THE CLEARING HOUSE

, VOL. , NO. , –

https://doi.org/./..

Opening Doors: Teaching LGBTQ-themed Young Adult Literature for an

Inclusive Curriculum
Katherine E. Batchelor, Maria Ramos, and Samantha Neiswander
Department of Teacher Education, Miami University, Oxford, Ohio, USA

ABSTRACT KEYWORDS
LGBTQ themes are often neglected in many schools’ curriculum. Currently, an LGBTQ-inclusive LGBTQ; adolescents; young
curriculum framework is not required in most school districts across the county. Therefore, it is adult literature; preservice
important to understand how teachers regard LGBTQ issues; how they address the needs of students teachers; curriculum
in the middle school and high school English classroom who identify on this spectrum or who come
from LGBTQ families; and how they incorporate literature that may be considered “controversial”
in their future school districts. In this study, English/Language Arts preservice teachers (PSTs)
(certification 7–12) were invited to participate in a book club and self-select young adult (YA) literature
centering on characters who identify on the LGBTQ spectrum. During two book club meetings, three
themes emerged that embody how literature can become a mirror as well as a window for students
and assist youth in identity formation and confirmation. Moreover, literature has the potential to
empower readers to take action on controversial issues, especially when readers are in positions to
make change (no matter how subtle). Although the data collected were from PSTs, our aim with
this article is to expand these three themes as overarching messages for practicing educators today,
urging the importance of a more inclusive curricula involving LGBTQ literature.

An unsafe school environment affects students on
a psychological and academic level. For example,
LGBTQ students’ grade point averages ranged between
nine and 15% lower than other students’ grade point
averages. GLSEN’s (Gay, Lesbian & Straight Education
Network) biennial National School Climate Survey
report in 2013 reveals that schools are still hostile
environments for Lesbian, Gay, Bisexual, Transgen-
der, or Questioning (LGBTQ) students, with 74%
being verbally harassed because of sexual orienta-
tion and 55% because of gender expression (GLSEN
2014). Moreover, 33% were physically harassed (e.g.,
pushed/shoved) because of sexual orientation and 23%
because of gender expression. However, when schools
embrace a curriculum that is LGBTQ-inclusive,
LGBTQ students said they were less likely to feel
unsafe. It is not just the curriculum that supports a
positive environment, but it is also the staff: particularly
teachers.
One way teachers can instill an LGBTQ-inclusive
curriculum, honoring all voices, and creating a sup-
portive classroom culture is to include LGBTQ-themed
literature. According to Flores (2012), “The presenta-
tion of LGBT-themed literature and lessons may help
build tolerance and acceptance among children and
in turn help reduce bullying and abuse” (190). More
importantly, as Tollafield (2015) urges, “Caring for our
students involves more than making sure they are not
teased or bullied in the classroom or hallways. In order
to truly care for these students, inclusive curricula [are]
crucial” (39).
Unfortunately, LGBTQ themes are often neglected
in many schools’ curriculum (Clark and Blackburn
2009; Flores 2012; Watson 2005). Currently, an
LGBTQ-inclusive curriculum framework is not
required in most school districts across the county.
The decision to include LGBTQ themes resides with
each individual teacher. Recently, however, California
approved the mandatory curriculum in grades 2, 4,
and 11 in social studies centering on diverse families
as well as rights and identity in progressive and social
justice movements from the 1920s onward, which
includes the legalization of same-sex marriage (Tucker
2016).

CONTACT Katherine E. Batchelor batcheke@miamioh.edu E McGuffey Hall, Department of Teacher Education,  E. Spring Street, Miami University,
Oxford, OH , USA.
©  Taylor & Francis Group, LLC
30 K. E. BATCHELOR ET AL.
According to Clark and Blackburn (2009), “English
language arts classrooms can be significant sites for
combating homophobia and heterosexism in schools,
and that reading LGBT-themed literature is one of
the best ways to do this work” (25). Therefore, it is
important to understand how teachers regard LGBTQ
issues, how they address the needs of students in the
middle school and high school English classroom who
identify on this spectrum or who come from LGBTQ
families, and how they incorporate literature that may
be considered “controversial” in their future school
districts.
The National Council of Teachers of English (NCTE
2007) believes in strengthening teacher knowledge of
LGBTQ issues to best help students on this spectrum,
or who come from LGBTQ families (NCTE). Misun-
derstandings and misinformation about people who
identify on the LGBTQ spectrum perpetuates the myth
that this should be a taboo subject in schools, view-
ing it as an issue of a student’s sexuality. Unfortunately,
research focused on LGBTQ issues in young adult (YA)
contemporary literature often is neglected.
For the purpose of this article, the first author
(Katherine) seeks to explore how future teachers (pre-
service teachers in their sophomore year of college)
might address issues of controversy, sexuality, and
non-dominant viewpoints in the English classroom
in order to identify strengths and areas for growth
in education with all practicing teachers. Katherine
specifically selected preservice teachers since they have
a unique position in that they are recently removed
from the K-12 educational system, and with current
specialized courses in curriculum and instruction,
they are able to compare and critique the educational
system they are about to enter with “fresh eyes.”
To begin these conversations, Katherine invited
English/Language Arts preservice teachers (PSTs) (cer-
tification 7–12) to self-select young adult (YA) liter-
ature centering on a character who identifies on the
LGBTQ spectrum and then engage in a voluntary book
club group with each other outside of a “Founda-
tions of Literacy” course they took together (taught by
Katherine). By practicing how to talk about LGBTQ
literature in the classroom and how these books can
become central to curricular decisions, teachers in gen-
eral can be better prepared to address LGBTQ issues
(Curwood, Schliesman, and Horning 2009). Seven
PSTs volunteered to participate outside of class time
to discuss their book selections, and two PSTs (second
author, Maria, and third author, Samantha) who partic-
ipated in the book club wanted to co-author this article.
Initially, these PSTs joined the book club for sev-
eral reasons: to learn more about LGBTQ youth and
how they are portrayed in contemporary young adult
fiction; how to get involved and become an activist
for their future students; and one PST in particular
wanted to challenge herself to step out of her tradi-
tional, conservative upbringing to confront potential
apprehension with teaching LGBTQ issues.
From the transcripts based on PSTs’ audiotaped
conversations during two book club meetings, three
themes emerged that embody how literature can
become a mirror as well as a window for students and
assist youth in identity formation and confirmation.
Moreover, literature has the potential to empower
readers to take action on controversial issues, espe-
cially when readers are in positions to make change (no
matter how subtle). Although the data collected were
from PSTs, our aim with this article is to expand these
three themes as overarching messages for practicing
educators today, arguing the importance for inclusion
of curricula involving LGBTQ literature.
Why classrooms need LGBTQ-themed literature
in the hands of students
In the last few years, there has been tremendous growth
in YA literature centering on LGBTQ characters, and
more recently, there has been a greater diversity of
characters in terms of race, class, gender identity/
expression, and sexual orientation. We agree with
Kumashiro (2001) that sexuality cannot be under-
stood by itself; sexual identities cannot be separated
from race, class, gender, and other identities. Miller
(2015) agrees, noting that gender and sexuality are
not informed by a “single story,” but rather intersect
with multiple identities. We borrow the term “single
story” from Chimamanda Ngozi Adichie’s powerful
TedTalk (Adichie 2009) entitled, “The Danger of the
Single Story” where she states, “The single story cre-
ates stereotypes, and the problem with stereotypes is
not that they are untrue, but that they are incomplete.
They make one story become the only story.”
In current YA literature, white, middle-class, gay,
male protagonists are no longer the sole representation
 THE CLEARING HOUSE 31

Table . LGBTQ-themed young adult literature booklist.

Title/author/year published
∗ Aristotle and Dante Discover
the Secrets of the Universe;
Benjamin Alire Saenz; 
The Miseducation of Cameron
Post; Emily M. Danforth; 
∗ Luna; Julie Anne Peters; 
∗ The Unreal Life of Sergey
Nabokov: A Novel; Paul
Russell; 
∗ a + e ever; Ilike Merey; 
(Graphic novel)
∗ Will Grayson, Will Grayson;
John Green and David;
Levithan; 
∗ The House you Pass on the
Way; Jacqueline Woodson;

Parrotfish; Ellen Wittlinger; 
∗ I’ll Give you the Sun; Jandy
Nelson; 
∗ More Happy than Not; Adam
Silvera; 
∗ Simon vs. The Homo-Sapiens
Agenda; Becky Abertalli;

∗ Beautiful Music for Ugly
Children; Kirstin Cronn-Mills;

∗ Fun Home: A Family
Tragicomic; Alison Bechdel;
 (Graphic novel)
∗ The Five Stages of Andrew
Brawley; Shaun David
Hutchinson;  (Features a
-page graphic novel
within the book)
Hero; Perry Moore; 
George; Alex Gino; 
∗ Two Boys Kissing; David
Levithan; 
Summary
When the troubled Aristotle and know-it-all Dante meet, they seem to have nothing in common. But as the loners start
spending time together, they discover that they share a special friendship where they learn important truths about
themselves and who they want to become.
Recently orphaned, Cameron Post is struggling to cope with her parents’ death and that she’s gay. When Cameron
comes to live with her old-fashioned grandmother and ultraconservative aunt, she falls in love with her best friend, a
beautiful cowgirl. However, when she’s “outed” and sent to a religious conversion camp, Cameron faces the sacrifice
she will make by denying her true identity.
Regan’s brother Liam can’t stand the person he is during the day. But at night, like the moon from whom Liam has
chosen his female namesake, Luna, he transforms himself into the girl he longs to be. But are Liam’s friends and
family, including Regan, ready to accept Luna?
In his novel based on the extraordinary life of the gay brother of Vladimir Nabokov, Paul Russell follows Sergey from
pre-revolutionary Russia, to the halls of Cambridge University, the Parisian salon of Gertrude Stein and Alice B. Toklas,
and even war-torn Berlin, where he is ultimately sentenced to death.
Ash is androgynous. He stands out as a feminine, beautiful person in a high school full of jocks, bullies, and intolerant
peers. Everything changes when Ash meets Eu, a punk rock, and edgy girl. Immediately Eu falls in love with
Ash—with his appearance, his personality, and his androgyny. But this love is ultimately unrequited as Ash is gay.
This graphic novel grapples with the idea of a gay/straight relationship and what makes up a person’s identity in their
teens.
Two teenage boys with the same name live very different lives, until they cross paths in the most epic musical ever to
grace the high school stage. This collaborative novel, written by two YA superstars, frequently switches perspective,
but never loses its humor and heart.
Staggerlee claims her dog and harmonica are all the company she needs, until she meets Hazel, who soon rejects her.
Soon after, Staggerlee’s adopted cousin, Tyler, is sent to stay with her to get over her “misguided” feelings towards
other girls. The two girls share secrets and struggles over the meaning of their feelings.
While coming out as transgender feels right to Grady (once known as Angela), he isn’t prepared for the reactions of his
friends and family. Why can’t they accept that Grady is just being himself?
Once best friends, twins Jude and Noah barely speak. Something has happened to change the twins in different, yet
equally devastating ways. Then Jude meets an irresistible boy and a new mentor. Each twin shares half their story in
an attempt to reconcile these differences.
In the months after his father’s suicide, Aaron struggles to feel happy around anyone but his new friend, Thomas.
However, when Aaron discovers that he can’t stop his new feelings for Thomas, Aaron checks himself into a memory
alteration procedure to “straighten out,” which changes his life forever.
Change-averse and closeted gay Simon has to find a way to step out of his comfort zone, when he accidently reveals
himself through email. How can he remain true to himself without alienating his friends or ruining his chances with
the most adorable boy he has never met? The only person who knows that Simon is gay is Blue—and that’s not even
his real name. In fact, he only knows Simon as Jacques, because that’s how he signs all of his emails. When one of their
classmates stumbles upon their conversations though, Simon fears that he will be “outed” before he is ready—and he
might even out Blue in the process. He fears losing the one person who truly knows (and maybe even loves) him.
Gabe, a guy with a summer job as a radio DJ, has plenty of big plans. However, for the past  years of his life, he has been
known as a female named Elizabeth. On the radio, however, Gabe can be himself in the least restrained form. Gabe
must learn to fully accept himself as male while still wrestling with what it means to truly leave “Elizabeth” behind. He
grows in popularity as a DJ and begins to experience external and personal success but is then left to wonder how to
stand up (not just for himself, but for others like him) to the bigoted violence that dogs him after being “outed.”
This memoir follows Alison’s childhood with an obsessive and closeted homosexual father. The graphic novel, which has
been adapted into an award winning musical, cleverly describes the connections Alison, who is also gay, feels with
her father who committed suicide.
Recovering from a near-death experience where everyone in his family has died, and now living in the local hospital,
Andrew finds hope in an ER patient named Rusty, who is wheeled in after a horrific bullying incident by classmates
who burn half his body. Both boys have lost everything, which bonds them together.
Thom didn’t choose to be gay any more than he chose his super power, but both are secrets he must struggle to keep. It
becomes apparent, however, that everyone (even in his own family) keeps secrets. Throughout the story, he searches
for the truth, bonds with a group of misfits, realizes what it’s like to fall in love, and fights to save the world.
George knows that she is a girl. However, everyone else doesn’t know that. When there is an opportunity to play
Charlotte from Charlotte’s Web in the school play, will she finally get to be herself or will society say otherwise?
Four distinct stories of unique male relationships are told through the omniscient narration of the deceased who have
died from HIV and how they compare their generation and society to present-day acceptance and awareness.

Note: This booklist was provided to preservice teachers as a resource about LGBTQ-themed issues. The books with asterisks (∗ ) were read by book club members. We
should also like to provide a link to the ALA Stonewall website that contains the list of all award-winning LGBTQ books: http://www.ala.org/glbtrt/award/honored

of LGBTQ characters. For this reason, we paid par-
ticular attention to diversity when choosing literature
for the book club (see Table 1 for a list of titles PSTs
selected and read).
We also paid close attention to how the selected texts
represent LGBTQ youth. For example, we chose novels
that avoid LGBTQ stereotyping and discrimination,
but rather promote discussions about LGBTQ-related
issues. According to Cart (2008) (as cited in Clark and
Blackburn 2009), “Most LGBT-themed YA literature
does the work of making homosexuality visible, less
of it does the work of showing how gay and straight
32 K. E. BATCHELOR ET AL.
people are alike, and little of it portrays queer charac-
ters’ connections to their queer communities” (29–30).
Based on our book club conversations, we believe
that teachers should use LGBTQ-themed literature in
classrooms as a mirror, a window, and to assist in iden-
tity formation (e.g., instilling the belief that students are
more than their sexuality and labels).
LGBTQ YA literature as a mirror
Our text selections are not only geared for middle and
high school readers to arouse empathy, curiosity, and
connectivity, but also for LGBTQ readers to reflect
on themselves within a text. Reading YA literature
can create experiences that advocate positive feelings
for students (Blackburn 2005). During our book club
conversations, PSTs noted that they want their future
students to make sense of themselves in relation to
the texts. They agreed that teachers can use curricular
decisions to include a wide range of LGBTQ-themed
literature, which is not only available to readers in
the classroom on bookshelves, but also is read and
discussed throughout the school year.
As Samantha reflected on her high school experi-
ence, she recognized that most of the required litera-
ture she read centered on heteronormative issues and
canonical titles of “old texts,” listing Hamlet and Can-
terbury Tales. She said, “Although, we did read Speak
(Anderson 1999), but that was the most controversial
thing. Even then, it’s a heterosexual relationship.” She
held up one of our book club texts (More Happy than
Not by Adam Silvera), noting what an impact it had on
her thinking. She reflected on how LGBTQ students
who felt marginalized in school might have reacted
after reading it, too: “Imagine [the] students who were
afraid of coming out in high school … imagine if
they read this book in high school!” She continued,
stating, “High schoolers are trying to find themselves,
and if they can relate to a character, then that can only
amplify a book for them.”
Corrine (all names are pseudonyms) also connected
this book to the overall importance of using LGBTQ-
themed literature in her curriculum. She said, “There
could be so many students that feel so unsafe coming
out … to even take these [books] out of the curricu-
lum is basically saying, we’re just ignoring it. It sends
the wrong message.” Serena agreed, “These books
will be in my classroom because until this [LGBTQ
community] is accepted in society, I’m not going to
censor my classroom or censor the literature that I’m
providing.”
Overwhelmingly, PSTs insisted that the characters
they encountered while reading for our book club
allowed them to recognize the power that literature
may offer to students who see themselves in these char-
acters. For example, Annie shared a story about a gay
friend who tried to commit suicide in high school. She
recognized that he struggled with his identity and sexu-
ality. She commented, “If he had read these texts in high
school and didn’t have that self-hatred building up …
I mean, this is how we lose people. This is how we lose
students. And it’s completely for things that can change,
and we as educators can educate people.”
PSTs also discussed the impact out-of-school media
can have on students, which feeds into the heterosex-
ual prevalence in our society. Samantha stated, “Every
time we turn on a commercial, it’s going to be a hetero-
sexual couple; every time we turn on shows, there may
be like one gay person, but the entire show is going to
revolve around a heterosexual couple. If you can’t relate
to that, then 90% of what you’re seeing in the media
is completely unrelatable to you.” They connected the
impact teachers can have on this problem by having lit-
erature in their classroom that relates to all students.
However, Samantha noted that there are people on the
LGBTQ spectrum who are still under-represented. She
said, “None of these books at least to my knowledge
have talked about asexual [relationships], so you could
be reading these books and not even be interested in
sexual relationships, and the reader might think it’s just
a phase or they’re too young, but some people are just
asexual.”
Reading YA literature helped PSTs think about the
disconnect between LGBTQ students’ lives inside and
outside of school, especially regarding the use of tra-
ditional, canonical texts in their future classrooms.
Clark and Blackburn (2009) argue, “Queer youth may
not only feel disconnected from school, a place that
may feel hateful and unwelcoming, but also from
literacy, particularly conventional reading and writ-
ing” (26). PSTs acknowledged the heteronormativ-
ity prevalent in curricula might isolate and further
marginalize students. They felt that if teachers used
texts that offer a mirror for students to see them-
selves in, heteronormativity might be combatted in
education.
 THE CLEARING HOUSE 33

LGBTQ YA literature as a window homes. For example, Serena stated, “Sometimes it’s
easier to talk to your teacher than your parents.” High
While it is important to integrate LGBTQ YA literature
school students can form their own opinions and think
for the students who do identify, it is also beneficial for
for themselves, yet they still live at home. Therefore,
students who identify as cisgender, which is defined
when this topic arises in the home, if students have
as a person who conforms to society’s expectations of
not had encounters with diverse issues, they might be
gender. As high school educators are aware, the job
susceptible to outdated ways of thinking.
of a teacher does not stop with the curriculum. It is
Unfortunately, some students’ parents are often
not just our responsibility to make sure that students
uncomfortable discussing LGBTQ issues or are not
leave the classroom with knowledge of specific texts
empathetic. PSTs noted there might be discomfort
like A Tale of Two Cities by Dickens or writers like
stemming from differing views and opinions between
Shakespeare. The primary reason why any works are
generations. As Samantha commented, “This will hap-
read, studied, and discussed is to educate students
pen in life, with any subject, but if we are truly trying to
to the fullest extent. This includes having a dialogue
help our students grow, we must also teach them how
about diversity in all forms.
to speak with one another.” Maria agreed, “We have to
Unfortunately, most of the PSTs reflected on the
teach our students how to have that dialogue. They’re
lack of diversity in their own high schools (whether
not going to inherently know how.” Overwhelmingly,
in regards to race, religion, or sexuality). More impor-
PSTs stated it is the teacher’s job to encourage students
tantly, they noted the lack of diversity in their read-
to become lifelong learners. English teachers should
ing as a disservice. As high school English educators,
want their class discussions to be meaningful and illu-
we recognize the power of literature and the knowl-
minating, and if the literature cannot always be relat-
edge that books bring. Students in suburban schools
able it should be relevant to their students.
with primarily white, cisgender students should be
PSTs believed that teachers should encourage stu-
offered a full curriculum that will help them recognize
dents who are not on the LGBTQ spectrum to have
their own positionality and want to read about others’
“uncomfortable” conversations and see different views
experiences outside of their own. For example, Maria
of life—by allowing them to make mistakes and then
described her high school and its lack of diversity and
recognize and talk about them—they are furthering
mentioned, “[her] teachers had to work very hard to
students’ education and encouraging them to take it
make sure that [the students] left the school with some
into their own hands.
level of empathy and understanding.”
PSTs believed teachers should help their students
be prepared for life outside of school. Serena added, YA literature as a path to identity formation
“When you’re going out into the real world, the pro-
fessional world … what are these students going to Regardless of sexuality, students spend their mid-
do if they don’t understand it? If they don’t accept dle and secondary school years attempting to define
it? It’s part of our world.” As Michael Cart (2008) themselves. Rather than shying away from this uncom-
notes: fortable time, teachers should use the curriculum to
help students form their identity. Students will model
[One] value of young adult literature is its capacity for
their lives in part on the characters they read and
fostering understanding, empathy, and compassion by
offering vividly realized portraits of the lives—exterior view during their formative years. In fact, Moje and
and interior—of individuals who are unlike the reader. MuQaribu (2003) argue the need for “more attention
In this way young adult literature invites its readership to literacy teaching practices and teacher education
to embrace the humanity it shares with those who—if that acknowledge sexual identity and orientation as
not for the encounter in reading—might forever remain key aspects of youth identity development” (204). PSTs
strangers or—worse—irredeemably ‘other.’
also saw their LGBTQ favorite characters as young
As Katherine (a former middle school teacher) said, people whose identity is not defined solely by sexuality.
“Having these books in our classrooms invites students For example, Corrine described Andrew Brawley, the
to have a conversation with you.” These books can help main character, of The Five Stages of Andrew Brawley
open a dialogue that may not be happening in their by Shaun David Hutchinson as being defined more by
34 K. E. BATCHELOR ET AL.
his personal experiences and “thought this was cool
and little bit countercultural.”
Corrine was not the only PST who expressed a
desire to demonstrate to students that characters (and
thus people) can be more than sexuality; Samantha was
also excited to show her students “these well-rounded
extremely developed characters.” Maria expanded this
idea of identity formation models beyond LGBTQ
students. She felt that by using characters who are not
primarily defined by their sexuality she could demon-
strate to her students that their identities are more
complex: “When we take texts and show that these
LGBTQ characters are not just their sexuality, I think
it will make it easier for all students to relate to them.”
However, literature is not the only way to demon-
strate this concept to students. PSTs felt that teachers
should be real-life examples to students, just like the
positive models in the curriculum. As Maria expressed,
“Not only can we give children books that teach them
that they are more than their sexuality, but also we have
to believe that about ourselves as educators. We have to
look at ourselves as more than just one thing and model
that for children.”
Every student, regardless of their sexuality or gen-
der identity, needs teachers to be positive models. They
also need teachers who will be supportive and open.
Many young adults do not feel comfortable asking par-
ents or immediate family members difficult questions
about sexuality or adult life. PSTs stated that teach-
ers should have LGBTQ-centered books in their class-
rooms as an invitation for a conversation for any stu-
dent who wanted to engage in personal discussion.
Hermione explained, “There’s less of a risk in talking to
teachers … There’s no fear of getting kicked out of the
classroom; whereas there’s a fear of getting kicked out
of home.” The relationship between teacher and student
can be a transformative one, acting as an open doorway
to identity formation.
What does this mean to my teaching?
These PSTs grappled with their roles as future high
school English teachers. On one hand, they worried
that their jobs would be in danger if they confronted
these issues so early in their career; on the other
hand, PSTs idealized the notion of being an activist for
equality. PSTs talked about the importance of diversity
within curricula, specifically regarding LGBTQ issues.
Hermione urged, “When we talk about diversity and
marginalized groups in society, this is a perfect oppor-
tunity to talk about LGBT issues. What’s the difference
between discriminating between races and discrimi-
nating between sexuality?” Maria agreed:
The LGBTQ discussion is just as much a part of the dis-
cussion of diversity as our discussion of race or our dis-
cussion of feminism; we’re all still learning and figuring
out ways to address these conversations; teaching people
to be open is the number one thing you can leave a high
school student with … more than, can they read a book?,
or can they write a paper? … It’s about teaching them to
be open, heartfelt citizens.
For example, when Kate read The Real Life of Sergey
Nabokov by Paul Russell about the life of Vladimir
Nabokov’s gay brother, she had an epiphany about
LGBTQ rights and history. She said, “Really, it’s an his-
torical battle. It’s not a brand new issue; it’s been there
for a while, and it shouldn’t be a thing that people just
jump on the bandwagon because it really needs to go
through [pauses] to be addressed in the classroom and
beyond.”
Furthermore, when Samantha read Beautiful Music
for Ugly Children by Kirstin Cronn-Mills, she noted
how she learned about transgender youth and preferred
pronouns (PP): “It’s all about personal preference and
being respectful of what people call themselves, and
that’s why I feel these books are so important because
people need to learn to understand and accept.”
This idea played into PSTs’ conceptions of curricu-
lum and what they would do in their own classrooms.
For example, Maria suggested that if she were not
allowed to teach LGBTQ-themed literature, she would
instead use heteronormative texts and “turn them on
their heads.” She explains this idea using Hawthorne’s
The Scarlet Letter: “This is about her issue with her
sexuality … what if you compared this to coming
out of the closet?” They also suggested using text sets
and include LGBTQ-themed literature as part of these
text sets. Clark and Blackburn (2009) note, “If LGBT-
themed literature were read throughout the school year
in relationship to a variety of topics and units, then it
would disrupt the notion of what is normal, at least in
the context of the classroom in which it was being stud-
ied” (29).
PSTs also discussed how to engage in conversations
surrounding LGBTQ issues. Some were worried about
teaching an “immature” class. For example, Hermione
shared, “If you teach LGBTQ literature in an immature
class and there’s giggling, students who are maybe on

the cusp of coming out are going to be like, oh crap!
These students are laughing at it, and am I going to be
a joke if I come out?” Maria agreed, “That’s where we
have to teach our students how to have that dialogue.
We can’t assume they’re going to inherently know.”
Serena suggested using a text or author who is popular
with students, such as John Green’s Will Grayson, Will
Grayson as a way to “ease them into the conversation.”
PSTs noted that teachers should have the support
of administration, especially regarding parental push-
back. Maria stated, “I think you need to have a discus-
sion with your administration; I think it’s important for
them and not just the students that may be interested
in these issues.” Samantha took on a more passionate
stance, sharing, “I’m not going to be their punching
bag and just sit there and allow them to take away this
great literature from them [parents] and their kids.”
PSTs agree with Curwood, Schliesman, and Horning
(2009) when they state, “Denying students the opportu-
nity to read works because of what might happen turns
all power over to an imagined ‘someone.’ The would-be
censor doesn’t necessarily have a name—may not even
exist. Censorship—in the form of self-censorship—has
already occurred” (40). Corrine noted, “Administrators
get nervous about texts that they think are dangerous
because they have power, but you should address these
powerful issues! Reading texts of integrity in the class-
room is what it’s all about. That’s why we read.”
Teaching Tolerance has an excellent website
(http://www.teachingtolerance.org) addressing how
to confront potential pushback from administrators,
parents and/or the community. They suggest that
including LGBTQ themes in the curriculum enhances
all students, regardless of orientation. For example,
students who do not conform to traditional “girl”
and “boy” attitudes, activities, and appearance can be
subject to anti-gay harassment and slurs too, under the
guise of sexism. Furthermore, for those who resist due
to religious reasons, Teaching Tolerance offers ways to
assist teachers in using this opportunity as a teachable
moment to use constitutional rights as a civics lesson
regarding the right to protect personal religious beliefs
as well as the beliefs of others, which is fundamental to
a democratic society.
Although there is no guarantee that including
LGBTQ literature will change all students’ “outdated
ways of thinking,” by exposing students to multiple
voices and experiences through new characters’ eyes,
perhaps recognizing human diversity is a step in the
right direction.
THE CLEARING HOUSE 35
Conclusion
Throughout these book club conversations with
LGBTQ literature as the central focus, PSTs shared
their opinions, potential fears as future teachers, and
ways to implement meaningful acts of literacy in their
future classrooms. These conversations became ways to
role-play the dynamics of power within their classroom
and outside the classroom, such as with parents and
administrators. They became aware of their courage
in standing up for their future students and how this
might shift the climate of any school setting they enter.
More importantly, through dialogue and expanding
their reading selections, PSTs were able to comment
on education in general and specifically, the teacher’s
role in the system. They felt that educators today need
to have diversity on their bookshelves, which includes
LGBTQ characters, ready to be read, shared, discussed,
and included in curriculum decisions. Overall, these
PSTs are committed to having all students represented
in the literature they plan to teach, and they are not
afraid to teach these issues with their classroom doors
open.
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