LJ Collection Development- Beyond Superheroes: Comics Get Serious

In 1986, graphic novels appeared to be ready to break into the mainstream. That year, Pantheon released Art Spiegelman's Maus, a holocaust survival story, and DC Comics published Watchmen and Batman: The Dark Knight Returns, both sophisticated, much promoted superhero books aimed at adult readers. The breakthrough never came in 1986, but it is happening now. Graphic novels have never been hotter, due primarily to many high-profile books published during the last several years. In 2000, Chris Ware's Jimmy Corrigan; The Smartest Kid on Earth and Joe Sacco's nonfiction book on Bosnia, Safe Area Gorasde, found almost unanimous critical acclaim, and there has also been growing interest in graphic novels from those working in other media. Kevin Smith, who writes some of the best of the current superhero stories available, made the comics industry the focus of his 1996 movie, Chasing Amy. Last year, Michael Chabon's Pulitzer Prize-winning novel, The Amazing Adventures of Kavalier & Clay, used the early comic book industry as its backdrop.

Most of the attention, however, is the result of the graphic novels themselves, whose subjects have expanded beyond standard comic book material. Instead of limiting themselves to the superhero genre, many graphic novels are now concerned with conflicts often found in more accepted forms of literature. Academic programs on comics and graphic novels have also been spawned, giving the form a new kind of critical approval. The impact of Spiegelman cannot be overlooked. After Maus was awarded a Pulitzer Prize, cartoonists saw, perhaps for the first time, a growing mainstream readership for graphic novels.

The term graphic novel was coined by veteran cartoonist Will Eisner in 1978 while trying to pitch a collection of stories told in comic book format to a trade publisher. The term has come to mean a sophisticated story told between two covers, usually a 64-, 128-, or 176-page book, as opposed to a collection of comic strips in book form or classic comic books. The term can also refer to nonfiction narrated in the same format. A similar but different kind of publication is the 'trade paperback,' a collection of episodes in comic form that attempts to tell a complete story within the boundaries of the ongoing series, such as Spiderman. The trade paperback, considered a 'cousin' to the graphic novel, is one measure of the field's growing acceptance.

Over the past two decades, the field of graphic novels has changed dramatically as American cartoonists have studied Japanese and European cartooning. Also, several foreign graphic novels have been translated into English. Some titles have found their way into libraries, but most have not. For the purposes of this article, commonly collected comics such as Charles Schulz's 'Peanuts,' or Hergé's 'Tintin' will be excluded, although they are enjoyed by adults as well as children.

Today's readers of graphic novels are different from those of 20 or even ten years ago. The appeal to adolescent power fantasies remains, but other interest has broadened considerably. Several contemporary series appeal to women and girls, possibly a result of the Japanese and European influences, where comics are more widely read. There is also a significant readership among adults who have a nostalgic attachment to the comics format but remain open to new kinds of stories told in comics form.

While the largest American publisher remains DC Comics, there are several small presses making inroads with literate and entertaining books, e.g., Drawn & Quarterly, Highwater, Topshelf, Dark Horse, Viz Communications, Cartoon Books, and Abstract Studio. Libraries should be sure to collect the giants of graphic novels, such as Spiegelman's Maus (Pantheon), Scott McCloud's Understanding Comics (DC, 1993), and Jules Feiffer's Tantrum (Fantagraphics, 1977), the story of a middle-aged man who refuses to grow up.

The Superhero Story involves a character such as Superman, who is familiar to most readers, but in a tale that wouldn't be successful in the monthly series because it explores some strange aspect of a normally sanitized character. A good example is Frank Miller's Batman: The Dark Knight Returns, 10th anniversary ed. (DC Comics, 1997), in which a moody Batman, at 50, emerges from retirement to save Gotham City once again.

The Human Interest Story covers a broad range of subjects and is similar to what one might find in regular fiction. A fine example is Dan Clowes's excellent Ghost World (see below), which focuses on two teenagers as they face life choices following high school graduation.

Manga are Japanese comics that are an outgrowth of anime (Japanese animation). The artwork resembles cartoons rather than the representational 'action figure' models that are the basis of the visual aspect of the superhero comic book. A good example is Tezuka's historical narrative Adolf (see below). Quite a bit of manga has been translated into English.

Nonfiction are not novels but still narrative in nature. They range from Larry Gonick's Cartoon History of the United States, rev. ed. (HarperCollins, 1991) to Harvey Pekar's poignant experience with cancer in Our Cancer Year (Four Walls, Eight Windows, 1994).

Adaptations or Spinoffs contain stories of well-known characters, such as Luke Skywalker, adapted to graphic format. A solid example is P. Craig Russell's Rudyard Kipling's Jungle Book Stories (NBM, 1997).

Satire questions our political system or social mores. Break-out underground artist Robert Crumb's work epitomizes the use of satire in the comic format.

Most librarians have shied away from embracing the graphic novel format for a couple of reasons. Mainstream comics have been viewed as a forum for male power fantasies. However, it is possible to build a credible graphic novel collection that does not focus on violence and sexual exploitation. The other reason that librarians have been hesitant to collect comics and graphic novels is because reading comics is an acquired skill. In prose, readers read from left to right. In comics, the visual aspect guides the process. Thus, readers follow pictures as opposed to sentences, which takes some practice to master.

Over the past decade, however, children's and young adult librarians have made an effort to introduce a wider variety of graphic novels into their collections; their impulse is fueled by the high readability of the books and reenforced by the high circulation. However, those buying for adult collections have not made similar efforts for their readers, perhaps because the term adult, when associated with the comic book industry, has often referred to pornographic materials. This definition no longer holds: owing to the more mature work produced in graphic novel form, adult doesn't necessarily mean pornographic but may refer to philosophical and emotional content aimed at adult and mature teens. You can be sure adults are reading these books: Diamond Distributors, the largest distributor of graphic novels in the United States, grossed over $86 million on graphic novels, comic books, and trade paperbacks combined in 1999, and its research reveals that the average graphic novel reader is 29 years old. Diamond Distributors offers a special purchasing program for libraries ( www.diamondcomics.com/bookshelf/ordering.html).

If your library has as one of its goals to build a community of lifelong readers, then collecting graphic novels might well dovetail nicely with the mission. Be forewarned that censorship, both internal and external, is an issue. Staff censorship-driven by bias about the comics medium-is much stronger than external censorship.

Finding graphic novels, a difficult task in past years, has gotten easier. As they have gained in popularity, these books have been picked up by large distributors and are reviewed in library trade journals.

Librarians interested in graphic novels should visit a local specialty shop in order to learn more and see the books firsthand and make sure that the store carries the kind of book you want your library to collect. To locate a specialty store, call the Comics Shop Locater Service (888-266-4226).

Otherwise, turn to bibliographies. One example is D. Aviva Rothschild's Graphic Novels: A Bibliographic Guide to Book-Length Comics (Libraries Unlimited, 1995), which annotates over 300 graphic novels. [Two other options are written by the author: 100 Graphic Novels for Public Libraries (Kitchen Sink, 1996) and The 101 Best Graphic Novels (NBM, 2001), which includes a collection development supplement in the library edition, ISBN 1-56163-285-6.-Ed.]

This year, two meetings can also help expand your collection development expertise. At the Public Library Association (PLA) meeting, a morning panel on March 16, Superheroes and Beyond, will offer an overview of issues relating to libraries collecting graphic novels. Also, on June 14, 2002, the paperback committee of the Young Adult Library Services division of the American Library Association will present Getting Graphic at Your Library in a preconference. This day-long meeting will cover issues related to graphic novels in libraries, with prominent comics creators Art Spiegelman, Neil Gaiman (Sandman, American Gods), Jeff Smith (Bone), and Coleen Doran (A Distant Soil) in attendance.

Graphic novels are cataloged in a multitude of ways. Some libraries place them in the comic strip section. Others have a separate section similar to many video or audiobook collections. Graphic novels may also be integrated into the fiction section or the appropriate nonfiction section. Some libraries cross-catalog graphic novels in an effort to attract readers to several areas of the collection. If you are starting a collection, it may be better to group the graphic novels together in order to draw attention to them.

Many graphic novels come in paperback only. For that reason, some libraries reinforce the books or actually rebind them prior to circulation. Because of their high circulation, the books often need replacement, which makes weeding a fairly easy task.

If you do purchase a substantial graphic novel collection, you will want to let your patrons know about it. Consider dedicating time and resources to presenting the books in displays. Some libraries shelve graphic novels face out. Still others have a permanent graphic novel display. Author programs are also a possibility.

The books included in this bibliography are intended to support adult and academic collections, although there may be some overlap with the YA collection. The books express adult issues or demand adult cognitive abilities to comprehend. Although several of the books contain some sexual element, none focuses on graphic sexuality. If these books were movies, they would fall in the PG-13/R range. Stars [*] refer to core titles.

ON THE ART

Robbins, Trina. From Girls to Grrrlz: A History of Women's Comics from Teens to Zines. Chronicle Bks. 1999. 142p. ISBN 0-8118-2199-4. pap. $17.95.

Sabin, Roger. Comics, Comix & Graphic Novels: A History of Comic Art. Phaidon. 2001. 240p. ISBN 0-7148-3993-0. pap. $29.95. (LJ 4/1/97)

Spiegelman, Art & Chip Kidd. Jack Cole and Plastic Man: Forms Stretched to Their Limits! Chronicle Bks. 2001. 144p. ISBN 0-8118-3179-5. pap. $19.95.

SERIES

Eisner, Will. The Spirit Archives. Vol. 4. DC Comics: Warner Bros. (Archives). 2001. 224p. ISBN 1-563897-714-8. $49.95.

*Gaiman, Neil & others. The Doll's House. Vol. 11. DC Comics: Warner Bros. (Sandman). 1991. ISBN 0-930289-59-5. pap. $19.95.

Giardino, Vittorio. Loss of Innocence. NBM. (Jew in Communist Prague, Vol. 1). 1997. 48p. ISBN 1-56163-180-9. pap. $11.95. (LJ 5/1/97)

*Moore, Terry. I Dream of You. Vol. 2. reprint. Abstract Studio. (Strangers in Paradise). 1996. 208p. ISBN 1-892597-01-2. pap. $16.95.

*Smith, Jeff. Ghost Circles. Cartoon Bks. (Bone, Vol. 7). 2001. 160p. ISBN 1-888963-08-5. $26.95.

*Tezuka, Osamu. Adolf: A Tale of the Twentieth Century. Viz Communications. (Adolf). 1996. 264p. tr. by Yuji Oniki. ISBN 1-56931-058-0. pap. $16.95.

SINGLE VOLUMES

Bendis, Brian & Mark Andreyko. Torso. Image Comics. 2001. 280p. ISBN 1-58240-174-8. pap. $24.95.

*Brown, Chester. I Never Liked You: A Comic Book. Drawn & Quarterly Pubns. 1994. ISBN 0-9696701-6-8. pap. $12.95.

Clowes, Daniel. Ghost World. 4th ed. Fantagraphics. 2001. 80p. ISBN 1-56097-427-3. pap. $9.95.

Eisner, Will. A Life Force. DC Comics: Warner Bros. 2001. 144p. ISBN 1-56389-789-X. pap. $12.95.

Lutes, Jason. Berlin: City of Stones. Drawn & Quarterly Pubns. 2000. 212p. ISBN 1-896597-29-7. pap. $15.95.

Madden, Matt. Odds Off. Highwater Bks. 2000. 96p. ISBN 0-9665363-9-8. pap. $14.95.

*Moore, Alan & Dave Gibbons. Watchmen. reprint. DC Comics: Warner Bros. 1995. 416p. ISBN 0-930289-23-4. pap. $19.95.

*Sacco, Joe. Palestine. Fantagraphics. 2001. 288p. ISBN 1-56097-432-X. pap. $24.95.

Seth. It's a Good Life, If You Don't Weaken. Drawn & Quarterly Pubns. 2000. 176p. ISBN 1-896597-31-9. $24.95; pap. 1999. 163p. ISBN 1-896597-06-8. $12.95.

Sturm, James. The Golem's Mighty Swing. Drawn & Quarterly Pubns. 2001. 120p. ISBN 1-896597-45-9. pap. $12.95.

Talbot, Bryan. The Tale of One Bad Rat. Dark Horse Comics. 1995. ISBN 1-56971-077-5. pap. $14.95.

*Thompson, Craig. Good-bye, Chunky Rice. Top Shelf Prods. 1999. 128p. ISBN 1-891830-09-0. pap. $14.95.

Tomine, Adrian. Sleepwalk: And Other Stories. Drawn & Quarterly Pubns. 1998. 112p. ISBN 1-896597-12-2. pap. $12.95.

Ware, Chris. Jimmy Corrigan: The Smartest Kid on Earth. Pantheon. 2000. 380p. ISBN 0-375-40453-8. $27.50. (LJ 11/15/00)

WEB RESOURCES

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