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late 2006, the writer John Green came up with the idea of communicating with his brother, Hank, for a year solely through videos posted to You Tube. John, who was then twenty-nine, and Hank, who was three years younger, saw each other about once a year, at their parents’ house, and they typically went several years between phone calls.

His protagonists were sweetly intellectual teen-age boys smitten with complicated, charismatic girls.

Although the books were funny, their story lines propelled by spontaneous road trips and outrageous pranks, they displayed a youthfully insatiable appetite for big questions: What is an honorable life?

How do we wrest meaning from the unexpected death of someone close to us?

What do we do when we realize that we’re not as special as we thought we were?

Green was more forgiving toward adults than Salinger was, but he shared Salinger’s conviction that they underestimate the emotional depth of adolescents.

Green told me, “I love the intensity teen-agers bring not just to first love but also to the first time you’re grappling with grief, at least as a sovereign being—the first time you’re taking on why people suffer and whether there’s meaning in life, and whether meaning is constructed or derived.

Teen-agers feel that what you conclude about those questions is going to And they’re dead right.

It matters for adults, too, but we’ve almost taken too much power away from ourselves.

We don’t acknowledge on a daily basis how much it matters.”Y. novels are peculiarly well suited to consideration of ethical matters.

It seems natural when a high schooler like Miles Halter, of “Looking for Alaska,” is depicted struggling to write essays on topics like “What is the most important question human beings must answer?

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