By Julia López-Robertson, University of South Carolina, Melissa Summer Wells, University of Mary Washington & Jennifer D. Morrison, Sam Houston State University
Graphic novels, often stigmatized as a genre, hold immense potential for transformative multimodal literacy instruction. Paris and Alim (2017) argue that equity and access are best achieved by centering the dynamic practices and identities of students and communities of color within a critical, inclusive vision of education. In our teaching and research, this means prioritizing multimodal texts to help preservice teachers explore diverse ways of knowing, doing, and being in the classroom.
Traditional reading and writing capture only a fraction of students’ literacy capabilities. Carefully selected multicultural, multilingual and multidisciplinary graphic novels offer powerful tools for critical reading and literacy. These texts provide unique access points that connect teaching and learning to the lived experiences of children and their communities.
The interplay of words, images and spatial design in graphic novels allows for new interpretations of Bishop’s (1990) mirrors, windows, and sliding glass doors. By critically analyzing an author’s message and its broader societal implications, students learn to read the word and the world (Freire & Macedo, 1987), challenge systemic inequities and contribute to a more just and inclusive society.
In this month’s blogs, we will discuss our work with preservice teachers using When Stars Are Scattered (Jamieson et al., 2020) and Mexikid (Martín, 2023). We’ll start by introducing ourselves, provide a brief overview of critical reading and critical literacy and explain how we integrate these concepts with graphic novels.
Who are we: Meet the readers and writers
Julia’s interest in graphic novels is recent, sparked by Monumental: Oscar Dunn and His Radical Right in Reconstruction Louisiana (Weldon et al., 2021), which tells the story of Oscar James Dunn, the first Black lieutenant governor in the U.S. Though she doesn’t typically read graphic novels, Julia challenged herself to explore the genre, modeling the same approach she encourages her preservice teachers to take.
Melissa, an elementary teacher and literacy coach, has witnessed graphic novels’ power to engage readers. While teaching third graders who were behind in reading, she used The Invention of Hugo Cabret (Selznick, 2007), whose mix of words and illustrations helped students see themselves as capable readers. In her literacy methods course, she includes When Stars Are Scattered (Jamieson & Mohamed, 2020) as part of a literature circle activity. (Insert image of Hugo Cabret)
Jennifer’s entry into graphic novels began with comics like Archie and Spiderman. In high school, she gravitated toward X-Men for its themes of exclusion and power. Her first graphic novel, God Loves, Man Kills by Chris Claremont, had a profound impact, influencing her to champion graphic novels for her students, even when they were undervalued in academia. (Insert image of God Loves, Man Kills)
Critical Reading and Critical Literacy in Graphic Novels
Graphic novels are rich sites to build readers’ skills in both critical reading and critical literacy. Critical reading is an active meaning-making process that involves readers’ reflections on their reading and thinking process by analyzing the writer’s craft to reveal the author’s purpose (Cervetti et al., 2001) and the intended effect on the reader’s thoughts and emotions. In graphics, this close reading also extends to visual elements such as panels, word balloons, captions, sound effects, and gutters (see Figure 1.).
Figure 1. Basic Comics Anatomy
Critical literacy is an active process of meaning-making that involves examining the connection between learners and the world around them (Freire & Macedo, 1987). It views literacy as a tool for interpreting and engaging with the world and is guided by four dimensions identified by Lewison et al. (2002): disrupting the commonplace, interrogating multiple viewpoints, focusing on sociopolitical issues and taking ongoing action to promote social justice. The multimodal nature of graphic novels enhances learning by reinforcing the information readers absorb through the combination of text, images, and visual elements (NCTE Position Statement, 2022).
The following questions can serve as general guides when considering critical reading and critical literacy in graphic novels.
Questions for Critical Reading
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Questions for Critical Literacy How do the authors’/illustrators’ decisions:
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Application in When Stars Are Scattered
In this section, we will model applying critical reading and critical literacy to When Stars Are Scattered (Jamieson & Mohamed, 2020), a graphic novel memoir of Mohamed’s experience growing up in a Somali refugee camp. The first sample spread is p. 6-7, where Omar and Hassan are returning from looking for their mother in the refugee camp.
| Prompts for Critical Reading and Critical Thinking
Critical reading: What do you notice about the use of speech bubbles and captions? Critical literacy: What are you noticing about this setting? |
Analysis
Speech bubbles are only coming from Omar and other unnamed members of the community, but not from Hassan. Captions provide background information about refugee camps, including their structure (blocks), dangers (having items stolen), and community (safety with known neighbors). The area is dry with tents bearing the UNHCR logo. There are dangers in refugee camps, but there is also safety in community. | Implications
The reason why Hassan does not have speech bubbles is significant and is revealed later in the book. Research UNHCR and its mission. Disrupt other narratives about refugee camps—is everything negative? Why? |
Another opportunity to develop critical reading and critical literacy is modeled with the opening of Chapter 2 (p. 26-27). In this section, Omar is writing in a stick in the dirt, when a new person comes to talk to Omar.
| Prompts for Critical Reading and Critical Thinking
Critical reading: How did the author and illustrator portray languages in the visuals and printed text? Critical literacy: Why are there differences in how languages are portrayed? |
Analysis
Some words are in “regular” text in speech bubbles, and some are contained in angled brackets , which a note at the bottom states “denotes English.” The words that are in “regular” text are in Omar’s language, while the words in angled brackets are in English. | Implications
The author and illustrator want the reader to represent the different languages spoken while also acknowledging that the book is published in English. The angled brackets interrupt the common positioning of English as the linguistic “norm,” even though readers are engaging with this text in English. It also values that Omar, and the visitor are multilingual and can utilize all of their linguistic resources to communicate. |
Wrap Up
Graphic novels, by blending images and text, are powerful tools for developing critical reading and literacy skills. Analyzing the words, images, and features of texts like When Stars Are Scattered deepens engagement and helps students explore an author’s message and its real-world connections. Join us for our next blog as we dive into Mexikid, the 2023 Pura Belpré Award winner! This prestigious honor is presented annually to a Latino/Latina writer and illustrator whose work beautifully portrays, affirms and celebrates the Latino cultural experience in a remarkable children’s book. Don’t miss out on this exciting discussion!
References
Bishop, R. S. (1990, March). Windows and mirrors: Children’s books and parallel cultures. In California State University reading conference: 14th annual conference proceedings (pp. 3-12).
Cervetti, G. N., Pardales, M. J., & Damico, J. S. (2001). A tale of differences: Comparing the traditions, perspectives, and educational goals of critical reading and critical literacy. Reading Online, 4(9). Available: http://www.readingonline.org/articles/art_index.asp?HREF=/articles/cervetti/index.html
Freire, P., & Macedo, D. (1987). Literacy: Reading the word and the world. Massachusetts: Bergin and Garvey.
Lewison, M., Flint, A. S., & Van Sluys, K. (2002). Taking on critical literacy: The journey of newcomers and novices. Language Arts, 79(5), 382–392.
National Council of Teachers of English (2022, April 9). Media Education in English Language Arts. Position Statements NCTE. Retrieved December 26, 2024, from https://ncte.org/statement/media_education/?utm_source=chatgpt.com#:~:text=and%20Short%20Documents-,Media%20Education%20in%20English%20Language%20Arts,-Date%3A%20April%209
Paris, D., & Alim, H. S. (Eds.). (2017). Culturally sustaining pedagogies: Teaching and learning for justice in a changing world. Teachers College Press.
Literature and Comics
Archies Superstars. (w). Archie Decades: The 1960s. Part of: Archie Comics. (2023). Archie Comics.
Claremont, C. (w), Paul Smith (i), Brent Anderson (i), Marvel Various (i). X-men Epic Collection: God Loves, Man Kills. Part of: Uncanny X-Men (1963-2011). Marvel Universe.
Jamieson, V. & Mohamed, O. (2020). When stars are scattered. V. Jamieson & G. I. Geddy (Illus). Dial Books.
Lee, S. (w), Steve Ditko (p), Jack Kirby (p). Amazing Spiderman Vol 1. (2009). Marvel Entertainment.
Martín, P. Mexikid. (2023). Dial Books.
Mitchell, B.K., Edwards, B.S., & Weldon, N. (2021). Monumental: Oscar Dunn and his radical right in Reconstruction Louisiana. Historic New Orleans Collection.
Selznick, B. (2007). The invention of Hugo Cabret. Scholastic.
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