Diamond Bookshelf #18

Bkshelf 18_01.indd 1

10/30/2014 11:56:43 AM

The winter months are upon us - a time for bundling up, sitting by the fire, enjoying a warm beverage, and reading comics.

To help educators and librarians find the best graphic novel selections for the colder months, Diamond BookShelf presents our Recommended Reading List for Winter 2015.

Arranged by age rating, these lists feature top titles scheduled for release from December 2014 to February 2015 that will help readers fend off the chill and enjoy the time indoors.

Visit www.DiamondBookShelf.com/ RecommendedReads for our complete Winter 2015 list.

Bookshelf Winter2014_02.indd 2

10/31/2014 8:10:18 AM

diamondbookshelf.com

WELCOME TO BOOKSHELF T H E G R APH IC NOV EL RES OURCE F OR EDU CA TOR S A ND LIB R A R IA NS Graphic Novels have a lot to offer as literature, educational tools, entertainment and more!

Whether you are a teacher or reading specialist seeking to incorporate graphic novels into the classroom; or a librarian or media specialist looking to add graphic novels to your collection, our mission with the Diamond BookShelf is to provide you with comprehensive information on the latest graphic novel news, reviews and events.

On Our Cover Graphic novels have a power to bring the past alive, as exemplified by Top Shelf Productions’ March Book Two, the second volume in Civil Rights leader John Lewis’ graphic memoir.

Rep. Lewis, co-writer Andrew Aydin, and artist Nate Powell discuss the book on page 10.

TABLE OF CONTENTS

FEATURES 16

19

SPECIAL FEATURES No Sound More Powerful................................ 10

Rep. John Lewis, Andrew Aydin, and Nate Powell discuss March Book Two

Great Comics (for Kids)....................................14

An Interview with IDW Publishing Managing Editor David Hedgecock

Drawing the Beat...............................................6

An interview with Ed Piskor about his comic Hip Hop Family Tree

Bright Lights, Dark City.................................... 19 A preview of Image Comics’ The Fade Out Volume 1

EDUCATORS/ LIBRARIANS The Past in Comics.............................................9 A Look at History As Covered in Graphic Novels

HOW TO USE THIS PUBLICATION The BookShelf magazine was created as a compliment to Diamond’s BookShelf website. With this publication, you’ll find articles designed to introduce you to the world of graphic novels and help you learn how to integrate them into your classroom or library. You’ll also find reviews, core lists, reference recommendations and special extras to help you get started.

If you want to know what comics and graphic novels are and how or why to use them, or if you are already familiar with graphic novels and are looking for a great resource to improve your collection… Read on!

Katie’s Korner..................................................22

Prof. Katie Monnin reviews Theseus and the Minotaur and Above the Dreamless Dead: World War I in Poetry and Comics, with suggestions for how they can be used in the classroom

DEPARTMENTS Graphic Novels 101............................................ 5 News and Notes.................................................8 Reviews........................................................... .24 Core Lists.........................................................26 Resources.........................................................29 Editor: Mark Banaszak Contributing Writers: Katie Monnin, Caitlin Plovnick

Read BookShelf Online!

To read a pdf version of previous issues of Diamond BookShelf, visit http://bit.ly/BookShelfMag

Designer: Nick Pentz Special Thanks to: Cindy Anderson, Roger Fletcher, Steve Geppi, Allan Greenberg, Kuo-Yu Liang, Dan Manser, Tom Sadowski PRINTED IN CANADA

© 2014 Diamond Comic Distributors, Inc. All rights reserved. Diamond, the Diamond logo, Diamond Books logo, Diamond BookShelf logo and diamondbookshelf.com are either registered trademarks or trademarks of Diamond Comic Distributors in the United States and/or other countries.

All other trademarks are the property of their respective copyright owners.

Winter 2015

Bookshelf Winter2014_03-30.indd 3

3 10/31/2014 8:08:47 AM

diamondbookshelf.com

GRAPHIC NOVELS 101 WH A T ARE G RAPHIC NO V ELS AND COMICS? GRAPHIC NOVEL can be used to denote both the content and the format of a book. When speaking of content, a graphic novel is a long, self-contained story depicted as a pictorial narrative, often taking the form of a comic book. In terms of format, however, the words “graphic novel” can be used to describe any pictorial narrative that looks like a book, whether it is a self-contained story, a chapter in a longer serial, an anthology of different work or a non-fiction text depicted in comic book form.

A COMIC BOOK is the traditional periodical form most people are familiar with. A comic book can stand on its own or be part of a SERIES. A series is also sometimes called a “title,” which refers to the entire series, not a single discrete unit.

Before taking the plunge and using comic books in your instruction, you may be hesitant about the appropriateness of the content of the comic. Some misperceptions of the comic book medium are that it is rife with graphic depictions of sex, nudity, or worse. But while there certainly are titles that meet that description, it is impossible to pigeonhole the diverse landscape of comics into a single slot.

Yes: some comics may contain objectionable language, graphic depictions of violence, or sexual content.

However, this is also the case when talking about prose novels, films, television programs, computer games, etc.

Your students are most likely already exposed to such thing on television, in the music they listen to, and in the video games they play.

When a story is published in the hardcover or softcover format first (that is, without periodical serialization), it is referred to as a GRAPHIC NOVEL and only a graphic novel.

Many of these terms are interchangeable, as you can see. A “graphic novel” can refer to a hardcover or softcover, to a reprint collection or an original story. Similarly, all of the formats referenced can be called “comics” or “comic books.” GRAPHICA and SEQUENTIAL ART are both terms frequently used in the academic community to describe all of these formats.

www.DiamondBookShelf.com

provides more great introductory information about graphic novels and comics, including: • What is Manga? • A Brief History of Comics • A Brief History of the Graphic Novel • A History of Comics in Education • A Glossary of Frequently Used Terms AND MORE! Find us on Facebook at www.Facebook.com/DiamondBookShelf and Twitter at www.Twitter.com/DiaBookShelf

Bookshelf Winter2014_03-30.indd 4

DON’T BE.

As with any form of literature, comics and graphic novels run the gamut from kid-friendly to adult and represent every kind of genre imaginable. Also like other forms of literature and entertainment, not every comic book or graphic novel may be suitable to your classroom. Remember, the comic book is a format, not a genre. It is just another unique medium used to tell a story.

Sometimes multiple issues of a series are collected into one volume. It can be hardcover or softcover. Softcover editions are often called TRADE PAPERBACKS or just TRADES, regardless of size. A smaller size paperback (the typical size for manga collections) can also be referred to as a DIGEST.

4

CONCERNED ABOUT COMICS?

“But that doesn’t mean they should be exposed to such things in my classroom,” you may reply. And we agree with you wholeheartedly. Any comic found objectionable should be excluded from your classroom or school library. We ask only that you realize that not all comics — or even the majority of comics, for that matter — should be so excluded. Obviously, when choosing a particular title, some discretion will be involved. But for every objectionable or offensive title in the market, there are many, many more that are not only appropriate, but also critically acclaimed and respected works of art.

Even as conservative an organization as the Parents Television Council has endorsed comic books in schools, commenting that they “may be the best thing to happen for kids who resist the written word.”* Your community standards and mores will prevail, as they should: Be sure to investigate a new comic book or graphic novel with the same vigor and critical eye you would apply to any addition to your classroom. Depending on the class and/or lesson you are teaching, a comic’s suitability can vary; preview the graphic novel’s content before assigning it to your students.

Taking a few simple steps to educate yourself will prepare you for the concerns of others and alleviate your own as well! * Gustafson, Rod. “Help for Reluctant Readers” (06/29/04)

Winter 2015

10/30/2014 12:29:24 PM

De lar yo

1

lik ha de to co for

2

ed gr ple va rea ing to wh of (Se ba an co Di

3

ex yo ac

?

ur eof c e so

c ems or r, er

e, t. e c. h e

o d d m ot at n e n y d

emor

as or u g ’s nt

e l!

diamondbookshelf.com

GRAPHIC NOVELS 101 STARTI N G A GRAPHIC NO V EL COLLECTION Deciding to include comic books and graphic novels in your collection is the first step into a larger world. Now, you must decide what to do once you’re there. Here are some basic steps on your path to using graphic novels in your collection:

1. Determine Needs

First, you need to ascertain what books you would like to incorporate into your collection. Perhaps you have one or two graphic novels already, or you may be deciding to carry these books for the first time. You’ll need to decide which books would be appropriate for your community of readers, which books they’re hankering for, and which books would delight and surprise them.

2. Find An Expert

You don’t have to possess an encyclopedic knowledge of comics and graphic novels to successfully integrate them into your library’s offerings. There are people out there who can advise you on what books are valuable. For instance, you almost certainly already have readers in your library community with an understanding and love of graphic novels. You can also reach out to the independent comic book retailers in your area who are armed with detailed information about this area of reading they have a vested interest in supporting.

(See “How to Order Comics & Graphic Novels” at the back of this publication for information on how to find and work with your local comic book store.) And, of course, you can also feel free to contact those of us at the Diamond BookShelf!

3. Purchase Graphic Novels

Once you have consulted with your readers, experts in the field, and any others who can offer insight, you’ll be ready with a list of titles of graphic novels to acquire for your library.

4. Decide How To Catalog/

Where To Shelve

Now you need to decide where to put them!

Diamond provides information on cataloging to make integrating graphic novels into your collection easier.

You can find these tools at www.DiamondBookShelf.com.

In terms of shelving you have a number of options. See “How to Catalogue Comics” for a comprehensive look at cataloging and shelving options and resources.

5. Promote Your Graphic Novels

You could have the finest graphic novel collection in history, but if no one knows about, it won’t matter.

The success of your collection relies on a certain level of promotion. If you don’t get the word out, no one will know the books are there. Start including the news about your graphic novels into your existing newsletters, pamphlets, and other promotional materials. Put up easy-toread signs at the entrances to your library so that nobody who enters will fail to know about the new additions. Add the news to your e-mail correspondence. Contact your local media and encourage them to do a story about your library’s efforts to expand and enhance readership through this vital art form. Stage contests, offer giveaways, and plan fun events. Coordinate promotions with your local comic book retailer.

6. Evaluate Success/ Circulation Data

After a certain period of time, you’re going to want to crunch the numbers. Measuring the graphic novel circulation at your library indicates the extent to which your readers are using this new library resource and will help you evaluate the success of the program. It will THERE IS NO NATIONAL STANDARD when it comes to the also point you in appropriateness or selection of graphic novels. Therefore, the best the right direction titles to include can vary from library to library. It is vital — once as to which titles and series to snap you’ve decided on a particular book — to read through the book up in the future!

yourself. What might pass muster in some communities may not pass muster in yours. This website and the various resources listed throughout are your best starting points if you are approaching comics from a starter’s perspective.

Winter 2015

Bookshelf Winter2014_03-30.indd 5

5 10/30/2014 12:29:05 PM

diamondbookshelf.com

THREE CATEGORIES TO KEEP IN MIND: 1. BESTSELLERS Lists of bestselling graphic novels can be obtained each month from w w w. D i a m o n d B o o k S h e l f . c o m .

Additionally, resources such as the New York Times’ weekly Graphic Books Bestseller List and BookScan: www.bookscan.com

can

provide

8. Make Graphic Novels

a Regular Part of Your

Ordering Cycle

similar information for the highest selling graphic novels in the bookstore market.

Once you’ve talked to your readers and assessed your circulation data to see how successful the addition of comic books and graphic novels has been, you’ll want to keep the ball rolling. An established graphic novel program in your library needs to be sustained, and making graphic novels a regular part of your ordering cycle will ensure the vibrancy of your collection. Including these titles in your regular decisions on what books to carry will help make them a significant and popular segment of your library.

2. CRITICALLY

ACCLAIMED TITLES Graphic novels that have received stellar reviews and won literary awards are sure to generate interest in the medium, will attract new readers and also make a great case for having

a

lection.

There

graphic

novel

are

a

7. Poll Patrons

Never forget to meet the needs of your readership. Consulting the experts and embarking on your own research into which titles to carry is a necessary element of this program, but asking your patrons what they want is also crucial. Poll your patrons to find out what other titles they’d like to add to the collection. The flourishing graphic novel collection at a library will greatly depend on the actual requests of the readers being served.

col-

number

of literary publications that review

graphic

novels,

including

Publishers Weekly, Library Journal, School Library Journal, Booklist, VOYA and others. See pages 26-27 for a selection of recent reviews.

3. MEDIA TIE-INS Titles that tie in to hit movies, games, novels and TV shows are sure to appeal to fans of the same. Many Manga titles are also TV cartoons, and many blockbuster movies are adapted from comic books.

REMEMBER: As with any collection development, there is a period of experimentation during which you will learn which titles will circulate and which will not. You cannot judge the effectiveness of a graphic novel collection with a handful of titles, any more than you would do so with a handful of DVDs or audiobooks. If there’s no room in your budget to make a large initial purchase, start small and evaluate regularly. Add titles as you can, polling your patrons, reading review sources, and keeping diversity in mind.

As time goes on, you will find the right combination for your readership and community.

The BookShelf newsletter stays Soon, you’ll come to realize that comic books and graphic novels are an engaging and vibrant form of literature, and the promotional possibilities for your library are endless!

current with the latest media tie-ins and adaptations.

6 Bookshelf Winter2014_03-30.indd 6

Winter 2015

10/30/2014 12:15:03 PM

Co

“T inc

our ng y is ng Poll y’d ng atly ers

ers ow nd to phto a enudon a ry.

on of arn will a tia no ial dd ng nd. na-

mic an nd ary

diamondbookshelf.com

T

O

P

10 REASONS

WHY COMICS AND GRAPHIC NOVELS PROMOTE LITERACY

1.

They bring a whole new group of readers into the library.

2.

There’s no dearth of material that appeals to boys, and there’s a growing body of material that appeals to girls too.

3.

They engage the reluctant reader — and appeal to gifted readers, too.

4.

They help increase kids’ vocabulary — studies show, even more than movies, television, or adult books!

5.

They are a multi-modal form of communication (meaning is communicated through visual context, not just words), similar to spoken language, and are thus a great bridge to written language.

6.

Visual literacy is increasingly important in 21st century society.

7.

They stimulate the imagination and model visualization for readers.

8.

They offer dynamic and high-interest supplementary material for a wide range of disciplines -- not just English but also history, civics, science, art, geography, and more.

9.

They appeal to boys’ kinesthenic and visual tendencies, and help girls strengthen theirs.

10.

They create a gateway to literature!

Comics and Literacy: A Powerful Team-Up! “The presence of comics in a junior high school library resulted in a dramatic 82% increase in library traffic and a 30% increase in circulation of non-comic books.”

- Dorrell & Carroll School Library Journal

Winter 2015

Bookshelf Winter2014_03-30.indd 7

7 10/30/2014 12:15:05 PM

diamondbookshelf.com

NEWS AND NOTES ASCLA to Host Comics and Dave Gibbons Named Literacy Institute at ALA Midwinter First Comics Laureate of UK

Running from noon until 4 p.m. Friday, January 30, the institute will feature speakers covering topics including the use of comics as teaching tools for struggling readers, how comics can be used to teach Common Core State Standards of reading and writing, and how the images in comics can help students learn visualization and “mental map”-making skills. Attendees of the event will also receive two graphic novels from early reader graphic novel publisher TOON Books.

The institute is a ticketed event, but attendees do not need to be registered for the ALA Midwinter Meeting to participate. Tickets can be purchased at the ALA Midwinter 2015 web site: http://alamw15.ala.org/

Veteran comic artist Dave Gibbons – best known for his work on DC Comics’ Watchmen – was appointed as the United Kingdom’s first Comics Laureate by the charity Comics Literacy Awareness (CLAw).

(Photo by Julian Tysoe, used by Creative Commons 2.0 license)

The Association of Specialized and Cooperative Library Agencies (ASCLA) will host an institute, “Using Comics to Promote Literacy” as part of the 2015 American Library Association Midwinter Meeting, taking place January 30-February 3 in Chicago, IL.

In his role as Comics Laureate, Gibbons will work to promote literacy to children through school visits, hosting Dave Gibbons training events for teachers, and attending conferences.

The honor will last two years.

“I intend to do all that I can to promote the acceptance of comics in schools,” Gibbons said. “It’s vitally important not only for the pupils but for the industry too.”

Having worked in comics since 1973, Gibbons has provided art for a variety of publishers and titles, including Doctor Who for Marvel UK, Secret Service for Marvel Comics (the basis for the film Kingsman: Secret Service), and the aforementioned Watchmen, for which he received the Hugo Award for Other Forms in 1988.

Heroes Are the Theme for Summer Reading 2015 The Collaborative Summer Library Program (CSLP) has set the theme for the 2015 summer reading program as Heroes, with each age category getting its own slogan: For Children, Every Hero Has a Story; for Teens, Unmask!; and for Adults, Escape the Ordinary.

The CSLP is a multi-state consortium that works to bring exceptional reading program materials to libraries at the lowest possible cost. The organization offers more information and resources for libraries on their web site, www.cslpreads.org

Kids Read Comics and Reading With Pictures to Create DIY Library Con Kit The team behind the library-based Kids Read Comics has teamed up with Reading With Pictures to create a free do-it-yourself guide for libraries looking to host their own comic book-based events. The guide, which is currently in development, will cover multiple aspects of putting on a comic convention-style event, including programming, staffing, locating artists, setting up an artist alley, and more. The groups are seeking feedback from librarians, and can be contacted via their website: http://mlatcomics.com/krc/ Kids Read Comics is an annual event that takes place at the Ann Arbor Public Library in Ann Arbor, MI. Founded by librarian Edith Burney, cartoonist/educator Jerzy Drozd, comic shop owner Dan Merritt, and comic writer Dan Mishkin, Kids Read Comics brings kids, teens, and parents together with teachers and librarians to show the educational benefits (and entertainment value) of comics.

Founded by Josh Elder, Reading With Pictures advocates the use of comics in classrooms by working with and providing tools to educators, librarians, parents, comic creators, and more. They recently released the educational anthology Reading With Pictures: Comics That Make Kids Smarter, and promote comics in education at comic conventions across the country.

8 Bookshelf Winter2014_03-30.indd 8

Winter 2015

10/31/2014 8:17:13 AM

I

f s

Co ea Mo thr Rip for co

Co to illu in rea in co als

Gr Ma ac ab un Lu cre rea we ac

Fin fai or no his

Tyi En (Vo 69 hig hu ne ov

Hil Ad foc tho as wo

CO

as es, or ret ch 8.

as as

k!;

ng at ore te,

rs

he der he ce en

ser

t

e y , d

d r e

g g y.

diamondbookshelf.com

THE PAST IN COMICS

A LOOK AT HISTORY AS COVERED IN GRAPHIC NOVELS

I

f history is the story of the past, then it would seem a story well suited for comics to tell.

Comics have been used as informational tools since the early days of newspaper strips; in the 1920s, Dallas Morning News readers learned of their state’s history through the Texas History Movies comic, while Ripley’s Believe It Or Not! began presenting the foreign and unusual as a newspaper strip in 1919 (and continues to this day).

Comics have a unique ability to impart information to readers through their combination of text and illustrations, as well as the time compression allowed in the format. Facts which may seem dry in a plain text reading are allowed more vibrancy when displayed in visual form. Comics allow for a lot of ground to be covered in a relatively short amount of space, but can also give depth to particular events.

Graphic novels such as Art Spiegelman’s Maus and Marjane Satrapi’s Persepolis have garnered critical acclaim and mainstream attention for their creators’ abilities to use the format to make complex events understandable. The 1956 comic book Martin Luther King and the Montgomery Story was created by the Fellowship of Reconciliation to educate readers on the then-current Civil Rights movement as well as their philosophy of non-violence in an easily accessible format.

Finding graphic novels to supplement history lessons is fairly easy, with many titles devoted to particular events or time periods. Here, we look at a selection of graphic novels to introduce the various styles and approaches to history offered to readers and educators.

Tying into the History Channel series, Zenescope Entertainment’s Mankind: The Story of All of Us (Vol. 1: 978-1-937068-68-4, Vol. 2: 978-1-93706869-1) takes an overview approach to ancient history, highlighting significant events from the earliest days of humanity to the discovery of America. Casting a wide net, it acts as an introduction to a narrative taking place over thousands of years.

Hill & Wang’s U.S. Constitution – A Graphic Adaptation (978-0-80909-470-7) takes a more focused approach, exploring the people, events, and thoughts behind the founding document of the nation, as well as examining the real world meaning of the words it contains.

CONTINUED PAGE 18 Winter 2015

Bookshelf Winter2014_03-30.indd 9

9 10/30/2014 12:15:07 PM

diamondbookshelf.com

NO SOUND MORE POWERFUL

JOHN LEWIS’ STRUGGLE FOR CIVIL RIGHTS CONTINUES IN MARCH BOOK TWO

M

arch, the graphic memoir of Civil Rights movement leader and Congressman John Lewis, continues this January with the release of March Book Two ($19.95, 978-1-60309-400-9) from Top Shelf Productions. This volume picks up where March Book One left off, chronicling Rep. Lewis’ time with the Freedom Riders and culminating in the 1963 March on Washington for Jobs and Freedom, where Martin Luther King, Jr. delivered his famous “I Have a Dream” speech.

Rep. Lewis, along with co-writer Andrew Aydin and artist Nate Powell discussed March Book Two, how this volume compares to the first, and how the tales related in the series compare to events today.

t di fro

t What are the major events you’ll be covering in Book Two? ANDREW AYDIN: Nate and I joke about this sometimes, but it’s really pretty accurate: If Book One is Star Wars, then Book Two is our Empire Strikes Back. The stakes are higher, the heroes are stronger, more prepared, and the danger is more lethal.

Book One focused on the congressman’s childhood and coming of age, studying and rehearsing in nonviolence workshops with the Nashville Student Movement, launching a sit-in campaign that successfully forced the city to integrate lunch counters, and eventually the formation of SNCC (the Student Nonviolent Coordinating Committee). Now with Book Two, we show how these young people became a truly national force, and one of the key elements of the broader Civil Rights Movement.

REP. LEWIS: So we talk about the Freedom Rides: a group of us, about a dozen people, black and white, young and old, set out on a Greyhound bus and a Trailways bus to ride through the heart of the deep South, to test the Supreme Court decision prohibiting segregation on buses. We were attacked several times, beaten, left lying in a pool of blood. One of the buses was set on fire. We knew that we might die. But we continued the Freedom Ride. More and more riders joined the movement. It became front-

10 Bookshelf Winter2014_03-30.indd 10

page news. Attorney General Robert Kennedy got involved, the governor of Alabama got involved, we were arrested several times, we spent weeks in Parchman State Penitentiary… but we dramatized the issue to the nation, and around the world, to see the reality of segregation in America.

Book Two also shows the March on Washington on August the 28th, 1963. I was 23 years old — I had just been elected chairman of SNCC a few months earlier, and after about a week I was invited to the White House along with representatives of several other organizations to discuss plans for the march. And it worked so beautifully. It was an unbelievable day. So many people worked so hard to organize a peaceful, orderly, nonviolent march. It really represented the best of America. Hundreds of thousands of people coming together to say “we want our freedom and we want it now.” I spoke number six that day. Dr. King spoke number ten, when he said “I have a dream.” And out of everyone who spoke that day, I’m the only one still around. So we tell the story.

Winter 2015

10/30/2014 12:15:08 PM

AN wr be ca it wo em the we “te ov an ho

NA me of ge we sec all vis sen I’d the giv mu

t (o

got ed, in ed ee

on — I ew ed of for an ard . It of ant six “I hat ry.

diamondbookshelf.com

t How did working on the second volume differ from the first? Did you learn anything from Book One that helped with Book Two? ANDREW: Originally, Congressman Lewis and I wrote the script for March as a single graphic novel, before we knew Nate would be the artist. Once he came on board, and we collectively decided to split it up into three books, we all learned a lot about working together. Nate is so good at showing the emotional meaning of a scene — he’s really one of the best cartoonists of his generation. In his hands we’re able to step back and “show” rather than “tell.” At the same time, going on tour and seeing the overwhelming reaction from students and teachers and librarians and readers, has made us aware of how high the stakes are.

NATE: I could tell how much our collaborative method had found its stride within just a few pages of breaking down the script for Book Two. After getting to know each other on Book One, we were able to come out of the gate swinging with the second, and that gave some much-needed room to allow for all the other considerations that go into the visual process for this story. I certainly had a better sense for the kinds of daily research and reference I’d have to do, the degree of double-checking along the way, and a sense of when some issues would give us problems down the road. Overall it’s been a much more natural and efficient process. t What kind of challenges did you face (or felt) depicting these major points in

history? Did you feel an extra pressure to “get it right”?

ANDREW: The Southern Poverty Law Center recently issued a report saying that 47 out of 50 states are failing to adequately teach the Civil Rights Movement in schools. And more and more, we’re seeing schools and libraries reaching for March to help make that connection. And we’re hearing that it’s not only a book that students are required to read, but that they actually want to read. For a lot of readers, this may be their first encounter with this history. So you can’t help but feel the pressure to get it right, both to do justice to the veterans of the Movement and their tremendous sacrifices, and also to the next generation who pick up these books hoping to learn and be inspired.

NATE: I did a lot of the work on Book One with my usual perspective that I should never consider a potential audience for the stories I tell, as I generally feel it clouds and hinders a creator’s ability to make powerful, intimate work. Really, we had no way of anticipating that the reception to Book One would have been as phenomenal as it’s been, or that it’s woven itself into a much larger social discourse-and along the way, seeing the real effects of that, meeting all these teachers and librarians and, most importantly, people under 25 who might not have an immediate personal connection to the events-- has made me question a lot of my assumptions about audience and readership consideration. It’s been a challenge in the best way.

Winter 2015

Bookshelf Winter2014_03-30.indd 11

11 10/30/2014 12:15:09 PM

diamondbookshelf.com

yo be too

N Sta loo fam an ha

t lo W Tw Andrew Aydin and Nate Powell at Comic Con International 2013

Andrew Aydin and Rep. John Lewis accepting the Coretta Scott King Honor for March: Book One

t Book Two covers a lot of ground. What kind of research did you have to do for this volume? Was it more or less difficult than for Book One?

to ask his boss to write a graphic novel about his life in the civil rights movement, takes a certain kind of something. I didn’t even know if he would say yes. But I did believe we had a chance to create something meaningful — and I came to believe that even more deeply as I researched the Martin Luther King and the Montgomery Story comic book and learned about all that it had accomplished.

ANDREW: We have been incredibly lucky to have John Lewis as our guide. He has the best memory of anyone I’ve ever met, and he is so good at painting a picture of what was happening. We have also received a great deal of support from photographers who covered many of these moments and have been willing to share their work as reference. This movement was well aware of the power of the press, so a lot of their actions are very well documented, both in mainstream media and in internal publications like SNCC’s The Student Voice.

NATE: The level of research and reference has definitely increased, especially when we discover inaccuracies or contradictions in other sources and have to navigate those. There are also so many more recognizable figures in this book, and it’s a challenge to keep track of everyone’s whereabouts, particularly in the chaos of the Freedom Rides. I actually had to make what resembled a little D&D character sheet to manage who was on what bus at what time, based on which folks were depicted in the book (even if they didn’t have any “speaking parts”). I didn’t go way over the top with it, but those issues of consistency are what allow the reader to stay in the pocket of the story without being disoriented or jarred. t When you began this project, did you think it would take off the way it has?

Were you prepared for what you were getting into?

ANDREW: This whole process has been unlike anything I’ve ever experienced before. You know, for a 24-year-old kid who didn’t know any better,

12 Bookshelf Winter2014_03-30.indd 12

But I definitely never thought I’d get a phone call from Ethel Kennedy, much less one telling us we were the first graphic novel to receive a Robert F. Kennedy Book Award.

NATE: None of us were prepared, that’s for sure, and we’ve each had to adapt our usual way of doing things in accordance-- that goes all the way to the folks at Top Shelf working to support the book and coordinate our creative process. We’re constantly learning and adapting. t How does it feel to have March Book One be assigned reading for three colleges?

REP. LEWIS: I feel more than lucky, I feel really blessed. We were invited to speak at Michigan State, Georgia State, and Marquette University, and all of their freshmen had read the book. It was really moving to meet these young people and talk to them, to see them inspired by the book to go out and do something.

ANDREW: One of the big lessons that I think anyone can take away from John Lewis’s story is that young people can be powerful. They don’t have the same obligations, like a mortgage or a career or a family. They can be the most free members of our society, the ones most able to fully dedicate themselves to achieving social change. But change only happens if you’re dedicated and disciplined, if

Winter 2015

10/30/2014 12:15:10 PM

RE we Co to lib ma

t fir w

AN dif tak thi wo gr wo try So su I’d M Yo DC wh ye be ex W

tta

his nd ay ate hat her nd

all ere dy

re, ng he nd tly

ally te, of ng ee ng.

diamondbookshelf.com you study the tactics that have worked successfully before. Hopefully with March we’re giving them the tools to begin that process.

NATE: When Congressman Lewis spoke at Michigan State’s welcome assembly in August, it was surreal to look across this stadium of 8,000 freshmen plus their families delivering a spontaneous standing ovation, and realize in that moment that almost all of them had read this graphic novel. t You did a lot of touring and made a lot of appearances to support Book One. What kind of plans do you have for Book Two? REP. LEWIS: We’ve been traveling all over... and we’re gonna keep going. I would love to go to Comic-Con again. We’ve gotten so many invitations to come and speak about the book, to schools and libraries and festivals. We’re going to accept as many as we can. t Was it difficult to balance promoting the first book and making the second (along with all your other job/life aspects)?

for Book One with the three of us as a team, but recently Nate’s needed to stay home and focus on drawing Book Two, so the Congressman and I have had to go out without him. We’re really looking forward to “getting the band back together” and hitting the road again with Book Two. NATE: Yeah, it’s definitely been a challenge. I’m a pretty fast artist, but all the other steps and considerations that go into the creative and research processes, along with raising a toddler, moving into a new house, taking care of old sick pets, and touring whenever I can have made Book Two absolutely the tightest deadline I’ve ever worked under. And the process has certainly pushed us all to the limits of what’s possible, time-wise.

This is more intense than almost anything I’ve ever done, and it’s a work/tour/life balance that needs to be maintained for five years. Absolutely crazy. t As the events of this past summer showed, it seems that the work that began with the Civil Rights movement is still not finished. Has this changed the way you feel about working on this series, or the goals you have for it?

REP. LEWIS: I have said on more than one occasion that we are too quiet in this country. When you see ANDREW: It was incredibly something that is not right, difficult, but that’s what it that is not fair, that is not just, takes to do something like you have an obligation and this. I’m very lucky to be a responsibility to speak up, working with such a talented and speak out. We all could group of people that are all do a little more marching. working hard so I was just To paraphrase something trying to carry my weight.

Dr. King once said, there So many people have been is no sound more powerful supportive. I never thought than the marching feet of I’d get to do a signing at a determined people. This Midtown Comics in New book March is not just York or Politics & Prose in my story, it’s the story of so – ANDREW AYDIN DC, these amazing retailers many of us who stood up where I’d been going for and spoke out, who studied years. And getting to go to these conventions and the philosophy and the discipline of nonviolence, be welcomed as a guest was such an unbelievable who organized and made ourselves impossible to experience. ignore. It is my hope that a new generation can read We were lucky enough to get to do several events it and be inspired to march again.

THE STAKES ARE HIGHER, THE HEROES ARE STRONGER, MORE PREPARED, AND THE DANGER IS MORE LETHAL.

nk is ve eer ers ate ge , if

Winter 2015

Bookshelf Winter2014_03-30.indd 13

13 10/30/2014 12:15:11 PM

diamondbookshelf.com

t m co

GREAT COMICS (FOR KIDS)

AN INTERVIEW WITH IDW PUBLISHING MANAGING EDITOR DAVID HEDGECOCK

I

DW Publishing has firmly established itself as one of the major publishers in the comics industry, having built an audience with licensed titles such as Transformers and G.I. Joe, as well as original series including Joe Hill’s Locke & Key and Steve Niles’ 30 Days of Night. Recently, IDW has found further success with a number of titles aimed at younger readers, including My Little Pony: Friendship is Magic (based on the cultural phenomenon) and Mr. Peabody and Sherman (tying into the DreamWorks film).

Ho tho are bo is bo tak

t ex on yo ha te ap Ha

IDW Managing Editor David Hedgecock oversees three of the publisher’s newest kid friendly titles: Skylanders (tying into the hit video game/toy line), Littlest Pet Shop (based on the Hasbro animated series and toy line), and Angry Birds (based on the hit Rovio Studios mobile game).

In are the tha pro

In his former role as CEO of comic publisher Ape Entertainment, Hedgecock also oversaw a number of titles for younger readers, including Strawberry Shortcake, Sesame Street, and Penguins of Madagascar. BookShelf spoke with Hedgecock about IDW’s kids titles, and the importance of comics to and for younger readers. t Diamond BookShelf: IDW has expanded their selection of kids titles recently, with books like Skylanders, Littlest Pet Shop, and Angry Birds. What made the company decide to release more books aimed at younger readers?

DAVID HEDGECOCK: Brands like Skylanders and Angry Birds are two of the most recognized intellectual properties in the world. As a comic book publisher, IDW actively looks for ways to expand the market and properties like these allow the company to extend its reach into places where comic books aren’t normally found. Brands like the ones mentioned also serve to drive customers into traditional comic book shops and give the Direct Market a point of entry for new readers who are familiar with these wildly popular brands but might not be that familiar with comic books in general.

14 Bookshelf Winter2014_03-30.indd 14

Th up wr ap an

t What’s your role as editor of these titles?

As Editor, I assemble the creative teams for a project.

Once the team is assembled, I assist them in making sure the story and art being produced is the best it can be and that it adheres to the requirements of the project. tAt both IDW and Ape you’ve worked on kids titles. Was this by choice?

I strongly believe that the way we grow and strengthen this medium is by providing exemplary entertainment to a wide variety of people including young readers. My goals as a publisher and now as an editor are to help insure the future of comics and the medium I love so dearly by finding as many ways as possible to get people interested in this great art form.

Winter 2015

10/30/2014 12:15:11 PM

t Do re gr

diamondbookshelf.com I read a ton of Archie, Casper, Richie Rich, Hot Stuff, Star Comics, etc. when I was young.

The thing that really got me hooked was Captain Carrot and His Amazing Zoo Crew #4. That was the book that did it for me.

t What do you think makes a good “kids” comic?

The same things that make up any good comic- Good writing, strong art, material appropriate to the subject and to the audience.

As for whether reading comics had an effect on my reading skills, hard to say. I was a pretty voracious reader when I was growing up and comics were just one part of the many ways I kept myself entertained. I’m certain that reading comics didn’t hurt and I’m sure comics helped foster a love of the arts that I might not have otherwise cultivated.

Honestly, I don’t give a lot of thought to whether or not we are making a KIDS comic book. My main concern is making a GREAT comic book and the rest tends to take care of itself. t As the editor with experience working on titles for kids, do you find yourself having to work much with the creative team to make sure the books are age appropriate (vocabulary, complexity, etc.)?

Has this been an issue?

In all honesty, the biggest focus with titles like these are to make sure we capture the voice and spirit of the property. If we are doing that, then we are more than likely going to appeal to the audience these properties were made for. t When did you start reading comics?

Do you think they had any effect on your reading skills or interest in reading while growing up?

t How important do you think it is for a publisher to have a strong kids comics line?

I think it is important for every publisher to have a diverse portfolio of projects and properties to fill the needs and desires of not only the existing comic book audience but the needs of a broader audience as well, including books that appeal specifically to younger readers. One can never know which comic is going to be someone’s first and it’s up to all of us within the existing comic community to make sure everything we do is accessible and of the highest quality.

ct. ng t it he

n

nd ary ng as nd ays art

Winter 2015

Bookshelf Winter2014_03-30.indd 15

15 10/30/2014 12:15:12 PM

diamondbookshelf.com

DRAWING THE BEAT

ED PISKOR TRACES THE HIP HOP FAMILY TREE

T

oday, Hip Hop is a globally dominant musical form, topping the charts everywhere from Asia to Europe to its home in North America, influencing not just music but fashion, art, and even politics. But this worldwide phenomenon came from humble beginnings, originating with a disparate group of like-minded people making music in clubs and on the street in 1970s New York. Comic creator Ed Piskor has been charting the history of this art form since 2012 with his comic strip Hip Hop Family Tree, hosted on BoingBoing.net and collected in print by Fantagraphics Books.

Hip Hop Family Tree takes a comprehensive look at the music form, starting with the earliest deejays and proto-rappers in mid-1970s New York, and touching on every formative figure in the scene, from DJ Kool Herc (who was one of the first DJs to mix songs together in the club) to producer Sylvia Robinson (who produced the first hip hop release, the Sugarhill Gang’s “Rapper’s Delight”), to breakout acts such as Run DMC, Kurtis Blow, and the Beastie Boys. Along the way, Piskor has created a massive timeline of the formation of a cultural phenomenon, illustrated in the style of late 1970s Marvel Comics, complete with yellow-tinted color and bold, dynamic panels.

t

XHH yo so it

So far, two volumes have been released (Vol. 1: 9781-60699-690-4, Vol. 2: 978-1-60699-756-7), and Piskor has stated that there will most likely be five or six total, depending on where he decides to stop the comic. In the meantime, he continues to take readers through the dramatic and entertaining saga of the often larger than life people and events that have shaped the genre.

Diamond BookShelf interviewed Piskor via email about Hip Hop Family Tree, the origin of this massive project, and the feedback that comes with making a weekly comic.

t Diamond BookShelf: What kind of research have you done for this project (besides listening to lots of music)?

Ed Piskor: The first volume is culled from all found sources. I read every book, article, interview, etc that I can find in hardcopy or on the internet. After book 1 came out Hip Hop Family Tree gained some legitimacy in Hip Hop and now I have a Rolodex of guys I can call and talk to to corroborate different moments and/or they can put me in touch with the guys I need to speak with.

16 Bookshelf Winter2014_03-30.indd 16

I’d ov it c wo X-M co

t

t Was there anything you uncovered in your research that stuck out, or surprised you?

It’s interesting that early on Hip Hop was kind of dying out before it became really well known. The downtown, Manhattan art-world had a big hand in the rapid growth of rap music.

t The scope of this project is pretty large. Was that part of the appeal, covering this massive part of American cultural history?

I’m not too sure what the main motivation was. Basically I’m making a comic that I absolutely want to read.

Winter 2015

10/30/2014 12:15:14 PM

wh wa ev tru th ev

I’m hu of ha is d ca

t

70 th

ur

ng wn, pid

as ve

ally

diamondbookshelf.com

t You’ve

said that Chris Claremont’s X-Men influenced how you structured HHFT. Was that a conscious choice when you were planning the comic, or was it something you noticed as you were putting it together?

I’d say subconscious because I’ve read his whole run over time and the structure is buried in my head. When it came time to play around with my own exercise in world-building with hundreds of characters, Claremont’s X-Men is probably the best example you can point to in comics as a template.

t Prior to HHFT you worked on The Beats,

was there something about that era of Marvel specifically that lent itself to this project?

I have a whole hour presentation about this, just recently did it at Harvard. One example I can point to from the era is the massive blockbuster Howard The Duck.

The character was painted by several of the biggest outliers of Graffiti culture. Plus there was Superman vs. Muhammad Ali which resonates in the Hip Hop community in a big way. It was the only comic in the houses of several of my friends growing up.

t What kind of feedback have you gotten on the project?

which was historical, and even Wizzywig was greatly influenced by real people and events. Do you find a draw to biographic/ true life stories more than fiction? What is the appeal for doing work based on actual events/people?

Unanimous praise from Hip Hoppers. The good thing about putting things online is that if you screw up, anonymous douche-bags are very happy to let you know it. It’s never come up yet, but I use the online component as a sort of crowd-sourced editorial staff for certain things.

I’m a people person. I am completely fascinated with humanity. I’m constantly curious about the motivations of others. I want to get inside of people’s heads. I do have fictional stories in mind for the future but my head is definitely steeped in reality for the moment. Escapism can come later.

t Since you’re releasing it weekly, has the feedback you’ve gotten affected your work?

t The style of HHFT is very reminiscent of

70s-80s Marvel Comics. You’ve talked about the overlap of comics and hip hop before, but

Naw. I’m stubborn and I do whatever I feel like.

t Have you talked to any of the people you’ve covered in the comic, either for research or getting their feedback?

Yep. I don’t want to be a name-dropper though.

Winter 2015

Bookshelf Winter2014_03-30.indd 17

17 10/30/2014 12:15:15 PM

diamondbookshelf.com

THE PAST IN COMICS

A LOOK AT HISTORY AS COVERED IN GRAPHIC NOVELS

CONTINUED FROM PAGE 9 One event that irrevocably changed the course of human development was the creation and detonation of the first nuclear weapon, chronicled in Trinity: Graphic History of the Atomic Bomb (Hill & Wang, 978-0-80909-355-7). This book takes a number of elements – the scientists developing the bomb, the politics behind the project, the decision to use it, and finally the ramifications of the event – and presents them in a visually simple style that captures the scope and drama of the subject as well as briefly introducing the science behind it.

Shigeru Mizuki takes an expansive approach to the history of his native Japan in his Showa series. With three volumes published in the U.S. so far (Vol. 1 – 19261939: 978-1-77046-135-2, Vol. 2 – 1939-1944: 978-177046-151-2, Vol. 3 – 1944-1953: 978-1-77046-1628) by Drawn & Quarterly, Mizuki guides readers through the reign of Emperor Hirohito, a period in which Japan underwent major transformation, from the buildup to World War II to becoming a global manufacturing giant.

As with other biographical texts, by focusing on one person or group of people, a book can offer a glimpse of the society at large of a particular time and place.

Max Brooks’ Harlem Hellfighters (Broadway Books, 978-0-30746-497-2) tells a fictionalized account of the all-black American fighting unit from World War I, who were feared by the enemy and barely respected by their fellow white soldiers. Telling the story of these soldiers, the graphic novel touches on the racism that was rampant in American society at the time, as well as showing the often disastrous fighting that occurred in the Great War. Taking this personal approach, but in a different time and place is DC Comics’ Cuba: My Revolution (978-1-40122-217-8), Inverna Lockpez’ memoir of living in Cuba during Fidel Castro’s coup and reign as leader of the nation. Through her personal accounts she

18 Bookshelf Winter2014_03-30.indd 18

shows how the country fared under the Communist rule, and how a fervent supporter of Castro came to see how the promise of revolution differed from the reality that was delivered.

Top Shelf Productions’ March Book One (978-1-60309300-2) also approaches American history through one person’s experience, offering a graphic memoir of Rep. John Lewis, whose work with the Civil Rights movement in the 1950s and ‘60s illustrates the greater struggles occurring across the nation, and showing in stark detail the social conditions of the day.

While history is often a look back at events, one way to get a proper perspective is to see the events as they were unfolding. Joe Sacco has made a name as a graphic novel reporter, making comics based on his personal experiences in troubled areas. His graphic novel Palestine (Fantagraphics Books, 9781-56097-432-1) takes a look at an often complex issue by chronicling his experiences in the Gaza Strip and West Bank, living amongst the occupied populations of those areas. It offers a first person view of one side of a struggle that few outside can seem to wrap their heads around.

Another series which takes a wider view of a complex situation is Selfmadehero’s Best of Enemies: The History of U.S. and Middle East Relations (Vol. 1 – 1783-1953: 978-1-90683-845-4, Vol. 2 – 19541984: 978-1-90683-884-3). Beginning with the United States’ troubles with the North African Barbary Pirates in the late 19th century through to the Lebanese War in the early 1980s, this two-volume series from Middle East historian Jean-Pierre Filiu and artist David B. not only examines the various players in what is often a trouble-filled relationship between the two powers, but uses further mythical and historical allusions (including references to the Epic of Gilgamesh) to give readers real insight into the subject.

Winter 2015

10/31/2014 8:09:24 AM

“Th sai lot ho

Bru wo

“C tha ac my

“If Thr an

diamondbookshelf.com

BRIGHT LIGHTS, DARK CITY

The Fade Out Volume 1

le, ow hat

Written by: Ed Brubaker Illustrated by: Sean Phillips

09ne ep. ent les ail .

ok get he ng. as ng nal as. ne 78ok by in nk, ed It ne de

ex he ol.

54ed tes War dle not a but ng ers

Publisher: Image Comics Format: Softcover, 6.75 x 10.25, 120 pages, Full Color, $14.99 ISBN: 978-1-63215-171-1

T

he creators of Criminal, Incognito, and Fatale debut their new series, an epic noir set in the world of noir itself, the backlots and bars of Hollywood at the end of its Golden Era. Hollywood - 1948. A noir film stuck in endless reshoots. A writer plagued with nightmares from the war and a dangerous secret. An up-and-coming starlet’s suspicious death. And a maniacal Studio Mogul and his Security Chief who will do anything to keep the cameras rolling before the Post-War boom days come crashing down.

“The Fade Out is something I’ve been thinking about and taking notes on for a few years now,” Brubaker said. “After Fatale, I felt something more ‘real world’ was the right way to go, creatively. Although, there’s a lot of craziness in The Fade Out, but not on a supernatural level, more of a Kafka or Lynch vibe is what I’m hoping for in a big hardboiled epic.”

Brubaker continued, explaining the appeal of crime stories for him, and how this series differs from his prior works, “Crime stories are about people in bad situations that are about to get worse, and there’s just something about that that draws me in, as a reader and a writer,” he said. “And honestly, you can tell so many types of stories in a crime story, from Hamlet to Blade Runner to Inception. It’s a very elastic genre. Crime, and noir, and mystery in my mind are all the same at this point.

“If there’s anything new in the muse department, it’s more just looking at things like Mad Men and Game of Thrones, and thinking of bringing that kind of epic storytelling to a crime comic, and figuring out what works and doesn’t.”

Winter 2015

Bookshelf Winter2014_03-30.indd 19

19 10/30/2014 12:15:17 PM

diamondbookshelf.com

P REVIEW: T HE F A D E OUT V OLUME 1 F ROM IMA G E C O M I C S

20 Bookshelf Winter2014_03-30.indd 20

Winter 2015

10/31/2014 8:09:44 AM

diamondbookshelf.com

P R E V I E W: T H E FA DE O U T VOL U M E 1 FR O M I M A G E C O M I C S

Winter 2015

Bookshelf Winter2014_03-30.indd 21

21 10/31/2014 8:10:00 AM

diamondbookshelf.com

A W

KATIE’S KORNER:

W Ed Pu Fo

GRAPHIC NOVEL TEACHER’S GUIDES B Y D R. K A TIE MONNIN

B

Theseus and the Minotaur

IS

Written and illustrated by: Yvan Pommaux Publisher: TOON Books Format: Hardcover, 7 x 10, 56 pages, Full Color, $16.95 ISBN: 978-1-93517-961-0

REV I’m It i ga

REVIEW Canonical and historical the story of Theseus and the Minotaur is traditional and legendary mythology. Yet in one of Toon Books latest publications Theseus and the Minotaur is kid-friendly and easily applied to the Common Core Standards for third through fifth grade level readers. Well told, well-illustrated, and with a thoughtful eye on helping today’s kids become smarter and more knowledgeable about both classical and contemporary literary stories and literary storytelling TOON Book’s new Theseus and the Minotaur should be read in every third through fifth grade Language Arts classroom in the country.

Ab cau tho Wa in 5 into

Ea ho tha

My Ab yo so wit rol nee De of

I can’t end the review there. There is something left lingering in my mind that must be said in this review. On behalf of readers of this TOON Book, Theseus and the Minotaur, to creator Yvan Pommaux: Please close your eyes when you are done reading this and visualize what I see as a large and loud standing ovation for your storytelling.

ELEMENTS OF STORY Plot: Theseus, the original mind to explain democracy and what it means in theory and in practice, is pretty much destined for greatness. But his story is not that simple. Told for young yet maturing readers this TOON Book tells and shows its reader why greatness is sometimes hard work and tough choices . . . even if you are the son of both G-d and man.

Major Characters: Theseus, Minotaur, Ariadne, Poseidon, Princess Aethra, King Aegeus, Minos, Pasipaë, Daedalus, Asterion, Androgeos, Medea, Cretians, Athenians, Amphitrite, Dionysus Settings: Mount Olympus, the seaside, Athens, the ocean, labyrinth, island of Crete, Troezen, port of Knossos, Naxos, the Aegean Sea Themes: Family, Democracy, Legend and Myth, Cause and Effect, Decisions and Consequences, Legacies RECOMMENDED COMMON CORE STANDARDS FOR EARLY READERS Key Ideas and Details 3. Describe how a particular story’s or drama’s plot unfolds in a series of episodes as well as how the characters respond or change as the plot moves toward a resolution.

Craft and Structure 4. Interpret words and phrases as they are used in a text,

22 Bookshelf Winter2014_03-30.indd 22

including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone.

5. Analyze the structure of texts, including how specific sentences, paragraphs, and larger portions of the text (e.g., a section, chapter, scene, or stanza) relate to each other and the whole.

6. Assess how point of view or purpose shapes the content and style of a text.

Lesson Plan: STEP 1: To begin, you need to find two graphic organizers: a blank family tree and a blank timeline. A Google image search for each will offer you a plethora of choices.

STEP 2: Give each student in class a number, either 1 or 2.

As they read in small groups, the 1s will fill out the family tree together. Similarly, as they read in small groups, the 2s will fill out the timeline.

STEP 3: Display student story-based family trees and timelines somewhere where all students can see them. Ask each group to explain their graphic organizer and their decisions.

STEP 4: After all of the groups have shared their ideas work on a larger and displayed class Family Tree and Timeline, where all students discuss, contribute, critique, and decide what is the VERY most important information for the class’ ULTIMATE Family Tree and Timeline to contain.

Winter 2015

10/30/2014 2:10:08 PM

ELE Plo tre oft

the

Ch So

Set mo

The an

REC FO Ke

ive pe

ific ext ach

ent

ers: ge

2. mily 2s

nd Ask eir

ork ne, de ass’

diamondbookshelf.com

Above the Dreamless Dead: World War I in Poetry and Comics Written and illustrated by: Various Edited by: Chris Duffy Publisher: First Second Format: Hardcover, 6 x 9, 144 pages,

Black and White, $24.99

ISBN: 978-1-62672-065-7

REVIEW I’m not sure how to review Above the Dreamless Dead.

It is both awesome and terrifying. Both pulse-racing and gasping for air.

Above the Dreamless Dead is pivotal in its own right because it is one of the first books to give a well-researched, thoughtful mainstream voice to the trench poets of World War I, men who served and wrote their reflections trapped in 500 miles of trench warfare stretching from Belgium and into modern France from 1914 - 1918.

Each man in his own right speaks for himself. Some are hopeful. Some are delusional. Some are extremely aware that they may never make it out of the trenches.

My advice: Certainly for a secondary reading audience Above the Dreamless Dead is one of those books you and your students will read and never, ever forget. In fact, it’s so powerful you and your students may want to follow-up with further research and exploration about the war and its role and significance in world history. Certainly a muchneeded text in every high school, Above the Dreamless Dead is about to open an entirely new and deserving area of World History that deserves much more exploration.

ELEMENTS OF STORY Plot: Written by WWI troops who were dug in the trenches. Known as the Trench Poets these poems offer an often brutal, often surprisingly-humanitarian look at how the Great War affected young men from many nations.

Characters: Wilfred Owen, Siegfried Sassoon, Charles Sorley, Isaac Rosenberg, Wilfred Gibson, Robert Groves Settings: 500 miles of trench warfare stretching Belgium to modern Northern France during World War I Themes: War and Peace, Individual and Community, Faith and Reason, Identity, Family, Friends and Foes RECOMMENDED COMMON CORE STANDARDS FOR YOUNG ADULT READERS Key Ideas and Details 1. Read closely to determine what the text says explicitly and to make logical inferences from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text.

2.

Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas.

3.

Analyze how and why individuals, events, and ideas develop and interact over the course of a text.

Lesson Plan: Directions: Because this graphic novel is pieced together like a mosaic educators can ask students to choose one of the poets (individually or in groups). And with that choice then create a piece of the mosaic to represent that poet. The following guiding questions may be helpful to students as they create their poet-based mosaic piece: •

“What/which words are REALLY significant to this poet?”

•

“What/which images are REALLY important to the artist representing this poet?”

When students are finished with their piece of the mosaic ask them how they would like to piece it together with the rest of the class’ pieces. From that brainstorm session and conversation a mosaic will be created somewhere for the whole class to see. Next, educators can ask students to explain and share each of their mosaic pieces and how their piece relates to the key ideas and details in other pieces of the mosaic as well.

Dr. Katie Monnin is an Associate Professor of Literacy at the University of North Florida. Besides the joy that comes with reading comic books and graphic novels, Dr. Monnin enjoys a Peter Pan-ish life of researching and writing her own books about teaching comics, graphic novels, and cartoons: Teaching Graphic Novels (2010), Teaching Early Reader Comics and Graphic Novels (2011), Using Content-Area Graphic Texts for Learning (2012), Teaching Reading Comprehension with Graphic Texts (2013), and Get Animated! Teaching 21st Century Early Reader and Young Adult Cartoons in Language Arts (2013).

Winter 2015

Bookshelf Winter2014_03-30.indd 23

23 10/30/2014 2:09:46 PM

diamondbookshelf.com

T

REVIEWS:

W

Ill

MORE GRAPHIC NOVEL REVIEWS

Pu

Fo

IS

The Musical Monsters of Turkey Hollow

Meteor Men

Written by: Roger Langridge, from a treatment by

Illustrated by: Sandy Jarrell

Written by: Jeff Parker

Jim Henson and Jerry Juhl

Publisher: Oni Press

Illustrated by: Roger Langridge

Format: Softcover, 6 x 9, 128 pages, Full Color, $19.99

Publisher: BOOM! Studios Format: Hardcover, 8 x 11, 96 pages, Full Color, $24.99

ISBN: 978-1-62010-151-3

ISBN: 978-1-60886-434-8 In 1968, Muppets creator Jim Henson and his writing partner Jerry Juhl wrote a treatment for a television special that was never made. BOOM! Studios enlisted comic creator Roger Langridge to realize that story in graphic novel form, and the result is the charming The Musical Monsters of Turkey Hollow.

Young Timmy lives in Turkey Hollow, a small town which, as the name implies, is a hub of turkey farms (the town’s welcome sign lists both human and turkey populations). He and his sister Ann like to go off to a brook at the end of their property to practice guitar. One day while practicing by himself, Timmy meets a group of strange beings who emerged from a rock while fell from space. He quickly discovers they communicate through sounds, and soon they’re playing music together. But when Timmy’s new friends follow him into town, trouble quickly brews – especially when their curmudgeonly neighbor Mr. Sump starts using these new visitors as an excuse to try and push Timmy’s family out of their home.

Roger Langridge is known to many fans for his work on BOOM!’s Muppet Show comics, and his style lends itself well to this work by Henson and Juhl. Langridge’s style is cartoony yet grounded, properly capturing the comedy, excitement, and suspense of the script. Musical Monsters was originally intended to be a music-heavy teleplay, and Langridge effectively captures the spirit of that through inventive art spreads. He’s greatly aided by Ian Herring’s brilliant colors, which contrast the fall palate of browns and oranges (this was meant as a Thanksgiving special) with bright primary colors.

The Musical Monsters of Turkey Hollow is a fine addition to Langridge’s body of work, and a worthy treatment of – and tribute to – one of the most enduring creative minds of popular entertainment.

The Musical Monsters of Turkey Hollow is suggested for Kids (6+) and up who enjoy Jim Henson’s works, including the Muppets and Sesame Street.

24 Bookshelf Winter2014_03-30.indd 24

One summer night, a party to watch the Perseid meteor shower takes a sharp turn when one of the meteorites crashes nearby.

From the outset, the meteorite isn’t behaving as a normal space rock should, and teenager Alden Baylor can’t help but notice how smooth the rock is inside when it cracks open. He gains some notoriety, as it was his farm the meteorite landed on. As reports of crashes across the globe spread, Alden’s life become more complicated – especially when he meets the being that came out of the meteorite. Soon, he’s dealing with the FBI, the news media, and his family, all looking for clues about this being. Meanwhile, his good friend hasn’t been seen since the crash, and Alden can’t help but wonder about the connection…

Meteor Men is an original take on the alien landing story, taking a ground level approach to the cosmic event. Seen through Alden’s eyes, the post-crash events seem mundane enough – there’s discussion of what to do with this valuable piece of space debris – but as things progress, we’re shown just how serious things are, particularly when sightings of other alien beings spread.

Jeff Parker’s script keeps the mystery going with tight pacing and dialogue that’s both revealing and realistic (people talk over each other quite often, as they would in a panic situation). Sandy Jarrell has a tight grasp on storytelling technique here, and his art perfectly captures the “ground level sci-fi” feel of the story, capturing the human scale while making outer space feel vast and glorious.

Meteor Men offers an inventive treatment of a well-worn trope, and takes the idea to new and imaginative places.

The graphic novel is suggested for Teen (13+) readers who enjoy science fiction (particularly alien-based) stories.

Winter 2015

10/30/2014 12:15:25 PM

Fo of re a g tr yo Te th Je Te to co

Th cr a (to p ju re d th q a th hu a

Le g ke te sp fe Su

Th th b ca vi

W D Te – se a vo of

Te Yo co

er y. e e ns As e at e is e …

y, n e e n of

g e c g d e

n s. o

diamondbookshelf.com

Teen Titans: Earth One Volume 1 Written by: Jeff Lemire

The Wicked + The Divine Volume 1: The Faust Act

Illustrated by: Terry Dodson and Rachel Dodson

Written by: Kieron Gillen

Publisher: DC Comics

Illustrated by: Jamie McKelvie

Format: Hardcover, 6 x 8, 144 pages, Full Color, $22.99

Publisher: Image Comics

ISBN: 978-1-40124-556-6

Format: Softcover, 176 pages, Full Color, $9.99 ISBN: 978-1-63215-019-6

Following the success of its continuity-free relaunches of Superman and Batman, DC Comics gives the Earth One treatment to its classic youthful hero team, the Teen Titans. In doing so, they’ve allowed writer Jeff Lemire and art team Terry and Rachel Dodson to create a superhero coming-of-age tale.

Phonogram and Young Avengers creators Kieron Gillen and Jamie McKelvie are back together for a tale of rogue gods, rock stardom, and rabid fan crushes in their new series.

The book begins the crash landing of an alien family on Earth (told from the alien’s point of view in a brilliantly sparse sequence), then jumps to introducing Raven, a girl living on a Navajo reservation and who’s seen the alien’s experience in a dream. We then meet four teenagers on the first day of the school year, who begin having strange visions, and quickly begin exhibiting stranger powers. Their visions are all the same: alien eyes and a cry for help. Once they’re drawn together, the teens discover they’re being hunted by unknown forces, of which their parents are all a part.

Lemire has crafted a solid introduction story in this volume, giving each character enough space to flourish but always keeping the plot moving forward. As the mystery behind the teens’ powers is unraveled, even the antagonists are given space to be more than one-note baddies. Overall, the story feels very Spielberg-inspired, comparable to J.J. Abrams’ Super 8.

The Dodsons’ art is very vibrant and energetic, helping give the book a cinematic feel. They’ve altered their style for this book, taking their usual realistic look and adding a slight cartoonish exaggeration in places, adding to the youthful vibe of the story.

While there are a few passing references that long-time DC Comics fans will pick up, readers who’ve never read a Teen Titans book before – or any DC comic for that matter – will have no trouble with the story. Lemire very definitely sets this book up for follow-up volumes, so fans hoping for a complete story may not be completely satisfied. But this volume makes for a solid introduction to this modern version of the classic team.

Teen Titans: Earth One Volume 1 is suggested for Young Adult (13+) readers who enjoy superheroes and coming-of-age action stories.

Laura is a typical staradoring wannabe rock star college student who discovers that her favorite pop star is one of 12 gods who come to Earth every 90 years as mortals, and who live like rock stars for two years, until they die and wait for the next go-round.

After a particularly moving performance by pop star/ god Amaterasu, a sniper team attempts to take her out, only to be stopped abruptly and permanently by fellow god Luci (a.k.a. Lucifer). Luci finds herself in court for her actions, but the judge is killed in a way that points to Luci. As Luci sits in jail unaided by the other gods, Laura decides to get to the truth – but the deeper she looks, the deeper the mystery gets.

The talents of Gillen and McKelvie shine in this series, which plays on their strengths individually and as a creative team. Gillen’s script is full of natural hipness, with characters who feel fleshed out from the beginning and a mystery that refuses to reveal itself early but never lets the reader’s interest go. His interpretations of the gods are inspired, from the brilliant light show of Amaterasu to the triple-form of The Morrigan, and even a passing reference to there being more than one Baal.

McKelvie’s art is in top form here, making a page of people conversing as visually pleasing as Amatersu’s stage show, or a two page spread of the gods in council. His clean lines offer a deceptive simplicity to the images, giving them a real-world feel that only enhances their divinity. And his mastery of facial expressions gives the book much of its visual power.

The Wicked + The Divine is suggested for Adult (18+) readers who enjoy modern interpretations of myths and gods as well as fans of Gillen and McKelvie’s previous works.

For more reviews, visit http://bit.ly/BookShelfReviews Winter 2015

Bookshelf Winter2014_03-30.indd 25

25 10/30/2014 12:15:26 PM

diamondbookshelf.com

To

CORE LISTS

By Da

Book Sh elf p re s e n t s a l i s t of s e l e ct e d e sse ntia l title s f o r d if f e re nt a g e ra ng e s.

Titles for Kids (Age 6+) Adventures in Oz Volume 1

By Eric Shanower IDW Publishing – 978-1-63140150-3

Angry Birds Comics Volume 1: Welcome to the Flock

Mouse Guard: Baldwin the Brave and Other Tales

Doctor Who: The Tenth Doctor Volume 1: Revolutions of Terror

By Eric Petersen BOOM! Studios – 978-1-60886-477-5

By Nick Abadzis and Elena Casagrande Titan Comics – 978-1-78276-173-0

Philemon Adventures: Cast Away on the Letter “A”

Doctor Who: The Eleventh Doctor Volume 1: After Life

By Fred TOON Books – 978-1-93517-963-4

By Al Ewing, Rob Williams, Simon Fraser, and Boo Cook Titan Comics – 978-1-78276-174-7

Princess Ugg Volume 1

By Various IDW Publishing – 978-1-63140-090-2

By Ted Naifeh Oni Press – 978-1-62010-178-0

Aw Yeah Comics! Volume 1

Rabbids Volume 1: Bwaaaaaaah!

By Art Baltazar and Franco Dark Horse Comics – 978-1-61655-558-0

By Thitaume and Romain Pujol Papercutz – 978-1-62991-048-2

Batman Adventures Volume 1

Regular Show: Hydration

By Kelly Puckett, Martin Pasko, and Ty Templeton DC Comics – 978-1-40125-229-8

By Rachel Connor and Tessa Stone BOOM! Studios – 978-1-60886-339-6

Battling Boy: The Rise of Aurora West Volume 1

Sisters

By Paul Pope, J T Petty, and David Rubin First Second – 978-1-62672-009-1

Benny and Penny in Lost and Found!

By Geoffrey Hayes TOON Books – 978-1-93517-964-1

Bravest Warriors: This Way Or That/The Great Core Caper

By Chris “Doc” Wyatt Perfect Square – 978-1-42157-539-1

El Deafo

By Cece Bell Amulet Books – 978-1-41971-217-3

Figment

By Jim Zub and Filipe Andrade Marvel Comics – 978-0-78519-099-8

The Graphic Canon of Children’s Literature

By Various Seven Stories Press – 978-1-60980-530-2

Graphic Classics Volume 25: Canine/ Feline Classics

By Various Eureka Productions – 978-0-98256-308-3

Jim Henson’s Musical Monsters of Turkey Hollow

By Jim Henson and Roger Langridge BOOM! Studios – 978-1-60886-434-8

Julia’s House for Lost Creatures

By Ben Hatke First Second – 978-1-59643-866-8

Littlest Pet Shop

By Georgia Ball, Antonio Campo, and Nico Pena IDW Publishing – 978-1-63140-087-2

Maddy Kettle: The Adventure of the Thimblewitch

By Eric Orchard Top Shelf Productions – 978-1-60309-072-8

26 Bookshelf Winter2014_03-30.indd 26

By Raina Telgemeier Graphix – 978-0-54554-060-5

Skylanders: The Kaos Trap

By Ron Marz, Mike Bowden, and David Baldeon IDW Publishing – 978-1-63140-141-1

Sock Monkey: Into the Deep Woods

By Matt Danner and Tony Millionaire Fantagraphics Books – 978-1-60699-746-8

Teenage Mutant Ninja Turtles New Animated Adventures Volume 4

By Various IDW Publishing – 978-1-63140-209-8

Theseus and the Minotaur

By Yvan Pommaux TOON Books – 978-1-93517-961-0

Titles for Young Adults (Age 13+) Archie: The Married Life Volume 6

By Paul Kupperberg, Fernando Ruiz, and Various Archie Comics – 978-1-61988-945-3

Armor Hunters Volume 1

The Graveyard Book Volume 2

To

By Ho

W

By Vi

T O (A

By Neil Gaiman, P. Craig Russell, and Various Harper Collins – 978-0-06219-483-1

A De Po

Harley Quinn Volume 1: Hot in the City

By Fir

By Amanda Conner, Jimmy Palmiotti, and Various DC Comics – 978-1-40124-892-5

Henni

By Miss Lasko-Gross Z2 Comics – 978-1-94087-802-7

Heroes of Olympus Volume 1: Lost Hero

By Rick Riordan, Robert Venditti, and Nate Powell Hyperion Books – 978-1-42316-325-1

In Real Life

By Cory Doctorow and Jen Wang First Second – 978-1-59643-658-9

In the Shadows

By Kiersten White and Jim Di Bartolo Scholastic – 978-0-54556-144-0

Lucifer and the Biscuit Hammer Volume 1

By Satoshi Mizukami Seven Seas Entertainment – 978-1-62692-085-9

March: Book Two

By Rep. John Lewis, Andrew Aydin, and Nate Powell Top Shelf Productions – 978-1-60309-400-9

Norogami: Stray God Volume 1

By Adachitoka Kodansha Comics – 978-1-61262-906-3

Orphan Blade

By M. Nicholas Almand and Jake Myler Oni Press – 978-1-62010-120-9

Princess Mononoke: The First Story

By Hayao Miyazaki Viz Media – 978-1-42157-586-5

Sally Heathcote, Suffragette

A En

By M

A Le

By M

Bl

By ID

Bl

By Da

Di

By Im

Dr

By Da

Fo

By Vi

G La

By an M

Hu

By Je

By Robert Venditti, Doug Braithwaite, and Cafu Valiant Entertainment – 978-1-93934-645-2

By Mary M. Talbot, Kate Charlesworth, and Bryan Talbot Dark Horse Comics – 978-1-61655-547-4

Ko

Bad Machinery Volume 3: The Case of the Simple Soul

Star Trek: Harlan Ellison’s City on the Edge of Forever

Th 20

By John Allison Oni Press – 978-1-62010-193-3

Batman Eternal Volume 1

By Se

By Various IDW Publishing – 978-1-63140-206-7

By Dy

Star Wars: Darth Maul – Son of Dathomir

Le

By Jeremy Barlow, Juan Frigeri, and Mauro Vargas Dark Horse Comics – 978-1-61655-551-1

By Da

Batman: The Jiro Kuwata Batmanga Volume 1

Teen Titans: Earth One Volume 1

M

By Jiro Kuwata DC Comics – 978-1-40125-277-9

By Jeff Lemire, Terry Dodson, and Rachel Dodson DC Comics – 978-1-40124-556-6

By Various DC Comics – 978-1-40125-173-4

Winter 2015

10/30/2014 12:15:26 PM

By Se

s

er

as

diamondbookshelf.com Tomb Raider Volume 1: Season of the Witch

Manga Dogs Volume 1

The Gigantic Beard That Was Evil

By Gail Simone, Nicolas Daniel Selma, and Juan Gedeon Dark Horse Comics – 978-1-61655-491-0

By Ema Toyama Kodansha Comics – 978-1-61262-903-2

By Stephen Collins Picador – 978-1-25005-039-7

Tomboy: A Graphic Memoir

Michael Jordan: Bull on Parade

By Liz Prince Houghton Mifflin Harcourt – 978-1-93697-655-3

By Wilfred Santiago Fantagraphics Books – 978-1-60699-711-6

Hit Volume 1: 1955

World Trigger Volume 1

Moon Knight Volume 1: From the Dead

By Daisuke Ashihara Viz Media – 978-1-42157-764-7

By Warren Ellis and Declan Shalvey Marvel Comics – 978-0-78515-408-2

Titles for Older Teens (Age 16+) Above the Dreamless Dead: World War I in Poetry and Comics

Ms. Marvel Volume 1: No Normal

By G. Willow Wilson, Adrian Alphona, and Jake Wyatt Marvel Comics – 978-0-78519-021-9

Prophecy Volume 1

By Bryce Carlson and Vanesa R. Del Ray BOOM! Studios – 978-1-60886-403-4

How to Be Happy

By Eleanor Davis Fantagraphics Books – 978-1-60699-740-6

The Late Child and Other Animals

By Marguerite Van Cook and James Romberger Fantagraphics Books – 978-1-60699-789-5

The Leaning Girl

By Tetsuya Tsutsui Vertical – 978-1-93913-059-4

By Benoit Peeters and Francois Schuiten Alaxis Press – 978-1-62847-227-1

Seconds

Original Sin

By Various First Second – 978-1-62672-065-7

By Bryan Lee O’Malley Ballantine Books – 978-0-34552-937-4

By Various Marvel Comics – 978-0-78519-069-1

All New Ghost Rider Volume 1: Engines of Vengeance

Showa: History of Japan Volume 3: 19441953

The People Inside

By Felipe Smith and Tradd Moore Marvel Comics – 978-0-78515-455-6

By Shigeru Mizuki Drawn & Quarterly – 978-1-77046-162-8

Amazing Spider-Man Volume 1.1: Learning to Crawl

Tales of Honor Volume 1

By Dan Slott and Ramon Perez Marvel Comics – 978-0-78516-677-1

Black Dynamite

By Brian Ash, Ron Wimberly, and Jun Lofamia IDW Publishing – 978-1-61377-880-7

Blacksad: Amarillo

By Juan Díaz Canales and Juanjo Guarnido Dark Horse Comics – 978-1-61655-525-2

Displaced Persons

By Derek McCulloch and Anthony Peruzzo Image Comics – 978-1-63215-121-6

Drug & Drop Volume 1

By CLAMP Dark Horse Comics – 978-1-61655-595-5

Food Wars: Shokugeki No Soma Volume 1

By Yuto Tsukuda and Shun Saeki Viz Media – 978-1-42157-254-3

Guardians of the Galaxy by Abnett and Lanning Complete Collection Volume 2

By Dan Abnett, Andy Lanning, Brad Walker, and Wesley Craig Marvel Comics – 978-0-78519-063-9

Hugh Howey’s Wool

By Hugh Howey and Various Jet City Comics – 978-1-4778-4912-5

Kokoro Connect Volume 1

By Anda Sadanatsu and CUTEG Seven Seas Entertainment – 978-1-62692-072-9

The Last Temptation 20th Anniversary Edition

By Alice Cooper, Neil Gaiman, and Michael Zulli Dynamite Entertainment – 978-1-60690-536-4

Legal Drug Omnibus

By CLAMP Dark Horse Comics – 978-1-61655-593-1

By Matt Hawkins and Sang-Il Jeong Image Comics – 978-1-63215-020-2

Veil

By Greg Rucka and Toni Fejzula Dark Horse Comics – 978-1-61655-492-7

V-Wars Volume 1: Crimson Queen

By Jonathan Maberry and Alan Robinson IDW Publishing – 978-1-63140-063-6

White Death

By Robbie Morrison and Charlie Adlard Image Comics – 978-1-63215-142-1

Titles for Adults (Age 18+) Ajin: Demi-Human Volume 1

By Gamon Sakurai Vertical – 978-1-93913-084-6

Baby Bjornstrand

By Renee French Koyama Press – 978-1-92766-813-9

The Best American Comics 2014

By Various Houghton Mifflin Harcourt – 978-0-54410-600-0

Bumf Volume 1: I Buggered the Kaiser

By Joe Sacco Fantagraphics Books – 978-1-60699-748-2

Cringe: An Anthology of Embarrassment

By Various Birdcage Bottom Books – 978-0-98265-953-3

Earthling

By Aisha Franz Drawn & Quarterly – 978-1-77046-166-6

Magical Girl Apocalypse Volume 1

The Fade Out Volume 1

By Sato Kentaro Seven Seas Entertainment – 978-1-62692-078-1

By Ed Brubaker and Sean Phillips Image Comics – 978-1-63215-171-1

Winter 2015

Bookshelf Winter2014_03-30.indd 27

By Ray Fawkes Oni Press – 978-1-62010-168-1

Resident Evil: The Marhawa Desire Volume 1

By Naoki Serizawa Viz Media – 978-1-42157-372-4

Rover Red Charlie Volume 1

By Garth Ennis and Michael DiPascale Avatar Press – 978-1-59291-239-1

The Secret Service: Kingsman

By Mark Millar and Dave Gibbons Marvel Comics – 978-0-78516-545-3

Southern Bastards Volume 1: Here Was a Man

By Jason Aaron and Jason Latour Image Comics – 978-1-63215-016-5

Stray Bullets Volume 1: Innocence of Nihilism

By David Lapham Image Comics – 978-1-63215-113-1

Street View

By Pascal Rabaté NBM – 978-1-56163-908-3

Sugar Skull

By Charles Burns Pantheon Books – 978-0-30790-790-5

Syllabus: Notes from an Accidental Professor

By Lynda Barry Drawn & Quarterly – 978-1-77046-161-1

The Leg

By Van Jensen and Jose Pimienta Top Shelf Productions – 978-1-60309-354-5

The Walking Dead Volume 22: A New Beginning

By Robert Kirkman, Charlie Adlard, and Stefano Gaudiano Image Comics – 978-1-63215-041-7

The Wicked + The Divine Volume 1: The Faust Act

By Kieron Gillen and Jamie McKelvie Image Comics – 978-1-63215-019-6

27 10/30/2014 12:15:27 PM

diamondbookshelf.com

R

B

Gr Co of By

Jac am cha aud He teac thes SC, ISB

Th C

ht

C A

ht

Ee (E

ht pr

Ex G

ht re

G

ht

28 Bookshelf Winter2014_03-30.indd 28

Winter 2015

10/30/2014 12:15:29 PM

diamondbookshelf.com

RESOURCES B OO K S ABO UT GRAPHIC NO V ELS Teaching Graphic Novels in the Classroom: Building Literacy and Comprehension

Graphic Novels and Comics in the Classroom: Essays on the Educational Power of Sequential Art

By Ryan Novak Novak helps teachers find ways to use comics and graphic novels to teach graphic literature to new readers, offering an introduction to the form and an overview of major events in comics history. He also provides analysis, lesson plans, essay topics, and more, with the final chapter featuring instructions for a comicmaking lesson.

SC, $29.95 (Prufrock Press) ISBN: 978-1-61821-107-1

Edited by Carrye Kay Syma and Robert G. Weiner Syma and Weiner collect essays examining the use of comics as teaching materials in today’s classrooms, ranging from elementary through college courses. The topics vary and cover a wide range, from theory to practical application to specific subject coverage.

SC, $45.00 (McFarland) ISBN: 978-0-78645-913-1

Comics: A Global History, 1968 to Present

Graphic Encounters: Comics and the Sponsorship of Multimodal Literacy

By Dan Mazur and Alexander Danner Mazur and Danner take a wide view of comics history, covering works from creators across the globe from the late 1960s to the early 21st century.

Examining a number of genres, artists, and formats, they offer a grand and ambitious look at world of comics, and the similarities (and differences) that cross cultural and geographic boundaries.

SC, $39.95 (WW Norton) ISBN: 978-0-50029-096-5

By Dale Jacobs

Jacobs makes the case of comics as a multimodal text, offering students a chance to learn through visual, text, audio, gestural, and spatial realms.

He also gives examples of how teachers can use comics to address these literacies.

SC, $32.95 (Bloomsbury Academic) ISBN: 978-1-44112-641-2

U S E F U L The Comic Book Project – Center for Educational Pathways

L I N K S

GNLib: Graphic Novels in Libraries

Maryland Comic Book Initiative

http://groups.yahoo.com/group/GNLIB-L/

http://www.marylandpublicschools.org/ MSDE/programs/recognition-partnerships/ md-comic-book

http://www.comicbookproject.org/

ComicsResearch.org – Academic & Library Resources

Good Comics for Kids (School Library Journal Blog)

http://www.comicsresearch.org/academic.html

http://blog.schoollibraryjournal.com/ goodcomicsforkids

Eek! Comics in the Classroom!

(Education World)

Graphic Novels for Multiple Literacies (IRA – Gretchen Schwarz)

http://www.education-world.com/a_curr/ profdev/profdev105.shtml

http://www.readingonline.org/newliteracies/ lit_index.asp?HREF=jaal/ 11-02_column/index.html

NACAE: the National Association of Comics Art Educators http://www.teachingcomics.org/

Expanding Literacies through Graphic Novels http://www1.ncte.org/Library/files/Free/ recruitment/EJ0956Expanding.pdf

The Graphic Novel and the World History Classroom (History Cooperative) http://www.historycooperative.org/journals/ whc/4.2/rhett.html

Graphic Novel Reporter http://www.graphicnovelreporter.com

No Flying, No Tights (Graphic Novel Review Site) http://www.noflyingnotights.com/

Using Comics and Graphic Novels in the Classroom (The Council Chronicle, Sept. 05) http://www.ncte.org/magazine/archives/122031

YALSA’s Great Graphic Novels for Teens List Making Curriculum Pop

http://www.ala.org/yalsa/ggnt

http://mcpopmb.ning.com

More Links DiamondBookShelf.com maintains an ever-growing database of web resources for educators and librarians.

Categories include official Publisher sites, resources for teachers, resources for librarians, graphic novel and comics review sites, resources for kids and more!

Winter 2015

Bookshelf Winter2014_03-30.indd 29

29 10/30/2014 12:15:30 PM

diamondbookshelf.com

HOW TO ORDER COMICS & GRAPHIC NOVELS Yo u h av e m an y op tion s – c h oose t he o ne t hat w o rks bes t f o r yo u!

1. BUY FROM YOUR LOCAL COMIC BOOK SHOP

2. BUY FROM YOUR USUAL WHOLESALER OR BOOK JOBBER

For a variety of reasons, your local comic book shop could be the best possible resource for your purchase of graphic novels. In fact, many local comic shops service both schools and libraries already with the latest comics and graphic novels.

Baker & Taylor, Booksource, Brodart, Follett, Ingram, Partners West, and other wholesalers all carry a full line of graphic novels. Most schools and libraries already do business with one or more of these companies, and it’s easy to add in your order through these procurement channels. Why not add graphic novels to your next order?

3. BUY DIRECT FROM DIAMOND If there are no comic book stores in your area and your usual wholesaler doesn’t have deep stock on a variety of titles, Diamond does sell directly to educators and librarians.

For more information, call Allan Greenberg at (800) 318-8001 ext. 8864 or email library@diamondcomics.com or schools@diamondcomics.com

A GREAT RESOURCE: YOUR LOCAL COMIC BOOK SHOP Quality comic book shops are a valuable resource for libraries and schools seeking graphic novels and graphic novel information. In the past, such partnerships have proven successful for all involved, with increased sales and circulation, as well as the satisfaction that comes with community involvement.

As comic book and graphic novel specialists, comic shop retailers have up-to-date knowledge on the most recent and upcoming hits, and a great familiarity with what their customers are reading and enjoying. Many are more than willing to work together on cross-promotional events, reaching out to and expanding the audience of graphic novel fans.

So, how do you go about finding and dealing with your local comic shop?

Well, it’s easier than you think. By following these easy steps, you’ll be coordinating with your local comic shop in no time!

Research and Choose a Store. Once you’ve located a store, the next thing to do is find out more about it. If you used the Comic Shop Locator, many of the stores have posted brief profiles. The best way to find out more information about a store is to visit it in person. That way, you’ll have the opportunity to browse through the store’s collection and get personal advice from the knowledgeable experts on hand. All stores will have their own unique approach – find one that you feel comfortable with.

Introduce Yourself. Going into any new environment can be intimidating, especially when you have preconceived notions.

But there’s nothing to fear from comic shop retailers. Many of them are happy to welcome librarians and teachers into their stores because they understand the mutual benefit working together can achieve. Let them know you’re interested in using graphic novels and they will be more than happy to help!

Find a Store. We’ve already done the work for you! To find your closest comic shop, all you have to do is use the Comic Shop Locator Service. Just log on to http://www. comicshop locator.com and enter your zip code. It’s as simple as that! Located on the store listings is the School and Library Partners icon above. Stores with this designation have told us they are willing to partner with schools and libraries to aid with selection, programming, purchasing, and more.

30 Bookshelf Winter2014_03-30.indd 30

Winter 2015

10/30/2014 12:15:31 PM

diamondbookshelf.com

DIAMOND BOOKSHELF e- N e ws le t t e r S ign -u p • www.D ia mo ndB o o kShelf .co m/s ubs cribe

SIGN UP NOW For Our Monthly e-Newsletter!

BOOKSHELF WANTS TO HEAR FROM YOU! What did you think of this issue of the Diamond BookShelf? Send your feedback, ideas and suggestions for future articles to: Diamond BookShelf 10150 York Road Hunt Valley, MD 21030 Email: editor@diamondbookshelf.com We at Diamond have known for years that comic books and graphic novels are excellent teaching and learning tools…we’re pleased that so many educators are starting to agree! We hope you find this publication and our website a useful resource to convince others that comics can make a difference in helping to promote literacy, motivate readers and more.

If you find Diamond BookShelf worthwhile, be sure to pass it on and tell your colleagues!

Bookshelf Winter2014_31-32.indd 31

Find us on Facebook at www.Facebook.com/DiamondBookShelf and Twitter at www.Twitter.com/DiaBookShelf

The BookShelf e-Newsletter is designed to inform educators and librarians about the best graphic novels for their schools and libraries!

Diamond Comic Distributors is the world’s largest distributor of English-language comic books, graphic novels and comics-related merchandise.

We believe that comics are not only great fun and great art, but also have educational value and are terrific tools for promoting literacy.

The BookShelf magazine and website are two of Diamond’s outreach initiatives to support the use of comics and graphic novels in schools and libraries.

10/30/2014 12:33:38 PM

Bookshelf Winter2014_31-32.indd 32

10/30/2014 12:33:18 PM