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In Defense of Graphic Novels

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In Defense of Graphic Novels Kathryn Strong Hansen !e author describes why In Defense of she teaches graphic novels and directly confronts Graphic Novels criticism teachers may face from colleagues, administrators, parents, and students as they "rst teach examples of this fast- growing genre. n the 18th century, critics grumbled pare teachers to counter these criticisms success- about a new literary form that sup- fully so that they have at their disposal a uniquely posedly threatened the abilities of useful body of literature. youth to distinguish between real- Perhaps one reason that graphic novels are ity and artificiality. This kind of text, the criticism on the receiving end of so much skepticism is that ran,I misinformed its readers about love, morals, so- the terms used to categorize the genre aren’t clearly cial class, and everything that society most valued. set. While graphic novel is a common term, other This form was the novel, one of the literary forms terms also pop up: sequential art, manga, comics, novel that critics now hold dearest. New forms often at- in pictures.1 Equally problematic can be the defini- tract scorn, which is why “novel,” meaning “new,” tion of these terms. In essence, a graphic novel can originally was a term to disparage this Johnny- be thought of as a sequence of images, often (but come-lately style of writing. But newness isn’t a not always) accompanied by text that tells a story justification for dismissing something outright. or provides information. This definition is impre- Currently, the graphic novel receives a great deal of cise at best. But I argue that the hazy definition criticism, much of which betrays a dislike of what telegraphs part of the graphic novel’s appeal. The is new rather than a carefully considered critique boundlessness of the category of graphic novel hints of the graphic novel as a genre. Yet many teachers at its almost limitless possibilities, which is what I have shown how graphic novels can help energize would suggest teachers tell doubting parents and students whose interests are hard to capture, can aid administrators. Some graphic novels can be tools low-level and nonnative English-speaking readers for introducing different cultures, like Marjane Sa- through the twinning of words with images, and trapi’s Persepolis (2000), a tale about a young Irani can challenge higher-level readers to expand their girl, and Gene Luen Yang’s American Born Chinese analytical skills to include consideration of visual (2006). Other graphic novels are expressly educa- elements. tional, such as Apostolos Doxiadis and Christos H. These rewards are worth a battle or two with Papadimitriou’s Logicomix: An Epic Search for Truth those who might criticize these unfamiliar, under- (2009), which tells about Bertrand Russell’s studies valued texts. Despite this, teachers might find that in mathematics, and Shin Takahashi’s The Manga they have more battles than they initially anticipate Guide to Statistics (2008), which explains statistics when they set out to include graphic novels in their concepts that are useful to marketing. Numer- curricula. I hope that teachers consider graphic ous graphic novels are fictional narratives of many novels for inclusion into their classrooms, but be- kinds. The wide range of stories told, themes ad- fore they do so, teachers need to consider carefully vanced, and information presented provides op- the criticism that they are likely to face. By setting portunities for the genre to develop in any number forth these potential criticisms, I aim to help pre- of ways. This means that the graphic novel has the English Journal 102.2 (2012): 57–63 57 EJ_Nov2012_B.indd 57 11/7/12 1:24 PM In Defense of Graphic Novels potential to appeal to almost any reader. So despite priate for young children, though an examination the definitional and terminological issues, graphic of them is necessary to ascertain that. If a novice novels are a vibrant and compelling tool for teach- teacher of graphic novels is worried about text se- ing, and in particular the teaching of writing and lection, aids exist that provide guidance for using of literature. graphic novels in the classroom (see fig. 1). Uneasy teachers can also find a valuable resource in their local comics shop; managers and workers there can Criticism from Outside the Classroom help teachers search through graphic novels to find Before discussing how to prepare for some unex- those that are best suited to particular classroom pected battles, I will first address the criticisms needs. likely to emerge from disapproving voices outside But the existence of objectionable material in the classroom that teachers might indeed expect. some examples of the form does not excuse opposing One such expected argument raised against graphic the entire canon of graphic novels. Graphic novels novels, likely related to their most common name, range widely in content, so careful selection of texts is that they’re too violent, too brutal, or, in a word, by instructors can obviate these kinds of claims. too graphic. This criticism might refer to the super- First and foremost, no teacher should use a graphic hero comics, in which overly novel that she or he has not read. These texts vary in Uneasy teachers muscled characters show their quality as well as content. This shouldn’t be a sur- can find a valuable worth by physically subduing prise, but like most genres, the genre of the graphic resource in their their antagonists. In some re- novel encompasses a wide range of topics. Though local comics shop; spects, this is a valid criticism, many critics of the form believe that punches and especially when the assumed bullet sprays are the hallmarks of all graphic nov- managers and workers audience consists of young els, this is absolutely untrue. For instance, Craig there can help teachers children, even though it is a Thompson’s Blankets (2003) tells a story of a teen search through radically simplistic overview from an evangelical Christian background and his graphic novels to find of superhero graphic novels. difficulties in coming of age. Its panels are show- those that are best As is the case with any genre cases of the tumultuous nature of first love and a suited to particular of text, not all graphic novels young man’s maturation, not fisticuffs—emotional classroom needs. are intended for younger au- intensity, not physical violence. For middle school– diences. This is a notion that aged readers, Barry Deutsch’s Hereville: How Mirka teachers must keep in mind. To help emphasize this Got Her Sword (2010) provides a plucky young point, think of it this way: many currently popular heroine who comes to terms with her longing for a animated television shows are analogous to graphic less-traditional life even as she learns better to un- novels. That is, some people think that the seem- derstand her stepmother. These complex characters ingly childish format (animation for television exemplify the wide range of graphic novel charac- shows or “cartoon art” for graphic novels) indicates ters who exist in a world far apart from one featur- that the material is targeted at children. As shows ing battles between superheroes and supervillians. such as Family Guy and South Park demonstrate, Even those who don’t find themselves both- this is not always the case. But the need for teach- ered by violence might complain that graphic ers to choose graphic novels wisely shouldn’t bar all novels are easy texts for lazy readers. This is by no graphic novels from classroom use. Some graphic means the case, but this might be the most per- novels have names that pretty clearly label them as sistent criticism to combat. Yet challenging and beyond the pale for most school use, such as Jho- engaging graphic novels abound. Neil Gaiman’s nen Vasquez’s Johnny the Homicidal Maniac (1995– The Sandman series (1989–96) frequently makes 97). Others, including Frank Miller’s Hard Boiled allusions to classical literature, for example, with (1990–92); John Wagner, Carlos Ezquerra, and Pat the character of Orpheus from Greek myth mak- Mills’s Judge Dredd (1990–present); and John Alba- ing repeated appearances. Gaiman also riffs on the no’s Jonah Hex (1971–present), are just as inappro- plots of William Shakespeare’s A Midsummer Night’s 58 November 2012 EJ_Nov2012_B.indd 58 11/7/12 1:24 PM Kathryn Strong Hansen FIGURE 1. Resources for Beginning to Use Dream and Geoffrey Chaucer’s The Canterbury Tales Graphic Novels in the Classroom in installments of The Sandman, creating possible jumping-off points for introducing—or reexam- Carter, James Bucky, Ed. Rationales for Teaching ining—those works. Even without taking into Graphic Novels. Gainesville: Maupin House, 2010. CD- ROM. This sets forth synopses and potential objections account the beautiful and compelling images in for almost 100 graphic novels, giving educators infor- Gaiman’s graphic novels, their complex stories and mation to explain these works’ worth to administrators. rich character development Comic Shop Locator, http://www.comicshoplocator. create pleasurable chal- While most people com/. This site allows users to find comic shops in their lenges for readers. Gaiman’s claim to honor art as a vicinity and provides additional information, such as graphic novel reviews and notifications of upcoming work serves as only one ex- cultivating force, some of conferences. ample; another engaging those same people also piece of literature is found Comics Worth Reading, http://comicsworthreading. loudly oppose graphic com. This site offers Johanna Draper Carlson’s catalog in David B.’s autobiograph- of graphic novels, manga, and other related works. Her ical graphic novel Epileptic novels because they so “Must-Read Comic Classics” list is a good starting heavily rely on visual point.
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    List of Illustrations Fig. 1: Blankets (360/4). © 2003 by Craig Thompson. Reprinted by permission of Drawn & Quarterly. All rights reserved. ............... 257 Fig. 2: Blankets (16). © 2003 by Craig Thompson. Reprinted by permission of Drawn & Quarterly. All rights reserved. ............... 260 Fig. 3: Blankets (54). © 2003 by Craig Thompson. Reprinted by permission of Drawn & Quarterly. All rights reserved. ............... 266 Fig. 4: Blankets (55). © 2003 by Craig Thompson. Reprinted by permission of Drawn & Quarterly. All rights reserved. ............... 267 Fig. 5: Blankets (51). © 2003 by Craig Thompson. Reprinted by permission of Drawn & Quarterly. All rights reserved. ............... 272 Fig. 6: Blankets (52). © 2003 by Craig Thompson. Reprinted by permission of Drawn & Quarterly. All rights reserved. ............... 273 Fig. 7: Blankets (12). © 2003 by Craig Thompson. Reprinted by permission of Drawn & Quarterly. All rights reserved. ............... 277 Fig. 8: Blankets (172). © 2003 by Craig Thompson. Reprinted by permission of Drawn & Quarterly. All rights reserved. ............... 281 Fig. 9: Blankets (246/1). © 2003 by Craig Thompson. Reprinted by permission of Drawn & Quarterly. All rights reserved. ............... 285 Fig. 10: Blankets (79/1). © 2003 by Craig Thompson. Reprinted by permission of Drawn & Quarterly. All rights reserved. ............... 302 Fig. 11: Blankets (88/1). © 2003 by Craig Thompson. Reprinted by permission of Drawn & Quarterly. All rights reserved. ............... 303 Fig. 12: Blankets (86/1–3). © 2003 by Craig Thompson. Reprinted by permission of Drawn & Quarterly. All rights reserved. ............... 304 Fig. 13: Blankets (116/1–3). © 2003 by Craig Thompson. Reprinted by permission of Drawn & Quarterly. All rights reserved. .......... 305 Fig. 14: Blankets (13/4). © 2003 by Craig Thompson. Reprinted by permission of Drawn & Quarterly.
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