the novel have become synonymous with young adult literature. A Wrinkle in Time, written by Madeleine L'Engle in 1960, received over twenty-six rejections before publication in 1962, due in part to it being neither a children's nor adult's book, and featuring a teenage girl as the protagonist at a time when most science fiction targeted teenage boys. The modern classification of young-adult fiction originated during the 1960s, after the publication of S. E. Hinton's The Outsiders (1967). The novel features a truer, darker side of adolescent life that was not often represented in works of fiction of the time, and was the first novel published specifically marketed for young adults as Hinton was one when she wrote it. Written during high school and published when Hinton was only 16, The Outsiders also lacked the nostalgic tone common in books about adolescents written by adults. The Outsiders remains one of the best-selling young adult novels of all time. Author and academic Michael Cart argues that the 1960s was the decade when literature for adolescents "could be said to have come into its own". This increased the discussions about adolescent experiences and the new idea of adolescent authors. In the late 1960s and early 1970s, five very popular books were published: I Know Why the Caged Bird Sings (1969), an autobiography of the early years of American poet Maya Angelou; The Friends (1973) by Rosa Guy; the semi-autobiographical The Bell Jar (US 1963, under a pseudonym; UK 1967) by poet Sylvia Plath; Bless the Beasts and Children (1970) by Glendon Swarthout; and Deathwatch (1972) by Robb White, which was awarded 1973 Edgar Award for Best Juvenile Mystery by the Mystery Writers of America. The works of Angelou and Plath were not written for young readers. As publishers began to focus on the emerging adolescent market, booksellers and libraries began creating young adult sections distinct from children's literature and novels written for adults. The 1970s to the mid-1980s have been described as the golden age of young-adult fiction, when challenging novels began speaking directly to the interests of the identified adolescent market. In the 1980s, young adult literature began pushing the envelope in terms of the subject matter that was considered appropriate for their audience: Books dealing with topics such as rape, suicide, parental death, and murder which had previously been deemed taboo, saw significant critical and commercial success. A flip-side of this