DOCSLIB.ORG

English 5070-WA: Comics and Graphic Narratives

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
English 5070-WA: Comics and Graphic Narratives 1 English 5070-WA: Comics and Graphic Narratives Course Location: RB 3047 Class Times: Friday, 8:30–11:30am Table of Contents Table of Contents ........................................................................................................................... 1 Instructor Information ................................................................................................................1 Course Description/Overview ...................................................................................................1 Course Objectives and/or Learner Outcomes ........................................................................1 Course Resources .....................................................................................................................2 Required Course Text(s) ................................................................................................................... 2 Course Website(s) (if applicable) ..................................................................................................... 2 Course Schedule ........................................................................................................................2 Assignments and Evaluation ....................................................................................................5 Assignment Policies ........................................................................................................................... 5 Details of Assignments ...................................................................................................................... 6 Marking Standards .....................................................................................................................7 Collaboration/Plagiarism Rules ................................................................................................7 Course Policies ..........................................................................................................................7 Instructor Information Instructor: Daniel Hannah Office: RB 3039 Telephone: ext. 8663 Email: [email protected] Office Hours: Wed., 11am–12pm Course Description/Overview This course will examine recent trends in graphic narrative from a variety of national literatures and consider a range of theoretical approaches to reading the form of comics. Some of the questions this course will consider include: what kinds of questions about adaptation are raised by graphic rewritings of novels and films of graphic novels? what do graphic narratives reveal to us about the ethics and limits of representation? how do comics reconfigure familiar narrative modes of life-writing, history, reportage, and fiction? what challenges do visual narratives (or imagetexts) pose to the conventions of literary criticism and theory? Course Objectives and/or Learner Outcomes Students who have completed all the assigned readings, attended all the classes, partaken in class discussions, and submitted all assignments, should be able to: 2 discuss and write about the formal features and challenges of comics and graphic narratives identify key trends in comic studies think independently and critically about issues raised by comics and graphic narratives use library resources to research a topic in comics studies and present their findings to a class of graduate students lead class discussion effectively Course Resources Required Course Text(s) Scott McCloud, Understanding Comics Paul Auster, City of Glass Auster, Karasik, Mazzucchelli, City of Glass: The Graphic Novel Marjane Satrapi, The Complete Persepolis Alan Moore and Dave Gibbons, Watchmen Moore, Bissette, Totleben, Saga of the Swamp Thing: Book One Julie Doucet, My New York Diary Chester Brown, Paying for It Ho Che Anderson, King: The Special Edition Alison Bechdel, Are You My Mother? Art Spiegelman, In the Shadow of No Towers David Mazzucchelli, Asterios Polyp Chris Ware, Building Stories Course Website(s) (if applicable) Desire2Learn Course Schedule January 8 Scott McCloud, Understanding Comics (006097625X) Secondary: Thierry Groensteen, “The Impossible Definition” Nick Sousanis, “Rethinking (through) comics: Unflattening” 3 You could also check out Michael Chaney’s TedxDaartmouth talk from 2011: “How to Read a Graphic Novel” (available on YouTube). *** GRAPHIC ADAPATATIONS Jan. 15 Paul Auster, City of Glass Auster, Karasik, Mazzucchelli, City of Glass: The Graphic Novel Secondary: David Coughlan, “Paul Auster’s City of Glass: The Graphic Novel” Jan. 22 Marjane Satrapi, The Complete Persepolis (0375714839) and the film Secondary: Theresa M. Tensuan, “Comics Visions and Revisions in the work of Lynda Barry and Marjane Satrapi *** GRAPHIC FANTASY Jan. 29 Alan Moore and Dave Gibbons, Watchmen (0930289234) and the film Secondary: Thierry Groensteen, “Comics as Network” Bob Rehak, “Adapting Watchmen After 9/11” Feb. 5 Moore, Bissette, Totleben, Saga of the Swamp Thing: Book One Secondary: Charles Hatfield, “An Art of Tensions” *** 4 GRAPHIC AUTO/BIOGRAPHY Feb. 12 Julie Doucet, My New York Diary and Chester Brown, Paying for It Secondary: Gillian Whitlock and Anna Poletti, “Self-Regarding Art” READING WEEK Feb. 26 Ho Che Anderson, King: The Special Edition Secondary: Hillary Chute, “Comics Form and Narrating Lives” Mar. 4 (DROP DATE FOR WINTER COURSES) Alison Bechdel, Are You My Mother? Secondary: Jon Sutliff Sanders, “Theorizing Sexuality in Comics” *** NEW GRAPHIC FORMS Mar. 11 Art Spiegelman, In the Shadow of No Towers Secondary: Pascale Lefèvre, “The Construction of Space in Comics” Mar. 18 David Mazzucchelli, Asterios Polyp Secondary: Catherine Labio, “The Architecture of Comics” Mar. 25 GOOD FRIDAY – NO CLASS 5 April 1 Chris Ware, Building Stories Secondary: Matt Godbey, “Building Stories,’ Gentrification, and the Lives of/in Houses” April 5 (MAKE-UP DAY) Ware, Building Stories Secondary: Goergiana Banita, “Chris Ware and the Pursuit of Slowness” Assignments and Evaluation Assignment Due date Value Length Oral Seminar* Throughout term 25% 8-10 pages Research Paper** April 8th 40% 15-20 pages Secondary Reading Response*** Throughout term 15% 4-5 pages Participation**** Throughout term 20% n/a Assignment Policies All assignments are individual assignments and cannot be completed collaboratively. Assignments are due by 4:30pm on the dates indicated. No late assignments are accepted. If you require an extension, you must ask for one BEFORE the due date. All assignments must be in MLA format, double spaced, with 1” margins, and in 12 point font. Exceptions to these policies are allowed only with a doctor’s note or other appropriate documentation. 6 Details of Assignments * Oral seminar topics will be assigned in the first week of the course. On your assigned date, you are expected to begin the class with a seminar presentation lasting no more than 20 minutes. The presentation should develop one or two arguments in response to a particular aspect of your assigned primary text (the secondary reading assigned for each class should provide some ideas for possible seminar topics). On the day of the presentation, please bring two printed copies of your seminar paper (8-10 pages) – one for yourself and one for me. The paper should provide clear references to secondary sources (MLA format) and include a Works Cited. Students are also required to prepare a one-page handout for the class outlining their argument, main points, and 2-3 discussion questions. The student will be expected to lead discussion after the presentation of their seminar. The seminar and ensuing discussion will be graded on the basis of: quality of the typed seminar paper, attentiveness to primary and secondary material, clarity of handout, pertinence of discussion questions, responses of the presenter to questions raised in class, and ability to productively shape the ensuing discussion. Unless you have a documented medical reason, missing a seminar presentation will result in a grade of zero for both the oral and written component of that seminar. If you do have a legitimate reason, you will be asked to present your seminar in the next available time slot. If you know you will have to miss a seminar presentation, please consult with me as soon as possible so that we can reschedule your presentation. ** The research paper (15-20 pages) is on a topic of your choosing and must be approved by me by no later than March 17th. The research paper should be on a different primary text or texts than your oral seminar. *** Topics for secondary reading responses will be assigned in the first week of the course. On your assigned date, you are expected to present to the class a critical reading of your assigned secondary article or excerpt, outlining the piece’s argument and reflecting on the usefulness of its approach from an ecocritical perspective. The presentation should be no more than 10 minutes. On the day of the presentation, please bring two printed copies of your secondary reading response (4-5 pages) – one for yourself and one for me. The paper should provide clear references to secondary sources (MLA format) and include a Works Cited. Students are also required to prepare a one-page handout offering 2-3 discussion questions follow on from the secondary reading. **** Participation in this seminar course will be graded according to your involvement in class discussion – asking questions, responding to comments, offering criticisms –and on your level of attendance and preparation. For each class, you are expected to come
Load more

Recommended publications
  • The Language of Narrative Drawing: a Close Reading of Contemporary Graphic Novels
    The Language of Narrative Drawing: a close reading of contemporary graphic novels Abstract: The study offers an alternative analytical framework for thinking about the contemporary graphic novel as a dynamic area of visual art practice. Graphic narratives are placed within the broad, open-ended territory of investigative drawing, rather than restricted to a special category of literature, as is more usually the case. The analysis considers how narrative ideas and energies are carried across specific examples of work graphically. Using analogies taken from recent academic debate around translation, aspects of Performance Studies, and, finally, common categories borrowed from linguistic grammar, the discussion identifies subtle varieties of creative processing within a range of drawn stories. The study is practice-based in that the questions that it investigates were first provoked by the activity of drawing. It sustains a dominant interest in practice throughout, pursuing aspects of graphic processing as its primary focus. Chapter 1 applies recent ideas from Translation Studies to graphic narrative, arguing for a more expansive understanding of how process brings about creative evolutions and refines directing ideas. Chapter 2 considers the body as an area of core content for narrative drawing. A consideration of elements of Performance Studies stimulates a reconfiguration of the role of the figure in graphic stories, and selected artists are revisited for the physical qualities of their narrative strategies. Chapter 3 develops the grammatical concept of tense to provide a central analogy for analysing graphic language. The chapter adapts the idea of the graphic „confection‟ to the territory of drawing to offer a fresh system of analysis and a potential new tool for teaching.
    [Show full text]
  • Aesthetics, Taste, and the Mind-Body Problem in American Independent Comics
    PAPER TOWER: AESTHETICS, TASTE, AND THE MIND-BODY PROBLEM IN AMERICAN INDEPENDENT COMICS William Timothy Jones A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2014 Committee: Jeremy Wallach, Advisor Esther Clinton © 2014 William Timothy Jones All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Comics studies, as a relatively new field, is still building a canon. However, its criteria for canon-building has been modeled largely after modernist ideas about formal complexity and criteria for disinterested, detached, “objective” aesthetic judgment derived from one of the major philosophical debates in Western thought: the mind-body problem. This thesis analyzes two American independent comics in order to dissect the aspects of a comic work that allow it to be categorized as “art” in the canonical sense. Chris Ware’s Building Stories is a sprawling, Byzantine comic that exhibits characteristically modernist ideas about the subordination of the body to the mind and art’s relationship to mass culture. Rob Schrab’s Scud: The Disposable Assassin provides a counterpoint to Building Stories in its action-heavy stylistic approach, developing ideas about the merging of the mind and the body and the artistic and the commercial. Ultimately, this thesis advocates for a re -evaluation of comics criticism that values the subjective, emotional, and the popular as much as the “objective” areas of formal complexity and logic. iv ACKNOWLEDGMENTS To Anna O’Brien, for the original germ of this idea and hours of enlightening conversation and companionship. To Jeremy Wallach and Esther Clinton, whose emphatic response to the paper that eventually became this thesis was instrumental to my belief in the quality of my work.
    [Show full text]
  • Course Descriptions Spring 2013 (20131)
    DEPARTMENT OF ENGLISH COURSE DESCRIPTIONS SPRING 2013 (20131) Welcome to the Department of English. For spring semester 2013 we offer a rich selection of introductory and upper-division courses in English and American 105 (Creative Writing for Non-Majors) 32820R 2-4:20 W Bendall literature and culture, as well as Creative Writing workshops. Please feel free to talk to Lawrence Green (director of undergraduate studies), Rebecca Woods In this introductory course we will practice writing and examine trends in three (departmental staff adviser), or other English faculty to help you select the menu genres: non-fiction, poetry, and fiction. Students will complete written work in all of courses that is right for you. of these genres. The work will be discussed in a workshop environment in which lively and constructive participation is expected. We will also read and discuss a All Department of English courses are “R” courses, except for the following variety of work by writers from the required texts. Revisions, reading assignments, “D” courses: ENGL 303, 304, 305, 407, 408, 490, & 496. A Department stamp written critiques, and a final portfolio are required. is not required for “R” course registration prior to the beginning of the semester, but is required for “D” course registration. On the first day of classes all courses will be closed—admission is granted only by the instructor’s signature and the 105 (Creative Writing for Non-Majors) 32821R 2-4:20 TH Solomon Department stamp (available in Taper 404). You must then register in person at the Registration office. Introductory workshop in writing poetry, short fiction and nonfiction for love of the written and spoken word.
    [Show full text]
  • A Triumph of the Comic-Book Novel December 20, 2012 Gabriel Winslow-Yost Font Size: a a a Building Stories by Chris Ware Pantheon, 260 Pp
    A Triumph of the Comic-Book Novel December 20, 2012 Gabriel Winslow-Yost Font Size: A A A Building Stories by Chris Ware Pantheon, 260 pp. boxed set, $50.00 Jimmy Corrigan: The Smartest Kid on Earth by Chris Ware Pantheon, 380 pp., $35.00 The ACME Novelty Library #19 by Chris Ware Drawn and Quarterly/ Farrar, Straus and Giroux, 80 pp., $15.95 The ACME Novelty Library #20 by Chris Ware Drawn and Quarterly/ Farrar, Straus and Giroux, 72 pp., $23.95 The ACME Novelty Library Final Report to Shareholders and Saturday Afternoon Rainy Day Fun Book by Chris Ware Pantheon, 108 pp., $27.50 Quimby the Mouse or, Comic Strips, 1990–1991 by Chris Ware Fantagraphics, 69 pp., $14.95 (paper) Detail from a page of Chris Ware’s Building Stories, showing the ‘girl’ in red at bottom left and the ‘married couple’ on the steps of the building. The top and right of the image show the ‘old lady’ who owns the building, both in the present and in her memories of her younger days. In 1988, Gore Vidal predicted that by 2015 “The New York Review of Comic Books will doubtless replace the old NYR.” It was a joke, of course, and a warning (Vidal preferred “book books,” as he called them), but we’re just a couple of years short now, and he wasn’t all wrong. The past decades have seen an unprecedented amount of serious attention paid to comics, and for good reason: they’re better—stranger, subtler, more ambitious—than ever before.
    [Show full text]
  • Cut-Up and Redrawn: Reading Charles Burns' Swipe Files
    AUTHOR PREPRINT VERSION Crucifix, Benoît. “Cut-Up and Redrawn: Reading Charles Burns’ Swipe Files.” Inks: The Journal of the Comics Studies Society 1, no. 3 (2017): 309–33. For citation, refer to the post-print version, which can be downloaded here: https://muse.jhu.edu/article/679770 (or request at benoit.crucifix(a)gmail.com) 1 Cut-Up and Redrawn: Reading Charles Burns’s Swipe Files1 Benoît Crucifix One of Charles Burns’s “most prized possessions,” as displayed in Todd Hignite’s In the Studio, is a scrapbook of comic strip clippings put together by his cartoonist-dilettante father.2 The scrapbook contains a collection of comic strips which he used for reference when drawing: it assembles panels and details clipped out from various newspaper comic strips from the 1940s, such as Milton Caniff’s Terry and the Pirates, collecting material that could then be copied and imitated (Figure 1). < Insert Figure 1 here > A collage of comics panels, the scrapbook classifies and arranges them according to topic, size, perspective: it is the model definition of a swipe file, a collection of images cut out from other comics that can then be redrawn into the cartoonist’s own work. Burns’s father’s scrapbook is not an odd piece in comics history. Going back to the nineteenth-century, newspaper readers have assembled scrapbooks archiving their favorite comic strips, a tradition of “writing with scissors” in which the pleasures of rereading and sharing favorite strips resulted in the widespread saving and collating of such material.3 For artists, these
    [Show full text]
  • 1894-1975 and Building Stories by Ellie Zygmunt a Thesis Submitted to the School of Graduat
    Collective Memory in George Sprott: 1894-1975 and Building Stories by Ellie Zygmunt A thesis submitted to the School of Graduate Studies in partial fulfillment of the requirements for the degree of Master of Arts English Memorial University of Newfoundland August 2018 St. John’s Newfoundland and Labrador Abstract This thesis examines collective memory in the graphic novels George Sprott: 1894-1975 by Seth and Building Stories by Chris Ware. Seth and Ware illustrate how individual memory is inextricable from collective experiences of history, space, and community by using unconventional publishing formats paired with the visual language of graphic narrative. I argue Seth and Ware also extend the border of collective memory to include the non-fictive space of the reader through multi-media adaptations and collaboration. Seth’s cardboard Dominion models, the chamber oratorio Omnis Temporalis, and Ware’s iPad comic Touch Sensitive create a larger community of memory that extends beyond the page. ii Acknowledgements The completion of this thesis would not have been possible without the unfailing guidance and patience of Dr. Andrew Loman, and the encouragement of Lars Hedlund. My deepest gratitude for your support of this project. Special thanks to Drawn & Quarterly and Pantheon for permission to include images from George Sprott: 1874-1975 and Building Stories on behalf of Seth (Gregory Gallant) and Chris Ware. iii Table of Contents List of Figures .....................................................................................................................
    [Show full text]
  • Words and Pictures Along the Line Between Architecture and Comics James Benedict Brown M
    The Comic Architect : Words and pictures along the line between architecture and comics James Benedict Brown M. Arch Dissertation Supervised by Dr. Renata Tyszczuk University of Sheffield, October 2007 ACKNOWLEDGEMENTS Sincere thanks to Henk Döll, Ben Katchor and Joost Swarte for giving so much time to be interviewed by this novice interviewer. The executors of the Stephenson Travel Bursary at the University of Sheffield are acknowledged for awarding this project the maximum possible financial support available in 2007 to enable the interviews with Henk Döll, Ben Katchor and Joost Swarte to take place. These interviews are included in their entirety in appendices I, II and III. Dr. Renata Tyszczuk has been a brilliantly stimulating and supportive dissertation tutor, and I would like to thank her for the time, energy and encouragement that she has given to me during this project. The hardback copies of this dissertation were hand bound in Sheffield by Sue Callaghan. For details call (0114) 275 9049. Finally, this dissertation would not be the work that it is were it not for the support and guidance given to me on countless occasions – day and night, in person, by telephone and email – by my closest circle of family, friends and tutors. Thank you MB, RB, SC, RL, BM, RM, SF. CONTENTS Foreword ................................................................................................... 4 An observation .......................................................................................... 8 Part one: the comic architect .................................................................
    [Show full text]
  • Text Chat Transcript for Nov 20, 2013 Webinar: Adult Graphic Novels
    Text chat transcript for Nov 20, 2013 webinar: Adult Graphic Novels Eileen O’Shea: you can download a resource handout and the slides for today here: https://infopeople.org/civicrm/event/info?reset=1&id=188 Katelyn Widener:Yeah! Fables is my favorite too! Francisca Goldsmith:Any particular collection, Katelyn? Liz:really katelyn? i’m trying to find something equally fun. i read izombie yesterday and loved it Katelyn Widener:Vol 8 Wolves is my favorite so far, it has the script for issue 50 in it with all of Bill Willingham’s comments to the illistrator for that issue which are really great fora Fables fan to see Liz:cool, i’ll look forward to reading that one. i think i’m on volume 4 Nathalia Bermudez:If you like Fables, you may like Unwritten Liz:thanks! Nathalia Bermudez:http://www.amazon.com/Unwritten-Vol-Tommy-Taylor- Identity/dp/1401225659 Liz:vertigo is great. i’m reading american vampire too Liz:thanks nathalia Yanni:I enjoyed the American Vampire (what I’ve read of it) Francisca Goldsmith:Mike Carey is an interesting creator! Thanks, Nathalia! Viva:Yay Mike Carey. Viva:I loved Lucifer and Neil Gaiman’s Sandman Liz:i’m getting a lot from booksfree.com Liz:preacher series is awesome too Yanni:The new Sandman Overture is only one issue in, but pretty excellent IMNSHO. Nathalia Bermudez:Love Preacher. Heard AMC may be making it into a show. Not sure how they’ll do that! Hannah Clement:Hello all! My favorite GN authors are Neil Gaiman, Alan Moore, Bill Willingham, Mike Carey, and CLAMP for manga Viva:Mine are the same as yours Hannah.
    [Show full text]
  • MA How to Make Comics the Successful Way WH.Pdf
    How to Make Comics the Successful Way An Investigation into the Strategies for Successful Comics Creators by William Hill Canterbury Christ Church University Thesis submitted for the Degree of MA by Research 2021 Abstract Success is chiefly viewed as a destination point, often containing no clear direction as to how to arrive, or assurances of when one’s arrival has taken place. House this delicate theme of success amongst the vast genre of comics books and several questions occur: “What is success?” “Who has previously been successful?” “How did they gain success?” “What are the proven routes to success?” This study explores the different methods to find success within the comics industry, these methods included classical approaches such as periodical comics and newspaper strips as well as the more contemporary avenues such as self-publishing & web-comics. To gain a solid understanding and context of the commercial aspect of the business, first the study reviews the history of the comics industry. This is followed by an analysis of the definition and essential components of the comic book, to achieve a better understanding of the structure and classification of comics and, therefore, their intrinsic value as a product. The rise of the digital revolution, recent developments in technologies and web2.0 have not only contributed to expanding areas of production, distribution and fandom recognition, but also to implement innovative ideas and projects. This has led to the expansion of both profitable potentials and perilous pitfalls. To analyse the implications of these new means of creation and distribution, themes such as Communities, Pitfalls of the Internet Age and Crowdfunding have been explored.
    [Show full text]
  • Hispaniam Ludens
    HISPANIAM LUDENS Sergio Font Gómez Trabajo de fin de grado Tutorizado por Cristina Pelaez Navarrete Facultad de Bellas Artes 4ºCurso Málaga - Septiembre 2017 Sergio Font Gómez Trabajo de Fin de Grado 2017 Sergio Font Gómez Trabajo de Fin de Grado 2017 “And now go, and make interesting mistakes, make amazing mistakes, make glorious and fantastic mistakes. Break rules. Leave the world more interesting for your being here. Make good art.” Neil Gaiman. Sergio Font Gómez Trabajo de Fin de Grado 2017 ADVERTENCIA Para disfrutar de esta memoria y de esta exposición es recomendable tener instalado una App lectora de QR y disfrutar de una conexión Wifi en su dispositivo móvil o tablet. https://play.google.com/store/apps/details?id=la.droid.qr&hl=es https://itunes.apple.com/es/app/qr-code-reader-by-scan/id698925807?mt=8 Sergio Font Gómez Trabajo de Fin de Grado 2017 Índice 1. Resumen…………………………………………………………………………....7 1.1 Abstract………………………………………...………………………….8 2. Descripción de la idea que fundamenta el discurso del trabajo…….……………....9 3. Proceso de investigación plástica…………………….……………………………12 3.1Monopolio.............................................................................................12 3.2 Culpable.........................................................................................................14 3.3 Preguntas Triviales...........................................................................................15 3.4 Monotonía........................................................................................................16
    [Show full text]
  • 1 Cybernetic Melancholia: Chris Ware's Building Stories and Cultural Informatics
    1 Cybernetic Melancholia: Chris Ware’s Building Stories and Cultural Informatics Nathaniel Zetter, Peterhouse, University of Cambridge ([email protected]) Chris Ware’s formal and stylistic inventiveness in his 2012 graphic narrative, Building Stories, presents a challenge to traditional theories of the form. This essay argues, however, that Ware’s experimentation can be understood through the descriptive language of cybernetic thought. Whilst the use of informatics may suggest a neutral or affectless register, Building Stories in fact presents a convergence between cybernetics and the affect of melancholia. Indeed, this is a convergence already suggested by Freud’s model of the melancholic, which functions analogously to a reflexive feedback system. Having located Ware’s graphic narrative within a longer trajectory of the exchanges between informatics and post-war literature, this essay identifies three concepts from that tradition— homeostasis, autopoiesis, and digitality—to understand Building Stories’ formal properties. The term, ‘cybernetic melancholia’, is proposed to describe the convergence between such properties and the register of melancholic affect; a convergence which, it is argued, represents a significant means of expressing the experience of a contemporary moment in which information systems are an epistemic ubiquity and melancholia is a prevalent affective register. Keywords: Chris Ware; graphic narrative; cybernetics; digitality; melancholy It is difficult to know where to look upon opening the hardcover book which forms one piece of Chris Ware’s formally inventive graphic narrative, Building Stories (2012).1 The reader’s eye is not guided by the linear sequence of images typical in graphic storytelling. Instead, the spatial organisation of this double-page spread (fig.
    [Show full text]
  • GRAPHIC NOVELS- SECONDARY & ADULT Compiled by Sheila Kirven
    GRAPHIC NOVELS- SECONDARY & ADULT compiled by Sheila Kirven HYBRID Secondary Blaufarb, Rafe Inhuman Traffick: The International struggle Juv.306.3.B645i & Clarke, Liz against the Transatlantic Slave Trade: A Graphic history (Contains historical documents, maps and explanatory text to show the historical context of the story.) Dreaming in Indian: Juv.D7713 Contemporary Native American voices Hosler, Jay Optical Allusions Juv.H8265o (eyes and evolutionary science) Myers, Walter Dean Autobiography of my dead brother Juv.M9967a Sax, Aline War within these walls Juv.S2722w (Mischa living in WWII Warsaw takes part in the Warsaw ghetto uprising.) Talbot, Bryan Tale of one bad rat Juv. T138t (Tells the story of a young girl, Helen Potter, who runs away from home to escape an uncaring mother and a sexually abusive father. Eventually she finds her way to the Lake District, drawn there by her love of the work of Beatrix Potter, and in that beautiful landscape she at last finds peace.) Zimmerman, William 100 things guys need to know Juv.170.83.A76o Secondary Graphic novels Abadzis, Brad Laika Juv. A1164L Abirached, Zeina Game of swallows: To die, Juv. 956.92.A149g to leave, to return (The everyday lives of a girl, her family and their neighbors during the Lebanese Civil War, 1975-1990). Adventure Classics Juv.A2442 (includes works of Robert Louis Stevenson, Arthur Conan Doyle, O. Henry, Damon Runyon, Zane Grey, Kipling and many others.) African American Classics Juv.A2582 Sdk 6/08 rev. 6/19 1 | P a g e (includes works of Claude McKay, Zora Neale Hurston, Jean Toomer, Frances E.W.
    [Show full text]