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This bibliographic essay examines the scope and variety of nonfiction works in comics form with the intent of expanding librarians’ awareness of the diversity of such materials and serving as a resource for librarians.

It provides some theoretical background for understanding what constitutes nonfiction in graphic form and an overview of works available in print.

The article provides a representative (but not comprehensive) survey of graphic nonfiction works in the genres of memoir, travel, journalism, history, biography, science, essays and educational materials.

The essay focuses on materials published in books in English; the library world would benefit from subsequent research exploring the richness of materials available in other formats and other languages.

The field of graphic nonfiction is expanding, and this article serves as a guide for libraries interested in building or expanding collections in this format.

This article examines, elementary leveled graphic history, a genre of literature relatively untouched by research. Due to graphic nonfiction’s growing popularity in the realm of children’s literature and its potential benefits for young readers, teachers may want to incorporate this genre of literature into their social studies curriculum. Despite the genre’s appeal, educators should be careful when introducing graphic histories to their students, as nonfiction texts of any kind can possibly contain inaccuracies and biases that might foster misconceptions. In this study, we used a critical content analysis approach to investigate both images and text in four graphic histories on the Battle of the Alamo. We found these books contain several instances of factual errors and biased perspectives. After our analyses, we discussed implications for using these types of books in the classroom to help students enhance critical literacy skills. We connected recommended critical literacy activities to Common Core State Standards for informational texts and writing.

The purpose of this paper is to review an existing graphic novel collection in the curriculum materials center of an academic library. The review would result in a clear identity for the collection and guide the creation of revised collection development, management and cataloging processes.

The physical and bibliographic identities of each individual graphic novel were reviewed and compared with collection development tools.

The review revealed a mismatch between the physical and bibliographic markers applied to some graphic novels and inconsistencies in the assignment of items based on audience and literature type. At the completion of the project, 43% of the graphic novels were reassigned based on audience, literature type or both.

There is limited research about the collection challenges and needs of graphic novels in juvenile and curriculum materials collections within academic libraries. This research details the process used to evaluate the collection and create a physical and bibliographic identity that fits the needs of the library’s users.

Graphic novels can contribute to effective content area reading on social studies topics such as the American Revolution. This action research study’s purpose was to examine student recall of facts, enjoyment of reading, and interest in the topic when using graphic novels as compared to illustrated nonfiction prose in social studies content area reading. Twenty-two fifth grade students (13 females, 9 males) in a public school in a Midwestern state participated in the study. Half of the students read about the Boston Massacre and Patrick Henry through graphic novels and read about Paul Revere and the Boston Tea Party with illustrated nonfiction texts, with the other half doing the opposite. The mean number of correct ideas recalled by students two weeks after reading two books in the graphic novel condition was 8.6 compared to 7.1 for the nonfiction prose condition with a medium effect size. Students rated their reading enjoyment significantly higher in the graphic novel condition indicating that graphic novels should be employed more often into the school curriculum. Suggestions for integrating graphic novels into the curriculum are provided along with other ways to take action.

The use of six non-fiction graphic novels to teach historical agency in a social studies methods course was examined in a critical action research study. Pre-service social studies teachers were asked to read one graphic novel and to discuss it with classmates, first in literature circles, then as a whole class. Data revealed graphic novels engaged pre-service teachers in thinking about historical agency, and helped them make connections between historical agency and their own agency. There were three overlapping ways pre-service teachers connected to historical agency in all six graphic novels: upbringing and personal experience, unpredictability of historical situations, and injustice. The findings highlight the value of graphic novels for teaching about historical agency in social studies courses because of their focus on historical agents’ positionality.

At the turn of the twenty-first century, academic libraries revived their tradition of working with readers, which resulted in a surge of publications in this area. However, the nature and thematic coverage of these publications has not changed dramatically in the past 18 years, signaling little advancement in the reach and scope of this professional activity. This paper aims to address the following research problem: What do citation patterns reveal about reading research and practice in academic libraries and do they point to interdisciplinary research and the presence of an evidence base or do they carry a mark of an inward disciplinary orientation?

This is a qualitative exploratory study, also involving descriptive statistics, that uses bibliographic and citation analysis as a method.

The study discovers a disconnect between the diversity of interdisciplinary research cited in the published work on reading in academic libraries and the sameness of respective professional practices; it describes a relatively small community of reading researchers in academic libraries, emerging as leaders who can change the direction and scope of reading practices; and it highlights a preference of academic librarians for relying on interdisciplinary knowledge about reading over building on the readers’ advisory experience of public librarians.

Translating the incredible wealth of interdisciplinary reading knowledge possessed by academic librarians into practical applications promises to advance and diversify reading practices in academic libraries. One method that could aid in this effort is more intentional learning from the readers’ advisory practices of public librarians.

Chapter 4 shows and tells how to create visual art to achieve deep understanding about stories that individuals tell. Creating visual narrative art (VNA) of stories achieves several objectives. First, creating VNA revises and deepens sense-making of the meaning of events in the story and what the complete story implies about oneself and others. Second, creating VNA surfaces unconscious thinking of the protagonist and other actors in the story as well as the storyteller (recognizing that in many presentations of stories an actor in the story is also the storyteller); unconscious thinking in stories relating to consumer and brand experiences reflect one or more archetype (Jung 1916/1959) fulfillments by the protagonist and the storyteller; given that almost all authors agree on a distinction between processes that are unconscious, rapid, automatic, and high capacity, (System 1 processing) and those that are conscious, slow, and deliberative (System 2 processing, see Evans, 2008), VNA enables and enriches processing particularly relating to system 1 processing–enabling more emotional versus rational processing. Third, creating VNA of stories is inherently and uniquely fulfilling/ pleasurable/healing for the artist; using visual media allows artists to express emotions of the protagonist and/or audience member, to vent anger, or report bliss about events and outcomes that words alone cannot communicate; VNA provides a tangible, emotional, and holistic (gestalt) experience that is uniquely satisfying and does so in a form that many audience members enjoy over and over again. Chapter 4 elaborates on the rationales for its central proposition, briefly reviews relevant literature on VNA, and illustrates one mode of VNA for the complementary stories told by a consumer and brand.