Library Collection Development and Graphic Novels

Definition

An estimated ten million people read comic books and graphic novels annually. Therefore, adding graphic novels to public-library collections broadens collections overall, introduces readers of prose to graphic novels, and brings in comics readers who might otherwise not visit public libraries. When assembling a collection, librarians must make a number of important decisions related to selecting, purchasing, cataloguing, circulating, and promoting graphic novels.

Introduction

Public-library administrators have debated how far to delve into popular culture since Andrew Carnegie first endowed public libraries in 1883, and graphic novels have been subject to the same kind of debate librarians once held over romance novels and science-fiction books. In reality, public libraries have collected graphic novels on occasion without labeling them graphic novels. Hergé’s Les Aventures de Tintin (1929-1976; The Adventures of Tintin, 1958-1991), a staple of children’s collections, is an early European graphic novel series. The Peanuts collections by Charles M. Schulz and Walt Kelly’s Pogo books fall into a similar category. Other graphic novels from trade publishers, such as Jules Feiffer’s Tantrum (1979), also found their way into public libraries.

However, beginning in the 1980’s, graphic novels originating from comic book publishers became more popular, and librarians were forced to wrestle with this emerging format, which was poorly reviewed in library literature and unavailable from library vendors. Early graphic novels from comics publishers suffered from the same stigma that comic books had following the Senate Subcommittee on Juvenile Delinquency hearings in 1954. At that time, the comic book industry almost closed down because of charges that the material it published contributed to juvenile delinquency. Because most graphic novels were published by independent publishers, librarians had difficulty selecting, purchasing, and cataloging them.

Another challenge for librarians was determining the intended readership of graphic novels. Because of the visual nature of the comics medium, displaying and promoting graphic novels that were not targeted to children was problematic. However, as more and more graphic novels with adult themes and adult images became available, adding these materials to library collections became necessary. Though these challenges may have been a deterrent to stocking graphic novels in libraries, the high circulation of these books and their importance as doorways to other kinds of reading made collecting graphic novels an important task for librarians. Not surprisingly, these books often fell outside of the collection-development policies of many libraries; thus, new policies had to be developed.

Collecting Graphic Novels

As graphic novels became more popular, they began to be reviewed in collection-development journals such as Voice of Youth Advocates, Booklist, School Library Journal, Library Journal, and Publishers Weekly, guiding librarians in selecting appropriate materials for their collections. Prior to reviews appearing in these journals, keeping up-to-date with graphic novel publishing schedules and content was difficult.

Librarians struggled with where to place graphic novels in the library collections. Some books, such as Astérix (1961-1979; Asterix, 1969-1975), clearly belonged in the children’s section. Others, such as Art Spiegelman’s Maus (1986, 1991), just as clearly belonged in the adult collection. Other books were more difficult to place, another reason reviews in library literature proved invaluable. The reviews often signified for whom the book was intended.

Graphic novel collections in the juvenile library seemed a natural fit. Comics for children seemed beneficial: The content was appropriate, and reading graphic novels often proved to be a springboard to other reading. Graphic novels also drew teenagers into libraries. However, it is difficult to argue that graphic novels also attracted adult readers. One restriction was budget. Another restriction was the appropriateness of the graphic novels. Although public libraries carry movies and prose books with sexual or abrasive content, purchasing graphic novels, in which these qualities were expressed through artwork, left a library open to complaints or criticism. Reviews from library literature became a necessary component of selecting, explaining, and defending the inclusion of graphic novels in public libraries.

Types of Graphic Novels

Just as there are many kinds of prose novels, there are several different types of graphic novels. Some have specific appeal, while others have a broad appeal. Subgenres include superhero stories, human-interest stories, manga, nonfiction, adaptations and spin-offs, and satirical novels.

Superhero stories generally involve recognizable characters such as Superman and may evoke a more mature aspect of the character than readers might expect. An example of a superhero text with mature content is Daredevil: Born Again (1987), by Frank Miller and David Mazzucchelli.

Human-interest stories cover a broad range of subjects and are similar to what one might find in prose fiction. An example might be Wilson (2010), by Daniel Clowes.

Manga are Japanese comics that are an outgrowth of anime (Japanese animation). The artwork is often more cartoony than in American graphic novels. Manga is not genre specific and covers a wide range of subjects. Funny animal stories, another category, feature animals such as Donald Duck but endow these characters with human traits and conflicts.

Nonfiction graphic novels are not novels in the traditional sense but are still narrative in nature. These may be instructional or autobiographical, as in the case of Spiegelman’s Maus. Adaptations and spin-offs contain stories of well-known characters such as Dracula. Satirical novels question political systems or social mores. The work of cartoonists such as Robert Crumb and Harvey Kurtzman exemplify the latter genre.

Shelving, Displaying, Circulating, and Outreach

Because of the strong visual impact of graphic novels, shelving them has proved to be a double-edged sword: These books naturally draw attention to themselves but not always in a positive fashion. Teenagers who might be attracted to a popular graphic novel such as Alan Moore’s Watchmen (1987) might find their parents repelled by the book’s violent imagery. However, librarians found that displaying graphic novels together, with a face-out display, often increased their circulation because of the strong visual statement and the ease with which readers could access them.

Shelving these books brought another challenge: Many graphic novels are larger than trade books but are paperbound. As a result, standing them vertically often put strain on the paper binding. The paper binding became another reason to display the books face out on a stand, from which the binding can receive proper support.

Circulating graphic novels has also proved challenging. Most graphic novels are paperbacks and wear out with repeated borrowing. For this reason, some libraries reinforce or rebind the books or purchase more expensive hardcover editions. Theft has also been a problem, as graphic novels are costly. To counter theft, many librarians clearly identify these books as library property. Some go as far as to deface the books slightly to minimize their resale value on the collector’s market. Graphic novels may also be used effectively in outreach programs such as book talks and classroom visits to spark interest in the library program.

Library Inclusion Challenges and Graphic Novel Placement

Because graphic novels have both visual and prose currency, patrons can find either parts of or a whole graphic novel visually objectionable, depending on community standards. As a result, graphic novels may be challenged. To counter these challenges, librarians may refer to the library’s collection-development policy. Graphic novels may be justified as part of a popular-culture collection or as one aspect of youthful doorways to learning. Other libraries refer specifically to collecting graphic novels in their collection-development policies. If a graphic novel is challenged, it is wise to follow the same procedures one implements in any challenge to library materials.

Where graphic novels are placed is an important aspect of warding off challenges. When grouped together, displayed, and advertised, graphic novels may circulate well, justifying increasing the collection. However, placing graphic novels in age-appropriate sections of the library, rather than together, makes it more difficult to challenge the inclusion of graphic novels in libraries. Spreading graphic novels throughout libraries may positively affect overall circulation as well. Many librarians have never received challenges against graphic novels.

Impact

As public libraries began collecting and circulating graphic novels in the 1980’s and 1990’s, the impact was wide-ranging. Graphic novels added significantly to the appeal of public libraries and brought in patrons who might otherwise not have used library services. In this way, graphic novel collections have served as advertisements for both the texts themselves and library services in general. Many libraries boast of high circulation of graphic novel collections, and other libraries have noted that total circulation increased after they included graphic novels in their collections.

Placing graphic novels in public libraries has helped legitimize the comics format. Public-library sponsorship of graphic novels through collection and promotion as well as through a series of professional conferences held from 1998 to 2002 educated library patrons and the general public about how the comics field had evolved. The visibility afforded by these collections and conferences emboldened major publishing houses to develop graphic novels imprints, thus making graphic novels more readily available to libraries and the reading public.

Bibliography

Carter, James Bucky. BuildingLiteracy Connections with Graphic Novels. Urbana, Ill.: National Council of Teachers of English, 2007. Presents articles about how to teach specific graphic novels, many of which include classroom exercises and black-and-white illustrations.

Gorman, Michele. Getting Graphic! Using Graphic Novels to Promote Literacy with Preteens and Teens. Worthington, Ohio: Linworth, 2003. Focuses on practical issues librarians face when collecting graphic novels and includes a bibliography of graphic novel recommendations.

Gravett, Paul. Graphic Novels: Everything You Need to Know. New York: Collins Design, 2005. Provides an overview of the graphic novels field and an illustrated discussion of seminal works and serves as a readers’ advisory tool.

Pawuk, Michael. Graphic Novels: A Genre Guide to Comic Books, Manga, and More. Westport, Conn.: Libraries Unlimited, 2007. Organizes and describes more than twenty-four graphic novels and includes a cartoon preface touching on collection-development issues and the history of comics and graphic novels.

Weiner, Robert G. Graphic Novels and Comics in Libraries and Archives: Essays on Readers, Research, History, and Cataloging. Jefferson, N.C.: McFarland, 2010. Covers a range of topics of interest to public library, school, and academic librarians regarding graphic novels, including a graphic-novels-collection evaluation.