
S.E. Hinton's darkest masterpiece follows foster brothers torn apart by drugs and betrayal. This 1971 coming-of-age classic earned the prestigious Margaret A. Edwards Award and became a 1985 film starring Emilio Estevez. Can friendship survive when loyalty demands impossible choices?
Susan Eloise Hinton is the acclaimed author of That Was Then, This Is Now and a pioneering voice in young adult fiction. Born in Tulsa, Oklahoma in 1950, Hinton revolutionized teen literature at age 17 with her debut The Outsiders.
That Was Then, This Is Now, published in 1971, explores friendship, loyalty, and the difficult transition from adolescence to adulthood through the lens of teenage social hierarchies and class conflict. Written after overcoming writer's block, the novel is considered more mature and carefully crafted than her debut.
Her other celebrated works include Rumble Fish, Tex, and Taming the Star Runner. In 1988, Hinton became the first recipient of the Margaret A. Edwards Award for lifetime achievement in young adult literature.
The Outsiders has sold over 14 million copies worldwide and ranks second on Publishers Weekly's "All-Time Bestselling Children's Books" list, while her novels have been adapted into classic films starring Tom Cruise, Matt Dillon, and Patrick Swayze.
That Was Then, This Is Now by S.E. Hinton follows two teenage boys, Bryon and Mark, whose brotherly bond fractures as they navigate the harsh realities of growing up in 1960s Tulsa. The novel explores themes of friendship, betrayal, and moral awakening as Bryon discovers Mark's involvement in drug dealing, leading to a heart-wrenching decision that destroys their relationship. It's a coming-of-age story about the painful transition from childhood innocence to adult responsibility.
That Was Then, This Is Now is ideal for young adults and mature teens grappling with questions about loyalty, identity, and moral choices. The book resonates with readers interested in social realism, youth subcultures like Greasers and Socs, and the complexities of adolescent relationships. It's particularly valuable for those who enjoyed The Outsiders but want a darker, more psychologically complex exploration of friendship and betrayal.
That Was Then, This Is Now is widely considered S.E. Hinton's darkest and most emotionally devastating work, making it essential reading for fans of young adult literature. The novel delivers a powerful examination of how people grow apart and the consequences of moral compromises. Its exploration of substance abuse, violence, and the loss of innocence remains hauntingly relevant decades after its 1971 publication.
S.E. Hinton (Susan Eloise Hinton) revolutionized young adult literature when she wrote The Outsiders at age 15. She published That Was Then, This Is Now in 1971 as her second novel, further cementing her reputation for authentic portrayals of teenage life. In 1988, Hinton became the first author to receive the Margaret A. Edwards Award for lifetime achievement in young adult literature.
That Was Then, This Is Now explores friendship deterioration, moral awakening, and the painful loss of childhood innocence. The novel examines how drug addiction and violence destroy relationships, forcing characters to confront difficult ethical choices. Hinton weaves in themes of nostalgia versus reality, showing how clinging to idealized pasts prevents growth, and how betrayal—even when justified—creates irreparable emotional damage.
Bryon betrays Mark by turning him in to police after discovering Mark's drug dealing operation. Despite their brotherly bond since Mark's parents' deaths, Bryon's growing moral awareness makes him recognize the harm Mark causes. This devastating decision severs their relationship permanently, with their final encounter described as "devoid of emotion while simultaneously brimming with intensity," featuring "burning hatred cautiously fighting with undying love."
Charlie, a friend of Bryon and Mark, dies in a violent incident that serves as a turning point in the novel. His death forces Bryon to confront the real consequences of the dangerous lifestyle he and Mark have been living. Charlie's death catalyzes Bryon's moral awakening and contributes to the growing tension between the two main characters as they process grief differently.
That Was Then, This Is Now is darker and more psychologically complex than The Outsiders, focusing on internal moral conflict rather than class warfare. While The Outsiders centers on Greasers versus Socs gang dynamics, That Was Then explores friendship betrayal and personal complicity in destructive behavior. Both novels share S.E. Hinton's Tulsa, Oklahoma setting and authentic teenage voice, but That Was Then offers a more emotionally devastating and morally ambiguous narrative.
The ending of That Was Then, This Is Now depicts Bryon visiting Mark in prison, with an unbridgeable emotional distance between them despite their history. The title becomes tragically literal—their innocent past ("then") is irrecoverable, while their present ("now") is defined by betrayal and separation. Hinton leaves readers contemplating whether Bryon made the right choice and how nostalgia can trap people in denial about painful realities.
Drug dealing and substance abuse function as the catalyst for the novel's central conflict and represent the corruption of innocence in That Was Then, This Is Now. Mark's involvement in selling drugs forces Bryon to choose between loyalty to his friend and moral responsibility to the community. Hinton uses drugs to illustrate how adolescents face adult consequences and how addiction destroys relationships, futures, and the idealistic bonds of childhood.
That Was Then, This Is Now remains relevant because it addresses timeless adolescent struggles with identity, loyalty, and moral decision-making under peer pressure. The novel's exploration of substance abuse, violence, and the difficulty of growing apart from childhood friends resonates with contemporary young adults. Hinton's unflinching portrayal of how nostalgia can prevent necessary change speaks to ongoing cultural conversations about personal growth and accountability.
That Was Then, This Is Now stands apart as S.E. Hinton's most emotionally devastating and morally ambiguous work, lacking the clear heroes found in her other novels. Unlike The Outsiders or Tex, this book features a protagonist who actively betrays his closest friend, forcing readers to grapple with uncomfortable ethical questions. The novel's ending offers no redemption or reconciliation, making it Hinton's bleakest exploration of how people inevitably change and grow apart.
通过作者的声音感受这本书
将知识转化为引人入胜、富含实例的见解
快速捕捉核心观点,高效学习
以有趣互动的方式享受这本书
That was then. This is now.
Morality is flexible when survival is at stake.
Rules are merely suggestions.
Violence begets violence.
Stealing isn't wrong; it's simply a game.
将《That was then, this is now》的核心观点拆解为易于理解的要点,了解创新团队如何创造、协作和成长。
通过生动的故事体验《That was then, this is now》,将创新经验转化为令人难忘且可应用的精彩时刻。
随时提问,选择你的学习方式,共创真正适合你的洞察。

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In the gritty streets of an unnamed Oklahoma town, sixteen-year-old Bryon Douglas and his best friend Mark navigate a precarious existence. They hustle pool at Charlie's Bar to scrape together enough money to survive, their bond forged in childhood and cemented when Mark's parents killed each other in a drunken confrontation years ago. Mark found sanctuary with Bryon's family, creating a brotherhood deeper than blood. Bryon, tall and dark-featured, possesses an uncanny ability to manipulate his appearance, while Mark moves with a dangerous grace, his golden eyes and lion-like grin masking the trauma of his past. Their world is harsh but predictable until the arrival of thirteen-year-old M&M - a peace-loving, candy-munching anomaly in their hardened environment. When Bryon begins questioning the morality of their lifestyle and falls for M&M's sister Cathy, the first cracks appear in what once seemed an unbreakable bond.
Life turns serious when Bryon and Mark hitchhike to visit Bryon's mother in the hospital. Her expensive operation leaves them desperate - Bryon hunting for legitimate jobs while Mark steals to contribute, creating subtle tension between them. At the hospital, they meet Mike Chambers, beaten nearly to death for defending a Black girl. Despite his trauma, Mike harbors no hatred, while Mark remarks, "If anybody ever hurt me like that I'd hate them for the rest of my life." In the cafeteria, Bryon meets Cathy, M&M's sister, now transformed into a striking young woman. When Charlie lends Bryon his car for a dance, the evening reshapes their relationships. Bryon takes Cathy while Mark goes alone, altering their trio's dynamic. The night ends violently when Mark is struck with a beer bottle in a fight orchestrated by the vengeful Angela Shepard. In the hospital, a vulnerable Mark confesses how scared he felt and that Bryon is his only real family. During Mark's recovery, they reminisce about childhood adventures, but the nostalgia carries melancholy. "That was then, and this is now," Bryon observes. Meanwhile, Charlie's insight about Bryon's job hunt - "You need to figure out why you haven't found a job yet" - forces self-examination that Mark isn't ready for.
A routine night of pool hustling at Charlie's bar becomes the catalyst that shatters their world. Using their choreographed con, they successfully hustle two menacing Texans, turning M&M's borrowed five dollars into twenty-five through calculated manipulation. The scheme feels like just another adventure until the humiliated Texans ambush them outside. Charlie intervenes with his shotgun, but in the chaotic confrontation that follows, shots ring out and Charlie falls dead. This sudden violence transforms their world in an instant, creating a philosophical chasm between the foster brothers. Bryon retreats into introspection, processing his grief through conversations with Cathy about mortality and consequence. Mark remains emotionally disconnected, treating Charlie's death as just another event - his apparent lack of empathy disturbing Bryon deeply. The police's decision to give Charlie's car to the boys adds another layer of complexity. When they sit in silence across from Charlie's now-boarded establishment, their shared history suddenly feels insufficient to bridge their diverging perspectives. Bryon sees the boards as a memorial to lost innocence; Mark views them merely as an inconvenience - a predictor of their future paths.
With money tight and his mother bedridden, Bryon intensifies his job search, taking Charlie's advice about improving his appearance and attitude. Mark surprisingly acknowledges not wanting to "sponge forever" - his first recognition of dependency. Meanwhile, Cathy worries about M&M smoking marijuana and falling in with a hippie crowd. M&M's unhappiness stems from conflicts with their father over his appearance and ideas - the generational divide that defined the late 1960s. One night while cruising the Ribbon - a two-mile stretch where teens socialize - M&M suddenly announces he isn't going home and disappears among the long-haired teens at Jay's drive-in. Despite searching frantically, they can't find him. When they inform her parents, her father dismissively calls it "just a stage," while Cathy insists M&M planned his disappearance carefully. As M&M's absence stretches into weeks, Bryon secures a supermarket job while Mark contributes more money than ever - though Bryon never questions its source, a deliberate blindness that will have consequences. Their nightly searches for M&M become searches for the innocence he represents, for a simpler time before Charlie's death and adult responsibilities.
The story's tensions erupt in a series of betrayals. Mark cuts off Angela Shepard's beautiful hair while she's passed out drunk-revenge for his earlier injury-revealing his capacity for vengeance. He also admits to knowing M&M's whereabouts while withholding this from Bryon and Cathy during their desperate search. At the hippie house where M&M stays, Bryon discovers Mark's double life-he's familiar with the residents, dating "Cat," and participating in drug culture. The final blow comes when Tim and Curly Shepard brutally beat Bryon for Angela's haircut-punishment for Mark's action. Though Mark tends to Bryon's wounds afterward, crying with guilt, he becomes upset when Bryon refuses to seek revenge-highlighting their diverging values. These betrayals culminate at Charlie's grave, where Bryon finally acknowledges the debt he owes Charlie for saving his life, foreshadowing the irreversible decision he will soon make about Mark.
The climax unfolds when Bryon and Cathy find M&M at the hippie house during a terrifying LSD trip, rambling about spiders in his stomach. At the hospital, doctors warn of possible permanent mental damage. This tragedy triggers Bryon's final break with Mark after discovering pills under Mark's mattress. Realizing Mark is dealing drugs - possibly what harmed M&M - Bryon makes the devastating choice to call police. As officers arrest Mark, he pleads desperately, reminding Bryon what prison means for someone with his record, but Bryon remains silent. The aftermath leaves Bryon emotionally numb, even toward Cathy. At the trial, Mark appears indifferent, laughing when Bryon describes them as "like brothers." When Bryon visits the reformatory, he finds Mark transformed - thinner, harder, filled with hate. Mark delivers a final rejection: "That was then, and this is now," turning Bryon's earlier observation against him.
What happens when the unbreakable breaks? This question haunts Bryon after Mark's imprisonment. He did what society calls "right" by turning in a drug dealer, yet destroyed his most important relationship. Mark endangered kids like M&M, but his punishment seems harsh given his background. M&M sought freedom with hippies but found only chemical escape that damaged him permanently. The novel offers no easy answers or moral certainty. Growing up means losing childhood's black-and-white certainties and facing adulthood's gray complexities. The brotherhood that defined Bryon and Mark proves vulnerable to becoming different people with different values. The tragedy isn't about anyone being entirely right or wrong, but the impossibility of preserving relationships as we inevitably change. In this unflinching portrait of adolescent friendship, we recognize our own experiences of growing apart from those we once couldn't imagine living without-not through any dramatic event, but through the gradual, painful process of becoming ourselves.