According to Vandana Saxena: “The subgenre of adolescent fantasy can be characterized as a mix of illusion, escape, entertainment, formula and also instruction and guidance. Fantasy and adolescence…reinforce each other. An adolescent can be seen as an ‘other,’ an outsider to the categories of child and adult, embodying the gap between the two states of being in the chronology of growth. Many critics agree that young adult literature expresses the trials of adolescence, the process of individual coming-of-age set against a specific social and cultural background. [-p.6] Sarah Herz and Donald Gallo point out the situational archetypes and themes in YA fiction, which include coming-of-age rituals, quest and search for self. The literature centers on the youthful protagonist as much as it centers on the cultural background that frames his/her growth.” (pp.5-6)
Saxena continues: “Robyn McCallum defines adolescent fiction in relation to the essential humanist ideology that traditionally underscored the idea of child and children’s literature: “preoccupation with a personal maturation … is commonly articulated in conjunction with a perceived need for children to overcome solipsism and develop intersubjective concepts of personal identity within this world and in relation to others’ (7). This feature of YA literature derives from the unique position that an adolescent occupies in society. On the one hand, an adolescent is an outsider to the social and political frameworks of the society. At the same time, s/he occupies an important position in the collective psyche – preparing adolescents to become responsible members of the community is a major cultural preoccupation. It is important to contain adolescence through the discourses of growth, development and maturity since an adolescent, by the virtue of his/her position on the cultural periphery, has the potential to question and subvert these very discourses. According to Roberta Trites, ‘the distinction between a children’s and an adolescent novel lies not so much in how the protagonist grows – even though the gradations of growth do help us better understand the nature of the genre – but with the very determined way that YA novels tend to interrogate social constructions, foregrounding the relationship between the society and the individual’ (Disturbing [the Universe] 20). Rowling’s series portrays this two-way relationship that characterizes adolescence. Adolescence …emerges not as a stage of life, but as a state of being – an existence on the margins and in a constant dialogue with the center, always challenging and negotiating with the attempts at containment. Thus, young adult literature emerges as a volatile field of engagement with institutional politics and dominant social constructions.” (p.6)
Ref: (italics in original; emphases in blue bold, mine) Vandana Saxena (2012) The Subversive Harry Potter: Adolescent Rebellion and Containment in the J.K. Rowling Novels. McFarland & Company: Jefferson, NC and London.