Why George Washington Went to Japan

Thanks to Mike Rhode for bringing this to my attention:

Manga CVN 73 USS George Washington (2008) has been released by the US Navy. The 204-page graphic novel is available for download and tells the story of the USS George Washington's stationing in Japan. A forward from RADM James D. Kelly, USN, the commander of naval forces in Japan, extols the beauty of Japan and seems to read like a rationale for the vessel's presence. Available in both Japanese and English, the Manga is free to whomever cares to download and is published by the Public Affairs Office of the Navy.

So, it appears to be a work that offers a rationale, educates, and informs. And probably persuades, or attempts to, anyway. The ship's history and services are detailed via the experiences of a new soldier named Jack, a Japanese America, who is walking its floors for the first time. The USS Cole and terrorist attacks are mentioned, and the work of men and women on the ship is portrayed as honorable and impressive. The soldiers work as a team, look out for one another, and drill constantly so they're prepared for any dangerous situations. They attend seminars on Japanese culture and language. Upon entiring the port at Yokosuka, they are reminded by their commander to be good neighbors.

A hero on the ship after putting out a dangerous fire, Jack immerses himself in Japanese culture with awe and respect, especially mindful that this is where his grandparents live. "Japanese blood definitely runs through my veins," he says. After meeting up with his grandparents, Jack asks his grandpa if he'll ever visit the states. His reply comprises the last pages of the story before the ship's stats are given. "I can go anytime. We're neighbors across the ocean, right?"

The military has a long history of using sequential art to help train and educate its troops, and other governments have used the format as well, one notable example being the guide to immigrating to the states that the Mexican government published a few years ago. This seems geared towards wary citizens of Japan and is a very interesting piece of proactive public relations work.

Counter Added!

I Didn't Teach You THAT!!

Perhaps you've heard about the Japanese man who went on a murderous rampage in Tokyo. The man is being described as a "disturbed young auto worker" but also as a comics and video games fan. His stabbings did take place in the part of town that caters to those with those interests, and his slow unveiling of his master plans via his cell phone do seem the stuff of movies, comic, and games.

But, there was a time when the idea of collapsing buildings with jets seemed the stuff of Hollywood imagination or super-hero comics as well. After 9/11, some comic book creators were asked by the government to help think of ways terrorists might attack the USA. Our technology, our politics and our environs simply aren't so far removed from what people think of when they hear the word "comic books" anymore. To focus on this man's affinity for comics and games without acknowledging the violence and scariness of the real world seems irresponsible to me. But, we often try to look for any possible link to help us make sense of senseless crimes. Here, it seems to me the emphasis needs to be on mental illness, first and foremost.

Yet apparently some media are making much of the young man's comics fandom. I dislike hearing stories like this because detractors do not need much to spin their dislike for comics as teaching tools into a crisis of illiteracy, dumbing down, and danger. I remember an anecdote from Wright's Comic Book Nation in which he details how to two young boys stole an airplane and piloted it cross-country. When finally caught by authorities, they asked the two where they learned to do stuff like that. "In the comic books!" the boys replied. Now that's delinquency, sure (theft), but it's also education!! (assuming there's any truth to the story, of course. Wouldn't it be great to learn how to fly a plane from a comic book?)

Let's focus more on this man being disturbed first than on his being a comics reader. Young people and adults can get ideas to do all sorts of horrible things from any number of sources, their parents, teachers, history and humanity in general, but it takes a specific mindset to actually carry out random acts of violence. I think it would reveal a pretty weak faith in the intelligence of mankind to assume that a previously mentally stable adult sees such acts in the media he consumes and then copies it without there being other issues at play beyond and prior to the media stimulation.

Kids are more impressionable, sure. I certainly pile-drove and clothes-lined my brothers more than once after watching WWF (as it was called back then) and NWA wrestling on the television. And, my oldest son never wanted to pull our cat's tail until he saw kids do it to their cats in children's books No No Yes Yes and Mittens. Kids often try out what they see or want to do so -- in any and all facets of their lives -- which is why they need adults to help them make sense of possible influences.

My prayers to the victims, the families, and the young man with the hopes that the future surrounding him and those he harmed will hold a focus on justice, aid, and healing rather than on an interest in comics and gaming. Though, let us not forget that justice, aid, and healing are concepts found in many comics and video games as well...........

Nadda Genre

In a future publication scheduled for fall release, I'm going to explain why the term "genre" is inadequate and somewhat inaccurate when applied to graphic novels. On the heel's of yesterday's post about markets and GN's, here's another tidbit where thinking about markets can help us understand terminology. Though "graphic novel" is a marketing term, it is not a genre term within the markets. As ICV2 points out in another article on sales, graphic novels make up their own publishing category and can be compared to "genre" categories like horror, mystery, and sci-fi. Compared to them, but not considered one of them.

In her recent article "Comics as Literature? Reading Graphic Narrative" (in PMLA 123.2) Hillary Chute treats "comics as a medium - not as a lowbrow genre" (p.452) I think terms like medium and format are better used to describe comics and graphic novels.

I'll publicize the article more once it gets closer to its release date, but these two recent pieces deserved some attention, even if the article was submitted before I could add them to my reference page!

NCTE Lows and Highs

Today I received an e-mail from NCTE telling me I did not garner enough votes to be elected to the Secondary Nominating Committee. To make the news more official, a letter restating this failure is on the way to me via parcel post.

I didn't exactly campaign for the nomination -- I don't think I even mentioned it on ENSANEWORLD -- and though I was honored that someone thought enough of me to at least nominate me for consideration, I admit I was always a little nebulous on what the responsibilities of the position would entail.

It did require freeing up some time at the national convention in November. Though I'm saddened not to have gotten the nomination, it might work out for the best anyway. Currently, I'm scheduled to be at 3 different NCTE sessions as a presenter or group leader of some kind, so garnering the nomination might have meant dropping out of something. I'll be busy enough in San Antonio, it looks like, so no need to be too sad.

As well, in addition to being a speaker at NHCTE in Manchester this past April, I'm on tap to speak at NCTE state affiliate conferences in Iowa (which I've previously announced), Oregon, and my homestate of North Carolina. I'm excited about all three of these engagements, though being the keynote speaker for the NC branch, in the state where I was born, raised, and taught middle and high school and community college, is a special delight.


On top of that, I've got an article forthcoming in a volume of The ALAN Review that I'm excited about, and apparently so are the editors, who have told me the piece is of "feature article" quality. On top of all this, I just sent a project proposal to NCTE that may turn into something very major, and I've got another NCTE-related big event being planned sometime in September, but I probably can't speak too much about that now, except to say it will be web-based.

So, all in all, it always stings a little to be rejected, but in the karmic scheme of things, if I have to accept a small bit of negative news so that I can focus on and maybe see to fruition other future successes with NCTE, I guess that's fine by me. I'm sure the person nominated will do a great job. I wish him or her success.

Proof that Manga Rules the World?

A number of folks have written on how many teens are attracted to Manga, Japanese import comics/graphic novels or those sequential art narratives done in that style. Often Manga are paperback-length and -sized books with each title spanning multiple volumes in a series. Brent Wilson has done some research on Manga and literacy. So has Michael Bitz, and the Manga explosion is yet another area where librarians' empirical research as revealed in their periodicals and conferences has helped inform our thinking. Yet, there are many who still think that this Manga thing is just a fad.

Perhaps, but it is worth noting that Manga titles have been dominating the graphic novel sales market for some time now. See ICV2's most recent top 20 graphic novels by monthly sales, and you'll note that only 3 titles are American graphic novels, meaning that they're published by American companies. Since two of the three are penned by Brit genius Alan Moore, we could say that only one of the books, an Indiana Jones book hitching a ride on the summer blockbuster movie, is a top American seller. As well, the two Moore tales, as ICV2 mentions, are over 20 years old.

Of course, sales do not equate to quality (though the ranked Moore titles are pretty darn good), and there's not a demographic breakdown on the ICV2 website to tell us who is buying these books, but a trip to the local bookstore and a glance down the Manga isle or isles can be pretty telling. I know there are many academics that want to separate the market from their work. I'm one of those realists who understands that's something that just can't be done. We can pretend and hope by pretending we makes it so, but we're just living a "consensus charade."

Since "graphic novel" is somewhat of a marketing term, I don't think we can avoid the marketing influence as fact of life, even academic life, when we consider them and their readership and their pedagogical potential. Consider that a teacher's awareness of the market can help him or her understand the reading habits of his or her students, help him or her make choices of texts to bring into class, suggest to students, or accept when students read them independently in class. I've been in classrooms where students snuck Manga in and out of their bookbags because the teachers didn't see it as appropriate reading material -- at any time (as the students themselves told me). Perhaps some knowledge of young people's authentic reading interests and habits might have softened these teachers' outlooks.

According to the sales figures, that would mean accepting that a whole lot of somebodies are reading Manga and enjoying it!

More Comics Goodness from Texas

So, as I prepare for my move to El Paso, I am worrying about the big fuss over Texas' English Language Arts standards. Apparently, after 3 years of informed experts revamping the state's policies concerning ELA, a small but powerful group of leaders has decided to ignore tons of hard work and effort, favor the opinion of one or a handful of consultants, and accept a bare-bones curriculum plan that favors basics.

But, as good teachers everywhere have done for decades, some teachers in the Lone Star state are working under the impression that any and all education standards only represent the bare minimum of needed competencies. I was very pleased to see this story out of Texas from the most-recent NCTE Inbox: "Comics, Seriously," which details the work of some teachers in Fort Worth. Keep teaching those graphic novels and illuminating those multiple literacy skills, Texans!

Playing Around with Comic Life for Windows

(click the images for larger resolution)

Graphic Novels Shine at BEA

ICV2 reports that though the economy's slowdown is affecting even book markets, graphic novels had a strong showing at the recent Book Expo America convention. Read more here.

My Town's Super Hero could Beat your Town's Super -- Oh, That's Right: Your Town Doesn't HAVE A Super Hero!!

According to The Stiltman's blog and the Houston Chronicle, El Paso, Texas', and Juarez, Mexico's, combined 2 million residents now have their very own super hero protecting them from evil (and Asarco thought it had it tough before!!).

The Blue Beetle, formerly a Charlton Comics hero, then a DC Comics property, is a teenage resident of El Paso. So, this isn't the original Blue Beetle, but a high-tech, mystical version of the classic bug-themed crime fighter.

Now, why would this interest me? Because your very own ever-lovin' friendly neighborhood comics-and-education scholar will soon be taking his wares to The University of Texas at El Paso! That's right, starting this summer, I'll be on on faculty as an Assistant Professor of English Education.

Perhaps I can get Blue Beetle to stop by my graphic novel classes. Actually, with the title trying to reach out to Spanish-speaking residents, getting the writer to make a campus visit wouldn't be such a bad idea... Hmmm.....

Also see this interview with the writer:

http://www.comicon.com/cgi-bin/ultimatebb.cgi?ubb=get_topic;f=36;t=007139

Comic Book Resources Discusses Religion and Comics

Sequential art narrative and religion have a long, long history working together to educate the "masses," if you'll pardon the pun. Don't believe me? Do some research on stained glass windows. And comic books have been helping spread the message of Christianity and other religions since at least the 1940s.


So, I was quite happy to see CBR do a feature on religion in comics. The article isn't exactly a master's thesis, but it is interesting and informative and can act as a good primer to where the two entities of religion and comic art have intersected lately. Furthermore it offers a link to an academic conference on the subject that was recently held at Boston University.

Katrina Online GN Hitting ShelvesSoon

Keep you eyes on the title featured in this story from ICV2. As someone who moved to the Deep South the summer after Katrina hit, I have some stories from survivors that will stay with me for a while, and I only moved 2 hours north of New Orleans. This title, A.D. New Orleans After the Deluge, offers another excellent example of comics engaging the contact zone, documenting and interacting with sociocultural events that have shapes our lives. Indeed, maybe some friends and I are working on getting teachers more information on that concept using this text as we speak.... (teaser! more as information develops!)

Free Comic Book Day Is Coming!!!

Click here (then scroll down) to learn some interesting facts about Free Comic Book Day.

This Month's Instructor Magazine

Instructor Magazine, a Scholastic publication, has an article on comics in the classroom in its latest issue. Quoted are Michael Bitz and yours truly. Check it out here. The writer did a nice job of assimilating the ideas we discussed when she interviewed me, and she has some other good sources and suggestions for teachers as well.

And I also recently unearthed this gem from a few years ago where long-time comics-in-education advocate Leonard Rifas reminds us that the relationship between comics and pedagogy is not necessarily a recent one.

A View From My Office

Fresh from The Stiltman

Thanks for the Stiltman for drawing my attention to this feature on graphic novelists in the NY times. That last line by Spiegelman is a classic!

3300

3,300. Those are the numbers for graphic novels published in 2007, as reported over at The Beat and ICV2. I've got a NY Times reporter e-mailing me every so often asking me if graphic novel use in the classroom has reached a "tipping point." With numbers like that, representing a 19% rise from last year's numbers and total US sales of $375 million, it appears we're approaching some sort of tipping point.

What I've read about the number is both optimistic and guarded. Many point out the 90/10 rule, reminding us that 90% of anything is garbage. Still, though, if 330 high-quality graphic novels were published in 2007, that's great! It means I've got tons of reading to do, but that's great nonetheless.

The more optimistic folks are pointing to marketing trends and saying that the end of the graphic novel's popularity is yet to be in sight. Some speculate that there will be a bottoming out of the form's popularity with readers, but my guess is it will be more of a leveling off, with numbers of books and readers still higher than they were before they started to rise.

I guess some hardliners will suggest that readers are becoming more and more ADHD, that graphic novels contribute to the dumbing down of the American readership. To that I remember a recent quote from Art Spiegelman, who said there are plenty of smart kids who get comics, and plenty of dumb adults who don't. In a visual age where text and image blur and mesh, the graphic novel is representative of its times, and not necessarily representative of a decline in literacy skills, but of an expansion of them.

My Presentation to NHCTE

I just returned from a wonderful time as a guest speaker at the New Hampshire Council of Teachers of English 2008 conference. I met some great teachers and had the distinct pleasure of meeting with Diane Weidenbacker's students, all of whom have recently read Deogratias: A Tale of Rwanda and have created their own very moving sequential art narratives.

For a possibly clearer visual, visit this link: http://www.archive.org/details/NhcteTalk08GraphicNovels

As promised to the NHCTE crowd, here is a version of my presentation with full voice-over. Thanks, NHCTE!

Comics, Gender, and Reading Habits

In her online column over at comixology, Kristy Valenti is trying her darndest to use some methodology to tackle the issue of gender differences when it comes to reading comics.

WIZARDRY, DREAMWORLDS AND FRANKENSTEIN!

Eureka Productions is pleased to announce the publication of FANTASY
CLASSICS, the fifteenth volume in the GRAPHIC CLASSICS® series of comics
adaptations of great literature.

FANTASY CLASSICS is a multi-author anthology, featuring Mary Shelley's "Frankenstein," adapted by Rod Lott and Skot Olsen, with a prologue illustrated by Mark A. Nelson. Also featured is H.P. Lovecraft's epic
fantasy "The Dream Quest of Unknown Kadath," by Ben Avery and Leong Wan Kok, and "Oz" author L. Frank Baum's "The Glass Dog," by Antonella Caputo and Brad Teare. Plus Nathaniel Hawthorne's "Rappaccini's Daughter," adapted by Lance Tooks, and poems by Fantasy Masters Clark Ashton Smith and Lord Dunsany, illustrated by Evert Geradts and Rachel Masilamani. With a dramatic cover painting by Skot Olsen.

FANTASY CLASSICS is available in bookstores, comics shops, or direct from
the publisher at http://www.graphicclassics.com

Wowio Offers Free Comics/Graphic Novels

Thanks to Lance Eaton for sharing some great information about wowio. This online site offers readers the opportunity to download pdf versions of all sort of texts, including graphic novels and comic books. There is a registration process and a limit to how much one can download per month, but it is completely free. Sponsors make sure all the right people are paid, so you can download and read guilt-free.

By selecting "comics and graphic novels" in the browse function, I was transported to a page where I could view selections by title, genre, age, or publisher. Under "genre" there was even a special section for comics produced for educational purposes. Other categories included "religious," "myths and legends," and "historical fiction."

AIDS in Sequential Art

So for months now I've had this store of comics stories in which AIDs is featured in one way or another, with the idea being that I'd eventually post them as a tribute to one of my favorite graphic novels, Judd Winick's Pedro and Me, in which roommates on a popular reality television show learn to live with and love a fellow cast member, Pedro Zamora, who is HIV positive and ultimately succumbs to AIDs-related illness.

Well, National AIDS Awareness Month isn't until October (I thought it was in April, for some reason), but I just can't wait any longer.

As I've often said, the sequential art format offers many rich examples of texts engaging in sociocultural and sociopolitical issues. Pedro and Me may be among the best-known graphic novels to deal explicitly with safe sex and AIDS, but it's hardly the only one. Below is a list of other titles or stories that do the same, and I encourage anyone to post other examples that they may know. (There may be some overlap in the titles mentioned below from various sources).

Strip AIDS USA (1989) Coedited with Trina Robbins, Bill Sienkiewicz and Robert Triptow. An AIDS benefit comics anthology which included work from cartoonists Frank Miller, Sergio Aragones, Alison Bechdel, Weiill Eisner, Gilbert and Jaime Hernandez, Moebius, Harvey Pekar, Marie Severin, and others. (Thanks to Trina for this information)

Thanks to Andy Mangels (see http://www.andymangels.com/and http://www.wonderwomanmuseum.com/) for the following timeline of other AIDs-related comics, apparently created originally for Gay and PRISM Comics:

1986• Megaton #4 contains the first comic book reference to AIDS

1987• Jon Sable, Freelance #44-45 features the first major AIDS storyline in comics (First Comics)
• Strip AIDS, an AIDS benefit anthology trade paperback, is released in the UK (Willyprods/Small Time Ink)

1988• Strip AIDS USA, an AIDS benefit anthology trade paperback (Last Gasp)
• AIDS News, an AIDS education book (People of Color Against AIDS Network)

1989• HOMO PATROL, a graphic novel dealing with AIDS and homophobia (Helpless Anger, 1989).

1991• Within Our Reach, an AIDS benefit anthology trade paperback (Star Reach/Marvel)

1992• Real Life Comics presents Healthman: The AIDS Crisis (Personality Comics)

1993• AIDS Awareness, an anthology comic book, is published in the UK (Chaos City Comics)
• The AIDS Awareness Trading Card Set is released. Each pack contains a condom. (Eclipse)

1994• The Incredible Hulk 420, in which a major supporting character dies of AIDS (Marvel)
• The Incredible Condom Man (Aaaahh!! Comics)

1995• Free World Comics, an AIDS education book (World Comics)
• Chris Companik’s “HIV + ME” starts as a comic strip in Atlanta AIDS Survival Project’s newsletter Survival News (January 1995). The strips began running in A & U magazine beginning March 2003.

1996• Seven Miles a Second, a graphic novel, and an autobiographical story about a hustler dying of AIDS (DC/Vertigo)

2000• Pedro and Me: Friendship, Loss, and What I Learned, a graphic novel account of author Judd Winick's friendship with the late AIDS activist Pedro Zamora, is nominated for a Pulitzer Prize (Henry Holt)

Andrew L. has offered titles Blue Pills and Lost Raven (buy this one and some of your money goes to the Evergreen AIDS Foundation, according to Amazon.com), the superhero comic Shadow Hawk and Howard Cruse's story "Safe Sex" (most probably from his work in The Advocate magazine).

One of my new favorite images

Superman Turns 70!

Comic Book Resources is reminding us all that February 29 was Superman's 70th birthday. First introduced to the masses in 1938, he's now a super-senior citizen. CBR is asking folks to detail their most visceral Superman experience. I don't really have one. What I respect most about this character is that he tries to be moral, forthright, honest, and self-motivated. He has the power to crush Earth's enemies and the power to vanquish anything that bugs him, really. But he's a study in self-control and genuinely humanist values.

I've been taking some heat from female academics lately for studying comics and graphic novels. They tell me the sequential art form is too dominated by men, that the characters are poor representations of femininity, and that the images and portrayals of women in comics are degrading and immature.

They're right -- to some degree. Often within these bereavements, though, these critics make blanket statements or assumptions: assuming the traits of super hero comics are found in all sequential art, mistaking the commercial comics as the standard bearers of the form, failing to consider that male representation in mainstream comics is often just as immature and exaggerated as is female representation, and assuming that there can be no value in what they see as a flawed form.

I'm unapologetic when I say I actually care and think about issues concerning young men. As the father of two boys, a career educator, and an informed citizen, I read the research and see with my own eyes -- have experienced in my own life -- how we're losing our young men, especially our young men from backgrounds of poverty, to unchecked appropriations of hyper-masculinity via media and possibly media-created or government- spun notions of "culture" and acceptable behavior (all of which which usually boil down to having no real humanist masculinity in them at all).

Knowing this has only increased my respect for characters like Peter Parker, Steve Rogers, and Clark Kent, characters who have the power to do amazingly terrible things, but who have decided that being supermen doesn't mean having amazing powers, but actually means rising above the banality and perversion that can be the animalistic human existence, the one bent on domination, ego, and violence. Superman is the Greek and Neoclassical ideal: Everything in the proper moderation, tempered by reason and logic, and infused with a strong moral core. He's super not only because of his alien powers, but because of how he embodies the best of humanity.

I make a habit of buying my young male relatives a Superman t-shirt at least once in their lives. As I tell my wife, "There's a time in every little boy's life when he wishes he could be Superman." I hope I'm still right, and that we're looking up to Supes for generations to come, not just because he's faster than a locomotive or could hurl our planet into the sun at any moment, but because he embodies potential power filtered through rational thought, a sincere caring for all of humanity, a balanced point of view on all things constituting the human experience, and a resolve to use his potential for the shared benefit of others.

Do I want my sons to grow up looking like Superman? Not especially, but would I be happy if they embodied the best of his character? Absolutely.

Now, I could easily embark on philosophical notions of gender, morals, and humanity here, or I could examine whether or not I'd be just as happy to have a daughter look up to the best in Superman, or I could extrapolate on the commercial character-building process that is the super hero comics' m.o. and thereby say either that it is silly to look up to a character that is the conglomeration of so many influences or suggest that the communal aspect of Superman's creation and continuing development actually supports the notion that "it takes a village" to raise children with good moral cores by showing that our group mentality, our group morality, must come into play when teaching our children right from wrong, what traits are admirable and which are not, or I could berate myself for speaking of a fictional character with such praise.

But, instead, I think I'll simply say "Happy Birthday Superman! And keep doing what you do best: Reminding us that our best selves are the potential super-men (and women) in all of us."

NCTE Considers 21st Century Literacies

The NCTE Executive Committee adopted a definition of 21st century literacies on February 15, 2008. Well, they adopted a move toward a definition, anyway.

The committee basically made a statement that as society evolves, so does the definition of literacy. Since 21st century living requires many more skills for one to be considered even functionally literate than were needed even twenty years ago, teachers need to consider expanding their notions of what it means to read and live successfully. It's great to see NCTE leading the way in getting this idea in the public consciousness.

A focus on visual and multimedia texts is also presented in the committee's statement. I think as more people peel back 20th century (or maybe even 19th century) ways of thinking, seeing, and reading, the gaphic novel is going to take a much more prominent place in education -- as a middle ground between traditional print and multimodal textuality, as an exemplar of the visual-print connection (everything's a text), and as a true art literature. By "art literature" I suggest that the graphic novel, as it helps us see that letters and forms are equally textual, all there to be read, coded, decoded, comprehended and shared, also helps us to see that our distinctions between art and literature are just as arbitrary as our distinctions between seeing the pictograph "A" as a letter -- something to be read -- but other pictorial images as illustrations to be viewed rather than read.

In other words:

Reading = reading words
Reading = reading images
Words = images
Images = texts
texts=images
Reading = reading images.

Art is to be read
Literature is to be read
Reading is a specialized viewing
Viewing is a specialized reading
Reading may = viewing
Art can be read as literature
literature can be read as art
Art may = literature
Literature may = art

Possible New Outlet for Aspiring Comics Creators?

From the site itself: "Launchpad is a new literary and arts magazine dedicated to publishing fiction, nonfiction, poetry, book reviews, and artwork by children ages 6-12. The magazine will appear six times a year...."

Could this be a great new outlet for young students wanting to share their work in sequential art narrative? I think it has some potential!

Scott McCloud Goes (to) SPLAT!

SPLAT 2008 Announces Librarian and Educator Workshops for March 15th Event.!

Just got this forward from the folks at SPLAT. Looks like a neat program they've lined up!


The New York Center for Independent Publishers today formally announced th eaddition of four graphic novel workshops for educators and librarians to take place during the inaugural SPLAT 2008 Graphic Novel Symposium on March15th.

Workshop coordinator, John Shableski of Diamond Book Distributors, says,"This selection reflects the growing acceptance and use of graphic novelsand comics in the public library, the classroom and in the academic setting.We are excited to host workshops that demonstrate the value of this excitingformat with some very engaging and knowledgeable instructors. If you wantto see how the books can be used in the classroom from the teacher'sperspective, or how to build a lesson plan using graphic novels, this is definitely a great opportunity. We have also included a great course onusing manga and anime in the public library setting. Manga represents far and away the most explosive genre in the world of graphic novel publishing.To round out the program there will be some great insight on how graphic novels are finding a home in the academic world."


Who should attend? Professionals from all levels in retail publishing,editorial, writing and creation as well as the educators and librarianfields.

Guest presenters are as follows:
Karen Green, Columbia University: Graphic Novels in the Academic LibraryPeter
Gutierrez, Graphic Novels in the Classroom: Creating Lesson Plans
Margaux Del Guidice and Michael Lizari, Comics.In A School? Using GraphicNovels to Enhance Student Achievement
Christian Zabriskie: Why Anime and Manga Belong in Your Collection

The conferencewill feature some of the movers and shakers from the graphic book worldincluding: Jim Killen; David Saylor, Raina Telgemeier, Ted Rail, CBCebulski, Bob Mecoy, R Sitayak, Nick Bertozzi and Charles Brownstein. [and Scott McCloud will be there too! That's a great line-up!!!]

There will be three different tracks of insightful panels, seminars andworkshops scheduled between 9am to 5pm, to be followed by the SPLAT GalaReception. Including the afore mentioned librarian and educators sessionsthere will be a track featuring panels on topics including "Who Reads Graphic Novels" and "How to Get Published". Another third track, willconsist of hands-on workshops on subjects such as "Story Telling" and "Where to Start with Art".

The cost of the day long Symposium will be $125; this will include lunch andthe Gala Reception. For more information regarding the Symposium and registration, contact theNYCIP at 212-764-7021, visit www.nycip.org, or e-mail Executive DirectorKarin Taylor at nycip@nycip.org.

BUCKY IS CAPTAIN AMERICA!

No, I haven't flipped my lid and gone completely megalomaniacal. In the title of this post, I'm referring to Marvel Comics' latest issues of Captain America, in which Cap's former kid sidekick, James Buchanan "Bucky" Barnes, steps up to become the new Captain America. Steve Rogers, the original Cap, was assassinated months ago, leaving the country without its sentinel of liberty.

I'm really torn about it, too. As you might imagine, as a lifelong comic book fan and someone who sports a name quite similar to Barnes', I have a deep emotional connection to the Bucky character. Hell, when I was a pre-teen, I once even convinced some friends of mine that the character was based off me. We were about the same build, had the same hair color and style and silly grin.

But being connected with Bucky Barnes wasn't always so cool. Comic book readers already had a tendency to be considered geeks or nerds when I was growing up -- back when it wasn't cool to be unique or geeky -- and I actually found myself being poked fun of by those who didn't read comics and by those who were comics readers. You see, Bucky was seen as a dorky character, THE kid sidekick cliche, even less appealing than Robin, who had at least grown up to make something of himself instead of eventually dying in a pitiful attempt to catch a baddie, leaving a legacy of guilt for his best friend Steve.

Bucky was even one of the few comics characters who had died that fans actually wanted to stay dead. For me, I took this sort of underdog, sidekick, campy role and internalized it. I was always one to root for the little guy anyway, and being a quirky kid, it came natural to connect with the Barnes through a mutual characterization that was deeper than our shared names and looks.

When I was in grad school, I even assistant-taught under a Captain America fan who everyone knew was going to be a star. I was his kid sidekick, the neat but weird fellow in his shadow and happy to be there.

Now he is a rising star in academia. But, all of a sudden, I see I'm finding my own way too; I'm on the cusp of doing well for myself and starting my own possibly stellar career. And guess who else has been revitalized? Bucky Barnes. First his mission and death were retconned such that it was revealed he was a black ops soldier who did the dirty work that Cap couldn't do -- work like killing and maiming the enemy. Cap was the "boy blue" soldier who could subdue the Nazis, but the little boy in the blue togs was the one doing that Greek drama thing and slitting their throats off-panel. Further, his body was salvaged after his apparent death; he was nursed back to health, brainwashed by the Soviets, and transformed into "The Winter Soldier," a super-spy bad-ass who can go toe-to-toe with anyone in the Marvel Universe. Iron Man, Wolverine, anybody.

And now this: honoring Cap's final wishes, an adult and recently deprogrammed (or is that reprogrammed?) Bucky Barnes has taken up the title and role of his former mentor. Bucky is Captain America. For now, he has the potential to become THE superhero, the noblest of noble, the flag-draped symbol of all that is good in America.

Me? I'm getting ready to finish my degree and could be offered a tenure-track job any day now, meaning I could be living my American dream. There's even the possibility that I could become the departmental colleague, the equal, if you will, of the Cap fan I once sidekicked under.

Is that why I'm so afraid Bucky Barnes will screw up in his new role? Do we both seem destined to fail? Or are we both afraid to succeed? Are we both actually more comfortable doing dirty work, even if it's good work, off-panel while others get the glory? Bucky can never be Steve; no one knows that more than he does, but can he be his own man and do well at it?

If he succeeds, it'll be a nice little American Dream: the once scurrilous scamp kid makes good. Sort of sounds like my own story: The kid from Nowhere, NC, rises up from abuse and poverty, from low expectations and ridicule, to become an exemplar in his chosen profession. If he fails, does it suggest I'll fail too? I'm just as close to ending this job season with no offers as I am to procuring one, just as apt to have to do more work as I am to pass my dissertation. There's a lot of evidence to suggest the American Dream is a myth, after all, that the best way to get ahead in America is to start ahead, thereby indicating that those who start with nothing are quite likely to finish with only a little more than that, regardless of what we do and how hard we work.

Bucky, Bucky, Bucky: You're so close. Don't f*ck it up. Please, lord, don't let others f*ck it up for you. Be the Captain of Whitman's "O Captain, my Captain." At the very least, be the best you can be, and hope to God it's good enough...

Fresh from the 1.23.08 NCTE Inbox...

NCTE continues to help keep graphic novels on educators' radar by sharing yet another example of a local paper giving sequential art narratives some love. See what this Kansas City paper had to say, and check out who is being featured in the story: high school students! Ahem..ahem.... ;)

Daily Bits Free Graphic Novels Viewing

Thanks to Lou Novacheck for sending this link via the comics scholar listserve. It offers a look at 17 graphic novels -- for free! This is a neat way to acquaint one's self with the format.

Satrapi Speaks on Border Crossing with Bad Info

Marjane Satrapi, author of Persepolis, both a graphic novel and now a feature film, recently published a piece in The New York Times about the cultural conflicts and confusion that come with border crossing via panels and real life. We've got some contact zones going on here, as we usually do when we think about border crossings, and tons of educational value, as one might expect.

Check out what she has to say about conflation, misunderstanding, and outright obfuscation in "Defending My Country."

Another Company Entering the Children's GN Market

Thanks to Lou Novacheck for this forward from IDW:

IDW PUBLISHING LAUNCHES NEW CHILDREN'S DIVISION AND IMPRINT
Signs Distribution Agreement with Renowned UK Children's Publishing Firm; Pacts With Top Hollywood Screenwriters To Create Children's Books

(San Diego, CA and Newark, NJ; January 10, 2008) -- In a precedent-setting move, IDW Publishing, a division of IDT Internet Mobile Group and an established leader in the comic book and graphic novel arena, is launching a children's division called Jonas Publishing and a new imprint, Worthwhile Books. The move will allow IDW Publishing to expand its library of successful print titles, which to date has been particularly focused in the horror, action, and sci-fi genres, such as 30 Days of Night and The Transformers. To launch the imprint, IDW Publishing has inked a significant agreement with a renowned UK children's publisher and is striking deals with top Hollywood writers to create children's books.

Worthwhile Books has finalized a first-look arrangement with UK children's publisher Meadowside Books (http://www.meadowsidebooks.com/), known for its unique character-driven picture books for young readers. Worthwhile will be the exclusive U.S. publisher of selected Meadowside titles and will retain domestic film and television rights on those properties. The first Meadowside Books title in the deal, Michael Recycle, by Ellie Bethel, follows the escapades of a "green-caped" environmental hero and will be released in March by Worthwhile Books. Worthwhile expects to issue approximately 10 Meadowside titles over the course of the first year, including William's Dinosaurs, by Alan Baker, which tells the tale of a little boy who finds more than trees in the dark woods near his home.

Worthwhile's Hollywood outreach is tapping into the top ranks of movie and television writing talent to bring original literary stories to the young reading audience. The collective credits of the entertainment writers include some of the industry's most successful television series and movies. These writers include:

· David N. Weiss, whose writing credits include Shrek 2, Jimmy Neutron: Boy Genius and both Rugrats movies

· David Sacks, a writer/producer on The Simpsons, producer on Malcolm in the Middle, and writer on 3rd Rock from the Sun

· Dava Savel, an Emmy Award- winning comedy writer with credits on shows such as Grace Under Fire and Will & Grace, in addition to being an executive producer on the children's program That's So Raven

· David Steinberg, whose producing credits include Meet the Robinsons, Home on the Range and Cats Don't Dance

· Robert Kurtz, who wrote for the movie Everyone's Hero and has written for such shows as Boy Meets World and Grace Under Fire

"Our growth strategy calls for continued expansion into other areas of the entertainment sector," said Ted Adams, IDW co-founder and president. "Creating and controlling successful

children's properties helps us in those endeavors. Meadowside's books are playful, empowering, smart and exciting and the artwork is simply breathtaking. These are children's picture stories in the classic tradition with a central character that is relatable to today's kids."

In speaking of the outreach to Hollywood writers, Robert Kurtz, vice-president and creative director at Worthwhile Books, said "Every writer I know who works in television or movies has a children's story inside him or her that they've wanted to tell for years but for a variety of reasons never were able to get out into the marketplace. We want writers to think of Worthwhile Books as the one-stop destination for that kind of project. It is designed to be a writer-driven company and we think that will be very attractive to these talented artists."

ABOUT IDW PUBLISHING:Idea and Design Works, LLC, (DBA IDW Publishing) is a division of IDT Internet Mobile Group (IIMG). An established leader in the comic book and graphic novel marketplace, particularly in the horror, action, and sci-fi genres, IDW Publishing also owns Jonas Publishing and its children's imprint, Worthwhile Books. IDW lists some of the most successful and hottest print titles in the industry in its portfolio, including: television's #1 prime time series CSI: Crime Scene Investigation; Sony's Underworld; Paramount's Star Trek; Fox's 24 and Angel, and Hasbro's The Transformers. The feature film version of IDW Publishing's graphic novel, 30 Days of Night, recently topped the box office when it premiered in October. The company also works with foreign licensing agents to sell their comics around the world, with titles being published in multiple languages and crossing dozens of regions.

ABOUT IDT INTERNET MOBILE GROUP:IDT Internet Mobile Group (IIMG), a division of the Fortune 1000 telecommunications firm IDT Corporation (NYSE: IDT, IDT.C), is a leader in the development, management and growth of cross-platform consumer entertainment, distribution and financial services. From providing mobile content to consumers in over 200 countries through the mobile content portal Zedge ( http://www.zedge.net/) to the creation, development and distribution of top graphic novels through IDW Publishing, and providing cash remittance services via mobile phones to millions of people living abroad, IIMG is dedicated to turning innovative ideas and companies into products and services that span various industries.
In this press release, all statements that are not purely about historical facts, including, but not limited to, those with the words "believe," "anticipate," "expect," "plan," "intend," "estimate," "target" and similar expressions, are forward-looking statements within the meaning of the Private Securities Litigation Reform Act of 1995. All forward-looking statements and risk factors included in this document are made as of the date hereof, based on information available to IDT as of the date thereof, and IDT assumes no obligation to update any forward-looking statements or risk factors.

UF Comics Links

The University of Florida is one of the, if the not the, premiere place to study visual rhetoric as it relates to comics. So, it's not a surprise that they have an impressive list of links and resources on comics and graphic novels. In addition to hosting the comics scholars listserve, UF also is the home site for ImageText, an online journal of excellent repute that examines image-print relationships and more. Click here to see what they have to offer on the teaching of comics, etc.

UB Jammin' on Comics

I just returned from a very pleasant stay at the University at Buffalo, State University of New York. They do great work with multimodal literacies there, and maybe I'll have the opportunity to join their staff (we'll see!).

Among my joys was meeting long-time graphic novel advocate Michael Lavin, a librarian who has been spreading the message that graphic novels get kids reading. So, as a tribute to him and a nice 2.5 day stay, I ask you to check out the UB links on comics and graphic novels.

Mouly & Spiegelman Announce Toon Books

Just months ago I was using Art Spiegelman as an example of an artist who should produce his art without having to feel like he had to offer pedagogical potential. Finding teaching opportunities in the work of artists was the job of educators, I claimed. Now Spiegelman, and more specifically his wife Francoise Mouly, are getting into the kids comics game like never before, and they're using pedagogy research to help them build upon their already respectable repuations for producing high-quality comics for youth.

They've been producing the excellent Little Lit series for younger readers for years now, but their newest project, Toon Books, extends those efforts.

With the goal of "Bringing new readers to the pleasures of comics," Toon Books is seriously considering pedagogy as part of its marketing. From the website:

"TOON Books are the first high-quality comics designed for children ages four and up. Each book in the collection is just right for reading to the youngest but, perhaps most remarkable: this is the first collection ever designed to offer newly-emerging readers comics they can read themselves. Each TOON book has been vetted by educators to ensure that the language and the narratives will nurture young minds. Our books feature original stories and characters created by veteran children’s book authors, renowned cartoonists and new talents, all applying their extraordinary skills to fascinate young children with clearly told tales that will welcome them to the magic of reading...."

"Comics have always had a unique ability to draw young readers into a story through the drawings. Visual narrative helps kids crack the code that allows literacy to flourish, teaching them how to read from left to right, from top to bottom. Speech balloons facilitate a child’s understanding of written dialogue as a transcription of spoken language. Many of the issues that emerging readers have traditionally struggled with are instantly clarified by comics’ simple and inviting format. As a matter of fact, Maryland State Superintendent of Schools, Dr. Nancy Grasmick, is planning to use the TOON Books in K-3 classrooms as part of the Maryland Comic Book Initiative.

As one of our advisors, Barbara Tversky, professor of Psychology at Stanford University, explains: 'Comics use a broad range of sophisticated devices for communication. They are similar to face-to-face interactions, in which meaning is derived not solely from words, but also from gestures, intonation, facial expressions and props. Comics are more than just illustrated books, but rather make use of a multi-modal language that blends words, pictures, facial expressions, panel-to-panel progression, color, sound effects and more to engage readers in a compelling narrative.'”

Those quotes show a pretty strong commitment to making sure potential buyers know their purchases are beneficial to the children in their lives. The Toon Books blog, a fun and interesting resource, continues this sort of pedagogy-pinching by referencing intriguing studies on comprehension and visual development.

Whether done singularly for marketing purposes or with an altruistic aim of proving sequential art's pedagogical potential, I find it exciting that such high-quality creative minds are making a serious effort to produce excellent comics for kids. And make no mistake -- they are focusing on the young ones. Not teens, not tweens: kids. They even end the introductory piece from which I quoted above by saying "Comics -- they're not just for grown-ups anymore," a wink and a nod to all of us who are sick of articles wanting to extol the virtue of sequential art by saying things like "comics have grown up" and "they're not just for kids anymore."

More power to Mouly and Spiegelman. I hope Toon Books is a great success. Am I worried about artists using educators to help sell their products? Maybe just a little, but having seen the quality work that Mouly and Spiegelman have put together in the Little Lit series, I can't help but be excited.

And, heck, if experts in education help sell books that help kids develop both a love of reading and their appreciation/awareness for visual conventions of communication, isn't that the type of synergy we should celebrate? So often folks ignore what education research says about things. If a savvy publisher has decided to build ethos while also letting folks know that certain companies are paying attention to what education researchers have to say in their independent research, I know I'll take note of it -- with a critical eye, of course -- but I'll still note the effort and the names and studies mentioned.

21st Century Literacy Skills & the Contemporary College Student

If this doesn't get you thinking about the need for educators to realize the changing nature of literacy, living, and thinking, I don't know what will.




I love the opening McLuhan quote about 19th century pedagogy. I've seen it with my own eyes: administrators, veteran teachers and newbies alike resorting to what they feel are "tried and true" methods of toe-the-line literacy instruction. I remember learning that my former school district received a $1,000,000 technology grant. I was happy that the school was getting smart boards, etc., but I couldn't help thinking, "What good is 21st century technology if it encounters 19th century pedagogy?"

And pay attention to the "I'm one of the lucky ones" sign, too. This deals with college kids -- those fortunate enough to make it past secondary ed. And here's hoping some test-makers in high positions read that scantron note!

The Difference Between Graphic Novels and Comic Books

The Simpsons does it again. Alan Moore, Art Spiegelman, and Dan Clowes join Bart, Lisa, and Comic Book Guy in illuminating the differences and intersections among mainstream comics, super-hero comics, the indies, and those considered graphic novels.



*embedded via Youtube embed function; all rights reserved by the proper authorities/owners; buy The Simpsons DVDs and The Simpsons Movie;watch the show; visit the Quick -E- Mart. Invest in Youtube.*

Comics and Social Issues Site

The sequential art format has long been used to examine social issues and to promote social standards in health and living. Sometimes this happens in the context of on-going series; sometimes "special issues on special issues" are published. Adam C sent me this great link to a site that has a collection of such special issues.

All are meant to be serious efforts at combating social ills or educating the public. Taken out of context, they can seem tongue-in-cheek and certainly more than a little lame. But, with a little respect for making an effort and an eye on history, we see that comics and graphic novels have a distinguished history of grappling with hot-button topics.

Graphics Classics & The Inscrutable Mark Twain!

Just got this press release from the company that markets its graphic novel adaptations of canonical literature as "Classics You'll Want to Read!"

TALES OF WIT & WONDER, ILLUSTRATED!

Eureka Productions is pleased to announce the publication of the revised second edition of the long-out-of-print GRAPHIC CLASSICS: MARK TWAIN, the eighth volume in the GRAPHIC CLASSICS series of comics adaptations of great literature. This edition contains 38 pages of new material, including a never-done-before comics presentation of “Tom Sawyer Abroad,” Mark Twain’s little-known sequel to “The Adventures of Huckleberry Finn,” with adaptation by Tom Pomplun and George Sellas. Returning from the first edition are “The Mysterious Stranger” by Rick Geary, “A Dog’s Tale” by Lance Tooks, “The Celebrated Jumping Frog” by Kevin Atkinson, and “The Carnival of Crime in Connecticut” by Antonella Caputo and Nick Miller. Also “Is He Living or Is He Dead?” “A Curious Pleasure Excursion,” and eight women artists interpret Mark Twain’s “Advice to Little Girls.” With a dramatic cover painting by George Sellas.


GRAPHIC CLASSICS: MARK TWAIN is available for schools and libraries from Diamond Distributors, Baker & Taylor, Ingram and other distributors, in bookstores, or direct from the publisher at http://www.graphicclassics.com./

“Many of the stories contain some of Twain’s most cynical, acidic works of satire. Even the adaptation of the little-read “Tom Sawyer Abroad,” written from Huck Finn’s simple-but-secretly-sophisticated point of view, contains a number of digs at religion, science, and imperialism. George Sellas’ cartoony style is a nice match for what is also a rip-roaring adventure story... there’s a propulsive quality in both prose and art that leaves the reader breathless as they flip from page to page.”— Rob Clough, SEQUART.

GRAPHIC CLASSICS: MARK TWAIN(Second Edition) Edited by Tom Pomplun. Published December 2007, Eureka Productions. Distributed by Diamond Book Distributors(ISBN 978-0-9787919-2-6)144 pgs, 7 x 10", paperback, b&w, 4c cover, $11.95

The Graphic Classics series:GRAPHIC CLASSICS: EDGAR ALLAN POE (978-0-9746648-7-3)GRAPHIC CLASSICS: ARTHUR CONAN DOYLE (978-0-9746648-5-9)GRAPHIC CLASSICS: H.G. WELLS (978-0-9746648-3-5)GRAPHIC CLASSICS: H.P. LOVECRAFT (978-0-9746648-9-7)GRAPHIC CLASSICS: JACK LONDON (978-0-9746648-8-0)GRAPHIC CLASSICS: AMBROSE BIERCE (978-0-9712464-6-1)GRAPHIC CLASSICS: BRAM STOKER (978-0-9787919-1-9)GRAPHIC CLASSICS: MARK TWAIN (978-0-9787919-2-6)GRAPHIC CLASSICS: ROBERT LOUIS STEVENSON (978-0-9746648-0-4)HORROR CLASSICS: Graphic Classics Volume Ten (978-0-9746648-1-1)GRAPHIC CLASSICS: O. HENRY (978-0-9746648-2-8)ADVENTURE CLASSICS: Graphic Classics Volume Twelve (978-0-9746648-4-2)GRAPHIC CLASSICS: RAFAEL SABATINI (978-0-9746648-6-6)GOTHIC CLASSICS: Graphic Classics Volume Fourteen (978-0-9787919-0-2)

Transforming English Education with Graphic Novels

I'm pleased to announce that my article, "Transforming English with Graphic Novels: Moving toward Our “Optimus Prime,” has been published in this month's English Journal (97.2). Here's how NCTE describes the article:

James Bucky Carter argues for the transformative potential of graphic novels in the English classroom. He advises teachers to be actively aware of the newer and lesser-known graphic novels and suggests approaches for examining the complex social issues the novels address.

EJ has a circulation of around 25,000 and an acceptance rate, if I remember correctly, of around 10%. So, I'm very happy to be included in this issue on "Transforming English Education."

Norman Rockwell Museum Rocking the Graphic Novel!

Oh, to live in Stockbridge, MA! The museum is actively promoting its LitGraphic: The World of the Graphic Novel exhibition to educators! "Hey, why not an invite for your ol' pal Bucky, Normie?"

Click the title of this post to read about the direct marketing being done for the 11/09/07 and 01/12/08 activities.

Looks like more and more folks are noticing how graphic novels and education can work together!

And here's a preview of the collection itself.

Not Hatin' on NHCTE!

A second state branch of NCTE has asked me to be a special speaker at their state conference. Iowa contacted me about being a keynote speaker a few weeks ago. Now representatives of New Hampshire's affiliate, NHCTE, have asked me to present two sessions at their Spring get-together held in Manchester, NH. As I have friends who are into the comic book scene in New Hampshire and had my edited collection mentioned in a recent policy document from the NH Department of Education, I am very excited about this trip. Plus, I've always wanted to visit the state. Heck, I wouldn't mind living there, if any New England colleges or universities are reading! ;)

New Comic Accentuates Diversity/Multicultural Teamwork

Comic Book Resources has posted an interview with Bill Galvin,the creator of "The Scrapyard Detectives," a comic created with the support of The Diversity Foundation to explicitly illustrate examples of ethnic diversity and community teamwork. Here's CBR staffer Rick Offenberger's hook:

Everyone wants to change the world. However, few of us do anything about it. Bill Galvan is trying; he joined the non-profit organization The Diversity Foundation to do just that. Bill has created his own group of teen adventures in the comics "The Scrapyard Detectives," a group who solve mysteries while demonstrating the value of accepting ethnic and cultural differences. But this isn't a comic you'll likely see in your local comic shop. Galvan's creation is given out free to schools and libraries and so far this effort has topped 70,000 copies... Read more here.

Diversity in comics is nothing new. Pick up any copy of X-Men from Giant-Sized #1 on and you'll see a multicultural group of heroes trying to make things work. They're led by a man in a wheelchair. They come from different countries and represent various ethnicities. However, Galvin's comic seems to make the message of cooperation much more overt, which might be what some readers need, so more power to him and his cast of characters. Plus, the series actually has an education professor on board as an active advisor and comes with lesson plans focusing on vocabulary and comprehension.

The Testify Project

I'm herein officially starting something I'm calling "The Testify Project." I'd like to invite you to reply to this posting by testifying to how comics influenced you as a reader when you were in your formative or school-age years. Was the first book you read a graphic novel? Did Crisis on Infinite Earths make you a lifelong reader?

I've posted a couple of my own testimonial-type stories, and I invite you to help me show the world the power of sequential art by posting yours too as a comment to this thread !

New "Classics" Imprint

Thanks to M. Hollman for sending me this link to another graphic novel publishing company putting its own spin on the "classics illustrated" approach to sequential art. Self Made Hero publishes Manga versions of Shakespeare plays and also has some other literary adaptions lined up. Guess who is on the list? Poe and his "nevermore-ing" raven, of course! With the likes of Graphix and Marvel and :01 (First Second) and others tapping into the educational graphic novel market, surely more and more teachers will take note of the resources becoming "ever-more" available to them.

Excellent Manga Primer from Wired Magazine

Many adults and educators, myself included, are a little wary of Manga, Japanese import comics or graphic novels or those works of sequential art done in the Japanese style. But, young people in America are devouring them, it seems, boys and girls, so it behooves print literacy traditionalists and American comics traditionalists to learn about them.

Wired Magazine has offered up an excellent primer on Manga's definition, history, formal properties, and popularity. Just click the title of this post before Astro Boy (or should I call him "Mighty Atom?") flies off the page, and you can read and download a Manga primer written in a Manga style!

**Thanks to Adam C. for sending me the link!

Frey and Fisher Visual Literacy Collection Cover

Corwin Press has posted a cover image for the upcoming collection Teaching Visual Literacy Using Comic Books, Graphic Novels, Anime, Cartoons, and More to Develop Comprehension and Thinking Skills! Edited by Nancy Frey and Douglas Fisher and including an essay by yours truly, this book is going to be a great addition to the field once it hits the shelves in early 2008. I'll post a larger cover image when I can get one.

Nate Fisher Speaks Out

Suggesting that his school administration completely sold him out while also saying that he made an honest mistake in giving a student Daniel Clowes' Eightball #22 to read, former Guilford High School (Connecticut) English Teacher Nate Fisher is finally speaking about the incident that garnered national attention.

He says he remembered reading the book in a graphic novel class taken at UConn. As someone who teaches both "graphic novels as literature" and "graphic novels as Young Adult literature" courses, my guess is that he took a course more similar to the former than the latter.

I can't help but think what graphic novels might be in his class if he had been able to take a pedagogically-centered graphic novel course in college, though. If he'd been a student in my class, he probably wouldn't have read Eightball, but he would have read Will Eisner's A Contract With God and Brian K. Vaughn's Pride of Baghdad. He would have learned not to shy away from challenging material and how to protect himself and his students' intellectual freedoms as well.

Perhaps teacher educators need to give the graphic novel more attention in their methods and YA lit classes. I know of many college-level graphic novel classes, but I know of no graphic novel-themed education classes besides the one I taught last summer and may teach again this summer. I wonder if Mr. Fisher would have taken such a class, and if he had, if he would have still included the Clowes book in his classroom...

At any rate, here's hoping that Mr. Fisher is able to find employment as a teacher once again and also that his experience with overzealous parents and sadly typical administrators and central office personnel hasn't turned him off of graphic novels for good.

Me, Iowa, October 2008!

The Iowa Council of Teachers of English has asked me to be a keynote speaker at their 2008 convention! Wow! It's a real honor, especially since John Golden will be another keynote presenter. ICTE and I are in talks right now, so I'll post more later, but how fun to have this to look forward to, and how exciting that ICTE is this interested in using sequential art narratives in the classroom!!!! Having spent so much time in Mississippi lately, it was refreshing to see folks receptive to my work and ideas.

NCTE Calls it as it Sees it

This week's NCTE Inbox links to a follow-up article from the rag that broke the Guilford High School (Connecticut)/Eightball story in which a popular new teacher allowed a young female student to read the 22nd issue from Dan Clowes indy comic series Eightball.

NCTE placed it in a "Censorship" section of the weekly e-mail newsletter, and I was glad to see them do so. I probably wouldn't have offered the student Eightball #22, but no one is talking about what Mr. Fisher might have done right, i.e. offering the student a choice of reading materials (as some have reported he did) and telling the student up-front that the book she decided on had mature themes. And the whole idea that the book is being censored is an accurate one, but not much attention is being placed on that, either.

So, kudos to NCTE for calling it like they see it! The story was very poorly covered from the original source, so it was good to see an organization able to cut through the crap and get to one of the hearts of the matter concerning this bewildering beast of a happening!

The NCTE Inbox can be accessed by clicking here.

For more info on censorship and Sequential Art in Education, click here.

My E-mail to Guilford High School

Since the recent story about a Connecticut teacher resigning after parental complaints concerning his asking a student to read Daniel Clowes' Eightball #22 corresponds so well with one of the talks I'll be giving at this year's NCTE convention, I decided to offer my services to the high school where the action took place. Here's my letter to the principal at Guilford HS:


"Hello, I am James Bucky Carter. I recently edited a book entitled _Building Literacy Connections with Graphic Novels_. Published by the National Council of Teachers of English, the book offers suggestions on how to use graphic novels in the 6-12 classroom.I know you all recently had an event that may have some of your teachers resistant to using GN's in their classrooms. Indeed, at this year's NCTE in NYC, I will be leading a roundtable discussion on how to avoid the pitfalls and roadblocks associated with using graphic novels. I just wanted to bring that to your attention.

As a sort of preview, in my reaction to the Eightball incident on my blog, I list 2-3 suggestions for teachers who want to consider GN's but might now be afraid to. My blog is http://www.ensaneworld.blogspot.com/.Trolling the archives will also reveal many legitimate resources for using sequential art in the classroom.

Also, if you think your school community would like to hear me speak on the subject of graphic novels, I'm a member of NCTE's cosponsored speaker program.Best to you and your school (and to Mr. Fisher too) as you all seek a return to normal.

Sincerely,
James B. Carter"

So far, I've not had a response, but the New Haven Register has printed a follow-up story with more info on graphic novels and which also states that higher-level personnel have deemed the material inappropriate, so maybe the system is just trying to put it behind them. Still, I hope their remaining teachers aren't afraid to use sequential art in their classrooms now.....

I felt I should do something proactive about the situation, something that took the emphasis off the past and focused on the future and also tried to preserve a place for sequential art narratives in the classroom. It wasn't much, but at least I offered.

To Be or Not to Be.. Behind the Eightball #22

The New Haven Register is reporting that a popular high school teacher has resigned his position after complaints stemming from the teacher assigning Daniel Clowes' Eightball #22 to a 9th grade female student.

Clowes' stories are known -- to those of us in the know on today's comics scene, anyway -- for their offbeat, insightful look at the sides of life that permeate our worlds but that we often fail to consider or brush off because of what they might illuminate about ourselves and our society. His work pays attention to the things we often don't want to admit about our cosy little towns and their inhabitants. A work like Ghost World or his Eightball series is a lot like Spoon River Anthology or Our Town, only in comics format.

But, as Stephen Cary has pointed out, it's one thing to write about nudity, rape, and other "unmentionables" that happen; it's another to see them depicted in a visual form. Americans seem to fear the visual. We want our drawings safe and cartoony. Anything else, we're suspicious of, it seems. Cary refers to this phenomenon as the "naked buns effect."

I have not read the issue that English teacher Nate Fisher asked the female adolescent to read. My general impression of the Eightball series is that it is probably best for older high school students and does contain Clowes-style quirkiness, meaning it does not shy away from topics of sexuality, perversion, etc. One blog poster on another site said that a respected school library magazine suggested it for 10th grade and higher. I'll have to check my own sources..

This November I will be leading a roundtable discussion at NCTE that will help teachers learn how to navigate their way through the pitfalls and bumpy roads that come with the territory of trying to integrate graphic novels into the classroom. Though I do not want to give too much away here, two bits of advice could help others who might want to use graphic novels in the classroom but are now more afraid to do so:

1. READ it! Don't take a review's word for it or a friend's. Read a graphic novel fully before you bring it into your classroom or assign it or even suggest it to a student. Everyone's community has different standards. Don't get caught without considering those in relation to every panel on every page.

2. Write a rationale for why you want the book in your classroom library, reading list, etc, that explains to administrators, students, and parents why the book is an essential part of your literate environment. Explain the "pedagogical worthiness" of the text in the rationale and be upfront about any issues that might cause some students or parents to blanch. Attach this rationale to the book's cover.

2b.Even better, write the rationale as a contract between student, parent, and teacher such that all parties agree that if the student wants to read the book, all parties are aware of the possible hot spots of the text. Signatures offer a great record, and this means a student who brings the book home to mom or dad is doing so with the explicit and teacher-directed mission of considering the book with his or her parents before the text is read.

Apparently Fisher is a new teacher, and a popular one,which makes it all the more tragic that he's ran into such resistance for what could have been an honest mistake. Since we lose so many new teachers within the first five years anyway, it might have been nice to see the administration at least try to back their new hire. An administration with spine.... Ah, to dream. Surely there are some out there....

I was also disappointed that someone found issue with Fisher asking the student "how did the book make you feel?" I twinged when I considered the possible ramifications: will the school over-react and restrict the use of all text-to-self connection questions?

And let's not get too out of sorts because the book in question is a graphic novel. Plenty of traditional print-based novels have caused folks to react or over-react as well.

I'm not sure if more info will come to light about this teacher or about this story in general. I feel for all involved and hope that there's no reason for me not to hope that Mr. Fisher can and will find employment as a teacher elsewhere.

At the very least, hopefully the two bits of advice above will help others from finding themselves behind the eightball when it comes to using graphic novels in their classrooms.