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Comic books, especially if printed in black and white, are a relatively cheap communication and entertainment medium. This means that poor people (including kids) can afford them, and also that small publishers (including kids) can afford to produce them. It thus seems natural that there have always been “alternatives” to the comics published by the big companies with their color printing and Madison Avenue artwork.

In analysing the beancounter image's trajectory, from its birth to its persistence, in European French language comics between 1945 and 2016, this paper explores why artists continue beancounter image usage in popular culture.

Beancounter characters have been studied in an application of Iconology (Panofsky, 1955) in order to unravel how individuals make sense of cultural artefacts and how, in turn, the visuals shape cultural belief systems at a given time.

This study reveals that comics artists usage of the beancounter image results from their critical reactions to management and capitalism whilst at other times the usage is an indication of authenticity. Motivation for the usage is not constant over time nor is the impact of the beancounter image. Both appear dependant of the level of artistic freedom experienced by the artist.

Based on a single media (comics) with a unique characters (European French language) this study deepens exploration of the ways in which accounting becomes entwined with the everyday and implies that further research is needed.

Extends the work of Smith and Jacobs (2011) and Jacobs and Evans (2012) by focusing on a genre of popular culture over a long period, and by adopting a critical viewpoint. Also expands the possible applications of Panofsky's (1955) Iconology in accounting studies.

The purpose of this paper is to encourage and assist collection of adult‐level, graphic novels and book‐length comics by women, and to demonstrate the breadth and depth of such work.

This paper provides a brief history of women and independent comics, tracing the medium's development from the 1970s underground comix movement to the present day. Individual creators and their works are discussed.

In the early years of independent comics, many of the women creating them were consciously reacting to an overwhelmingly male‐dominated profession. There was a high degree of shock value in these early works. As time went on the comics still tended towards the autobiographical, but storytelling gained importance. Most of the women creating comics today are still doing so from a woman's point of view, but their target audience seems more universal.

Graphic novels are in increasing demand, both for scholarly and leisure reading. Guides to collecting graphic novels exist; however, the vast majority of the artists included in these guides are men. This paper fills a gap by introducing librarians to several women graphic novelists who have been overlooked thus far.

Despite the title of this bibliography, there was not a truly underground press in the United States during the 1960s and 1970s. The phrase is amisnomer, reputedly coined on the spur of the moment in 1966 by Thomas Forcade when asked to describe the newly established news service, Underground Press Syndicate, of which he was an active member. The papers mentioned in this bibliography, except for the publications of the Weather Underground, were not published by secretive, covert organizations. Freedom of the press and of expression is protected by the First Amendment to the Constitution, although often only symbolically as the experience of the undergrounds will show, and most of the publications that fall into the “underground” described herein maintained public offices, contracted with commercial printers, and often used the U.S. Postal Service to distribute their publications.

Soon after the first regularly published newsstand comic book went on sale in 1934, and especially by 1938 with the arrival of Superman in Action Comics #1, comic books were established as a distinctly separate entertainment medium from newspaper comic strips. To boost circulation, some titles introduced liberal amounts of sex and gore, and this caught the eye of parents, teachers, and librarians. Comic books were widely disapproved of for many years, and any library actively collecting them would have had angry parents to deal with. Possibly as a result of this general disapproval, New Serial Titles excluded comic books by policy from the beginning, a policy not reversed until 1979. In addition, the Library of Congress has never provided cataloging for comic books, which may have discouraged librarians from keeping what they had acquired. To make a sad story even longer, comic‐book distribution was almost entirely on the newsstand and not through subscription nor the book‐trade channels that librarians normally use.

This paper aims to provide an historical perspective and current guidance for youth librarians collecting graphic novels for teens.

The paper provides a brief review of the historical issues involved with censorship/intellectual freedom and comics and of current teen‐oriented graphic novels with gay, lesbian, bisexual, transgender, queer, and questioning of sexual orientation (GLBTQ) content in Canada and the USA. It also provides a context for negotiating intellectual freedom and collection management policy issues, and suggestions for targeted acquisitions of teen graphic novels with GLTBQ content.

The paper provides a brief overview of US and Canadian censorship of comics, including how this legacy affects today's market. It recognizes the difficulty of obtaining information and recommendations for teen‐appropriate graphic novels containing GLBTQ content, and makes suggestions for core collection items.

Only English sources from the USA and Canada are reviewed. Francophone Canadian literature is relevant but outside of the scope of this paper.

The paper is a useful source of information for the librarian looking for collection development suggestions, and/or for the librarian dealing with or preparing against intellectual freedom challenges to graphic novels or GLBTQ material for teens.

This paper furthers discussion of censorship of graphic novels and of GLBTQ material, and provides concrete suggestions to librarians developing a teen graphic novel collection. The issue is timely, as the graphic novel industry is booming and the ALA has documented an increasing number of challenges to graphic novels in libraries. Few previous papers on graphic novels or comics have included Canadian content, although the Canada‐American library worlds, publishing industries and legal codes are historically and currently intertwined.

Communications regarding this column should be addressed to Mrs. Cheney, Peabody Library School, Nashville, Tenn. 37203. Mrs. Cheney does not sell the books listed here. They are available through normal trade sources. Mrs. Cheney, being a member of the editorial board of Pierian Press, will not review Pierian Press reference books in this column. Descriptions of Pierian Press reference books will be included elsewhere in this publication.

It's not enough to simply acquire alternative and small‐press materials. They must also be made easily accessible to library users by means of accurate, intelligible, and thorough cataloging.