By Gerald Jones
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Extra info for Killing Monsters
You gave her something that means something to her. ” Then Anne told me about her own adolescence in the 1980s: painful home life, estranged from her parents, drinking and jail at thirteen, a suicide attempt, out on her own at fifteen, fistfights, petty crime, crashing with friends in tough inner-city neighborhoods. “Not much I’d defend now as ‘good,’” she said. “But when things felt absolutely black I discovered this stuff, and it showed me I wasn’t alone with these feelings. I had words, or at least images, for what I was feeling.
She was standing about thirty feet away. Staring at me. ” I asked. ” she asked. ” Freex was a writer’s nightmare. Readers liked my subtle characters and challenging ideas but complained that my stories were too mild. They wanted extremes of emotion and wild fight scenes like those in X-Men. Freex was my effort to give them that without lowering my standards. I loved my idea: teenage runaways, cut off from the world by their deforming superpowers, who form a sort of street gang for mutual protection.
Jimmy felt better about himself, if only because it seemed as though his teachers were finally thinking about who he was instead of what he might do. When we consider children in relation to mass media and pop culture, we tend to define them as consumers, watchers, recipients, victims. But they are also users of that media and culture: they are choosers, interpreters, shapers, fellow players, participants, and storytellers. Viewing children as passive recipients of the media’s power puts us at odds with the fantasies they’ve chosen, and thus with the children themselves.