Graphic Novels in School Libraries

Note: This paper, based on an assignment written for university, is protected under Copyright and cannot be reproduced in any way without permission. ©2013. All rights reserved.

1. INTRODUCTION

Graphic novels are not a genre in and of themselves (a common misconception), but rather represent a form of the ‘non-book print material’ format, which includes comic books, graphic novels (including ‘manga’), newspapers and magazines, and other miscellaneous items such as how-to-draw books.  The increasing need for students to develop multiple literacies (including through the use of graphic novels) is mandated in the current NSW Australian Curriculum Draft (Board of Studies NSW, 2012), yet the format continues to be marginalised.  While their presence in a school library may be unappealing to some, the benefits of their inclusion far outweigh any objections.  Rather than address specific objections, this paper will focus on the practical issues surrounding the acquisition, promotion, and use of graphic novels in school libraries, including examples, resources, and further information for school librarians and teachers.

2. REACTIONS

Student requests for graphic novels should be met with nothing less than enthusiasm.  What librarian (or indeed, anyone working with children) wouldn’t be eager to fulfil a desire for reading material in any form, particularly if coming from a client known to be a reluctant reader?  Herald (1997, p. 4) states that “if a book is frequently requested…it is an indication that it probably should be purchased”; a sentiment echoed by various Collection Development Policies (CDPs) as well as the Australian School Library Association (ASLA, 2004), and which I am confident applies to formats beyond the traditional ‘book’.

Multiple sources (including Crawford, 2004; Fountain, 2007; Laycock, 2011; Samet, 2010; Schwarz, 2002, 2007; Tonks, 2003) acknowledge the visual culture in which we live and affirm the graphic novel as a valid form of literature.  While it is often not possible to purchase every request (and not every request is appropriate for inclusion), careful consideration of the issues surrounding the purchase and inclusion of graphic novels in the school library will ensure the success of their acquisition and usage.

3. ISSUES

The issues involved in any library purchase are usually addressed in the library’s CDP.  Some CDPs specifically address the acquisition of graphic novels, while others make no mention of this particular form (Groves, 2004) but presumably include them under the more general acquisition policies regarding ‘other print material’.  In any case, the main issues for consideration include: budget, maintenance, selection, shelving, promotion, and use.

3.1 BUDGET and MAINTENANCE

When considering any library acquisition, the budget is one of the most important factors (although ‘constraining’ might be a better term).  Future expense must also be considered: Will the acquisition lead to on-going expenses of purchasing further publications in a series, and what are the costs of maintenance, repair, or replacement?  Samet (2010) recommends purchasing only a few titles in a series and evaluating the response and demand before committing to the purchase of further volumes.

While there may be concerns about the durability of the graphic novel format (typically paperback), this should not deter purchase; Tonks (2003) found these concerns groundless.  Graphic novels are easily covered with plastic contact for preservation, bought as hardcover volumes, or the library can reinforce spines and covers (Laycock, 2005; Samet, 2010).  In some cases, the cost to periodically replace the comic may be less than the cost of rebinding or purchasing a hardcover copy (Samet, 2010).

The rise of electronic platforms (iPad, Kindle) may play a role in addressing budgeting and maintenance concerns in the near future.

3.2 SELECTION

Once the budget has been determined, the librarian must select quality materials that fall within the guidelines set by the library’s CDP.  The idea of ‘quality’ in relation to graphic novels as discussed by multiple sources (including Crawford, 2004; Laycock, 2005; Samet, 2010; Tonks, 2003) and the selection criteria and guidelines detailed in most CDPs are beyond the scope of this paper.  The general consensus is that a librarian should consider multiple features of the format including: characters, reputability of the author and information, illustrations, reading level and style of language, inclusion of controversial content, suitability for the intended user and wider school community, and how the graphic novel connects to other media and contributes to other curriculum areas.

Consideration of the reputability and expertise of the publisher may also assist in selecting high-quality graphic novels for a school library collection.  Some publishers (such as Self Made Hero, Dark Horse, and Marvel) are solely devoted to graphic novels; others have specific departments devoted to producing graphic novels (such as Capstone’s Graphic Library and Learner Books’ Graphic Universe); while still others (such as Puffin) produce graphic novels but by no means focus on them. 

When selecting titles for inclusion in a collection, it is helpful to read reviews in current literature, note award winners, and peruse ‘best of’ lists and other professional literature (see Appendix C, D, E) as one would for other acquisitions.  In addition, it can be informative to read reviews of graphic novels that HAVEN’T made the cut and the explanations for such decisions.  Examples of such reviews can be found at  http://www.rationalmagic.com/Comics/Worst.html.

3.3 USE IN THE CLASSROOM

Laycock (2011) strongly asserts that the graphic novel is an ideal medium for developing multi-literate students, in particular catering for different learning styles and reading abilities.  Many graphic novels use quite advanced language; typically from a 4^th grade reading level (Crawford, 2004) right up to upper high school or college levels (Gruber, 2010).  Schwarz (2007) sings the praises of graphic novels as a complex form of literature, pointing out the use of rhetoric, synecdoche, and sentence structure to convey meaning and make a point.  Even typeface and spatiality play a role in telling the story, which make graphic novels an ideal medium for teaching visual and media literacy. 

As Fountain (2007) notes: “A modern comic may be illustrated in pen and ink, watercolour, oil, collage, gouache or any other method that can be used to enhance the story” (p. 37).  Since the illustrations and icons in graphic novels are used deliberately,

Students can explore such questions as how color affects emotions, how pictures can stereotype people, how angles of viewing affect perception, and how realism or the lack of it plays into the message of a work (Schwarz, 2002, p. 262).

Graphic novels are applicable in all curriculum subjects.  One doesn’t have to search far to find multiple graphic novel adaptations of ‘classic’ works such as The Hobbit, Black Beauty, and even Shakespeare (see Appendix B).  Some adaptations, being exceptionally simplified (such as the Graphic Revlove series published by Capstone), are aimed at the very young, and can introduce junior primary students to works that they would not otherwise encounter for years (if ever).

Graphic novels can provide introductions and commentary to historical events and people, mythology, and even religion and science (see Appendix B).  They present a variety of viewpoints from (and about) different cultures and minorities, and can also foster higher-order thinking skills in the critique of any bibliography and the author’s website (Schwarz, 2002).

Children can even create their own comics online (the opportunity to ‘compose texts’ as directed by Board of Studies NSW, 2012, p. 131).  At www.makebeliefscomix.com children choose from a variety of layouts, characters (complete with different facial expressions to express emotion), thought and speech bubbles, additional accessories, and can experiment with aspects of colour and perspective.

3.4 SHELVING and PROMOTION

The above discussion on the benefits of graphic novel use in the classroom is focused on promoting them to teachers and other professionals, but what about the target client, the child?  While those who object to graphic novels as a valid form of literature in schools may be appeased by the above arguments, the importance of simply reading for pleasure should never be too far out of the spotlight for the school librarian.

The promotion of graphic novels to students may entail little more than simply advertising their existence.  There is strong support for displaying graphic novels ‘face out’ (Laycock, 2005; Tonks, 2003); their covers are almost self-promoting.  They can also be advertised with the use of posters around the library and on bulletin boards.  

A big drawcard for graphic novels is that many of them connect with other media such as TV, film, and novels (see Appendix A).  Popular authors such as Anthony Horowitz and James Patterson, previously known for novel-length fiction works, are expanding into the world of graphic novels, recognising the growing popularity of the format.  Not only do they see expansion into this format as a way to reach a wider range of readers, but also as a way to bring different aspects of a story into established works and characters, or to provide new stories and formats to their current fan base (Geddes, 2010; Price, 2010).  Graphic novel publishers such as Dark Horse (graphic novel publisher to James Patterson) are delighted with this emerging trend (Geddes, 2010).  An increasing number of fiction books (especially series) now have graphic novel counterparts, which can promote readership and hook new fans.  Crawford (2004) hits the nail on the head when he asserts that “Adding graphic novels to a school’s library collection is an effective way to foster students’ love of reading” (p. 26).

A classic example of media cross-over is Anthony Horowitz’s Alex Rider franchise.  The media featuring this character not only include graphic novel adaptations of each book in the 8-book series, but also short stories and supplementary books, a movie, videogame, and website.  Even reluctant and under-performing readers are easily drawn into this mix, moving from the graphic novels to the 240-400+ page novels.  Some readers will expand to other books written by Anthony Horowitz or by other authors in the same genre, and from there a child’s interest in reading might be endless.  It is the librarian’s responsibility to foster this love of reading.

4. CONCLUSION

There is ample evidence that graphic novels are valid acquisitions in a school library, both for use in the curriculum and for children’s leisure.  The support in professional literature is almost overwhelming.  As with any purchase graphic novel acquisition needs to be done thoughtfully, but by following guidelines and considering a well-written CDP, bringing graphic novels into the library’s collection can only have positive and beneficial outcomes.

5. REFERENCES

ASLA 2004, Standards of Professional Excellence for Teacher Librarians, Australian School Library Association, viewed 10 March 2012, <http://www.asla.org.au/policy/standards.htm.>.

Board of Studies NSW 2012, English K-10: Australian Curriculum Draft Syllabus, Sydney, viewed 25 March 2012, <http://www.boardofstudies.nsw.edu.au/syllabus-draft-k10/pdf_doc/english-k-10-draft-syllabus-v2.pdf>.

Crawford, P. 2004, ‘A Novel Approach: Using Graphic Novels to Attract Reluctant Readers and Promote Literarcy’, Library Media Connection, February, vol.22, no.5, pp.26-28.

Fountain, I. 2004, ‘The emergence of graphic novels’, Synergy, vol.2, no.2, pp.35-38.

Geddes, J. 15 February 2010, ‘James Patterson Hopes Comics Expand His Audience’, USA Today, viewed 1 March 2012, <http://www.usatoday.com/life/comics/2010-02-16-Patterson16_ST_N.htm>.

Groves, G. (ed.) 2004, Choosing and Using Teaching and Learning Material, DECS, viewed 1 March 2012, <www.decs.sa.gov.au/policy/files/links/Choose_use_booklet_FA.pdf>.

Gruber, H. 21 July 2010, ‘Author Helps Kids Find Comic Inspiration’, Star Tribune, Minneapolis, MA, viewed 10 March 2012, <http://www.startribune.com/local/north/98766104.html>.

Herald, D.T. 1997, ‘Teens, Books, Libraries, Publishing, and Booksellers’, Ch 1 pp.1-11 in Teen Genreflecting, Libraries Unlimited, Englewood, CO.

Laycock, D. 2005, ‘Developing A Graphic Novel Collection’, Synergy, vol.3, no.2, pp.50-54, viewed 12 March 2012, <http://www.slav.schools.net.au/synergy/vol3num2/laycock.pdf>.

Laycock, D. 2011, Graphic Novels: Different Texts for Different Times, paper presented at the ETA State Conference, Sydney, August 5, viewed 25 March 2012 through <https://sites.google.com/site/bcgraphicnovels/>.

Price, A. 2010, ‘BEA 2010: Bestselling Prose Authors Turn To Graphic Novels’, 1 June, Publisher’s Weekly, viewed 10 March 2012, <http://www.publishersweekly.com/pw/by-topic/book-news/comics/article/43371-bea-2010-bestselling-prose-authors-turn-to-graphic-novels.html>.

Samet, R. 2010, ‘Get Graphic Novels into your Elementary Collection’, School Library Monthly, January, vol.26, no.5, pp.12-13.

Schwarz, G.E. 2002, ‘Graphic Novels for Multiple Literacies’, Journal of Adolescent & Adult Literacy, November, vol.46 no.3, pp.262-266, viewed 12 March 2012, <http://www.readingonline.org/newliteracies/lit_index.asp?HREF=/newliteracies/jaal/11-02_column/index.html>.

Schwarz, G.E. 2007, ‘Media Literacy, Graphic Novels and Social Issues’, SIMILE: Studies In Media & Information Literacy Education, November, vol.7, no.4, pp.1-11.

Tonks, R. 2003, ‘Graphic Experiment Pays Dividends’, inCite, December, vol.24, p.6, viewed 10 March 2012, <http://archive.alia.org.au/incite/2003/12/tonks.html>.

6. APPENDICES

APPENDIX A: GRAPHIC NOVELS THAT CROSS OVER MEDIA

TV

·     The Simpsons (eg. The Simpsons Comics Royale, Matt Groening, Harper Collins Publishers, USA, 2001).

·     Futurama (eg. Futurama-o-rama, Matt Groening, Bongo Entertainment Inc (Harper Collins Inc) USA, 2002).

·     CSI (CSI Omnibus), created by Anthony E. Zuiker, written by Max Allan Collins, IDW Publishing, USA, 2009.

·     24 (24 Omnibus), based on series by Joel Surnow and Robert Cochran, adapted by various authors (incl. JC Vaughn, Mark L Haynes, Beau Smith), IDW Publishing, 2009.

·     Buffy the Vampire Slayer Graphic Novel series, Brian K. Vaughan with George Jeanty and Joss Whedon, Dark Horse Books, Canada, c2008.

FILM

·   Films based on comics (all languages) http://en.wikipedia.org/wiki/List_of_films_based_on_comics.

·   Comic/Graphic Novel adaptations of films (e.g. Starwars Legacy, Ostrader & Duursema, Dark Horse Books, USA, 2010) http://en.wikipedia.org/wiki/List_of_comics_based_on_films.

·   Marvel Comics adapted to Film, TV, and DVD http://marvel.com/movies/.

FICTION NOVELS

·     Stormbreaker: The Graphic Novel (Alex Rider series), Anthony Horowitz, adapted by Antony Johnston, Walker Books, 2006 (original novel first published 2000, movie released 2006).

·     Twilight: The Graphic Novel, Stephanie Meyer and Young Kim, Yen Press, 2010 (original novel published 2005, movie released 2008).

·     Daniel X: Alien Hunter. James Patterson and Leopoldo Gout, Little, Brown & Company, Hatchette Book Group, USA, 2008 (related to books: The Dangerous Days of Daniel X http://www.max-dan-wiz.com/page/alien-hunter).

·     Nancy Drew graphic novels, Carolyn Keene, Stefan Petrucha, drawn by Sho Murase, Papercutz, 2005+.  All are new stories featuring the character, not adaptations of previously published novels.

·     Artemis Fowl: graphic novel series. Eoin Colfer & Andrew Donkin, Puffin Books, UK, 2009+.

·     Goosebumps Graphix, RL Stine, adapted by various authors (eg. Gabriele Hernandez, Greg Ruth, Scott Morse), Scholastic Books, c2006+.

·     Guards! Guards! Terry Pratchett with Graham Higgins, adapted by Stephen Briggs, Gollancz (Orion Books Ltd) UK, 2000.  Graphic novel related to his Discworld series.

APPENDIX B: GRAPHIC NOVELS FOR CROSS-CURRICULAR USE

ENGLISH (Classics)

·     The Hobbit, adapted by C. Dixon & S. Deming, New York: Ballantine Books, 1990 (original work by R.R. Tolkien published in 1965).

·     Campfire “Classics” series, adapted by various authors. Illustrations are of high-quality and the story holds to original (e.g. The Merchant of Venice, retold by John F Macdonald, illustrated by Vinod Kumar, 2010).  Based in India.  http://campfire.co.in/classics-c-67.html.

·     Classical Comics, a U.K. publisher (also published in the U.S.) of adaptations of literary classics (e.g. Great Expectations, adapted by Jen Green, art by John Stokes, 2009). http://www.classicalcomics.com/.

·     Marvel “Illustrated” series.  Modern adaptations of various literary works by various authors to update language and portray classics in a visually appealing way.  More sophisticated than Capstone’s “Graphic Revolve”.  http://en.wikipedia.org/wiki/Marvel_Illustrated.

·     Capstone Classic Fiction “Graphic Revolve” series, adapted by various authors, 2007+.  This series includes simple re-tellings of classic works (e.g. Anna Sewell’s Black Beauty, retold by LL Owens, 2007).  http://www.capstonepub.com/product/9781434226570.

·     SelfMadeHero publishes several series devoted to literary adaptations:

Manga Shakespere http://www.selfmadehero.com/books.php?series=1.

Crime Classics: Graphic novel adaptations of Sir Arthur Conan Doyle (Sherlock) http://www.selfmadehero.com/books.php?series=3.

Eye Classics http://www.selfmadehero.com/books.php?series=2.

HISTORY/SOCIAL STUDIES/BIOGRAPHIES

·     The Cartoon History of the Universe I-III, Larry Gonick, W.W. Norton, 1990-2002.  Covers history from the Big Bang to the Renaissance.

·     Maus: A Survivor’s Tale, Art Spiegelman, Pantheon Books, USA, 1997.  An award-winning graphic novel about the holocaust.

·     A Contract with God and Other Tenement Stories, Will Eisner (original: Baronet Books, 1978; reprint: DC Comics, 2001).  Stories of European immigrants to the U.S. in the 1930s.

·     Capstone “Graphic Library: Graphic Expeditions”, a 12-book series featuring the character Dr. Isabel Soto, an archaeologist and world explorer.  Titles written by various authors, c2008+. http://www.capstonepub.com/product/9781429681766.

·     Capstone “Graphic Library: Disasters in History” series.  Various authors, c2006+. http://www.capstonepub.com/product/9781429601924.

·     SelfMadeHero “Graphic Biography” http://www.selfmadehero.com/books.php?series=4.

RELIGION and MYTHOLOGY

·     The Manga Bible: From Genesis to Revelation, Siku, Double Day Publishers, UK, 2007.

·     The Chronicles of Wormwood, Garth Ennis, drawn by Jacen  Burrows, Avatar Press, 2007.

·     Cornog, M. & Raiteri, S. 15 January 2007, “Graphic Novels: Religion and Comics”, Library Journal, http://www.libraryjournal.com/article/CA6403916.html.

·     ZGraphicNovels “Christian” series by Zondervan, including The Manga Bible (series), by Young Shin Lee (2000+) www.zgraphicnovels.com.

·     Lerner Books “Graphic Universe: Graphic Myths and Legends” series, including Greek, Japanese, African, ancient Egyptian, and English myths. https://www.lernerbooks.com/products/k/k342/9780822584025/graphic-myths-and-legends.

SCIENCE

·     Capstone “Graphic Library: Graphic Science” featuring the character Max Axiom, who makes science concepts (such as cell function, magnetism, and the digestive system) fun, interesting, and accessible.  Written by various authors 2007+ http://www.capstonepub.com/product/9781429647748.

·     Capstone “First Graphics: Science Mysteries” for very young readers, addressing common questions about the natural world http://www.capstonepub.com/product/9781429660990.

APPENDIX C: GRAPHIC NOVEL AWARDS

·     The Harvey Awards, one of the industry’s oldest and most respected awards, presented annually at the Baltimore Comic-Con. http://www.thehugoawards.org/hugo-history/.

·     The Will Eisner Comic Industry Award (aka Eisner Awards), presented annually at the San Diego Comic-Con: http://www.comic-con.org/cci/cci_eisners_pastwinners.php.

·     The Hugo Awards; category Best Graphic Story http://www.thehugoawards.org/hugo-history/. Example of winner: Coraline, Neil Gaiman with P. Craig Russell, 2008.

·     The Discovery Prize at the Angouleme International Comics Festival (European equivalent of the American Eisner Awards) http://bdangouleme.com/english/ (original website in French).  Example of winner: 2007: Lions, Tigers and Bears, Mike Bullock with Jack Lawrence, Image Comics.

·     List of Award-Winning Graphic Novels (all awards) http://en.wikipedia.org/wiki/List_of_award-winning_graphic_novels.

APPENDIX D: GRAPHIC NOVEL REVIEWS/RECCOMENDED TITLES LISTS

·     Diamond Bookshelf Graphic Novel Reviews http://www.diamondbookshelf.com/Home/1/1/20/158.

·     No Flying, No Tights: Graphic Novel Reviews http://www.noflyingnotights.com/.

·     Graphic Novels: Core Collection (Association for Library Services for Children through the American Library Association) http://www.ala.org/alsc/compubs/booklists/grphcnvls.

·     Great Graphic Novels for Teens (Young Adult Library Services Association through the American Library Association) http://www.ala.org/ala/mgrps/divs/yalsa/booklistsawards/greatgraphicnovelsforteens/gn.cfm.

·     Weiner. S 2003, 101 Best Graphic Novels. NB Publishing, Inc.

APPENDIX E: SELECTION GUIDELINES/INFORMATION FOR LIBRARIANS

·     Comics in the Classroom http://www.comicsintheclassroom.net/.  Includes lesson plans, interviews with graphic novel writers, information about award winners and more.

·     Graphic Novels in the Classroom http://www.scoop.it/t/graphic-novels-in-the-classroom.  Resources and information to support teaching with graphic novels.  Curated by Di Laycock.

·     Cooperative Children’s Book Center: Graphic Novels http://www.education.wisc.edu/ccbc/books/graphicnovels.asp.  Includes recommendation lists, information, and links to review journals and related websites.

·     Guidelines for Selecting Kid-Safe Graphic Novels http://kslibassoc.org/pdf/guidelines%20for%20selecting%20kid.pdf.

·     Hill, RA (ed) 2006, The Origin of Good Readers: A Resource Book available as a (large) PDF file from http://www.night-flight.com/secretorigin/ updated 2006. Details the use of graphic novels across the curriculum including Art, ESL, English, Maths, Science, Social Studies.