44 pages • 1 hour read
Judy BlumeIt's Not the End of the World
Fiction | Novel | Middle Grade | Published in 1972A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Background
Genre Context: Coming of Age
It's Not the End of the World fits squarely within the coming-of-age genre, exploring the emotional and psychological growth of its young protagonist, Karen Newman. Coming-of-age novels typically focus on the personal development and maturation of a young person, often through a significant life event or series of events. In this novel, Karen’s parents' divorce acts as the catalyst for her journey toward understanding and acceptance.
The narrative delves into Karen’s internal world, capturing the confusion, anger, and sadness that accompany her parents' separation. This emotional depth is characteristic of the coming-of-age genre, which often prioritizes character development and emotional realism over plot-driven action. Karen’s attempts to reconcile her family, and her eventual acceptance of the new family dynamics highlight her growth from naivety to a more nuanced understanding of life's complexities.
While many coming-of-age novels intersect with the epic and follow the protagonist over journeys or interactions with a cast of new characters, such as Charles Dickens’s Great Expectations (1861). However, there is a tradition of coming-of-age novels that trace domestic dramas. Little Women (1868) by Louisa May Alcott is a famous example. It's Not the End of the World places similar importance on internal, domestic affairs through the eyes of a young female protagonist.
In the 1970s, the coming-of-age genre developed as writers began to discuss topics that were previously considered taboo. Go Ask Alice (1971), for example, discussed the increasingly wide use of psychedelics and addressed public concern about teenage involvement in drugs. In It's Not the End of the World, Blume addresses divorce just after the signing of the controversial no-fault divorce bill in 1969 which allowed couples to divorce without accusations of wrongdoing.
Authorial Context: Judy Blume
Judy Blume is a renowned American author known for her candid and empathetic portrayal of adolescent issues. Born on February 12, 1938, in Elizabeth, New Jersey, Blume began writing in the 1960s and quickly established herself as a prominent voice in children's and young adult literature. Her work often explores themes of family dynamics, personal growth, and the emotional complexities of adolescence (Blume, Judy. Places I Never Meant to Be: Original Stories by Censored Writers. Simon & Schuster, 1999).
It's Not the End of the World, published in 1972, is one of Blume's early novels that exemplifies her commitment to addressing real-life issues faced by young people. The book's focus on divorce—a subject rarely discussed as openly at the time—highlights Blume's willingness to tackle difficult and sometimes controversial topics head-on. This novel reflects her broader goal of providing young readers with stories that validate their experiences and emotions, offering both comfort and understanding.
Blume dedicated the book to her husband at the time. She writes about how her own marriage was suffering and she could see how it was affecting her children. Despite the dedication and her efforts to deny what was happening, she and her husband divorced several years later. Blume infuses the novel with a degree of authenticity that comes from mining her own experience (“It’s Not the End of the World.” Judy Blume on the Web).
Throughout her career, Blume has written numerous novels that have become classics in young adult literature, including Are You There God? It's Me, Margaret (1970), Tales of a Fourth Grade Nothing (1972), and Blubber (1974). Each of these works, much like It's Not the End of the World, deals with the trials and tribulations of growing up, from navigating puberty and peer pressure to dealing with family changes and personal identity.
Blume's influence extends beyond her novel; she has been an outspoken advocate for intellectual freedom and against censorship, often facing challenges to her work from those who believe that her books are too frank or controversial for young readers. Despite this, she remains a steadfast defender of young people's right to read and explore difficult topics through literature.
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