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12 • COGNOTES 2015 ANNUAL HIGHLIGHTS ISSUE

Keeping Graphic Novels in the Collection

By Kacee Anderson, Harmony Science Academy

A panel spoke June 28 on the Graphic Novel Stage about the challenges that libraries and authors face in relation to graphic novels all over the world. The panel included Mariko Tamaki, co-author of This One Summer, one of the most frequently challenged and banned books of the year; Gene Luen Yang, best known for his work American Born Chinese; and Eva Volin, supervising children's librarian at Alameda Free Library in California. Charles Brownstein, executive director of Comic Book Legal Defense Fund (CBLDF), moderated the session.

The panel kicked off with panelists sharing their own experiences with and reactions to graphic novel challenges. Yang talked briefly about his often-criticized character in American Born Chinese, Cousin Chin-kee, a representation of all stereotypes about Chinese Americans that he could think of, put into one character. “I wanted to talk about stereotypes in an explicit way, but when you bring up stereotypes, you might be perpetuating them.”

Tamaki stated that writers do not focus on what's appropriate, only what feels authentic. “Literature is literature. It's an experience. A book is there to reflect an experience in a way that's safe for readers. I also don't believe that you're going to read about something and then go and do it.” It's also not the role of the librarian to police the collection. According to Volin, “My job is to have something for every child in the community in the collection.”

The panel also discussed issues that often arise when parents get involved. Offering his own experiences as a parent, Yang stated, “Being a parent is just constantly having your source of authority undermined... for 18 years. As a parent you do your best, but you also have to be a little bit humble about your experience.” The CBLDF's position is that if you're a parent and you don't want your kid reading something in your home, that is your right, but you don't have the right to take that choice away from another parent. According to Yang, “Parents should attempt to try and scaffold information in a way that builds kids up.”

Only a fraction of book challenges are reported. Volin noted that challenges in the library typically begin with a parent expressing unhappiness. Librarians should try to start a dialog right there at the desk as this can often squash problems before they even begin. Too often, books are challenged and removed from a local library without going through the proper channels. Schools and libraries will simply pull a book rather than worry about losing funding or support. Brownstein noted that, “Other times people don't want to deal with the legal process. But you are doing your community a disservice by removing something that might help kids deal with the realities of life.”

The same books that are being challenged are the books that can change or touch a reader in a profound way. “There are realities that touch on kids’ lives that we wouldn't think to relate to them,” noted Mariko.

Yang added, “As a parent, it's a temptation to try and raise my kids in a sort of Disneyland, which is impossible. One of the jobs of stories is to try and help us as readers understand those bad things that come along.”

The entire panel seemed eager to move toward a point when graphic novels are used more in the school curriculum. Volin stated, “Sixty percent of people in the world are visual learners. We encourage this starting in kindergarten. Suddenly when you hit fourth grade, you are no longer expected to be a visual learner.” Pictures are often used to help learners understand concepts that might otherwise be above their current level. She continued, “To disregard graphic novels in a school curriculum is doing students a disservice, because students are still expected to understand and interpret visual cues.”

For more information on challenges to graphic novels, lesson plans, and other resources, visit http://www.CBLDF.org or stop by booth 211.

Gene Luen Yang (left), Eva Volin, Mariko Tamaki, and Charles Brownstein participate in a discussion about Graphic Novel challenges.

Geek Out! The Importance of Pop Culture in Libraries

By Robert Manzo, Student to ALA

The average comic book reader is 18 to 30 years old and equally likely to be female or male, said Ivy Weir, Kennett Public Library, Pennsylvania, during her June 27 presentation on teens and geek culture in public libraries. There are simple ways librarians can make libraries welcoming for teens interested in things traditionally labelled ‘geeky.'

One way is for libraries to partner with comic book shops, to share expenses for author visits, movie showings, costume parties, and other events. Some comic book shops celebrate Free Comic Book Day every year and libraries can provide space to hold a formal celebration or give out publisher-provided materials.

Another way is to organize regular group get-togethers. Weir has ‘Geek Gang’ meetings once a month during the school year (once a week in summer) for anyone in grades 8—10. Attendees read together, read aloud, write fan fiction, illustrate, and discuss their favorite books, comics, games, and shows. Other library-hosted groups include a video game club and Magic: The Gathering club. Game systems or card decks can be costly, but crowdfunding and donations have helped Weir offset costs for her groups’ materials.

Librarians can make connections with authors or comic creators through social media or by emailing publishers, agents, authors, or creators directly. The key, said Weir, is “not to harass or harangue authors incessantly, but to send short, carefully worded letters and invitations.”

Skype is a no-cost way that authors can, and often are willing to, connect with geek groups at libraries, if in-person visits are not possible. Weir also recommended holding annual Library ComicCons, which can draw fans from a larger regional area than regular groups. In these ways, public librarians can make their libraries welcoming for fans of pop and geek culture.

Lewis

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private space for her grandfather to pursue his passions. Fascinated by how her grandfather had overcome any fears of failure placed upon him by society, Lewis decided to study the lives of the masters of various fields to see if there were traits they all might share.

Lewis said that very often, the great ones aim is for mastery and not success. She said that Thomas Edison was asked at one point about his failure at creating the electric light, and replied that he had not failed, but had found 10,000 ways that do not work. This quality has been called “grit,” and Lewis said it shows up again and again in the work of the masters. Observing archers at Columbia University, Lewis said she could see the difference between success — hitting the bullseye once in a while — and mastery — being able to hit the bullseye again and again.

Lewis noted that Paul Cezanne did not sign 90 percent of his paintings, because he did not consider them finished; he quoted Michelangelo, who said, “Lord, grant that I always desire more than I can accomplish.”

Private domains, according to Lewis, “allow for the space and time to be a deliberate amateur.” She added that private domains are not just about a space for creativity, but that they allow for “transformation that we can have no other way.”

Lewis also pointed out that private spaces do not always refer to physical spaces, but can happen at any time. One example she cited was attorney Charles Black Jr., who had a transformational experience after listening to Louis Armstrong. Black would be so moved that he would later become one of the lawyers for the case of Brown v. Board of Education and would go on to teach constitutional law.