Graphic Novels
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16 • Summer 2006 Graphic Novels This edition of IBBYLink has the theme but these forms are no less demanding, of ‘graphic novels’, a term which Philip while being in some ways more attuned Pullman, in one of the most illuminat- to the demands of the present age. ing essays on this subject1, cites as having Having myself had relatively little expo- first been used in 1978. He goes on to sure to comics when I was young (I was define the genre: more interested in reading very long nov- els!), I find that graphic novels present Essentially graphic novels consist of a a challenge. Although I am always likely story told in successive pictures, with the to prefer the familiar printed word as an addition of words set into the pictures: easier ‘read’, I have an increased respect words of particular kinds, each kind indi- for those whose interests, and reading cated by its own smaller frame. These are skills, are different from mine. speech balloons, think bubbles, captions, and sound effects… (p.112) I hope that some of the texts mentioned here will open the eyes of other readers Later in his chapter he discusses, among to the possibilities of this rapidly grow- other topics, Rupert, Eagle, Raymond ing genre. Briggs, and the classic of the form, Art Spiegelman’s Maus (1987). Pat Pinsent 1 ‘Picture Stories and Graphic Novels’ in The articles by Noga Applebaum and K.Reynolds and N.Tucker (ed.), Children’s Tomm Moore in this issue indicate some Book Publishing in Britain since 1945, Aldershot: of the directions in which the British and Scolar Press, 1998 Irish graphic novel has progressed since Pullman wrote, notably by extending its CONTENTS audience to include a wider spectrum 2 Coming of Age in Comics and Graphic of the population. Mel Gibson’s discus- Novels sion of the influential Japanese form of Noga Applebaum graphic novel, manga, demonstrates the 4 Manga and Younger Readers in Britain fascination that many British young peo- Mel Gibson (University of Northumbria) ple have with all aspects of a culture that 6 From Caricature through Comic Strip to seems exotic to them. Picture Book and Graphic Novel Pam Robson Much of the increased awareness today 8 ‘Reading’ Graphic Novels of visual literacy, and of newer modes of Ann Lazim storytelling, results from the creative pos- 9 The Irish Graphic Novel sibilities opened up by computer technol- Tomm Moore ogy and improved intercommunications. 11 Picture Strips, Action Dots and Visual narrative has become increasingly Subversion sophisticated. Many of us were brought June Hopper up to judge books composed only of 13 Graphic Novels: The Coming Genre? words as superior to media employing Pat Pinsent pictures, icons, speech bubbles and all 14 Launch of new Frances Lincoln Series, the impedimenta of what we saw as the March 2006 culturally inferior mode of the comic. We 16 Reviews need to reassess this and to look with an 23 IBBY Activities at Home and Abroad unbiased eye at the diversity of literacy today. The reading strategies demanded 28 CONFERENCES AND TALKS by comics and graphic novels are indeed 29 JOURNALS somewhat different from those which we 30 OTHER ITEMS were brought up to respect more highly, Coming of Age in Comics and Graphic Novels Noga Applebaum graphic In a brief paper reviewing two studies young adults, a more subversive branch novels focusing on children’s interest in comics, of comic art, often referred to as ‘comix’ Millard and Marsh point out that, ‘Of all has steadily risen in popularity over the the forms of popular culture with which last decade and has much to offer the children engage, it is perhaps the comic teenage reader. Although many comix which has attracted the strongest oppro- are aimed at adults, a surprising number brium, receiving not only the severest of graphic novels of this kind engage with criticism but also repeated calls for cen- the theme of coming of age, revolving sorship, even at times outright banning’ around teenage characters and relating (2001, 25). It seems that adults, especially their experiences in a sensitive and per- teachers, perceive comics as an inferior ceptive manner that may well appeal to form of literature, not only because of young adults. The fact that these graphic the misconception that comics are lurid novels are not published within the chil- and vulgar, packed with sensationalism, dren’s publishing market allows them to violent images and gendered stereotypes, confront issues such as death, religion, but also because the combination of text abuse and sex in an honest and direct and images is considered appropriate manner, free from the unwritten codes for the first stages of literacy, and thus a which often dictate what is considered teenager reading comics is deemed semi- appropriate reading material for young literate or simply a lazy reader. Millard people. and Marsh find that, ‘In many people’s minds there remains a rather simplis- Heller states that ‘the most superlative tic correlation between “looking at pic- comics art is drawn from deep dark tures” and a deficiency in literacy, as it is recesses, pushed to the surface by desires frequently assumed that only those who to express compelling ideas through are unable to read the words have a need words and images that would otherwise for illustration’ (27). be suppressed if the form did not exist’ (Dooley and Heller, xvi). It is therefore However, in the introduction to a fasci- not surprising that many of the novels nating anthology dedicated to demon- depict characters who feel outsiders and strating that comics and graphic novels are uncomfortable in the company of can and should be taught within the their peers. These young protagonists education system, Steven Heller declares often find escape in drawing or creating that comics to be a sophisticated art comics themselves. In fact, quite a few of form, demanding ‘an intricate weaving the novels are autobiographical accounts of tales into concise multi-perspective of the artist’s own coming of age. narratives’ (Dooley and Heller 2005, iBBYLink 16 xiii). Indeed Scott McCloud’s critical Here are a few examples of graphic novels The British IBBY exploration into the nature and vocabu- which may interest young readers while Newsletter lary of comics clearly illustrates that this opening the eyes of adults either unfa- Summer 2006 art form is highly interactive; it allows miliar with this type of comic art or dis- the reader a greater role in deciphering missing it as inferior. Further examples Pat Pinsent the narrative, since much of it is found may be found in Paul Gravett’s Graphic Editor in what is termed ‘the gutter’, the blank Novels: Stories to Change Your Life (2005), 23 Burcott Road space between the panels (McCloud which includes a brief review of the evo- Purley 1994, 60–69). Moreover, the interde- lution of child and teenage characters in CR8 4AD pendent relationship between text and comics, as well as scene analysis from key image requires a high level of visual lit- texts. eracy (152–161). Kathleen Fedouloff Blankets (Thompson 2004). Do not be Design & Layout When discussing comics read by young alarmed by the scale of this graphic 020 8993 8258 people, many of us have in mind thin novel. Although nearly 600 pages long, booklets following the adventures of it is a beautifully crafted narrative which To sponsor a future issue of superheroes, humorous series such as is very hard to put down. Thompson IBBYLink, those in Beano or Dandy or, for the bet- recounts his own childhood, growing up please contact Pat Pinsent ter informed, Japanese manga. While in a devout Christian home in a small [email protected] such comics are undeniably popular town in Wisconsin. The sensitive protag- reading choices of many children and onist’s coming of age is plagued with reli- 2 gious and personal doubts and the pain, climaxing in their rivalry over the same graphic guilt and pleasure of first love. The black boy, the fragility of teenage existence is and white swirls of text and illustrations fully and masterfully exposed. are truly magnificent and create a rich novels and moving tale. The Tale of One Bad Rat (Talbot 1995). This novel, influenced by Beatrix Potter’s I Never Liked You (Brown 2002). This work, revolves around Helen, a homeless graphic novel is also an autobiographical teenager in London, who has run away account of the bewildering experience from home having been sexually abused of growing up. Brown uses incomplete, by her father for years. Helen follows delicate lines, small panels and wide the footsteps of her heroine, Potter, to gutters which capture the sense of iso- the Lake District where she finally con- lation and confusion he experienced as fronts her past and finds a better future. a young teenager brought up by a clini- The richly colourful pallet and detailed cally depressed mother, while struggling backgrounds capture the stark contrast to establish a sense of self-identity under between the harsh streets of London and pressure from peers of both sexes. the deep and welcoming greens of the countryside, and symbolise Helen’s jour- The Summer of Love (Drechsler 2003). ney towards achieving inner freedom. This novel follows Lily and her sister Pearl as they try to find their place after moving to a new neighbourhood and a Bibliography new school in the late 1960s. The artist’s Brown, Chester (2002) I Never Liked You: A Comic- choice of green and amber tones lends Strip Narrative, Montreal: Drawn & Quarterly an earthy atmosphere to the narrative, Clowes, Daniel (2000) Ghost World, London: which as Gravett points out ‘evokes a Jonathan Cape mixture of magic and terror that seems Dooley, Michael and Heller, Steven (2005) The especially vivid when we are young’ (35).