Adult Readers' Advisory Special Topics Paper: Every Reader His or Her Graphic Novel

Often maligned and not always well understood, graphic novels and comics do not always find a welcoming home at public libraries. However, despite unique challenges that come with graphic novels and comics collections, the diverse format deserves its place on public library shelves. Through education, especially in readers’ advisory transactions, however, public librarians are uniquely poised to increase understanding and promote the format to a wide variety of patrons.

Prejudices against comics are nothing new. In the 1930s until the Comics Code was introduced in 1954, there were concerns by educators and librarians, who believed comic books lured children away from good literature and toward “lurid tales of superhero adventure”; civic and religious leaders, who objected to violent and sexual content; and psychiatrists, who believed that reading comics caused psychological damage (Nyberg, 2010). After the Comics Code was introduced, hysteria died down, but despite the rise of the graphic novel in the 1980s, acceptance was slow in libraries, and stigma still exists. “Many parents, teachers, and even librarians feel that comics are just trash … Most people don't see graphic novels as being on the same level or value as other works of literature” (Sheppard, 2007).

Even today, graphic novels are often the subject of challenges. According to the Comic Book Legal Defense Fund (n.d.b), “Comics are challenged for all of the same content reasons that other books are challenged, but are uniquely vulnerable to challenges because of the medium’s visual nature … Because comics thrive on the power of the static image, a single page or panel as part of a larger whole can be the impetus for a challenge in a way that’s different from a passage in a book or a scene in a movie.” In 2013, the comic Bone by Jeff Smith was the number ten on the American Library Association’s Top Ten Challenged Books (American Library Association, n.d.). The Comic Book Legal Defense Fund (n.d.a) lists several frequently challenged comics and graphic novels, including several that have won literary awards and critical acclaim, including Fun Home by Alison Bechdel, Maus by Art Spiegelman, Persepolis by Marjane Satrapi, Sandman by Neil Gaiman and various artists, and Watchmen by Alan Moore and Dave Gibbons.

Often, when comics and graphic novels as library materials are defended, they are billed as “an excellent way to appeal to adolescent readers and younger who wouldn't read otherwise” (Sheppard, 2007). Research appears to concur, but the view that graphic novels are for children and teens, especially reluctant or poor readers, sells short the format. By defending graphic novels as a good way to attract children and teens, “it remains firmly entrenched in the minds of many librarians that children are the primary audience for graphic novels” (Nyberg, 2010). However, graphic novels are written for nearly every age group and in nearly every genre. As Sheppard (2007) points out, “Comics are no longer simply men in tights - many graphic novels deal with current issues, serious subjects, and learning,” including graphic novels about literature, vocabulary, science, and history. “Even in the world of superheroes,” Sheppard continues, “graphic novels have become serious, tackling such issues as homosexuality, racism, and AIDS.”

Graphic novels, far from being a compilation of words and pictures, in fact, is a unique form of literary and artistic expression. “Highly textured in its narrative scaffolding, comics doesn’t blend the visual and the verbal - or use one simply to illustrate the other - but is rather prone to present the two nonsynchronously; a reader of comics not only fills in the gaps between panels but also works with the often disjunctive back-and-forth of reading and looking for meaning” (Chute, 2008). Reading graphic novels and comics, therefore, requires its own type of literacy, and reading graphic novels is a different - but no less important or enriching - experience from reading traditional print books.

Because graphic novels are misunderstood and often challenged, it can be easy for public libraries to give graphic novels, especially graphic novels for adults, short shrift. It can be easier, after all, to elect not to purchase a controversial graphic novel title, rather than face challenges and criticism, and if graphic novels are seen as somewhat less legitimate as a format, it may not seem like as pressing an issue as it would with a traditional print book. However, censorship, including self-censorship by librarians, and book-banning is no less dangerous when it is done with a graphic novel than with a traditional book. The American Library Association (2004) affirms that Freedom to Read - including the freedom to read graphic novels - is guaranteed by the U.S. Constitution and is “essential to our democracy.” Indeed, The Freedom to Read Statement says, “It is in the public interest for publishers and librarians to make available the widest diversity of views and expressions, including those that are unorthodox, unpopular, or considered dangerous by the majority.” Widening that diversity of expression to include graphic novels and comics seems not only allowable, but important.

Armed with this information, then, what is a public librarian to do? Obviously, selecting, purchasing, cataloging, and shelving graphic novels with the same care as is afforded other materials, and staunchly defending graphic novels against threats of censorship are both important steps. Graphic novels should be treated with the “same respect and authority granted to other formats” (Goldsmith, 2005). However, educating patrons, staff, board members, and other stakeholders in this unique format through readers advisory is another way to bring understanding and heightened respect to graphic novels.

Graphic novels are not a genre, but a format, much like audiobooks or large print, and tell a variety of stories. As Fletcher-Spear, Jenson-Benjamin, & Copeland (2005) wrote, “It is important, when thinking about and discussing graphic novels, to not confuse the medium and the message. As an educator, you may feel that X-Men is not valuable material, but it is important to remember that not all graphic novels are about superheroes. Excluding graphic novels because you dislike ‘spandex comics’ is the equivalent of excluding all audiobooks because you dislike those by Stephen King.” Therefore, while the format of graphic novels may not appeal to a reader, just as audiobooks may not appeal to a reader, dismissing graphic novels out-of-hand because of a perception that graphic novels only tell certain types of stories is shortsighted.

Indeed, graphic novels exist in almost every genre. “Graphic novels are as varied as any textual novel in their genre - from non-fiction (like Jay Hosler’s Clan Apis) to steam punk (Foglio and Foglio’s Girl Genius), from horror (Niles and Templesmith’s 30 Day of Night) to autobiography (Alison Bechdel’s Fun Home: A Family Tragicomic) and beyond” (Howerton, 2010). It is possible, therefore, to incorporate graphic novels into nearly any readers’ advisory transaction. Graphic novels can be included in static read-alike lists, displays, and “shelf-talker” signage throughout the library. Graphic novels also can be included in lists of reading suggestions created especially for patrons seeking reading suggestions. “Although it is pointless to suggest graphic novel titles to people who have clearly articulated that they have no interest in that format, almost any other advice seeker can be offered the opportunity to consider it” (Goldsmith, 2005).

The graphic novel world will sometimes do the heavy lifting for librarians, too, when popular authors, series, books, and other media branch out into graphic novel realm. As Howerton (2010) point out, “Adaptations of other stories in various mediums are fairly common in the graphics novel world.” Fans of Stephen King’s Dark Tower series can continue enjoying the story with a graphic novel series, beginning with Gunslinger Born, an adaptation of Wizard and Glass. Fans of Outlander by Diana Gabaldon can read The Exile, which tells the story from the male protagonist’s point of view; the graphic novel may also appeal to new fans who have discovered the stories through the Starz television series. The Barnaby & Hooker series by Janet Evanovich continues with new stories told in graphic novel form in Troublemaker. Fans of television shows such as Firefly, Buffy the Vampire Slayer, and Castle can read graphic novels that follow the continuing adventures of the characters. Fans of Game of Thrones, both book and television show, can relive the stories again in graphic novel form as well.

Hollywood can also help librarians get readers interested in graphic novels. Superhero movies and TV shows, based on comic book characters such as Iron Man, Batman, and Green Arrow, continue to grow in popularity. Non-superhero stories are also adapted for the big screen - including recent films Snowpiercer and Kingsman: The Secret Service, based on The Secret Service - and on television - including The Walking Dead and Constantine, based on Hellblazer and Constantine. A simple display or brochure featuring the graphic novel geneses of popular films and shows could get patrons interested in the format.

All of this work is for naught, however, if librarians do not, at least, understand enough about graphic novels to be confident in recommending them. Librarians should be aware of the unique characteristics of graphic novels, such as styles of illustration, which affect the reading experience. “Some readers are drawn not only to types of stories but to types of art as well. Additionally, the artistic style of the graphic novelist gives you some clues into the narrative” (Howerton, 2010).

Reading graphic novels will require practice on the librarians’ part. Reading graphic novels requires not only literacy in the “traditional” sense - being able to read and understand words on a page - but also visual literacy, and those two skills combine in a unique way when reading graphic novels. “Comics might be defined as a hybrid word-and-image form in which two narrative tracks, one verbal and one visual, register temporality spatially” (Chute, 2008).  But while being able to read is a skill that is prioritized in school, visually literacy is not always taught. “An art history elective in high school might revisit visual literacy, or perhaps a computer class on Web design will address the function of white space and organization of nonlinear information, but not every student has such opportunities” (Rudiger, 2005).

Learning to read, understand, and appreciate graphic novels is an important skill for librarians. After all, as Rudiger (2005) writes, “if grownups can’t read comics, they certainly can’t be expected to value them, much less promote them.” Even with the help of signs, lists, series adaptations, and Hollywood, enthusiastic promotion by a local, trusted librarian is still the best way to get library patrons interested in graphic novels.

(References & Appendix behind the jump)

References

American Library Association. (2004). The Freedom to Read Statement. Retrieved from http://www.ala.org/advocacy/intfreedom/statementspols/freedomreadstatement

American Library Association. (n.d.). Frequently challenged books of the 21st century. Retrieved from http://www.ala.org/bbooks/frequentlychallengedbooks/top10

Chute, H. (2008). Comics as literature? Reading graphic narrative. PMLA 123(2), 452-465.

Comic Book Legal Defense Fund. (n.d.). Banned & challenged comics. Retrieved from http://cbldf.org/banned-comic/banned-challenged-comics/

Comic Book Legal Defense Fund. (n.d.). Why comics are banned. Retrieved from http://cbldf.org/why-comics-are-banned/

Fletcher-Spear, K., Jenson-Benjamin, M., & Copeland, T. (2005). The truth about graphic novels: A format, not a genre. The ALAN Review 32(2), 37-44.

Goldsmith, F. (2005). Graphic novels now: Building, managing, and marketing a dynamic collection. Chicago, IL: ALA Editions.

Howerton, E.D. (2010). How to read a graphic novel in five minutes. In Moyer, J.E. & Stover, K.M. (eds.). Readers’ advisory handbook. Chicago, IL: ALA Editions.

Nyberg, A.K. (2010). How librarians learned to love the graphic novel. In Weiner, R.G. (ed.), Graphic novels and comics in libraries and archives: Essays on readers, research, history and cataloging. Jefferson, N.C.: McFarland.

Rudiger, H.M. (2005). Reading lessons: Graphic novels 101. The Horn Book 82(2), 126-134.

Sheppard, A. (2007). Graphic novels in the library. Arkansas Libraries 64(3), 12-16.

Appendix

These are citations of specific graphic novels mentioned in this paper. When a specific volume, issue, or title is not mentioned in the text, the first issue or volume or a representative title is listed.

Abraham, D. & Martin, G.R.R. (2012). A game of thrones: The graphic novel, volume one. New York, NY: Bantam.

Bechdel, A. (2007). Fun home: A family tragicomic. New York: NY: Mariner.

Bendis, B.M., DeConnick, K.S., Castle, R., & Medina, L. Castle: Richard Castle’s deadly storm. New York, NY: Marvel.

David, P. & King, S. (2007). Dark tower: The gunslinger born. New York, NY: Marvel.

Delano, J., Veitch, R., Ridgway, J., Alcala, A., & Mandrake, T. (2011). John Constantine, hellblazer, vol. 1: Original sins. New York, NY: Vertigo.

Evanovich, J. & Evanovich, A. (2010). Troublemaker: Book 1. Milwaukie, OR: Dark Horse.

Foglio, P. & Foglio, K. (2012). Girl genius omnibus volume one: Agatha awakens. New York, NY: Tor.

Gabaldon, D. & Nguyen, H. (2010). The exile. New York, NY: Del Rey.

Hosler, J. (2013). Clan apis. Seattle, WA: CreateSpace.

Lemire, J., Fawkes, R., & Guede, R. (2014). Constantine vol. 1: The spark and the flame (The new 52). New York, NY: DC.

Kirkman, R. & Adlard, C. (2009). The walking dead: Compendium one. Berkeley, CA: Image.

Lob, J. & Rochette, J.M. (2014). Snowpiercer vol 1: The escape. London: Titan.

Millar, M. & Gibbons, D. (2012). The secret service. New York, NY: Icon.

Niles, S. & Templesmith, B. (2007). 30 days of night. San Diego, CA: IDW.

Whedon, J. & Jeanty, G. (2010). The long way home: Buffy the vampire slayer, season 8, vol. 1. Milwaukie, OR: Dark Horse.

Whedon, J., Matthew, B., & Conrad, W. (2006). Serenity, vol. 1: Those left behind. Milwaukie, OR: Dark Horse.