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With contributions by Eti Berland, Rebecca A. Brown, Christiane Buuck, Joanna C. Davis-McElligatt, Rachel Dean-Ruzicka, Karly Marie Grice, Mary Beth Hines, Krystal Howard, Aaron Kashtan, Michael L. Kersulov, Catherine Kyle, David E. Low, Anuja Madan, Meghann Meeusen, Rachel L. Rickard Rebellino, Rebecca Rupert, Cathy Ryan, Joe Sutliff Sanders, Joseph Michael Sommers, Marni Stanley, Gwen Athene Tarbox, Sarah Thaller, Annette Wannamaker, and Lance Weldy One of the most significant transformations in literature for children and young adults during the last twenty years has been the resurgence of comics. Educators and librarians extol the benefits of comics reading, and increasingly, children's and YA comics and comics hybrids have won major prizes, including the Printz Award and the National Book Award. Despite the popularity and influence of children's and YA graphic novels, the genre has not received adequate scholarly attention. Graphic Novels for Children and Young Adults is the first book to offer a critical examination of children's and YA comics. The anthology is divided into five sections, structure and narration; transmedia; pedagogy; gender and sexuality; and identity, that reflect crucial issues and recurring topics in comics scholarship during the twenty-first century. The contributors are likewise drawn from a diverse array of disciplines--English, education, library science, and fine arts. Collectively, they analyze a variety of contemporary comics, including such highly popular series as Diary of a Wimpy Kid and Lumberjanes; Eisner award-winning graphic novels by Gene Luen Yang, Nate Powell, Mariko Tamaki, and Jillian Tamaki; as well as volumes frequently challenged for use in secondary classrooms, such as Raina Telgemeier's Drama and Sherman Alexie's The Absolutely True Diary of a Part-Time Indian.
An orphan and thief, Hugo lives in the walls of a busy train station. He desperately believes a broken automaton will make his dreams come true. But when his world collides with an eccentric girl and a bitter old man, Hugo's undercover life are put in jeopardy. Turn the pages, follow the illustrations and enter an unforgettable new world!
More than simply a vital collection development tool, this book can help librarians help young adults grow into the kind of independent readers and thinkers who will flourish at college.
A New York Times Book Review choice as one of the 10 Best Illustrated Children's Books of 2008. Skim is Kimberly Keiko Cameron, a not-slim, would-be Wiccan goth stuck in a private girls' school in Toronto. When a classmate's boyfriend kills himself because he was rumoured to be gay, the school goes into mourning overdrive, each clique trying to find something to hold on to and something to believe in. It's a weird time to fall in love, but that's high school, and that's what happens to Skim when she starts to meet in secret with her neo-hippie English teacher, Ms. Archer. But when Ms. Archer abruptly leaves, Skim struggles to cope with her confusion and isolation, armed with her trusty journal and a desire to shed old friendships while cautiously approaching new ones. Depression, love, sexual identity, crushes, manipulative peers --teen life in all its dramatic complexities is explored in this touching, pitch-perfect, literary graphic masterpiece. Cousins Mariko and Jillian Tamaki collaborate brilliantly in this poignant glimpse into the heartache of being sixteen. Correlates to the Common Core State Standards in English Language Arts: CCSS.ELA-LITERACY.RL.5.7 Analyze how visual and multimedia elements contribute to the meaning, tone, or beauty of a text (e.g., graphic novel, multimedia presentation of fiction, folktale, myth, poem). CCSS.ELA-LITERACY.RL.6.3 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. CCSS.ELA-LITERACY.RL.6.6 Explain how an author develops the point of view of the narrator or speaker in a text.
A New York Times bestseller If you work hard enough, if you want it enough, if you’re smart and talented and “good enough,” you can do anything. Except get pregnant. Her whole life, Lucy Knisley wanted to be a mother. But when it was finally the perfect time, conceiving turned out to be harder than anything she’d ever attempted. Fertility problems were followed by miscarriages, and her eventual successful pregnancy plagued by health issues, up to a dramatic, near-death experience during labor and delivery. This moving, hilarious, and surprisingly informative memoir, Kid Gloves, not only follows Lucy’s personal transition into motherhood but also illustrates the history and science of reproductive health from all angles, including curious facts and inspiring (and notorious) figures in medicine and midwifery. Whether you’ve got kids, want them, or want nothing to do with them, there’s something in this graphic memoir to open your mind and heart.
A funny graphic-novel series by Aaron Reynolds, New York Times bestselling author of Creepy Carrots! His grandpa invented fire. His dad invented the wheel. How will Caveboy Dave leave his mark? Dave Unga-Bunga has always been more scrawny than brawny. This is a major problem when your village expects you to become a meat-bringer. At age twelve, all young cave-people must stalk through the eerie mushroom forests for a prehistoric beast the village can feast on. But Dave would much rather invent stuff for a better life—like underwear to make loincloths less itchy and cutlery to make eating less filthy. Can Dave save his group by inventing the perfect defense against a bloodthirsty pokeyhorn? Or will he MEET HIS DOOM? First in a new series, More Scrawny Than Brawny delivers irresistible characters, big thrills, and even bigger laughs. "Imagine a prehistoric version of Wimpy Kid meets Captain Underpants." —Boys' Life
Octavia E. Butler’s bestselling literary science-fiction masterpiece, Kindred, now in graphic novel format. More than 35 years after its release, Kindred continues to draw in new readers with its deep exploration of the violence and loss of humanity caused by slavery in the United States, and its complex and lasting impact on the present day. Adapted by celebrated academics and comics artists Damian Duffy and John Jennings, this graphic novel powerfully renders Butler’s mysterious and moving story, which spans racial and gender divides in the antebellum South through the 20th century. Butler’s most celebrated, critically acclaimed work tells the story of Dana, a young black woman who is suddenly and inexplicably transported from her home in 1970s California to the pre–Civil War South. As she time-travels between worlds, one in which she is a free woman and one where she is part of her own complicated familial history on a southern plantation, she becomes frighteningly entangled in the lives of Rufus, a conflicted white slaveholder and one of Dana’s own ancestors, and the many people who are enslaved by him. Held up as an essential work in feminist, science-fiction, and fantasy genres, and a cornerstone of the Afrofuturism movement, there are over 500,000 copies of Kindred in print. The intersectionality of race, history, and the treatment of women addressed within the original work remain critical topics in contemporary dialogue, both in the classroom and in the public sphere. Frightening, compelling, and richly imagined, Kindred offers an unflinching look at our complicated social history, transformed by the graphic novel format into a visually stunning work for a new generation of readers.
A true story from Raina Telgemeier, the #1 New York Timesbestselling, multiple Eisner Award-winning author of Smile, Sisters, Drama, and Ghosts! Raina wakes up one night with a terrible upset stomach. Her mom has one, too, so it's probably just a bug. Raina eventually returns to school, where she's dealing with the usual highs and lows: friends, not-friends, and classmates who think the school year is just one long gross-out session. It soon becomes clear that Raina's tummy trouble isn't going away... and it coincides with her worries about food, school, and changing friendships. What's going on?Raina Telgemeier once again brings us a thoughtful, charming, and funny true story about growing up and gathering the courage to face -- and conquer -- her fears.
Shows how the acceptance of psychoanalysis owes a notable debt to the rise of “kid lit”
For several generations, comics were regarded as a boys’ club—created by, for, and about men and boys. In the twenty-first century, however, comics have seen a rise of female creators, characters, and readers. While this sudden presence of women and girls in comics is being regarded as new and noteworthy, the observation is not true for the genre’s entire history. Throughout the first half of the twentieth century, the medium was enjoyed equally by both sexes, and girls were the protagonists of some of the earliest, most successful, and most influential comics. In Funny Girls: Guffaws, Guts, and Gender in Classic American Comics, Michelle Ann Abate examines the important but long-overlooked cadre of young female protagonists in US comics during the first half of the twentieth century. She treats characters ranging from Little Orphan Annie and Nancy to Little Lulu, Little Audrey of the Harvey Girls, and Li’l Tomboy—a group that collectively forms a tradition of Funny Girls in American comics. Abate demonstrates the massive popularity these Funny Girls enjoyed, revealing their unexplored narrative richness, aesthetic complexity, and critical possibility. Much of the humor in these comics arose from questioning gender roles, challenging social manners, and defying the status quo. Further, they embodied powerful points of collection about both the construction and intersection of race, class, gender, and age, as well as popular perceptions about children, representations of girlhood, and changing attitudes regarding youth. Finally, but just as importantly, these strips shed light on another major phenomenon within comics: branding, licensing, and merchandising. Collectively, these comics did far more than provide amusement—they were serious agents for cultural commentary and sociopolitical change.