Developing a graphic novel collection

Developing a graphic novel collection Di Laycock Last year in this journal, Inger Fountain discussed the emergence of graphic novels as a valid and valuable literary format for inclusion in school libraries. Using Fountain s discussion as a starting point, this article draws on Barker College Library s graphic novel experience to examine the practicalities of developing a graphic novel collection in the school library. Introduction In many school library collections, graphic novels live separate lives. Those primarily recognised for the accuracy of their content are located by subject in non-fiction. Some, identified as comics by their artistic style, dwell upon the shelf at 741.5; whilst yet others viewed as easy reads entertain reluctant readers in the fiction section. Although none of these locations are technically incorrect, the disunity created through a focus on the individual elements of graphic novels prevents them being paid the respect they deserve. Once the teacher-librarian recognises the enormous benefit to be gained from the holistic consideration of the graphic novel, the journey to afford them their own special place and space can begin. The first step in establishing a discrete graphic novel collection is to become acquainted with the nature of the beast. With such knowledge, it is possible for the teacher-librarian to develop a careful and considered rationale for collection development; a rationale that will inform an educational community that honours accountability and evidence-based practice. It is this rationale that should underpin facets of graphic novel collection development such as budget allocation, selection, cataloguing, display and promotion, maintenance, and advocacy for the collection. To gain insight into the nature of graphic novels, one need look no further than Inger Fountain s (2004) informative article. Using a definition of the graphic novel as an extended narrative conveyed via sequential panels of artwork (p.35), Fountain echoes the sentiments of many others, such as Miller (2005), Hill (2004), Ireland (2004) and Gorman (2003) in highlighting the value of graphic novels for students and school libraries. Fountain s portrayal of graphic novels as a multi-layered, multi-genred, vibrant and evocative format with appeal for a range of ages, abilities and learning styles, provides sound evidence for the establishment of a stand-alone graphic novel collection. Once the raison d etre for the collection has been established, the more practical issues of collection development can be considered. Many of these issues will mirror those of general collection development. However, the unique characteristics of the graphic novel format create some specific requirements. Budget considerations To develop a separate graphic novel collection, teacher-librarians with an already large number of graphic novels scattered throughout their collection, might simply consider marrying them in one location. This might minimise budget expenditure, but is unlikely to generate interest amongst students or raise the library s profile. Chances are that copies of any popular graphic novels will be looking tired and worn, while unpopular novels will exhibit the yellowed pages and odour of neglect. Hardly characteristics that will inspire students and promote the enjoyment of reading! In the development of Barker College s graphic novel collection, we heeded Goldsmith s (1998) advice that a graphic novel collection should include more than a paltry dozen items. We sought the kapow factor by planning a collection that would be large enough to have an impact and be able to satisfy anticipated demand in a 7-12 library that provides services for some 1600 students. With the cost of a graphic novel averaging A$20 - $25, and the desire for a seed collection comprising some 50-60 items, funding was inevitably an issue. To secure a budget allocation for the initial purchase of graphic novels, we diverted funds from other healthy areas of the collection. Where such an option is not feasible, the teacher-librarian might instead choose to make a written submission for a foundation grant to a body such as the school executive, parents group or school council. It would be desirable to accompany this submission with a presentation to members that will emphasise the 50 synergy volume 3, NuMBer 2

value of graphic novels and extend existing knowledge of them beyond images of a figure in blue spandex with his underpants on the outside! Ideally, any budget allocation for the establishment of a graphic novel collection should also include allowance for the purchase of appropriate shelving to house it. The unique characteristics of graphic novels generate shelving requirements quite different from those of traditional print materials. Selection In any medium, there are the good, the bad and those useful for wrapping fish and chips (Fountain, 2004, p. 37). Graphic novels are no exception. To avoid what Lavin (2002) describes as self-censorship, cloaked as library selection policy, selection of graphic novels should be guided by an objective, written and accessible policy that is based upon professional principles and statements such as the Australian Library and Information Association s (2001) Statement on free access to information. In terms of selection criteria, the unique nature of graphic novels can be addressed by extending the criteria already guiding selection of materials in the general collection. Gorman (2003, p. 30) suggests that the following considerations be kept in mind when selecting graphic novels: popularity; age; level of target audience; genre; artistic quality; artistic style; reputation of writers and artists; publisher; type of binding; and whether the item is published in black-andwhite or colour... To add to these considerations, De Vos (cited in Ireland, 2004) poses the following questions: Do the illustrations provide a subtle commentary and move the story forward? Are the illustrations of high standard, both artistically and technically? Does the cover do justice to the material inside? Are the words and pictures interdependent? Does the book treat race, gender and social class positively? Is violence part of the nature of the story or is it gratuitous? Is the text legible or is it obscured by illustrative matter, making it difficult to read? Selection tools should include recognised, authoritative sources in the field of graphic novels. These sources, many of which are online, provide both comprehensive information on graphic novels and title recommendations. They include school and public librarians such as Robin Brenner (2005), Michelle Gorman (2003), Michael Lavin (2001), Steve Miller (2005), Steve Raiteri (2004) and Stephen Weiner (2001); educators such as Robyn Hill (2004); professional organisations such as the American Library Association (ALA); suppliers such as Brodart and Sealight Books; and publishers such as Diamond Comics. Armed with information and recommendations from the above sources, the teacher-librarian should be the ultimate selection tool. The immediacy and evocativeness of graphic novels can be a double-edged sword. Whilst on the one hand these characteristics offer great potential, they can also render graphic novels more visceral in their portrayal of matters such as violence and sexual behaviour (Goldsmith, 1998). What may go unchallenged in words only, may become contentious when delivered graphically. It is especially advisable therefore, for teacher-librarians to personally view potential acquisitions. After all, it is they who have knowledge of their students interests and abilities, and of the particular curriculum requirements in their school. It will also be they who may ultimately be asked to defend the selection of graphic novels in the collection. Location and cataloguing It seems as though there is no clear consensus on where to put graphic novels in the library collection. Do they belong together under a Graphic Novel Fiction classification? Or should they be placed according to the Non-Fiction subject headings when they are dealing with such issues as historical events? Must you separate the collection and have a Junior GN and a Senior GN collection or just have a different loan category for more adult titles? (Lee, 2004) As Lee suggests, there is no single, universally accepted or correct way in which to organise a graphic novel collection. Until such guidelines exist, cataloguing remains largely an act of... there is no single, universally accepted or correct way in which to organise a graphic novel collection. synergy volume 3, NuMBer 2 51

preference (Gorman 2003, p.31). Teacher-librarians should be guided on location and cataloguing issues by the rationale for their collection. For example, in the Barker College Library the intended purpose of the graphic novel collection is, first and foremost, to foster the enjoyment of reading, especially amongst middle school boys. To address this purpose, accessibility to the collection is considered paramount. The collection has been developed as a browsing collection where fiction and non-fiction titles are located together. GN on the spine label denotes their location. For teacher-librarians who enjoy original cataloguing, the development of a graphic novel collection provides a rare opportunity to practise this dying art. In many instances the cataloguing services used by schools have lagged behind the growing momentum in school libraries to create discrete graphic novel collections. Consequently, bibliographic records are either not yet available for many titles, or existing records tend to use the non-fiction nomenclature. Free online cataloguing advice from some publishers, such as Diamond Comics, also continues to locate graphic novels as comics in the non-fiction collection. All graphic novels have full bibliographic records in our catalogue. These records indicate Graphic novels as both a Subject Heading and a location under Section. Establishing authorship, at times, can present a problem. Whilst many graphic novels can be attributed to a single creator, or a writer and artist working together, there are others that may represent the work of any number of artists and writers. In the case of such multiple authored works, the advice of the Reference and User Association (2004), a division of the ALA, is a useful guide: If the creators are too numerous to include, the writer(s) or scripter(s) and the penciller(s) should be listed as the two creators with the most influence over the entire title as they provide the text and overall art style of the book respectively. Use the guidance provided by the naming order on the book s title page, verso and/or indicia. With regard to the question raised by Lee (2004) as to the need to separate junior and senior material, there are many issues, including religious or cultural considerations, which might guide such a decision. In our library, no such distinction exists. This decision was informed by a number of philosophical and practical considerations that include: a general belief in the freedom to read the absence of such a classification elsewhere in the general collection the inherent attraction created by labelling a book senior and the opposite deterrent created by designating a novel junior the decision not to imply reading ability, maturity and interest from a student s age the multi-layering of graphic novels that renders them appealing for a range of readers the existence of a Collection Development Policy to guide both selection and the library s response to challenges to controversial material. The visual nature of graphic novels is a blatant invitation to display them with their covers facing out. 52 synergy volume 3, NuMBer 2

Display The visual nature of graphic novels is a blatant invitation to display them with their covers facing out. This means of display is even more important if the collection is a browsing one. In addition, the predominantly larger than normal size and soft covers of most graphic novels necessitate shelving that must also be supportive. Based on these requirements, we purchased magazine shelving with 45-degree angle clear perspex dividers. The space-consuming nature of such shelving may become an issue as the collection grows, and it may be impossible to display the covers of the entire collection. However, based on the current borrowing rate of 60-70%, it is anticipated that the need for space to house the entire collection at any one time will be a rare occurrence. Marketing and promotion It is paramount that both students and staff be aware not only of the new collection s existence, but that they also understand the reason for it. Therefore, marketing and promotion should accompany the development of a graphic novel collection. Despite a common expectation that young people are familiar with graphic novels, it cannot be assumed that they view comic books differently from many adults:... after a certain age usually middle school, where students begin that awkward transition to adulthood reading a comic became akin to climbing a tree; you just didn t do it anymore. What happens is that many adolescents begin to see comic books as many adults do: sub-literate, disposable and juvenile. (Versaci, 2001) A couple of experiences in our library support Versaci s claim. Before launching our collection, graphic novels were discussed and viewed in the library s Boys and Books lessons that run in Years 7-9. During these discussions one student asked, Why is a librarian encouraging us to read comics?, whilst another was observed hiding a graphic novel within a real book. It is therefore imperative that any guilt associated with the enjoyment of reading graphic novels be laid to rest. To inform classroom teachers on the potential of graphic novels to enhance the curriculum and to facilitate the enjoyment of reading, a multimedia presentation was made to both the English and Learning Support departments. It is anticipated that future presentations will be made in other subject areas. To promote the arrival of the graphic novel collection on the shelves, a number of strategies were employed. These included the use of posters, a display of book covers on a noticeboard in the library entrance, notices in the daily bulletin and the inclusion of titles on the library reading lists posted on the school intranet. Since we considered it vital that the entire school community be aware of the new collection, information on the nature and value of graphic novels was also conveyed to parents via the term school magazine. Maintenance The attrition rate of graphic novels tends to be higher than that of their traditional print counterparts. This results from their physical format, their high rate of use, and the fact that they are often a source of shared viewing and discussion. To address this issue, teacher-librarians can preserve a novel s condition by reinforcing the spine and corners, and by covering the book. Some school libraries might also choose to restrict borrowing to prevent the damage to books that inevitably occurs in transit or whilst residing on students bedroom floors. A borrowing restriction is not an alternative we chose, as we consider it important for students to have the freedom as to where and when they read, and for parents to be able to view graphic novels in order to gain a greater understanding of them. Soon after establishing our collection, a student s interesting description of his shared reading experience of graphic novels with his father affirmed our decision to allow borrowing. No matter what measures may be taken to ensure their longevity, there will come a time when highly circulated graphic novels will need replacement. A budget allocation for replacement, therefore, should be made accordingly. Advocacy for the collection It is possible that some members of the school community will not understand or appreciate graphic novels as legitimate and authentic literature. The teacher librarian, therefore, must select wisely and be prepared to defend the collection with a written policy, and procedures in place, to deal with challenges to material. It may well be that no such challenge ever arises. In fact, quite the opposite may occur where parents and teachers welcome the addition of such a collection (Lavin, 2000). Conclusion To those teacher-librarians who are tempted, but tentative to enter the realm of a literary format that may be relatively unfamiliar, take heart and be inspired by the words of Kerrie Ireland (2004) Build it and they will come. We built it and they did come. To date, our graphic novel experience has been nothing but positive. Observation and anecdotal evidence indicates that the development of a separate graphic novel collection has generated favourable publicity for the library and has enticed new customers through the door. Borrowing rates for graphic novels are high, as is their short-term use during student breaks. They have also proven... evidence indicates that the development of a separate graphic novel collection has generated favourable publicity for the library and has enticed new customers synergy volume 3, NuMBer 2 53

extremely popular during the voluntary reading time in our Boys and Books lessons. As well as engaging individuals in reading, graphic novels are also indirectly fulfilling a social function by acting as a focus for informal group discussions. Riding high on this success, it is now our mission to promote and extend the potential of graphic novels beyond the library. To this end, teachers are being encouraged to enhance current pedagogy by embracing literary learning, and action research is underway to examine the use of graphic novels in the curriculum to engage students in reading and to promote higher order thinking. References American Library Association (2005) Accessed on 12 July, 2005 at: < http://www.ala.org/>. Australian Library and Information Association (2001) Statement on Free Access to Information. Accessed on 12 July, 2005 at <http://www.alia. org.au/policies/free.access.html>. Brenner, Robin (2005) The Original No Flying No Tights for Teens. Accessed on 12 July, 2005 at: <http://www.noflyingnotights.com>. Brodart (2005) Accessed on 12 July, 2005 at: <http://www.graphicnovels.brodart.com/>. Diamond Comic Distributors (2005) Accessed on 12 July, 2005 at: <http://www.diamondcomics.com>. Fountain, Inger (2004) The Emergence of Graphic Novels in Synergy, 2(2), pp. 35-38. Goldsmith, Francesca (1998) YA Talk: Graphic Novels in Booklist, 94, May 1. Accessed on 12 July, 2005 at: <http://archive.ala.org/booklist/ v94/youth/my1/55yatalk.html>. Gorman, Michele (2003) Getting Graphic: Using Graphic Novels to Promote Literacy with Preteens and Teens, Linworth Publishing, Worthington, Ohio. Hill, Robyn A.(Ed) (2004) The Secret Origin of Good Readers: A Resource Book, Accessed on 12 July, 2005 at: <http://www.night-flight.com/ secretorigin/sogr2004.pdf >. Ireland, Kerrie (2004) Build It and They Will Come: Graphic Novels for Your Collection in School Libraries in Canada Online, 23 (3). Accessed on 12 July, 2005 at:<http://www.schoollibraries.ca/ articles/31.aspx>. Lavin, Michael (2000) Comic Books and Censorship, Accessed on 12 July, 2005 at: <http://ublib.buffalo. edu/lml/comics/pages/censorship.html>. Lavin, Michael (2001) Comic Books for Young Adults: A Guide for Librarians, Accessed on 12 July, 2005 at: <http://ublib.buffalo.edu/libraries/ asl/exhibits/comics/pages/>. Lee, Allison (2004) Graphic Attraction: Graphic Novels in Libraries, Paper presented at the ALIA Conference 2004, Accessed on 12 July, 2005 at: <http://conferences.alia.org.au/alia2004/pdfs/ lee.a.paper.pdf>. Miller, Steve (2005) Developing and Promoting Graphic Novel Collections, Neal-Schuman, New York. * Steve is also the owner of GNLIB (Graphic Novels in Libraries), a listserv for the discussion of graphic novels for librarians in schools and colleges. GNLIB can be found at: <http://www. angelfire.com/comics/gnlib/>. Raiteri, Steve (2004) Links to Comics and Graphic Novel Sites. Accessed on 12 July, 2005 at: <http://my.voyager.net/~sraiteri/comicslinks.htm>. Reference and User Services Association Codes Material Reviewing Committee (2004) Materials Reviewing Document, 5.7 Graphic Novels, Accessed on 12 July, 2005 at: <http://www.ala.org/ ala/rusa/rusaourassoc/rusasections/codes/codes section/codescomm/materialsreview/57graphic Novels.DOC>. Sealight Books (2005) Accessed on 12 July, 2005 at: <http://www.sealight.com.au>. Spiegelman, Art (1997) The Complete Maus: A Survivor s Tale, Pantheon Books, New York. Versaci, Rocco (1993) How Comic Books Can Change the Way Our Students see Literature: One Teacher s Perspective. Accessed on 12 July, 2005 at: <http://www.teachingcomics.org/curriculum/ perspective.php>. Weiner, Stephen (2001) The 101 Best Graphic Novels, NBM Publications, New York. As well as engaging individuals in reading, graphic novels are also indirectly fulfilling a social function by acting as a focus for informal group discussions. Di Laycock is on the teacher-librarian team at Barker College, Sydney. She is currently a member of an action research team with the International Boys Schools Coalition that has recently begun research into the use of graphic novels in the school curriculum. Email: dlaycock@barker.nsw.edu.au 54 synergy volume 3, NuMBer 2