KEY /PEA
<& PETAIL
INTEGRATION
>F KNOWLEDi.
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CRAFT <§ STRUCTURE
rALIGNING GRAPHIC NOVELS TO THE COMMON CORE STAN PAR PS
AN EXCITING ANP UNIQUE OPPORTUNITY FOR
TEACHERS ANP SCHOOL LIBRARIANS
RANGE 0\
REAPINC Kat ie M o n n i n
to Know Graphic
«s i
"WE SHOULP STRIVE TO WELCOME CHANGE ANP
CHALLENGES BECAUSE THEY ARE WHAT HELP US GROW.
WITH OUT THEM WE GROW WEAK. WE NEEP TO CONSTANTLY
BE CHALLENGING OURSELVES IN ORPER TO STRENGTHEN
OUR CHARACTER ANP INCREASE OUR INTELLIGENCE."
- H. G. WELLS, THE TIME MACHINE
Th e t i t l e o f t h i s a r t i c l e is s i n c e r e .
C o n t e m p o r a r y t e a c h e r s a n d
s c h o o l l i b r a r i a n s a r e , i n d e e d ,
l i v i n g a n d t e a c h i n g d u r i n g a
u n i q u e t i m e — t h e m o s t e x c i t i n g i n
t h e h i s t o r y o f l i t e r a c y e d u c a t i o n
( B u c k i n g h a m 2 0 0 3 ; K i s t 2 0 0 4 ,
2 0 I 0 ; K r e s s 2 0 0 3 ; N e w L o n d o n
G r o u p 1 9 9 6 ) . M o d e r n l i t e r a c y
s c h o l a r s h i p c l a i m s t h a t we h a v e
n e v e r b e f o r e b e e n c h a l l e n g e d t o
r e d e f i n e o n s u c h a m a s s i v e s c a l e
t h e ways i n w h i c h w e t e a c h r e a d i n g .
A n d , t o s t r e n g t h e n n o t o n l y o u r
o w n c h a r a c t e r , as M r . W e l l s s u g g e s t s ,
b u t a l s o t h a t o f o u r s t u d e n t s ( a n d
t h e i r f u t u r e se lves a n d t h a t o f
t h e i r c h i l d r e n a n d g r a n d c h i l d r e n ) ,
c o n t e m p o r a r y l i t e r a c y e d u c a t o r s
m u s t i n c r e a s e t h e i r k n o w l e d g e a n d
a w a r e n e s s o f t h e u n i q u e n e s s o f
o u r o w n c u r r e n t t i m e a n d p l a c e i n
h i s t o r y . H a p p e n i n g d a i l y , p r o b a b l y
d o w n t o e a c h a n d e v e r y s e c o n d
t h a t p a s s e s , o u r m o d e r n l i t e r a c y -
l e a r n i n g w o r l d is q u i c k l y m o v i n g
f o r w a r d a n d a d v a n c i n g ; m o s t l i k e l y ,
s o m e t h i n g a b o u t l i t e r a c y h a s b e e n
u p d a t e d w h i l e y o u j u s t r e a d t h a t
l a s t s e n t e n c e ( K i s t 2 0 0 4 , 2 0 I 0 ) .
I n t h e m i d s t o f w h a t h a s b e e n
d e e m e d t h e g r e a t e s t c o m m u n i c a t i o n
r e v o l u t i o n o f a l l t i m e , e d u c a t o r s —
i n c l u d i n g s c h o o l l i b r a r i a n s — d o ,
i n d e e d , h a v e t h e u n i q u e a n d
e x c i t i n g o p p o r t u n i t y t o r e s p o n d
t o a n d r e d e f i n e t h e ways i n w h i c h
m o d e r n r e a d e r s a n d w r i t e r s w i l l
l e a r n t o r e a d a n d w r i t e i n a s h i f t i n g
l i t e r a c y c l i m a t e ( K r e s s 2 0 0 3 ; C a r t e r
2 0 0 7 ) . S e c o n d h i s t o r i c a l l y o n l y t o
t h e 1 5 t h - c e n t u r y i n v e n t i o n o f t h e
u s e o f m o v a b l e t y p e i n p r i n t i n g , o u r
c u r r e n t c o m m u n i c a t i o n r e v o l u t i o n
is t h e m o s t s i g n i f i c a n t , f o r i t is n o t
d r i v e n by o n e s i n g l e i n n o v a t i o n
( l i k e t h e i n t r o d u c t i o n o f m o v a b l e
t y p e a l l o w i n g s h a r p l y r e d u c e d
p r i n t i n g c o s t s ) b u t , i n s t e a d , b y a n
u n q u a n t i f i a b l e s u c c e s s i o n o f l i t e r a c y
a d v a n c e m e n t s ( B u c k i n g h a m 2 0 0 3 ;
K r e s s 2 0 0 3 : H o b b s 2 0 0 7 ; N e w
L o n d o n G r o u p 1 9 9 6 ) . N o m a t t e r
w h e r e y o u l ive i n t h e w o r l d , l i t e r a c y
n o w m e a n s t o s i m u l t a n e o u s l y r e a d
a n d c o m p r e h e n d b o t h p r i n t e d t e x t
a n d g r a p h i c m e t h o d s o f p r e s e n t i n g
i d e a s a n d i n f o r m a t i o n . T o h e l p
m y s e l f b e t t e r u n d e r s t a n d j u s t
w h a t t h i s m e a n s f o r l i b r a r i a n s
a n d l a n g u a g e a r t s e d u c a t o r s I
l i k e t o p i c t u r e w h a t I r e f e r t o
as " T h e N e w L i t e r a c y S t a g e . "
I n t h e p a s t , t r a d i t i o n a l l i t e r a c i e s
h a v e b e e n t h e s t a r o f t h e s h o w . B u t
w h y ? W h o m a d e t h i s d e c i s i o n ?
A l m o s t o n e h u n d r e d a n d t w e n t y
y e a r s a g o , i n t h e 1 8 9 0 s , a c o m m i t t e e
n i c k n a m e d " T h e C o m m i t t e e
o f T e n " was f o r m e d . T h i s g r o u p
o f i n d i v i d u a l s was c h a r g e d w i t h
d e c i d i n g w h a t a l l y o u n g a d u l t s
s h o u l d r e a d , e s p e c i a l l y t h o s e
s t u d e n t s w h o w i s h e d t o p r e p a r e
f o r a c a r e e r o r c o l l e g e . U l t i m a t e l y ,
t h e c o m m i t t e e ' s d e c i s i o n a n d
r e c o m m e n d a t i o n r e s t e d i n t h e
h a n d s o f t h e i r c h a i r p e r s o n , t h e
p r e s i d e n t o f H a r v a r d U n i v e r s i t y ,
D r . C h a r l e s E l i o t , w h o f e l t t h a t t h e
a n s w e r was s i m p l e . A f t e r a l l , h e
w a s a s c h o l a r a n d h a d c l i m b e d t h e
a c a d e m i c l a d d e r l i k e so m a n y y o u n g
1 9 t h - c e n t u r y s t u d e n t s n o w w a n t e d
t o d o f o r t h e m s e l v e s . I n h i s o p i n i o n ,
e v e r y s i x t h - t h r o u g h t w e l f t h - g r a d e
l a n g u a g e a r t s s t u d e n t s h o u l d b e
r e a d i n g — b o t h i n t h e l i b r a r y a n d
d u r i n g s c h o o l h o u r s — t h e t i t l e s o n
t h e five-foot b o o k s h e l f h e h a d i n h i s
v e r y o w n o f f i c e . A n d a l t h o u g h D r .
E l i o t p r o b a b l y h a d g o o d i n t e n t i o n s
a n d s t u d e n t s ' b e s t i n t e r e s t s i n
m i n d , h i s five-foot b o o k s h e l f
p l a c e d a v e r y n a r r o w p e r s p e c t i v e
o n w h a t b e g a n t o b e c o u n t e d as
a c c e p t a b l e a n d v a l u a b l e l i t e r a t u r e
i n A m e r i c a n s c h o o l s a n d l i b r a r i e s .
T o d a y is a n e w day , h o w e v e r , a n d
c o n t e m p o r a r y l i t e r a c y e d u c a t o r s
a n d s c h o o l l i b r a r i a n s m u s t c o n s i d e r
t h e p r o l i f i c n u m b e r o f l i t e r a c i e s
n o w a v a i l a b l e t o o u r s t u d e n t s b o t h
i n a n d o u t o f s c h o o l ( H u l l a n d
S c h u l t z 2 0 0 2 ) . I n e s s e n c e , n e w
l i t e r a c y s c h o l a r s h i p h a s b e g u n t o
l o o k b a c k i n t i m e a n d q u e s t i o n t h e
c o m m i t t e e ' s five-foot b o o k s h e l f
r e c o m m e n d a t i o n . A s we d o s o , w e
find n u m e r o u s c a l l s t o w i d e n D r .
E l i o t ' s five-foot b o o k s h e l f : t h e
Volume 41, No. 3 | January/February 201 3 51
RECOMMENPEP RESOURCES-A d a m s , D . 2 0 0 4 . The Hitchhiker's
Guide to the Galaxy. New York : C r o w n .
A m i r , Kha l i l . 2 0 I I . Zflhra's Paradise. New York: First S e c o n d .
A u s t e n , J . 2 0 0 I . Pride and Prejudice. New York: N o r t o n .
Butzer , C . M. 2 0 0 9 . Gettysburg: The Graphic Novel. New York : H a r p e r C o l l i n s .
C a r r o l l , L. 2 0 0 0 . Alices Adventures in Wonderland. Seat t le , WA: C r e a t e S p a c e .
C h a u c e r , G . 2 0 0 5 . The Canterbury Tales. New York : P e n g u i n .
Co l l i e r , J . L. 2 0 0 5 . My Brother Sam Is Dead. New York: Scholast ic .
Co l l in s , S. 2 0 0 8 . The Hunger Games. New York : Scholas t ic .
D i c k i n s o n . E. 1976- The Complete Poems of Emily Dickinson. New York : Back Bay Books .
Fies. B. 2 0 0 9 . Whatever Happened to the World of Tomorrow? New York:
A b r a m s .
F rank , A. 2 0 I 0 . The Diarj of a Young Girl. New York : Everyman ' s L ib ra ry .
F r a n k l i n . B. 2 0 0 3 . The Autobiography of Benjamin Franklin. New York : T o u c h s t o n e .
H i n t o n , S. E. 2 0 0 7 . The Outsiders 4.0th Anniversary Edition. New York : V ik ing J u v e n i l e .
K i b u i s h i , K . 2 0 0 8 . Amulet, Book 1: The Stonekeeper. New York: Scholast ic .
K i n g j r . , M a r t i n L u t h e r . 1992 . I Have a Dream: Writing and Speeches that Changed the World. New York : H a r p e r O n e .
K u p e r , P., a n d F. Kafka . 2 0 0 4 . The Metamorphosis. N e w Y o r k : T h r e e Rivers.
La i rd , R. , T . N . La i rd , a n d E. A. Bey, 2 0 0 9 . Still I Rise.-A Graphic History of African Americans. New York: S te r l ing .
Lee. H . i 9 6 0 . To Kill a Mockingbird. New York : W a r n e r .
L i n c o l n , A. 2 0 I 0 . The Gettysburg Address. N e w Y o r k : P e n g u i n .
Mei tzer , B. , B. Mora les , a n d M. Bai r . 2 0 0 6 . Identity Crisis. New York : D C C o m i c s .
Mil lar , M . . et al. 2 0 0 4 . Superman: Red Son. N e w Y o r k : D C C o m i c s .
M o o r e , L . , J . R e p p i o n , a n d A. C a m p b e l l . 2 0 0 9 . Sherlock Holmes: Volume 1, The Trial of Sherlock Holmes. R u n n e m e d e , NJ : D y n a m i t e .
1 2 Knowledge Quest | Getting to Know
PAIRING THE STUPY
TEXT-ONiy BOOKS WITH GR API
EVERY STUPENT ANP
'LP ALL STUPENTS LEARN ANP GROW.
1911 f o u n d a t i o n o f t h e N a t i o n a l
C o u n c i l o f T e a c h e r s o f E n g l i s h ,
r e a d e r - r e s p o n s e t h e o r y o f t h e
1 9 2 0 s a n d 1 9 3 0 s ' r e a d i n g t h r o u g h
c r i t i c a l a n d c u l t u r a l t h e o r e t i c a l
l e n s e s d u r i n g t h e 1 9 5 0 s a n d 1 9 6 0 s ,
a n d a n e v e r - g r o w i n g i n t e r e s t i n
t e a c h i n g film a n d t e l e v i s i o n — a l o n g
w i t h o t h e r m u l t i m e d i a - b a s e d
o r s c r e e n - l i k e l i t e r a c i e s — i n t h e
1 9 7 0 s , 1 9 8 0 s , a n d 1 9 9 0 s . T o d a y
t h i s d i s c u s s i o n o n r e n o v a t i n g a n d
r e b u i l d i n g t h e s t a n d a r d five-foot
b o o k s h e l f is e v e n m o r e s i g n i f i c a n t .
T o d a y ' s t e a c h e r s a n d s c h o o l
l i b r a r i a n s a r e t h e first g e n e r a t i o n
o f e d u c a t o r s t o se t t h e s t a g e f o r
d e f i n i n g w h a t w i l l c o u n t as v a l u a b l e
l i t e r a t u r e f o r g e n e r a t i o n s t o c o m e .
A l o n g w i t h a h o s t o f o t h e r n e w
l i t e r a c i e s a n d f o r m a t s ( s u c h as
i d e a s a n d i n f o r m a t i o n d e l i v e r e d
v ia t h e I n t e r n e t , t e x t m e s s a g e s ,
z i n e s , v i d e o c o m p o s i t i o n s , m e d i a
l i t e r a c i e s , o n l i n e g a m i n g , a n d so
o n ) , t e a c h i n g w i t h g r a p h i c b o o k s
is r e a d y t o a u d i t i o n . B e c a u s e t h e y
r e l y o n b o t h t r a d i t i o n a l p r i n t - t e x t
l i t e r a c i e s a l o n g s i d e m o r e v i s u a l ,
i m a g e - b a s e d l i t e r a c i e s , g r a p h i c
n o v e l s a r e s t r o n g c o n t e n d e r s
f o r e d u c a t o r s ' c o n s i d e r a t i o n .
W i t h t h a t s a i d , h o w e v e r , I a m o f t e n
a s k e d , " U n d e r m o r e a n d m o r e
s t a n d a r d i z e d m a n a g e m e n t f r o m
t h i n g s l i k e t h e C o m m o n C o r e
S t a n d a r d s , h o w c a n we fit a n e w
l i t e r a c y f o r m a t l i k e t h e g r a p h i c n o v e l
i n t o o u r 6—12 c l a s s r o o m p e d a g o g y
a n d c u r r i c u l u m d e m a n d s ? "
F i r s t o f a l l , t o t e a c h t o t h e s t a n d a r d s
d o e s n o t m e a n t h a t we m u s t t e a c h
o n l y t o t h e s t a n d a r d s . I n f a c t , t h e
f o u n d a t i o n a l t e x t t h a t d e f i n e d
s t a n d a r d i z e d m a n a g e m e n t , R a l p h
T y l e r ' s Basic Principles of Curriculum
and Instruction ( 1 9 6 9 ) , a d v o c a t e d t h a t
t e a c h e r s e m b r a c e m o r e t h a n j u s t o n e
m e t h o d o f i n s t r u c t i o n a l a s s e s s m e n t ,
s u c h as t e a c h i n g t o s t a n d a r d s , a n d ,
i n s t e a d , e m b r a c e a h o s t o f f o r m a l
a n d i n f o r m a l a s s e s s m e n t s . A n d
b e l i e v e it o r n o t , t h e g r o w i n g
i m p l e m e n t a t i o n o f t h e C o m m o n
C o r e S t a n d a r d s fits e x t r e m e l y we l l
w i t h t e a c h i n g a r e a l i s t i c s h a r e d
l i t e r a c y . C o m b i n e d p r i n t - t e x t
l i t e r a c i e s a n d i m a g e l i t e r a c i e s , l i k e
t h o s e f o u n d i n g r a p h i c n o v e l s ,
a r e r e f l e c t e d a n d v a l u e d i n t h e
C o m m o n C o r e S t a n d a r d s .
T o h e l p t e a c h e r s a n d s c h o o l
l i b r a r i a n s b e t t e r u n d e r s t a n d
j u s t h o w f r i e n d l y t h e C o m m o n
C o r e S t a n d a r d s a r e t o p r i n t - t e x t
l i t e r a c i e s a n d t h e i r n e w c o s t a r s o f
n e w l i t e r a c y , g r a p h i c n o v e l s , l e t ' s
t a k e a l o o k a t t h e f o l l o w i n g t a b l e .
/
Graphic Novels
LESSON I PEAS THAT LINK GRAPHIC NOVELS TO TRADITIONAL LITERARY PAIRINGS ANP THE COMMON CORE REAPING STANPARPS.
COMMON CORE STANDARDS FOR READING
IN GRADES 6 - 1 2
Key Ideas and Details Key Ideas and Details Key Ideas and Details
STUDENTS SHOULD BE ABLE TO...
Read closely to determine what
the text says explicitly and to
make logical inferences from it;
cite specific textual evidence
when writ ing or speaking to
support conclusions drawn from
the text.
Determine central ideas or
themes of a text and analyze
their development; summarize the
key supporting details and ideas.
Analyze how and why individu-
als, events, and ideas develop
and interact over the course of a
text.
TWO SUGGESTED 6 - 1 2 GRAPHIC NOVELS FOR
TEACHING SPECIFIC CCSs
Identity Crisis
by Meltzer, Morales, and Bair
The Homeland Directive
by Venditti and Huddleston
Creature Tech
by TenNapel
Foiled written by Yolen and
illustrated by Cavallaro
Crogan's Loyalty
by Schweizer
A. D.: New Orleans after
the Deluge by Neufeld
TWO SUGGESTED 6 - 1 2 TRADITIONAL LITERATURE
PAIRINGS TO ILLUSTRATE THE IMPORTANCE OF TEACHING A SHARED MULTI-LITERACY
STAGE WITH THE CSSs
Alice in Wonderland
by Carroll
Native Son
by Wr ight
The Hitchhiker's Guide
to the Galaxy by Adams
Pride and Prejudice
by Austen
My Brother Sam is Dead
by Collier
The Hunger Games
by Collins
BRIEF EXPLANATION AND LESSON IDEAS FOR LINKING
THE COMMON CORE READING STANDARDS WITH
SUGGESTED GRAPHIC NOVELS Ithe highest-selling
contemporary and multi-literacy text for young adultsI
The suggested graphic novels
and traditional literacy pair ing
listed beside the CCSs both
present teachers with high-quality
texts for teaching inference,
especially reliance on textual
evidence that builds to support
plot twists and turns.
That said, I would recommend
that teachers and school
librarians develop a T-chart
handout for their students. On the
left side of the T-chart ask
students to list the "INFER-
ENCES" they are forming as they
read. Then, on the right side of
the T-chart, students can list the
"TEXTUAL EVIDENCE" that
supports their inferences.
As students read the graphic
novels or traditional literary
pairings, ask them to make a list
of the top five themes or central
ideas they notice in the texts.
Then ask students to work
collaboratively in small groups, a
team-building endeavor.
Ask each team to review their
lists and develop a graphic
organizer that lists their top five
central ideas or themes.
Alongside their themes or central
ideas, students can next
summarize and present the key
supporting details from the text
by noting the developments in
the texts and rationales for
students' choices of themes and
main ideas.
For this CCS I encourage
students to complete the
fol lowing activity:
Draw a picture and write a
description of the two most
important characters.
Next to each drawing and
description, ask students to list
the events and ideas related to
this character.
Finally, have students write
reflective paragraphs that
explain how these characters,
events, and ideas interact over
the course of the text.
Volume 41 , No. 3 | January/February 201 3 53
LESSON I PEAS THAT LINK GRAPHIC NOVELS TO TRAPITIONAL LITERARY PAIRINGS ANP THE COMMON CORE REAPING STANPARPS.
COMMON CORE Craft and Structure Craft and Structure Craft and Structure STANDARDS FOR READING
IN GRADES 6 - 1 2
STUDENTS SHOULD BE ABLE TO...
Interpret words and phrases as
they are used in a text, including
determining technical, connota-
tive, and figurative meanings,
and analyze how specific word
choices shape meaning or tone.
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.
Assess how point of view or
purpose shapes the content and
style of a text.
TWO SUGGESTED 6 - 1 2 GRAPHIC NOVELS FOR
TEACHING SPECIFIC CCSs
Shakespeare's The Merchant of
Venice adapted by Hinds
Sherlock Holmes: The Trial of
Sherlock Holmes, Volume I
by Moore, Reppion, and
Zahra's Paradise
by Amir and Khalil
The Last Dragon
by Yolen and Guay
Superman: Red Son
by Mil lar et al.
Take What You Can Carry
by Pyle
TWO SUGGESTED 6 - 1 2 TRADITIONAL LITERATURE
PAIRINGS TO ILLUSTRATE THE IMPORTANCE OF TEACHING A SHARED MULTI-LITERACY
STAGE WITH THE CSSs
Shakespeare's
Merchant of Venice
The Adventures of Sherlock
Holmes by Doyle
A collection of
Emily Dickinson's poetry
Gulliver's Travels
by Swift
The Canterbury Tales
by Chaucer
Frankenstein
by Mary Shelley
BRIEF EXPLANATION AND LESSON IDEAS FOR LINKING
THE COMMON CORE READING STANDARDS WITH
SUGGESTED GRAPHIC NOVELS Ithe highest-selling
contemporary and multi-literacy text for young adults)
Before your students read any of
these texts, review and pull out
all of the words and phrases you
feel are important to overall
meaning or tone of the story.
Provide this handout to students
and ask them to read the text on
their own and brainstorm why
these words a n d / phrases may
be so significant.
As a class, brainstorm what the
word "structure" might mean in
terms of storytelling. Next, ask
students to read one or more of
the assigned texts and take notes
on any unique structural
decisions that they feel influence
the story.
Present students with a blank
four-square boxed handout (if
needed, present each student
with a couple of these handouts).
Before they read, ask students to
brainstorm—at the top of the
handouts—what they think the
title of the text might tell them
about point of view. Next, while
reading, ask students to place a
character's name in each box
and explain that character's
point of view. Finally, as a class, discuss the
students' ideas, being sure to
also clarify the significance of
any words or phrases students
may have missed. Visit AASL's Essential
Links <http://aasl.ala.
org/essentiallinks> to
find additional resources
on the Common Core
State Standards (CCSS).
1 2 Knowledge Quest | Getting to Know Graphic Novels
Integration of Knowledge Integration of Knowledge Integration of Knowledge Range of Reading and Level
and Ideas and Ideas and Ideas of Text Complexity
Integrate and evaluate content Delineate and evaluate the Analyze how two or more texts Read and comprehend complex
presented in diverse media and argument and specific claims in address similar themes or topics literary and informational texts
formats, including visually and a text, including the validity of to build knowledge or to independently and proficiently.
quantitatively, as well as in the reasoning as well as the compare the approaches the
words. relevance and sufficiency of the authors take.
evidence.
Whatever Happened to the Amulet Maus 1 Still 1 Rise: A Graphic History
World of Tomorrow? by Fies by Kibuishi by Spiegelman* of African Americans
by Laird , Laird, and Bey
Dotter of Her Father's Eyes The Metamorphosis Superman Birthright
by Talbot and Talbot by Kafka and adapted by by Waid , Yu, and Alangui lan* Gettysburg: The Graphic Novel
The Bluest Eye To Kill a Mockingbird The Outsiders "1 Have a Dream" speech
by Morrison by Lee by Hinton by King
The Giving Tree The Metamorphosis The Diary of a Young Girl The Autobiography of Benjamin
by Silverstein by Kafka by Frank Franklin by Franklin
Each of these texts has its own Ask students to use a Perfect for pair ing a graphic Each of these suggested texts
unique way of presenting its Know-Wonder-Learn (KWL) novel with a traditional text-only are rich in information and
message or content. To help chart as they list what they novel, this CCS is best handled literary complexity. To make
students notice each of these K N O W about the claims being by encouraging students to sure students grasp the
unique formatting choices, take made in the text. Then, have create a Word or Excel importance of the information
a book-walk as a class, students explain what they document that highlights the and complexity of the texts, ask
pointing out each time you WONDER about the validity of themes or topics found in each students to first read
noticed a unique formatting each claim, and, finally, ask text. When their Word or Excel independently and then as a
choice. Students should be students to list what they documents have been complet- class. Whi le the class reads
encouraged to take notes on LEARNED about the relevance ed, ask students to write an together, note on the board
each of your examples. Then, and sufficiency of each claim essay that compares that the students' questions and
as students read the texts on and its validity. approaches of each author. comments about the information
their own, ask them to go on a in the text or its literary
treasure hunt of their own, complexity. Wri te out and
searching for even more unique * This graphic novel is part of a series. discuss each of these points on
formatting choices and the board, and encourage
decisions made by the author. students to take notes as you
As a class, have students share move through the text together.
and explain their finds and
rationales.
Volume 41 , No. 3 | January/February 201 3 57
M o r r i s o n , T . 2 0 0 7 - The Bluest Eye. New York : Vin tage .
N e u f e l d , J . 2 0 0 9 . A. D.: New Orleans after the Deluge. N e w Y o r k : P a n t h e o n .
Po tok , C . 1996. The Chosen. N e w Y o r k : Ba l lan t ine .
Pyle, K . C . 2 0 1 2 . Take What You Can Carry. N e w Y o r k : H e n r y H o l t .
Schweizer , C . 2 0 1 2 . Crogan's Lojaltj. P o r t l a n d , O R : O n i .
Shakespeare , W. 2 0 I I . The Merchant of Venice. N e w Y o r k : S i m o n Sl B r o w n .
Shelley, M. 2 0 I 2 . Frankenstein. New York: N o r t o n .
Si lvers te in , S. 2 0 0 4 . The GivingTree, 40th Anniversary Edition. New York : H a r p e r C o l l i n s .
S m i t h . J . 2 0 0 5 - Bone: Out from Boneville. N e w Y o r k : Scholast ic .
S p i e g e l m a n , A. 2 0 0 3 . Mausl. New York: P a n t h e o n .
S p i e g e l m a n , A. 2 0 0 3 . Maus II . New York : P a n t h e o n
Swift, J . 2 0 0 4 . Gullivers Travels. New York : Barnes a n d N o b l e .
Ta lbo t , M . M. , a n d B. Ta lbo t . 2 0 1 2 . Dotter of Her Father's Eyes. Milwaukie , O R : Dark H o r s e .
T e n N a p e l , D. 2 0 I 0 . Creature Tech. Berkeley, C A : Image C o m i c s .
Vendi t t i , R. , a n d M. H u d d l e s t o n . 2 0 1 2 . The Homeland Directive. Mar ie t t a , GA-. T o p She l f .
Waid, M . , L. F. Yu , a n d G . A l a n g u i l a n . 2 0 0 5 - Superman: Birthright. N e w Y o r k : D C C o m i c s .
Wright , R. 2 0 0 8 . Native Son. N e w Y o r k : N o r t o n .
Yang. B. 2 0 I I . Forget Sorrow. N e w Y o r k : N o r t o n .
Yo len , J . , a n d R. Guay . 2 0 I I . The Last Dragon. Milwaukie, O R : Dark H o r s e .
Yo len . J . , a n d M. Caval la ro . 2 0 I 0 . Foiled. N e w Y o r k : First S e c o n d .
Visit <www.alo.org/aasl /
knowledgequest> to register for
Katie's complimentary webinar for
AASL members "Aligning Graphic
Novels to the Common Core
Standards." The webinar, based on
this feature, will take place Feb. 16
at 7 p.m. EST.
F u r t h e r T h o u g h t s o n P a i r i n g G r a p h i c Nove l s w i th T r a d i t i o n a l T e x t - O n l y L i t e r a t u r e a n d t h e R e a d i n g C C S s f o r G r a d e s 6 - 1 2
A l t h o u g h s o m e t e a c h e r s c r i n g e a t t h e
w o r d " s t a n d a r d s " a n d m a y u n j u s t l y
s t i g m a t i z e t h e C o m m o n C o r e
S t a n d a r d s , t h e C C S s a r e b r o a d l y
a n d u n i q u e l y w r i t t e n . T h e y p e r m i t
a w i d e r a n g e o f i n t e r p r e t a t i o n a n d
c r e a t i v i t y . F o r t h i s r e a s o n , t h o u g h I
a m a n a d m i t t e d o p p o n e n t o f m y o w n
s t a t e ' s o v e r - r e l i a n c e o n ( o r a s I l i k e
t o s a y " a d d i c t i o n t o " ) s t a n d a r d i z e d
m a n a g e m e n t , I ' v e c o n c l u d e d t h a t
t h e C C S s m a y a c t u a l l y b e a s t e p
f o r w a r d . A s w e w o r k t o g e t h e r t o
i m p l e m e n t t h e s e s t a n d a r d s , t h e y
c a n s e r v e a s a m i d d l e g r o u n d w h e r e
p r o p o n e n t s a n d o p p o n e n t s o f
s t a n d a r d i z a t i o n c a n c o m e t o g e t h e r
a n d c r e a t e a n e n t i r e l y n e w w a y o f
m a k i n g s u r e t h a t n o c h i l d is l e f t
b e h i n d . I n t h e p r o c e s s , w e c a n a l s o
e n s u r e t h a t a l l t y p e s o f l i t e r a c i e s a n d
s c h e m a t i c e x p e r i e n c e s h a v e a h o m e .
P a i r i n g t h e s t u d y o f t r a d i t i o n a l
t e x t - o n l y b o o k s w i t h g r a p h i c
n o v e l s c a n s u p p o r t o u r e f f o r t s t o
e n g a g e e v e r y s t u d e n t a n d t o h e l p a l l
s t u d e n t s l e a r n a n d g r o w . A s S t a n
L e e , t h e w r i t e r o f t h e S p i d e r - M a n
s e r i e s f a m o u s l y s a i d , " W i t h g r e a t
p o w e r c o m e s g r e a t r e s p o n s i b i l i t y . "
K a t i e M o n n i n
is not only the proud
parent of two wiener
dogs, but also an
assistant professor of
literacy at the University of North Florida.
While not pampering her dogs and treating
them like children, she has managed to
write numerous articles on teaching with
comic books and graphic novels. She has
also, in her spare time, written four books
(published by Maupin House) about
teaching with comic books and graphic
novels: Teaching Graphic Novels (2010),
Teaching Early Reader Comics and Graphic
Novels (2011), Using Content-Area
Graphic Texts for Learning (2012), and
her favorite book (but don 't tell the others)
Teaching Reading Comprehension with
Graphic Texts: An IllustratedJourney
(2 013). Her fifth book proved she has too
much time on her hands and is entitled Get
Animated! Teaching Children's Cartoons in
Grades 1- 6 (2013).
Works C i t e d :
B u c k i n g h a m , D. 2 0 0 3 . Media Education: Literacy, Learning and Contemporary Culture. M a i d e n , MA: Polity.
C a r t e r , J . B. 2 0 0 7 . Building Literacy Connections w.ith Graphic Novels. U r b a n a , IL: N C T E .
H o b b s , R. 2 0 0 7 . Reading the Media: Media Literacy in High School English. N e w Y o r k : Teachers Col lege Press.
H u l l , G . , a n d K . Schul tz . 2 0 0 2 . School's Out: Bridging Out-Of-School Literacies with Classroom Practice. New York : Teachers Col lege Press.
Kist , W. 2 0 0 4 . New Literacies in Action: Teaching and Learning in Multiple Media. N e w Y o r k : Teachers Col lege Press.
Kist , W. 2 0 1 0 . The Socially Networked Classroom: Teaching in the New Media Age. T h o u s a n d Oaks , C A : C o r w i n .
Kress , G . 2 0 0 3 . Literacy in the New Media Age. N e w Y o r k : Rou t l edge .
Lee, S. 1962 . A m a z i n g Fantasy # 15: I n t r o d u c i n g S p i d e r - M a n . New York : Marvel .
New L o n d o n G r o u p . 199^- "A Pedagogy of Mul t i -L i t e r ac i e s : D e s i g n i n g Social F u t u r e s . " Harvard Educational Review 6 6 (1): 60—92.
Tyler , R. 1969 . Basic Principles of Curriculum and Instruction. C h i c a g o : Univers i ty of Ch icago Press.
Wells, H . G . 2 0 1 2 . T h e T i m e M a c h i n e . N e w Y o r k : T o r Books .
1 2 Knowledge Quest | Getting to Know Graphic Novels
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