedwithHannahbeforechangingherjudgementduetonewinformation.SimilartoherrelationshipwithHannah,Emma’sperceptionofColin’smotherchangedduringthecourseofthenovel.Emma’simpressionofColin’smotherwaslargelynegativebeforechangingasEmmastruggledtointegratenewinformation.Allofthecommentsrelatedtothemotherwerenegativeuntilthelast,‘sheshouldbetryingtohelphim,‘I’msoannoyedwithhismum’,‘I’monthevergeofhatingColin’smum.Iwasn’tfondofherbeforenow.Ireallydon’tlikeher’,‘HismumshouldfeelguiltyandIthinksheisinthewrong.’Latershereappraised,

Colin’smumseemsfamiliars(sic).Hismumiscaring.’Thislastcommentseemsatoddswiththosethathavecomepreviouslyuntilthecontextistakenintoaccount.Thepreviouscommentsweremadeinreferencetotheolderstorylinewhilstthelastcommentreferredtotheyoungerstoryline.ContradictionandcomplexityisevidentinthecharacterisationofColin’smother.Intheolderstoryline,Colin’smotherisoverbearinginherconcernforColinandyetshedistancesherselfbothfromSamandHannah.Intheyoungerstoryline,Colin’smotherhashighexpectationsofColinbutissupportiveofhisrelationshipwithHannah.ThetwocontrastingfiguresofColin’smotherneedtobereconciledintooneimpressionasprogressivelymoreinformationisaddedallowinghermotivationstobecomeclearer.ThereaderisrequiredtousetheircognitiveToMtounderstandthemother’smotivationsthatunderpinheractions.TheverystructureofTMOSimpelsthereadertoreassessopinionsandjudgements.Eachtimeajudgementisreassesseddeepreadingoccursasthereadermeasuresupwhattheyknow,assessesitsveracity,andcomparesitwithcompetinginformation.Complexcharacters,aidedbythestructureofthetext,compelledEmmatoreassessherjudgementsandopinionsofcharacters.InTMOS,thenovel’srevelationofotheraspectsofHannah’scharacteranditsclosurewhichdenies

herthehappyending,preventedEmmafromempathisingandprovideddistanceformorecriticalanalysis.ThedevelopmentofcriticalthinkingskillsaddressesconcernsraisedbyJohnStephensaboutidentificationcausingreaderstobe‘highlysusceptibletotheideologiesofthetext’(1992,p.68).InthecaseofEmma,usingcharactersthatcontainedcontradictionandcomplexityaidedinproducingdeepreadingassheappliedcriticalthinkingtothereadingprocess.Shehadahigherratioofdeepreadingcomments(0:6)inthefinalthirdthaninanyothersectionofthebook.ThiscoincidedwithmorecriticalthoughtaddressedtowardsHannah,asevidencedbyhercommentsthatexhibitedalossofidentificationwithHannah.

The effect of spatial structure ThespatialstructureofTMOSofferedadditionalcognitivechallengestothereadersastheywereforcedtorecontextualiseinformation.Laracommented,

Ilikehowtheflashbackchapterandthepresentchapterrelatetogether-“don’tletdemonswin“and“thedemonscircle”.

Thisrepetitionofwordswithindifferentcontextsencouragesanalogicalthinkingasthereaderstakewords,phrasesandmeaningsandareforcedtorecontextualisethem.Recontextualisationalsooccursasnewinformationisprogressivelyrevealed.AnexampleofthisiswhenLarastatedinresponsetoColinpunchingHannahandrunningawayonpage323,

IunderstandwhyhethinkshefailedsobadlywithHannahnow.Theuseoftheword‘now’alludestothefactthatthishadbeenanunansweredquestioninhermind.ShehadunderstoodpreviouslythatColinfelthefailedwithHannahbutthisactionoccurringneartheendofthebookcompletedthepictureasshewasnowawareofthemotivationbehindthefeelings.InformationbeingrevealedinalternatetimelinestriggeredLara’sinferentialanddeductivereasoningandclearlyexhibitedadevelopingToMasshegainedinsightintoothers’motivations.

The effect of defamiliarising narrative traditions AsdiscussedinthepreviouschapterTMOSsoughttodefamiliarisenarrativetraditionthroughsubvertingcommongenrepatterns.Twoofthethreereaders(EmmaandLara)commentedonthebookbeingunlikeotherbooksthattheyhadbeenexposedto.‘Theideabehinditisgreatandit’sdifferent–anideaIhaven’tcomeacrossatall’(Lara).‘Ihaven’treadanovelwhichiswrittenlikethisyetitwasreallydifferenthowyoumixedthepastwiththepresent’(Emma)‘Ithinkmostteenswouldlovereadingthebookbecauseitisnotclichéd’(Emma).Lukecommentedinasimilarvein,

definitelynotwhatIwasexpectingandhadmeinshockforawhile.Abookthatseemsunfamiliarwillexertagreatercognitiveloadonthereaderastheywillneedtocontinuallyreassesscharactersandalterpredictionsasfurtherinformationisrevealed.Emmaalludedtothisconstantreassessment,

ThebookwasveryunpredictabletobehonesttheonlypredictionIgotcorrectwastheonethatMiaandColinwouldgettogether.

Thisdefamiliarisationseemstobebalancedwithengagementasallthreereadersrecordedapositivereadingexperience.‘Ilovedthebookitwassointeresting…Ireaditinoneweek,arealpageturner’(Emma).‘VerysadanddepressingbutthebookhadmehookedandIenjoyedreadingit’(Luke).‘Ilovedit’(Lara).Whenwritingforadolescentsitisimportantthattheaudienceiskeptinmindsothattheworkisnotincomprehensibleforthereader.TothisendwhileTMOSdoesutilisesomeoftheformsevidentinmodernismthesearecarefullybalancedwithconnectablecharactersandengagingplotlinesinorderforthereadertoengagewiththetext.

Adolescentsneedtoreadawiderangeofdiversebooksinordertobeexposedtounpredictabletexts.DiversityrefersbothtothematicconcernsthatincreasecognitiveToM,butalsotostructureandthestoryitself.Inherstudyofnovelsthatelicithighlevelsoftransportation,whichcorrespondswithshallowreading,Green(2004)acknowledgesthatthesebooksmostoftenfallintothecategoryofbest-sellersandgenrefiction.Thiscasestudysuggeststhatexposuretolessformulaictextsmayprovokemorecriticalthoughtwhilereading.

The effect of withheld information Anexampleofhowwithheldinformationcontributestodeepreadingisfoundinreaderresponsestountaggeddialoguepassages.Incontrasttoactionordescriptivepassagesthesecontainedagreaterratioofdeeptoshallowcomments. Shallow DeepUntaggeddialogue 14 19Action 12 8Description 9 5Table2:Frequencyofshallowanddeepcommentsforthreetypesofnarrative

Whenthereadercommentswerecodedasdeeporshallowandthencross-matchedwiththetypeofnarrativeonthecorrespondingpageoftextsomeinterestingpatternsbegantoemerge.Unlikeothertypesofnarrativeuntaggeddialogueelicitedmoredeepcommentsthanshallow.Isurmisethatthisisduetoagreateramountofwithheldinformationwithinpassageswithstraightdialogueandreducednarratorialguidance.Thiswithheldinformationproducesgreaterlevelsofambiguityandenforcesahighercognitiveloadonthereader.Theresponsestoactionpassagescontained12shallowcommentsand8deep.AnexampleofthisiswhenColinkissesHannahaftertheirdate.Emmacommented,

‘Oknowthatwasveryfasttheykissingalready,IfeelexcitedforColin.’Thiscommentshowsaffectiveempathyasshewasfeelinganemotionalongwiththecharacter.Empathyisashallowresponse.InresponsetoColinquittinghisjobafterhisbosstoldhimthatSamshouldn’tbethere,Emmastated,

‘Iwasn’texpectingthattohappenbutfinallywecansayColinwantsSam.’Emma’sfuturalinterpretation,thescriptshewastryingtofollow,wasthwartedbythisnarrativeevent,andthereforeneededtobereassessed.Shealsoutilisedherdeductivereasoning,adeepreadingskill,inordertoextrapolatethatColinstandingupforSamandgivingupajob,meantthatColinwantedSam.Actionpassageswerefoundthroughoutthetextandelicitedafairlyevensplitofshallowanddeepcommentsindicatingthatactionpassagesdonotnecessarilyencourageacertaintypeofreading.Descriptivepassagesalsoshowedatrendtowardshallowoverdeepcommentswith9shallowand5deep.DescriptivepassagesasdefinedbyBal(1985)are‘textualfragmentsinwhichfeaturesareattributedtoobjects’(p.130).Afragmentisconsidereddescriptionwhenthisfunctionisdominant.AnexampleofadescriptivepassagesinTMOSisColindescribinghisbedroom.

Igohome,grababowlofcereal,devourit,turnsomemusiconandlieonmybed.It'smyfavouritepartoftheday.MyparentsarestillatworkandmybrotherKevisn'thomefromuniyet.IcandowhateverIwantbutrightnowIdon'twanttodoanything.Mymindisfull.Istareupatmyposters:StarWars,AltJ,FooFighters.Ifeellikeadifferentpersonnowthantheonewhowalkedoutofherethismorning.Ifeelolder.Igetupandstartrippingdownposters.Thesepostersbelongtothepersonofyesterday,nottheoneoftoday.PostersinthebinItakeanotherlookaroundmyroom.MydeskisclutteredwitholdpapersandthingsIthoughtwereimportant;oldticketstoconcerts,photosofmeandmyfriendsbeingidiots,anythingwrittentomefromagirl.Fromaguyandtheywouldalmostimmediatelybethrownout.FromagirltheymeanpossibilityandsoIkeepthem.Untilnow.NowIpulloverthebinandstartthrowingthingsout.AnythingIdon'tabsolutelyneedisgone.It'stimetobeadifferentme,anoldermoreassuredme,ameHannahwillwant(p.25).

Balarguesthatdescriptioninsertedintoatextrequiresmotivationfromtheactor.Thismotivationcanbebroughtaboutthroughspeaking,looking,oracting(p.130)Inthispassagetheactor,Colin,ismotivatedbyactionashecleanshis

room.Thisallowstheopportunitytoascribefeaturestotheroom(theme)and,wallsanddesk(sub-themes).Thepostersdescribethewallswhilethedeskis‘clutteredwitholdpapers’.Thesefeaturesgiventothesub-themescombinetodescribethemaintheme.Motivationthroughactionalsointroducesnarrativeintothedescription,however,inthiscase,thedescriptivefeaturesarestilldominant.Thispassagewhiledescribingtheroom,alsostandsasametaphorforthechangethatColinisundergoingasaresultofmeetingHannah.Theresponsestothispassageincludedcommentssuchas,‘Iknowthefeels–haha.Justenjoyingbeingalone(Emma)’and‘Ilovethebandalt-J’(Luke).BothofthesecommentsshowedsomeidentificationandempathywithColinbutdidnotengagehigherorderthinkingskills.Wheredescriptivepassagesshowedevidenceofmoreshallowthandeepreading,passageswithuntaggeddialogueengagedthereadersinmoredeepthanshallowreading.Therewere14shallowcommentsand19deep.Belowisanextractfromoneofthesepassages:

IringMum.Shepicksuponthesecondring,efficientasalways.'Mum.Ineedyou.'Ilaunchstraightin,scaringtheshitoutofher.Thereisn't

timeforapreludethistime.Areyouokayrightnow?I'llcallyourpsychologist.''Mum!Stopandlisten.''Okay.'Shesaysquietly.Ihateyellingather.'SoIjustgotacallfromDHS.''DHS?''TheytoldmethatHannahhasason,myson.He'sfourandhe'sonhiswayto

myplacenow.Idon'tknowwhattodo.''Buthowdidthishappen?Idon'tunderstand.ImeanIthought...''MumIhadnoideaaboutthis.''Areyousure.Isthiswhy...?'Andlikethatwe'rebackwhereeveryconversation

overthepastfiveyearshasinevitablyled.'NoMum,'Isayemphatically.'BecauseIneverreallyunderstood.'(p.34)

Thewithheldinformation,thelackofnarratorialguidance,andthemultipleperspectivesfoundinapassagesuchasthisoneleadtomoreinstancesofdeepreading.Firstly,thereisverylittlemediationfromColinasourfirstpersonnarrator.InthispageoftexttherearetwoinstanceswhereColinhelpstounpackorshapethestorythroughhisowncommentary;‘efficientasalways’

and‘Andlikethatwe'rebackwhereeveryconversationoverthepastfiveyearshasinevitablyled’(p.34).Therestofthetextisalmostpurelydialoguewithjustafewindicatorsoftonesuchas‘quietly’and‘emphatically’.Thesparsenessofcommentaryallowsthereaderanunmediatedviewoftheaction,allowingthereadertoformtheirownopinions.Cognitivelyinapassagesuchasthisthereaderissimultaneouslyengagingmultiplethoughtprocesses.Firstly,theyaremonitoringeventsaswellaswhoisspeakingandtowhom.Thisensuresthatcomprehensionisaccurate.Theythenneedtoreadbetweenthelinesandlookforwhatisnotspoken,thesubtext.ThispassageaddstowhatisalreadyknownaboutColin’smum,principallythatsheisover-protective,efficientandpronetopanic.Theintrigueinthispassageisfoundinmum’sresponsetoColin’snews.

'Buthowdidthishappen?Idon'tunderstand.ImeanIthought...'Thereaderisnevergiventheendofthatsentencenorfortheonethatfollows,

‘Isthiswhy…?’ThereaderisbeginningtounderstandhowColin’smotherreactstoeventsbutisunabletoclearlygrasphermotivationsatthispointinthenarrative.Thesegapsinthenarrativeinvitethereadertoquestion,surmise,andengagetheirdeductivereasoning.ToMisdevelopedasthesequestionsareasked.Emmacommentedregardingthispassage,

‘Whydoeshismumkeepsayingthatshewillcallapsychologist?Sheshouldbetryingtohelphimherself.’

Lukenotedofthecontinuationofthisconversationonthefollowingpage,

‘whycan’thismumhelpmore?’ThefullcontextofthispassageisnotrealiseduntilthereaderfindsoutthatColin’smumofferedtopayforanabortion(p.155)andthatColinattemptedsuicide(p.345).Oncetheseeventsareknownitislikelytocausearetrospectivereassessmentofthispassage.Isuggestthatdialogueengagesdeepreadingskills

forafewdifferentreasons.Firstly,itislargelyunmediatedbyanarrator.Secondly,thereaderhasmoretomonitorastheyconstantlyalterperspectives,therebyexercisingToMtoagreaterextent.Thirdly,dialoguebyitsverynaturecontainsmoregapsthatthereadermustfillwiththeirowndeductiveandinferentialreasoning.Astheliteratureonmodernismsuggests,withholdinginformationencouragesambiguity.Insummary,itwasnecessarytoanalyserealreaders’responsestoTMOStotesttheefficacyoftextualstrategies,thatthisresearchhasarguediscommoninmodernisttexts,toproducedeepreading.Readingjournalswerechosenastheyofferedimmediacyandallowedforindividualresponses.ThecommentsrevealedacorrelationbetweendeepreadingandthedevelopmentofcognitiveToM,andbetweenshallowreadingandaffectiveToM.ThisfindingreinforcestheimportanceofdeepreadingsincethedevelopmentofcognitiveToMispivotaltohumaninteraction.Despitesimilaritiesbetweenthereaders,andthefactthattheyallreadthesametext,eachreaderprovideddifferingemphasesintheircomments.Thereader’scommentswereshapedbytheirworldview,experiences,andtheirlevelofacuity.Eachreaderisonanindividualcognitivejourneyanditisthereforeimpossibletopredictageneralisedresponsetoatext.Inthecontextofthisresearch,theseresponsesexhibittheeffectofthenovel’stextualstrategiesonthesespecificreaders.TMOSwassuccessfulatbothengagingadolescentreadersandprovokingdeepreading.Thereaders’commentssuggestedthatboththecomplexcharactersandspatialstructurecontributedtodeepreadingastheyencouragedambiguityandforcedthereassessmentofjudgements.Passagesofuntaggeddialogueprovokeddeepreading,arguablyduetothelackofnarratorialguidance,theamountofwithheldinformation,andthealternatingperspectivesofthedifferentcharacterspeakers.Defamiliarisingnarrativetraditionsalsoproduceddeepreadingasreaderswereforcedtoreassessjudgementsandpredictions.Anawarenessoftheimportanceofdeepreading,andtheelementswithintextsthataremorelikelytoprovokedeepreadinghaveapplicationforliteracy

practitionersastheyrecommendbooksforadolescents.Booksshouldsometimesberecommendedonthebasisofthecognitivestretchtheycangivetotheindividualreader.MaryanneWoolfarguesthat,

Thedegreetowhichexpertreadingchangesoverthecourseofouradultlivesdependslargelyonwhatwereadandhowwereadit(Wolf&Stoodley2007,p.156).

WithinmodernisttextsVirginiaWoolf(1966)asserts,

Weareatonceconsciousofusingfacultieshithertodormant,ingenuity,andskill,amentalnimblenessanddexteritysuchasservetosolveapuzzleingeniously(p.81).

Adolescentswouldbenefitfromthissameopportunity.Writersneedtoembracecomplexity,ambiguity,anddiversityastheycrafttextsforteenagers.Educatorsandlibrariansneedtosupporttheseendeavoursbyrecommendingnovelsthatstretchcognitiveskillsandexpand,ormodify,theworldviewoftheadolescent.

Chapter5:ConclusionThisthesisbeganwiththeaimofidentifyingstrategiesthatpromotedeep,ratherthanhabitual,reading,inordertoinformthewritingofanoveltopromotedeepreadinginayouthreadership.Theresearchaimspursuedwereasfollows:- Firstly,toidentifymoderniststrategiesthatprovokedeepreadingAcomprehensiveliteraturereviewidentifiedthedevelopmentofTheoryofMindandhigherorderthinkingskillsaskeybenefitsofthepracticeofdeepreading.Whilethisthesisdidnotexplicitlyaimtoaddresseducationalgoals,thistheorybringsanewdimensiontoexistingdebateswithincriticalliteracystudies.TheliteraturereviewalsoconfirmedtheplaceofmodernistnovelsasakeysiteforunderstandingtextualpracticesthatleadtodefamiliarisationandincreasedTheoryofMind.Theuseofdefamiliarisationwithinmodernisttextshasbeenassociatedwithchangesofperceptionsinthereaderastheyarechallengedwithepistemologicaluncertainty.Informedbytheseinsights,aliteraryanalysisoftwosymptomaticyoungadulttextswasundertakentodemonstratehowtextualstrategies,suggestiveofmodernism,positionimpliedreaderstoengageindeepreading.Thisthesismakesanewcontributiontochildren’sliteraturescholarshipbybringingtheframeworkofmodernism,ratherthanpostmodernismtoananalysisofAustralianyoungadultfiction.Together,thisinitialresearchfoundthatmodernisttextsdefamiliarisethereaderandintroduceambiguityastheyraiseepistemologicalquestionsthroughtheuseofmoralambiguity,unreliablenarration,complexcharacters,andaspatialratherthanchronologicalapproachtotime.Whilethethesisdidnotconsiderotherpre-orpostmodernistliterature,furtherresearchmightusefullyexaminethetextualstrategiesoftheseliterarymovementstocontrastthefindingsrelatedhere.

Thesecondresearchaimwas- TocreateanovelthatwillincreasecognitiveloadonthereaderThemodernisttextualstrategiesidentifiedintheliteraturereviewandcriticalanalysisofyoungadultexemplarswereleveragedtoinformthewritingofmycreativeartefact,ToMyOtherSelf.Thenovelwascraftedtoemployvariousdefamiliarisingtechniquessuchas:spatialstructure,unreliablenarration,subversionofnarrativetraditions,withheldinformation,andmetaphor.Thesestructuresincreasedthecomplexityofinterpretationdemandedoftheimpliedreader.Theypositionreaderstoactiondeepresponseascommonstructuressuchasgenrepatternsweresubverted.Thethirdresearchaimwas- Toeffectivelygatherdatathatdisplaysreaders’thoughtsastheyreadOncemynovelwascompletedtothirddraftstage,itwasprintedandgiventothreeteenagereaderswhokeptareadingjournal.Theircommentswerethenanalysedtogiveasnapshotintoboththenatureofreadingandthestrategiesthattendtoresultindeepreading.Allofthereaderscommentedthattheyenjoyedthebookandalsothatitwasunpredictableanddifferenttootherbookstheyhadread.Thissuggeststhatabalancewasstruckbetweencomplexityandreadabilityforthetargetreadershipofadolescents.AsreportssuchasChildren,teensandreading(2014)andKeepingyoungAustraliansreading(2009)showthattheamountofreadingdeclinesfromtheageof12itwasimportantthatreadersbebothengagedandchallenged.Indevelopingaworkablemethodologytoempiricallytestthetheorywithrealreaders,acontributionwasmadetothefieldofreaderresponsewithinliterarystudies.Thereadingjournalsprovidedimmediacyandallowedalong-formtexttobeused,provingtobealegitimatemethodofgainingvaluableinsightintoreaders’thoughtswhilstreading.Theuseoflong-formtextisnoteworthyastherehavebeenfewstudiesthathaveutiliseduncondensedlong-formtexts

(Jacobs2015).Thisisanareathatneedstobefurtherexploredasnovelsaregenerallyreadintheirentirety,bothinschoolsandforpleasure.Whilstthesamplesizelimitstheproject’sexternalvaliditytheinsightsgivenofferauniqueperspectiveontheindividual’sownreadingprocessandprovideamethodologythatcouldbeadoptedinalargerstudy.Thefourthresearchaimwas- TogaininsightintothenatureofreadingTheparticipants’responsesconfirmedthataffectiveToMispresentinshallowreadingandcognitiveToMindeepreadingreinforcingtheimportanceandvalueofdeepreading.Theresponsesalsodemonstratedthatreadersarenothomogenousastheyinserttheirownmemories,experiencesandworldviewsintothereadingofthetext.Furtherresearchcouldexploretheresponseofonereadertodifferenttypesoftext.Thiswouldemphasisemorestronglythechangesbroughtaboutbythetext.Thefifthresearchaimwas- Toassesstheefficaciesofthestrategiesemployedinthecreationofthe

novelThefieldworktestedtheeffectsofthetextualstrategiesemployedinToMyOtherSelf.Itfoundthatcomplexcharactersaidindeepreading,asdoesamorecomplexstructure.Thesestrategiesincreasetheinterpretivechallengesforthereader,creatingmoreopportunitytoengageindeepreadingskillssuchasinferentialanddeductivereasoning.Similarly,deepreadingwasactivatedinpassagesofuntaggeddialogue.Thesepassagescontainmoreinstancesofwithheldinformation,lessscaffoldingbythenarrator,andshowmultipleperspectives.Thiswasparticularlyevidentwhencomparedtotheshallowresponsetodescriptivepassages.

Thisresearchhasapplicationforwritersandliteracyspecialists.Ifthegoalofthewriteristobeprovocative,creatingmoreopportunityfordepthinmeaningproduction,thentheirworkwouldbeaidedbytheuseofdynamiccharacters,extensiveuseofdialogue,metaphor,andamorecomplexstructure.Thesestrategieswillaidinsubvertinghabitualreadingthroughdefamiliarisingnarrativetraditions,therebyincreasingthecognitiveloadandtheopportunityfordeepreading.Foreducators,theknowledgethatreadersarenothomogenousreinforcestheneedfordifferentiationwithintheclassroom.Studentsareunlikelytoproducethesamemeaningsinresponsetoatext;thisvarietyshouldbeencouraged,asshouldanyreflectionsthatseestudentsbringtogethermeaningscreatedthroughbothatextandtheirlifeexperiences.Forliteracyspecialists,thealignmentofcognitiveToMwithdeepreadingrevealstheimportanceofencouragingdeepreadinginstudents.Readingisacognitivejourneyandassuchbookselectionisbothvitalandanongoingchallenge.IdeallybooksshouldincrementallyincreasethecognitivechallengeonthereadertherebyfurtherdevelopingtheircognitiveToMandhigherorderthinkingskills.Anawarenessofthestrategieswithinbooksthataremoreefficientinproducingdeepreadingsuchascomplexstructures,dynamiccharacters,dialogue,andambiguitymightaideducatorsinrecommendingbookstoindividualreaders.Buildingontherecognitionofreadingasacognitivedevelopmentalprocess,furtherresearchcoulddocumentthebooksreadbyparticularteenagers.Thiswouldevaluateifreadersvoluntarilyincreasethecomplexityoftheirreadingmaterialastheymatureorwhetherthisrequiresinterventionbyanenablingadult,suchasateacher,parent,orlibrarian.Insummary,thisresearch,Textualstrategiesforpromotingdeepreadingissignificantandoriginalinbothitsmethodologiesanditsfindings.ToMyOtherSelfisitselfanoriginalcreativeworkasittranslatesmodernisttechniquesintoacontemporaryyoungadultnovelthataddressesthefluidityofidentity.

Themethodologyemployed,writingthenovelpriortotestingonrealreadersastheykeptareadingjournal,contributestopracticeinreaderresponse.Thereadersprovidedindividualiseddataontheirthoughtprocesseswhilstreading.Thisgaveinsightintobothhowyoungpeoplereadandtheroleofthetextinprovokingdeepreading.Thisresearchprojecthasapplicationsforwriters,literarytheorists,andliteracyspecialists.

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Koopman,EME2016,‘Effectsof“literariness”onemotionsandonempathyandreflectionafterreading’,PsychologyofAesthetics,Creativity,andtheArts,10(1),pp.82-98.

Koopman,EME&Hakemulder,F2015,‘Effectsofliteratureonempathyandself-reflection:Atheoretical-empiricalframework’,JournalofLiteraryTheory,9(1),pp.79-111.

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AppendicesAppendix1:Lettertoparticipants Thankyou for volunteering to participate in this project. In this pack you will find a novel, To My Other Self, a notepad, some pens and a stamped addressed envelope. We are interested in your thought processes as you read. To that end we would like you to jot down some brief thoughts as you read, creating a reading diary. The thoughts don’t have to be long, single sentences are fine, along with a page number. The kinds of things we are interested in include:

• predictions of what might happen • impressions of characters/events, • how something makes you feel, • what something reminds you of, • if you don’t understand something or something suddenly makes sense • if there are links you’re making within the story or between the story and

life. These are some ideas but everyone’s thoughts are unique and we are interested in yours. Here is an example of what your diary may look like: p. 22 I don’t understand why Colin is fascinated with Hannah. p. 30 This reminds me of someone I know p. 45 I had to take a break here. It was too awkward. I have included a notepad and some pens for your diary but if you feel more comfortable typing the diary, that’s fine, when you have finished just email it to me. If you use the notepad then just put it into the stamped addressed envelope and send it back to me once you have completed the novel. If you have any questions you can email or call me using the details below. If you could get this done before the 15th September that would be great. If you decide that you no longer want to participate please let me know. Thank you again for your participation. Regards, Michelle McRae Deakin University mmcrae@deakin.edu.au 0417 335 817

Appendix2:Codesheet Category Main Code Description Example

Shallow reading Identification Comments where the reader

recognises aspects of themselves

in the protagonist.

‘I know the feels- ha ha. Just

enjoying being alone’ (Emma, p.

Affective Empathy Comments where the reader feels

an emotion on behalf of the

protagonist.

‘I feel kind of bad for Colin it

sounds like he is alone’ (Emma,

Comprehension The reader shows an

understanding of plot points.

‘A lot of my confusion is cleared

I thought that Hannah had been

run over. Colin sounds like he

had feelings for Hannah’ (Emma,

p. 9).

Mechanics Comments regarding

punctuation, style, and the form

of the writing.

‘Thesentence“youwanttolightthefireSam”doesn’tmakesense’(Lara,p.303).

Deep reading Inferential and deductive

reasoning

Comments where the reader is

extending meaning beyond what

is found in the literal text.

‘deep imagination means Hannah

is clearly important to Colin’

(Luke, p. 10).

Analogical skills Comments that show that ‘I’m not sure what someone can

similarities are perceived in

different situations.

do that can make you reject a

pregnant 15 year-old girl…I

guess I can relate my mum was

17 with me and was kicked out

by her mum and my gran’

(Emma, p. 155).

Critical analysis Comments where a judgement,

opinion or argument is expressed

by the reader.

‘Colin talks himself up but he is

not really that ‘tough’ when

meeting Hannah’s guy friends’

(Luke, p. 128).

Reflection Comments that show that there is

increased consideration or

contemplation of a part of the

‘enjoy your freedom’ is

interesting- when we are young

we want to move on with life;

when we are older with more

responsibility, we long for the

freedom of being young’ (Luke,

p. 88).

Insight A deep understanding of the

internal nature of things.

‘It touched on many ideas that are

relevant to teens it also revealed

how our expectations for the

future are bound to change. It

demonstrated how many teens

are, we get so consumed with

infatuation and lust we fall in

love with the idea of someone’

(Emma, end).

Appendix3:Spreadsheetofparticipants’comments Comment Reader Page Code Context Typeofnarrative Shallow/Deep

IfeelkindofbadforColinit

soundslikeheisalone.I’mvery

curiousaboutthebulletmarkin

hischest.Heseemsextremely

negativeabouthimself.Thewhole

‘dorks’thingisreallyfunnyabout

howtheygetteasedthen

succeed.

Emma 1 Emp Openingpage-older introspection shallow

Colin’srelationshipseemsvery

harshtowardshismother.Iwould

liketoknowwhyherejectsher.I

thinktherearemanyofthose

kindsofrelationshipsbetween

parentandchildren.

Emma 7 Crit/A.

skills

Older-Convobetween

ColinandMum.Mum

probingtomakesure

Colinisokay.

untaggeddialogue deep

Thescarismentionedagain,I’m

morecurious.IcanrelatetoColin

whenhesayshedonesmall

thingsaftereachother,justdoing

thosethingstodistractyoufrom

thebigcatastropheyoufacing.

Emma 8 Id Older-Descriptionof

Colin'sflatashedoes

smalltaskstoavoid

thinking-depressing

descriptive/introspection shallow

AlotofmyconfusionisclearedI

thoughtthatHannahhadbeen

runover.Colinsoundslikehehad

feelingsforHannah.It’ssadhow

heisimaginingallthesethingslike

heobviouslylostallcontactwith

heranddoesn’tknowabouther

Emma 9 Comp/Emp Older-Descriptionof

accident,imagining

Hannah'slife

descriptive/hypothetical shallow

ColinmakesHannahseemlikea

reallyinterestingperson.IthinkI

likeherandIhaven’tevenmet

Emma 10 Id Older-Colinimagining

Hannah'slife

hypothetical shallow

Iknowthefeels-haha.Just

enjoyingbeingalone

Emma 25 Id Younger-transforming

bedroom

descriptive shallow

Colinshouldn’thavetochange

thingsabouthimselfforher

Emma 26 Crit Younger-end

transformingbedroom,

listsofthingstoimprove

list deep

Whydoeshismumkeepsaying

thatshewillcallapsychologist?

Sheshouldbetryingtohelphim

herself.

Emma 34 Crit Older-Convobetween

ColinandMum.Colin

tellingheraboutDHS,

Hannahandson

I’msoannoyedwithhismum.She

shouldtryandhelphim.

Prediction:AtfirstSamandColin

can’tconnectbutthenlateron

theybondandnothingcan

separatethem.

ColinandMum.Colinasks

forhelpwithSamMum

refuses

IlikeJakeheseemslikeacaring

friendtowardsColin,likeareal

friend.

Emma 48 Inf Older-Jamescomesover

andconnectswithSam

WherewasColinwhenHannah

waspregnant?Colinneedstostop

givingheyoungerselftips

becausehecan’tchangethepast

ColinandJames-Did

anybodyknowHannah

waspregnant

untaggeddialogue/advice deep

RightnowI’mdying Emma 54 Emp Younger-Buyingcondoms Actiondescription shallow

Thatwasabigjumpeitherheis

buyingcondomspreparingfor

whenhedatesHannahorwehad

asmalljumpintime.Kinda

confused.

Emma 58 Comp Younger-Flirtingwith

Hannahinshoeshop

Colinnarrateddialogue shallow

WowIloveColinevenmore,

that’stheattituderightthere.

Emma 62 Crit Younger-Colininternal

dialogue-confident-why

shouldn'theachieve

everythinghesetsoutto?

introspection deep

IalmostcriedwhenIreadthatit

wassosad.Prediction:Idon’t

actuallyhaveapredictiononwhat

willhappentoHannah.Maybe

shewillendupstayinginjail.

Emma 86 Emp Older-Colintalking

Hannahinjail.Hannah

passingondetailsabout

Colinnarrateddialogue shallow

OkColinismaybejustalittle

creepyfollowingherbutit’sreally

Emma 92 Ref Younger-Colinwatching

anddescribingHannah

description deep

Don’tneedEnglishHaHaOMG Emma 96 A.skills Younger-Colinfighting

withMumover

homework

untaggeddialogue/prose deep

Wow,IwouldfeelrejectedifI

wereColin.Hehasanegoof

steel!

Emma 100 Id Younger-@McDonalds

w/Hannah.Putshishand

onhers,shepullsback-

talkoverfuture

untaggeddialogue/prose shallow

aspirations

Anypersonwholiveswithsmall

kidsknowsthatscreamingistheir

soundtrack.

Emma 110 A.skills Older-Colinclearingout

Sam'sroominHannah's

apartment.Samiscrying.

'Itseemsscreamingisthe

newsoundtracktomy

life.'

actionprose/defamin

IfeelterribleforColinheis

actuallyaverylonelypersonand

hasalottodealwith.Colinand

Miaseemreallyfriendly.

Prediction:eitherMiaandColin

startathingorHannahandColin

somehowworkitoutwithhelp

fromMia.

Emma 117 Emp Older-Colinhitswall

aboveSam,callsMiato

tellherhe'can'tdothis'.

action/

introspection/dialogue

shallow

IlikeMiasheseemslikeavery

caringperson.

Emma 118 Comp Older-Convobetween

ColinandMia.Mialistens

andsayssheiscoming

Untaggeddialogue shallow

Hannahseemslikeaveryfun

person

Emma 133 Comp Younger-Colinwatching

Hannahwaterski

actionprose shallow

Colinissuchasweetpersonand

hereallydoesseemtocareabout

Hannah

Emma 134 Comp Younger-Colinwatching

Hannahwaterski

description shallow

Colinisreallytryingtoimpress

Hannah.Itisgoodbutcould

potentiallybebad.Hekeeps

tryingtopleaseherit’salmost

Emma 140 Crit/Inf Younger-Colintryingto

waterski

self-deprecatingaction deep

annoying.

I’mnotsurehowIfeelIwouldbe

sofuriousifIwasHannah.I’mnot

surewhatsomeonecandothat

canmakeyourejectapregnant

15year-oldgirl.That’sverybad.I

guessIcanrelatemymumwas17

withmeandwaskickedoutby

hermumandmygran.IthinkI’m

onthevergeofhatingColin’s

mum.Iwasn’tfondofherbefore

now.Ireallydon’tlikeher.

Emma 155 Crit/A.

skills

Older-Convobetween

ColinandHannah.

HannahtellsColinshe

toldhismumshewas

pregnantandwasgiven

$500forabortion

Untaggeddialogue deep

HismumshouldfeelguiltyandI

thinksheisinthewrong.

Emma 159 Crit Older-Convob/wColin

andMum.Colin

confrontingMumabout

nottellinghimabout

Hannah'spregnancy

dialoguenarratedbyColin deep

Prediction-Colindoessomething

nicewithHannahbut

embarrasseshimselfterribly.

Emma 163 Inf Younger-Colinistaking

Hannahonadate

Colin’sMumseemsfamiliars.His

mumiscaring

Emma 164 Inf/Ded. Younger-Convob/w

Colin,hannah,mum-

MumgivingColinasthma

pufferandconnecting

withHannah,Colin

embarrassed

Colinissoconfident.Ifeelterrible

forHannah

Emma 172 Emp Younger-Convob/wColin

andHannah-Ontrainto

date.Hannahtellsabout

parentsbreak-up.Colin

listensandflirts

Untaggeddialogue shallow

Ican’tbelievethey’reholding

handssoeasilylikealmostseems

veryunrealistic.

Emma 174 Crit Younger-Colingrabs

Hannah'shandontheir

waytothesalsadancing

action/untaggeddialogue deep

Oknowthatwasveryfastthey

kissingalready,Ifeelexcitedfor

Emma 179 Emp Younger-Outside

Hannah'shouseColin

kissesHannah.

action shallow

WhydoesHannahhavecondoms

inherroom,that’sworrying-she

isonly15.

Emma 210 Crit Younger-Colinand

Hannahhavesex.Hannah

getscondomoutofstash

inherdrawer

action/introspection deep

Notlove-infatuationandmaybe

Emma 211 Ins/Ref Younger-Colinproclaims

hisloveaftersex

Myfavouritepartofthebook,

seemslikeColinisenjoyingSam.

Emma 227 Comp Older-ColinhasSamat

workwithhimaftertaking

himtoMcDonaldsfor

action shallow

Iwasn’texpectingthattohappen

butfinallywecansayColinwants

Emma 231 DedR Older-Colinquitshisjob

afterbosstellshimSam

shouldn'tbethere

IcouldfeeltroublewithHannah

fromthestart,younevertalkto

anyonelikethat.

Emma 313 Crit Younger-@shopping

centre,Colinapproaches

Hannah,whoiswith

friends,shetellshimto

fuckoff.

Prediction-Hannahcheatsonhim

withDaniel.IhateHannahyou

don’tdothat

Emma 316 Crit Younger-Colinwatching

HannahandDanielfrom

outsideHannah'shouse

description/introspection deep

Hannahhadthosecondomsfora

reason.ShewaslyingtoColin.

Emma 317 Crit/Ded Younger-Colinimagining

lifewithHannah,

watchingDanieland

Hannahinherroom

hypothetical/subjective

description

Hedoesonlylovetheideaofher. Emma 320 Crit Younger-Colinand

Hannaharguing,hesays

heloveshershesayshe

onlylovestheideaofher

Ilovedthebookitwasso

interesting.Ihaven’treadanovel

whichiswrittenlikethisyetitwas

reallydifferenthowyoumixed

thepastwiththepresentlikeone

chapterispresentwhileother

chapterispast.Thebookwasvery

unpredictabletobehonestthe

onlypredictionIgotcorrectwas

theonethatMiaandColinwould

gettogether.Ilovehowthe

advicethatColingavehimself

whenhewasyoungerwas

completelydifferenttowhathis

presentselfneeded.‘ToMyOther

Self’wasagreatread.Ittouched

onmanyideasthatarerelevantto

teensitalsorevealedhowour

expectationsforthefutureare

boundtochange.Itdemonstrated

howmanyteensare,wegetso

consumedwithinfatuationand

lustwefallinlovewiththeideaof

someone.Thankyouforgivingme

theprivilegetoreadyourbookI

trulyenjoyedit.Ireaditinone

week,arealpageturnerIstayed

uplatetnightreadingitand

gettingsofrustratedwithsome

characters.Ithinkmostteens

Emma Ins Aftercompletion deep

wouldlovereadingthebook

becauseitisnotcliched

remindsmeof‘IforIsobel’by

AmyWitting;abookIamstudying

foryear12English.

Luke 1 A.skills Older-firstpage introspection deep

veryintenseandmakesmefeel

uncomfortablereadingit.

Luke 5 Emp Older-Colinseeingphoto

onnewsofHannah

Action shallow

thistypeofconversationis

relatable

Luke 7 Id Older-Convobetween

ColinandMum.Mum

probingtomakesure

Colinisokay.

untaggeddialogue shallow

thisemotionalhonestyfromColin

issadanddifficulttoread

Luke 8 Emp Older-Descriptionof

Colin'sflatashedoes

smalltaskstoavoid

thinking-depressing

descriptive/introspection shallow

whydoeshecaresomuchifsheis

notinhislifeanymore?

Luke 9 Comp/Crit Older-Descriptionof

accident,imagining

Hannah'slife

descriptive/hypothetical shallow/deep

deepimaginationmeansHannah

isclearlyimportanttoColin

Luke 10 Inf Older-Colinimagining

Hannah'slife

hypothetical deep

verydepressiveaccountof

friendship

Luke 14 Ins Older-Colinwantingto

forgetandbeforgotten

byhispast,startssleeping

andrememberingHannah

introspection deep

veryinterestingendtochapter

(whenheistalkingaboutHannah,

itmakesmefeelhappy)

Luke 15 Emp Older-Colinstartingto

rememberHannahbefore

fallingasleep

introspection shallow

Ilovethebandalt-J!! Luke 25 Id Younger-transforming

bedroom

descriptive shallow

interestingclosingsentence;

chapter2gotmehooked.

Luke 28 mech Younger-ch.Details

Colin'sthreesightsof

Hannahandhisplansto

winher.Closingsentence

TMOS:Iacceptyour

list/internalplans shallow

gratitude

whycan’thismumhelpmore? Luke 35 Comp/Crit Older-Convobetween

ColinandMum.Colinasks

forhelpwithSamMum

refuses

untaggeddialogue shallow/deep

whyishesomean?Doeshehave

noideaaboutkids?

Luke 43 Crit Older-ColinwithSamat

park,Samhastantrum

untaggeddialogue/

description

CHAPTER3–Iamhooked;Iwant

tofindoutmoreaboutHannah

andherbackground

Luke mech

shallow

whydoeshestruggleto

communicatewithSam?Why

doesheconsistentlyhavetoask

hismumforhelpwiththingsthat

seemobvious?

Luke 73 Crit Older-Convob/wColin

andMum.Colinaskingfor

helpwithSam

hismumdoesnotseemlikea

regularmum–doesnotseemsoft

andgentleandcaringbutmore

brutal

Luke 78 Inf Older-ColindropsSamoff

atMum's.Shetakes

chargewhileColin

escapes

actiondescription deep

“enjoyyourfreedom”is

interesting–whenweareyoung

wewanttomoveonwithlife;

whenweareolderwithmore

responsibility,welongforthe

freedomofbeingyoung.

Luke 88 Ref Older-Samrushesto

Colinafterhereturns

fromseeingHannah

action deep

Colintalkshimselfupbutheis

reallynotthat‘tough’when

meetingHannah’sguyfriends.

Luke 128 Crit Younger-Colinmeets

Hannah'solderfriendson

thewaytogowaterskiing

untaggeddialogue/social

commentary

isasadparagraphandisscaryasI

donotwantthattohappento

Luke 146 Id/Emp/Ref Older-Colinwondering

wheretheconfident

personofhisyouthwent

introspection shallow/deep

ColinandHannah’sconversations

areverydeepandinterestingand

thoughtprovoking

Luke 168 Ref Younger-convob/wColin

andHannahondate-

suburbsandhowwhere

youliveshapesyou

Colin’sdecisionstostartmaking

thingshappenissomewhat

inspiring

Luke 191-

Ref Older-Colincontemplates

makingchangestobring

himclosertowhohe

thoughthewouldbe

introspection deep

ItmakesmehappytoseeColin

gettingbetterwithSam

Luke 216 Emp Older-ColinandSam

makingpancakestogether

action shallow

itisnicethatColinisstandingup

forSam,althoughitsclearhe

makesalotofimpulsivedecisions

Luke 230 Ins Older-Colinquitshisjob

afterbosstellshimSam

shouldn'tbethere

untaggeddialogue/action deep

thatisaverynicebutidealistic

future

Luke 272 Crit Younger-Colinimagining

hisfuturelifewith

Hannah

hypotheticals deep

verysadanddifficulttoread Luke 288 Emp Younger-Argumentb/w

ColinandHannahafter

Colinseesphotoofguys

inherroom

itisnicethattheyarebothhonest

andhappy

Luke 305 Ref Older-convob/wColin

andMia.Theytalkabout

Hannahgettingoutof

prison,Samandafuture

ItisnicethatColin’slifeisstarting

toimprove

Luke 325 Comp Older-convob/wColin

andMia,flirting

verydepressing,shockingandsad

ending.DefinitelynotwhatIwas

expectingandhadmeinshockfor

awhile.Verysadanddepressing

butthebookhadmehookedandI

enjoyedreadingit!

Luke 344-

Emp/Form Younger-leaduptoColin

shootinghimself

innerthoughts shallow

I like how it took a while for an explanation about Hannah to come. the last sentence on the page drags on really long

Lara 16 mech Younger-thefirstsightof

Hannah

commentary shallow

the line "I make myself study myself' didn't really read right although I got the point you were trying to get across

Lara 26 mech Younger-self-appraisal

withlists

lists/prose shallow

the line 'I am not grateful' sort of feels random since we don't know it's his mum yet and didn't really make sense until I re read it In general - I like how each chapter finishes with a 'to my older self' or 'to my younger self'

Lara 29 comp/mech Older-Colinwakesupto

phonecallfromDHS

convob/wMiaandColin

untaggeddialogueafter

openingsentence

shallow

the sentence "James is smirking I turn the footy up even louder" doesn't really flow. Maybe something like James is smirking as I turn the footy up even louder or a comma after smirking?

Lara 51 Form Older-Convobetween

ColinandJames-Did

anybodyknowHannah

waspregnant

untaggeddialogue/Advice shallow

"...she's going to be amazing" starts with no quotation mark and I got lost

Lara 130 comp/mech Younger-Thedriveto

waterskiing

untagged

dialogue/action/description

shallow

"an impossible rubric cube" Rubix cube?

Lara 142 comp/mech Younger-Colinsucceeds

atskiingandwinsdate

innerthoughts/dialogue

narratedbyColin/action

shallow

I like how more intimate and sweet scenes between Colin and Sam sort of flow into the novel naturally

Lara 186 mech Older-ColinandSam

buildbridgeswithboxes

untaggeddialogue/action shallow

I like how the flashback chapter and the present chapter relate together - "don't let demons win" and "the demons circle"

Lara 250 Mech/An

skills

Connections-Y.Colnot

wantingtobeanxiousand

possessiveO.Colnot

wantingtopanicoverlife

situation

linkingsentences shallow/deep

I feel like it's really rushed how Hannah suddenly is out of jail

Lara 289 Comp Older-Hannahknockson

doorsurprisingColin.

action/untaggeddialogue shallow

I got a bit confused at why Colin started swimming and left Sam behind

Lara 301 Comp Older-ColinandSam

exploringincaves.Colin

decidestoswimwhilst

Samsleeps.

action/metaphor shallow

the sentence "you want to like to light the fire Sam" doesn't make sense

Lara 303 Mech Older-ColinandSamat

thebeach.Theylighta

firetogether

untaggeddialogue/action shallow

I understand why he thinks he failed so badly with Hannah now

Lara 323 Inf/DedR Younger-Colinpunches

Hannahandthenruns

action deep

Before I get into my feedback, I'd like to say I loved it! The idea behind it is great and it's different - an idea I haven't come across at all - and I loved how you explored it. The twist at the end definitely got me thinking and while it explored dark themes and was sad, the happy themed balanced nicely. The idea that he could've ended up happy 5 years later really stood out to me and I think is a great message to the readers - not to give up because there can be happiness and great things found later on.

Lara Inf/DedR/

Aftercompletion deep

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