Common Sense Media Review of Smile

Common Sense Media is a staple of book and movie reviews for parents (and honestly, many, many librarians rely on it as well).  As such, I decided to check out their reviewing process, and write one of my own (hypothetically, I never published it anywhere besides this blog)!

So start, as a reviewer I had to choose between being a “kid” and a “parent.”  As an adult and a librarian, I figured “parent” was the closest to me, so I chose to be a “parent reviewer.”  From there I filled out a form that looked like this:

The Drop-downs look like this:

     

Below is the transcription of my review and choices:

Smile Book Review

I am a: Parent

Age: 8 and up

Is it any good?: 5 stars: The best!

Give your Review a Title: Smile Makes Me Smile

Tell other families what you think:

As a parent, I view Smile as a fantastic comic book about growing up.  While the main focus of the book may be Raina’s dental disaster (she knocks out her front teeth within the first few pages, and the rest of the book follows her years-long recovery), the sub-topics in this book are what makes it relatable and worth giving to every child.  Raina’s mistakes and triumphs can show readers that they are not alone in their faux pas and celebrations.

Raina’s awkwardness around her crushes can show children that puppy love is normal at their age, and they don’t have to worry about getting serious yet.  Similarly, Raina’s lack of boyfriends can show kids that they don’t have to worry if they feel like they are the only kid without a boyfriend or girlfriend; it’s perfectly normal.  Raina’s struggles with outgrowing and growing apart from her friends can show kids that not all friendships are permanent, and that is okay.  If a friend starts abusing them, they can, and should, tell them to get lost.  Similarly, if a new group of friends makes them feel more welcome than their old group, it’s okay to hang more with the new group; acceptance and positive interactions is more important that past experiences.  Finally, Raina’s puberty experiences can show kids that yes, growing up can be a pain, but everyone goes through it, and in the end, they will be fine.  Yes, acne is embarrassing, but most tweens and teens have it at some point.  Similarly, yes, braces are painful and can lead to teasing from mean kids; but when the braces come off, their teeth will be amazing!

In the end, Smile is a fantastic book that really understands kids and their growing pains; and its positive ending can help kids know there is a light at the end of the tunnel!

What should other families know about this?:

Educational value

• Shows how growing up is both hard and great
• Some historical stuff is on display (the book takes place in the 90s)
• The dental work is actually scientifically fascinating

Great messages

• Again, the coming of age stuff is really relatable
• Shows that mistakes are not the end of the world, but that standing up for yourself is also very important
• Shows how the social world of middle and high school might be confusing and awkward, but in the end the characters are better for their experiences

Great role models

• Raina is very relatable, and kids can see how she reacts to situations, and stands up for herself
• Raina’s mom is actually a “super mom,” and how she protects her kids is commendable
• Raina’s good friends show how kindness is more important than cliques and popularity

Too Much violence

• While is book is fantastic, it must be noted that there are a few moments of violence that may make some readers uncomfortable. Read at your own risk.
• Raina’s initial tooth catastrophe is very bloody
• Raina’s dental work can also be violent and bloody; the scene with the gum scraping is especially cringe-worthy

-End-

If anyone wants to see how Smile is treated on Common Sense Media, take a look: https://www.commonsensemedia.org/book-reviews/smile

Darkness, Page Turns, and Bleeds: Analysis of Two Pages of Through The Woods

Through the Woods is a macabre collection of terrifying tales, filled with plot twists and startlingly creepy conclusions.  Each story does its best to lull the reader into a false sense of security, then shock them with a horrific reveal.  No two pages better exemplify the horrific theme of these comics better than pages 38 and 39 of the short story “The Nesting Place.”

Page 38 picks up the story up after Mabel wakes up from her fall down a pit.  She starts stumbling through the darkness, only to see a light travelling away from her.  Following it, she sees Rebecca kneeling by a pool of water, talking to something.  In the last panel, Mabel calls to Rebecca, who does not respond; although something in the water makes a “shhckkh” noise.

These six panels have clearly defined gutters.  Like most of the rest of the book, the gutters are black, which both helps to keep the reader focused on the inside of the panels, but also adds to the dark ambiance of the cave.  The speech bubbles are rounded, with a print font for Mabel’s words, and a more cursive one for Rebecca, indicating the honeyed tones of her voice.  The colors in the panels are dark shades of gray, blue, and green, giving the feeling of the damp, cold, abandoned pit. When Rebecca passes by, wreathed in yellow and burgundy light, the warmth of her glow feels welcoming and safe.  The drawing style of the panels is both comforting and imposing, with rounded, non-threatening, cartoonish humans that seem similar to Tamaki’s work in This One Summer; Mabel in particular actually looks like an older version of Windy.  The landscape though is dark and angular, with stalagmites and stalactites jutting out at every turn, showing that the cave is dangerous.  This juxtaposition between warm and cold colors, and soft and edgy drawing styles feeds into the sense of dread that something terrible may be just around the turn of the page.

The power of a page turn cannot be underestimated.  As Remy Charlip stated, “The element of delight and surprise is helped by the physical power we feel in our own hands when we move that page or door to reveal a change in everything that has gone before, in time, place, or character” (Charlip quoted in Selznick, 2007).  In “The Nesting Place,” the surprise is there, but it is not delightful, it is horrifying.  As page 39 is turned, Rebecca is revealed, responding to Mabel’s call.  But Rebecca is no longer human; she is taken over by some tentacled being that shrieks as her eyes and teeth pop out, and the red tentacles shoot out of her face.

Page 39 is a “bleed,” which is “an image that is printed to the edge of the page” (Earle, 2013).  According to Harriet Earle, “Bleeds are, by their nature, dramatic and often violent” (Earle, H., 2013).   Scott McCloud goes on to say that “Time is no longer contained by the familiar lines of the closed panel, but instead haemorrhages [sic] and escapes into timeless space” in a bleed (McCloud, S., 1994).  It is true; this horrific image practically leaps off the page.  The colors, no longer the cool tones of page 38, burn with a deep, bloody red that stands in stark contrast to the darkness of the shadows in the cave.  The noises the creature is making are not confined to a speech bubble, but rather go on and on in the background, running off the sides of the page in one continuous stream of letters.  This creature, though cartoonish and rounded to a point, has an angular face that is almost skull-like and deeply disturbing.  The eyes are particularly piercing, staring directly at the reader in a very unnerving fashion.  All these visuals combine to create an image that seems to transcend the borders of the book and reach into the reader’s space, worms into their brain, and will not let them, or their abject terror, go.

I chose this set of pages to analyze because of their initial effect on me.  I do not scare easily with books, but this comic really got to me.  I could feel the cold of the cave, hear the “shhckkh,” see the creature staring back at me, and empathize with Mabel.  As a librarian, I would use this page-turn reveal to show comics are dynamic and fascinating, as well as just as capable of being terrifying as any Hollywood horror film.

Bibliography:

Carroll E. (2014). Through the woods.  New York: Margaret K. McElderry Books.

Earle, H. (2013).  “Comics and page bleeds,” Alluvium, Vol. 2, No. 5.  Retrieved from https://www.alluvium-journal.org/2013/10/09/comics-and-page-bleeds/

McCloud, S. (1994).  Understanding comics: The invisible art.  New York: HarperPerennial.

Selznick, B. (2007).  “2007 National Book Award Young People’s Literature Finalist interview with Brian Selznick.” National Book Foundation.  Retrieved from  http://www.nationalbook.org/nba2007_ypl_selznick_interv.html#.Wu5IaogvxPY

Tamaki, M. and Tamaki, J. (2014). This one summer.  New York: :01 First Second

VOYA Review of Awkward

Chmakova, S. (2015). Awkward.  New York, NY: Yen Press.

Image Credit: Svetlana Chmakova

VOYA Rating: J/S, 5Q, 4P

Peppi is starting school in a new middle school, and she is just looking to fit in and quietly go about her business.  However, when she physically crashes into a “nerd,” then violently rejects his offer of help, she starts a chain reaction of awkward situations.  Soon after that disaster, Peppi is assigned the “nerd” as a tutor, and has no idea what to say to him.  The art club she belongs to is in danger of losing their spot at the fair to the science club.  Her friends and classmates are all confused and bickering, and a full-scale club war is starting.  Faced with all these problems, Peppi must find her inner voice and take a stand on what matters most.

Svetlana Chmakova sets out to tell a tale of surviving middle school awkwardness, and she follows through.  Presented in a cartoon-ish but human art style in full pastel colors, the plot follows a simple linear pattern that makes the work effective as a school days narrative.  Similar in tone to Raina Telgemeier and Shannon Hale’s comics, Awkward takes the familiar realistic fiction genre and adds a dimension of diversity in not only characters but also subjects; the arts and sciences go refreshingly beyond ancient painters and biology into comics and geocaching.  This book belongs in schools and public libraries around the country, as it has wide YA appeal for middle graders, as well as anyone who remembers or wants to find out about the modern middle school experience.

Publisher Profile: Emet Comics

Profile Created by : Iris Lin and Emily Ostrander

 

Name: Emet Comics

Logo: 

Website: http://www.emetcomics.com/

Social Media Presence:

Facebook: https://www.facebook.com/emetcomics

Instagram: https://www.instagram.com/emet_comics/

Tumblr: http://zanacomic.tumblr.com/

Twitter: https://twitter.com/emetcomics

Youtube: https://www.youtube.com/channel/UC_V_xO2TPEr1uGnKoD8JtMg

History and Status:

Emet Comics, offshoot of Emet Entertainment LLC, debuted in 2015.  Their goals as a company are to “create positive and complex female characters for our entertainment,” “empower girls and women of all backgrounds, ages and occupations,” and “build a community of women who support, encourage and inspire each other (“About,” 2018).   Founder Maytal Gilboa states that Emet Comics takes their time crafting their narratives, and are open to “exploring new ideas and styles…tak[ing] risks and experiment[ing] with the medium” (“Forget DC and Marvel,” 2015).  Emet’s secondary goal is to create “intellectual properties,” which are stories that can be “simultaneously pitche[d]…to studios and production companies as shows or movies” (Huls, 2017).

Emet’s focus on women as creators and consumers is evident in the content they publish.  Gilboa states, “when you let women tell the stories they want to tell, you get some-thing really interesting and different….You get full, well-rounded female characters,” and stories that cover topics from apartheid to mental illness to breast cancer and more (Dill, 2016). As an inclusive publisher, Gilboa uses the phrase “by women for everyone” to sum up the company’s claim to fame (“Ladies’ write,” 2015).

Recently, Emet has begun to pitch their comic Finding Molly as a television series (Huls, 2017).  They have also absorbed the publisher Rosy Press (Collins, 2016).

 Catalog availability and most recognizable work:

Their catalog contains several titles, including anthologies, which are readily available for purchase in print and digital formats via their website (“Shop,” 2018).  The comics can also be found for sale online through traditional vendors, as well as many local comic stores around the country (“Stores,” 2018).  Zana, an Emet webcomic, has been nominated for the Dwayne McDuffie Diversity award (Huls, 2017). The Wendy Project published in 2017 has been gaining recognition in professional publications and mainstream media.

Reviews of The Wendy Project:

Kirkus: https://www.kirkusreviews.com/book-reviews/melissa-jane-osborne/the-wendy-project/

School Library Journal: http://blogs.slj.com/goodcomicsforkids/2017/08/24/review-the-wendy-project/

 

References:

“About.” (2018).  Zana. Retrieved from http://zanacomic.tumblr.com/about

Collins, E. (November 30, 2016). “Rosy Press joins Emet Comics as founder Janelle Asselin steps down.” Comics Alliance.  Retrieved from http://comicsalliance.com/rosy-press-emet-comics/

Dill, G. (April 14, 2016). “Spotlight on Emet Comics.” Santa Monica Daily Press. Retrieved from http://smdp.com/spotlight-on-emet-comics/154636

“Forget DC & Marvel, female-founded Emet Comics Is focusing on female characters like no other.” (December 28, 2015). GirlTalkHQ. Retrieved from http://girltalkhq.com/forget-dc-marvel-female-founded-emet-comics-is-focusing-on-female-characters-like-no-other/

Huls, A. (November 5, 2017). “How small publishers are boosting female talent in comics.” The Week. Retrieved from http://theweek.com/articles/733818/how-small-publishers-are-boosting-female-talent-comics

“Ladies’ write: Infiltrating the boys club of comic creation.” (August 7, 2015). Lydia Mag. Retrieved from http://www.lydiamag.com/tag/emet-comics/

“Shop.” (2018).  Emet Comics.  Retrieved from http://www.emetcomics.com/shop/

“Stores.” (2018). Emet Comics. Retrieved from http://www.emetcomics.com/stores/

Pro-Comics Statement

Here is Iris Lin’s and my Pro-Comics Statement!

Scenario:

We work at a library that is in the midst of a mass weeding in order to create space for a cafe.  One day, sitting next to a long-term full-time librarian who has earned their 20 years of service award recently, we notice that she is pulling a large number of graphic novels. Some of the titles are old, outdated, in bad condition; but many are still in good condition.  We believe there is no valid reason to remove them, so they should stay in the collection. We ask this veteran librarian why they are being weeded, and she replies “Oh, they are just comics, they aren’t as important as other books.”  Shocked by this answer, but ready to do battle, we respond civilly:

Pro-Comics Statement:

It is not uncommon to hear fellow librarians express negative or apathetic opinions towards comics. Fortunately, there are a plethora of reasons to support a robust comics collection.

Firstly, comics are a valid form of literature that deserve a place in the library.  According to the Comic Books Legal Defense Fund, “Today’s graphic novels are…sophisticated and varied in content…they are the subject of reviews, book-length surveys, museum exhibits and academic study, as well as recipients of prestigious literary awards” (“Graphic Novels: Suggestions for librarians,” 2018). Comics are just as important as other forms of literature.

Secondly, their use of images as well as text increases literary skills in their readers.  According to Meryl Jaffe, PhD., “Graphic novels foster and strengthen multiple learning skills” including “attention and attention to detail,” “memory,” “sequencing skills,” “language and language usage,” and “critical thinking” (Jaffe, 2015).  They are a treasure trove of brain development and entertainment.

Thirdly, comics help provide another avenue for readers to access information and stories from a broad spectrum. The scope of graphic novels has grown to encompass informational texts, narrative nonfiction, and more. Comics also reflect changes in modern day society. Baldino noted that graphic novels make “culturally inclusive narratives available to library patrons, and Librarians and publishers see graphic novels as an effective way to meet the demand for more diverse stories” (Baldino, 2017). Comics deserve a place in the collection because they are a great source for representing multicultural viewpoints and promoting diversity.

These books are so much more than “just comics” and hopefully these statements help to illustrate why comics deserve to be in the library. Libraries must meet the needs of our patrons and the growing demand for comics is undeniable. If we wish to stay relevant and current, we must continue to grow our comics collection.

 

Bibliography:

Baldino, G. (2017). “ALA 2017: Graphic novels supply diversity.” Publisher’s Weekly. Retrieved from https://www.publishersweekly.com/pw/by-topic/industry-news/libraries/article/74104-graphic-novels-supply-diversity-at-ala-2017.html

“Graphic novels: Suggestions for librarians.” (2018). Comic Books Legal Defense Fund.  Retrieved from http://cbldf.org/graphic-novels-suggestions-for-librarians/

Jaffe, M. (2015). Raising a reader! How comics & graphic novels can help your kids love to read! New York, NY: Comic Books Legal Defense Fund.  PDF retrieved from http://cbldf.org/wp-content/uploads/2015/04/2015-CBLDF-Raising-a-Reader-ComicBook-FINAL-PRINT-sm.pdf

A Treatise on the Human Billboard

In this short essay, I comment and reflect on the nature of Human Billboards in superhero comics.  I noticed their repetitive presence after reading several of the assigned comics, and could not go without commenting on the fact.  In less than 500 words I cover comics and the savior trope, what human billboards are, and how they are represented in comics.  I hope you enjoy!

___________

It is a known fact that most superheroes play wholeheartedly into the savior of the world trope.  Be it Superman and his Christ-like otherworldliness, or Captain America and his self-sacrificial nature, superheroes are supposed to be messiahs.  Without them, the world is doomed.  And here to hammer home this understanding, I bring to your attention the background motif of the human billboard.

The human billboard is an old advertising technique.  Cited as far back as the 1820s, human billboards were people hired to hold as sign that promoted a local business (“Human Billboard,” 2018).  Still in trend today, human billboards have extended from business advertising to political statements and, most recognizably, apocalyptically religious sentiments.  Anyone who walks through Times Square in NYC is familiar with the “Repent Now” or “Jesus is Lord” human billboards that patrol the area night and day.

These human billboards are not absent from comic representations of metropolitan cities.  For example, in The Dark Knight Returns, Bruce Wayne, prior to returning to crime fighting, walks right past several “We are damned” human billboards on his way home.

Image Credit: Frank Miller

Similarly, in Ms. Marvel, a human billboard is stationed in front of the J. C. Electronics store right after the mysterious mist turns Kamala into a superhero.  Reading, “Fear the mist,” this human billboard also carries apocalyptic sentiments of damnation.

Image Credit: Adrian Alphona

Present in the background of crowd scenes, these human billboards serve no narrative purpose besides subtly reminding the reader that the world is doomed and needs a savior; a savior that inevitably comes in the form of the superhero main character.  The human billboards are throwaway characters that never do anything active and are never seen again.

 Watchmen is the notable exception to this rule.  In Watchmen, Rorschach is first shown unmasked as a human billboard, carrying a sign that states “The End is Nigh.”  As in the other comics, no one pays attention to him, and he appears to be a simple motif, until it is revealed that he is actually the most important character of all, the one who will try to put the world right.

Image Credit: Dave Gibbons

This change of human billboard use in comics is worth noting, as it comes not in a normal superhero comic, but in an alternative, revolutionary example where not all superheroes are good, and the role of background characters is turned on its head.  Watchmen, unlike the other superhero comics, may be one of the few that does not look for a single savior, but rather for all people to take responsibility for their own actions, and save themselves.  Thus the human billboard motif is present, but its role is very different.  He is active, reappears, and makes a difference in the plot.  He does not simply carry signs of the apocalypse, but rather engages with the coming doom himself.

Where else have you seen the human billboard in action?  I would love to discuss!

 

Bibliography:

Miller, F.  (2002).  Batman: The Dark Knight returns.  New York, NY: DC Comics.

Moore, A.  (2008).  Watchmen.  New York, NY: DC Comics.

Wilson, G. W.  (2015).  Ms. Marvel: No normal.  New York, NY: Marvel Worldwide, Inc.

“Human Billboard.” (2018).  Wikipedia.  Retrieved from https://en.wikipedia.org/wiki/Human_billboard-

Self-Censorship of Comics: Personal and Academic Reflections

In this reflection, I attempt to address the self-censorship of comics in public libraries.  In sections that should not exceed 200 words each, I address the exhaustion created by facing censorship over and over, give two examples from my professional career, explain why librarians self-censor, and conclude by stating what we should do.  In all, the reflection is over 800 words long and contains several sources, but I hope it is well-worth the read.

 

          Exhaustion

I am tired.  After months of class discussions and years of working in a library, I am tired of how commonly and continuously the words “Comics” and “Censorship” appear in the same sentence.  While reading the article “Well-Intentioned Censorship Is Still Censorship: The Challenge of Public Library Employees” from True Stories of Censorship Battles in America’s Libraries, I was struck with the sinking feeling that none of what was presented in that censorship case was new, or even that shocking (Critshfield and Powell, 2012).  Unfortunately, not only have I read other cases where similar situations arose, but I have witnessed them firsthand.  They have become almost normal and expected to me, which is not right.

The Almighty “Comics are not Educational Literature” Censorship

When I began my library career, I quickly noticed that there was no children’s comics section in my library.  When I questioned this choice, I was told that the supervisor believed comics had “no literary or educational value.”  Thus, her mandate was we do not collect or promote any comics, for the good of our younger patrons.  Her mentality is mirrored in the CBLDF’s “History of Comics Censorship.”  In “Part 6,” the CBLDF explains, “because the medium thrives on the power of static images…there is a lingering stigma that comics are low-value speech” (“History of Comics Censorship, Part 6,” 2018).  The old fashioned and frankly erroneous view that comics are of lower literary value should not affect library collections today.  But even with a comics collection, newly instituted by the new supervisor, I cannot count the times parents have said to me “my child likes comics, but I don’t want them to read them; they’re not real books” or “I don’t understand why you would have comics.  They don’t teach the kids anything!”  To these claims I explain that comics do have educational and entertainment value, but the jury is still out on how effective this response tactic actually is.

The Rabid “Protect the Children” Censorship

When I started working in another library, I was pleased with their apparent embracing of all things comic book.  However, as time went on, I noticed a strange cataloging practice that reeked of censorship:  All the teen comics are cataloged as YA.   To understand the problem with this cataloging, one must know that in this library, teen textual books are segregated using “YT” (young teen) or “YA” (young adult) stickers.  YT books are considered safe for most audiences, with no overtly sexual content, extreme violence, or other edgy topics.  YA on the other hand, is seen as a more dangerous medium, where the reader could run into some risqué, or risky, situations.  These stickers are viewed as the cardinal rule of selection and suggestion for patrons, and librarians are strongly encouraged to avoid YA at all costs if the reader appears to be under the age of 16.  Thus, the average patron, when they see that all of the comic books are marked as YA, they may think “these books have adult content, stay away!”  In this way, unfortunately, while this library has a vast collection of comics, they are still censoring them, by marking them as dangerously adult.

          Why Librarians Censor

After witnessing and reading about comic book censorship in libraries, it is apparent that librarians are not fully in sync with their professional role.  As is stated in “Well-Intentioned Censorship is Still Censorship,” “The differences between personal values and professional ethics often cause a struggle within oneself” (Critshfield and Powell, 2012).  Indeed, as the School Library Journal revealed through a self-censorship survey in 2008, 70% of school librarians, who may also work in public libraries, will not buy controversial titles because they fear “possible reaction from parents” (“SLJ Self-Censorship Survey, 2009).  Similarly, 29% fear “possible reaction from administration,” another 29% fear “possible reaction from the community, 25% fear “possible reaction from the students, and 23% will not purchase the book because of their “personal views” (“SLJ Self-Censorship Survey,” 2009).  In a 2016 update, SLJ found that school librarians are actually “more likely than they were eight years ago to place content labels on books or to have restricted sections for books containing mature content” (“Unnatural Selection,” 2016).  These statistics show that librarians are actually going in the wrong direction with censorship, a fact that must be rectified as soon as possible.

          What We Must Do

Knowing all of these details about censorship in libraries, especially censorship of comics, it is imperative that the new crop of librarians, we MLS students, turn the tide of this censorship wave.  In addition to following the CBLDF’s suggestions of how to manage challenges, make strong policies, rebuff challenges, and report challenges, we must engage in self-reflection, and institutional reflection (“How to Manage Challenges,” 2018).  When we feel the pull to remove, re-catalog, or reject a comic because of its content, we must think outside of ourselves and refuse to self-censor.  When a fellow librarian commits censorship, we should question them (professionally and kindly) about their actions and engage in a discussion about self-censorship.  When a patron asks for a comic that we find fault with, we must present it to them anyway, and make them feel welcome.  Through these actions, perhaps someday I will no longer grow exhausted from defending comics that should need no defense.

 

References:

Critshfield, R. & Powell, D. M. (2012) Well-Intentioned Censorship Is Still Censorship: The Challenge of Public Library Employees. In True stories of censorship battles in America’s libraries, Nye, V., & Barco, K (eds), pp 8-13. Chicago: American Library Association.

“History of comics censorship, Part 6.” (2018).  CBLDF.  Retrieved from http://cbldf.org/resources/history-of-comics-censorship/history-of-comics-censorship-part-6/

“How to manage challenges.” (2018).  CBLDF.  Retrieved from http://cbldf.org/managing-challenges/

“SLJ Self-Censorship Survey.” (February 1, 2009).  School Library Journal.  Retrieved from   https://www.slj.com/2009/02/collection-development/slj-self-censorship-survey/

“Unnatural selection: More librarians are self-censoring.” (September 26, 2016).  School Library Journal.  Retrieved from https://www.slj.com/2016/09/censorship/unnatural-selection-more-librarians-self-censoring/

Lighter Than My Shadow, criticism and rebuttal

In this post, I endeavor to address, respond to, and resolve a critique I read about Lighter Than My Shadow. And I want to do it in less than 400 words.

Picture Credit: Katie Green

After reading Lighter Than My Shadow, a book that deals with several heavy topics, I was left wondering if it had upset anyone with the way it portrayed these topics. Looking for a personal, not professional, review, I found that blogger fightingthedemonanorexia wrote of Lighter Than My Shadow,

“I ended up disappointed because it focused on sexual abuse rather than exploring the source and nature of anorexia. It seems the therapy Katie received led only to an acceptance that the sexual abuse she was victim to was tied up with her anorexia – even though the sexual abuse happened when she already had anorexia. After an exciting first half – for me – it came to a vague and inconclusive ending” (fightingthedemonanorexia, 2016).

This criticism is something I had previously contemplated, and it is a valid argument. It is true, Green portrays her anorexia as a mysterious affliction that has no recognizable source. Similarly, the book does end on an ambiguous note; the last word “Mostly” does not make the reader positive about the future (Green, 2017). As fightingthedemonanorexia claims, it appears that Katie does ignore the sources of her anorexia and how she ultimately got past it, a move that may be harmful for other victims seeking healing through a story of triumph over anorexia.

However, this book is not a fictional work where the factual/mental/medical answer for the sources of anorexia should be accurately and sensitively displayed. This book is a memoir, written by a person whose experience of anorexia, though perhaps not perfect for a “life lessons” message, is nevertheless true for her. We as readers should understand that an autobiography is a deeply personal work of truth, where the author can be vulnerable, and include as much or as little about their lives as they want. Additionally, Green made sure to include resources on eating disorders and abuse at the end of her book, a choice that is extremely important in helping victims. While perhaps Green did not address adequately how her anorexia was started or cured, that is her call to make, not ours. As readers, we can be critical, but we must also recognize that when an author is writing their truth, sometimes while it is not good enough for us, it is definitely good enough for them. And if Green gained some healing from writing this graphic novel, then it was my pleasure to support her by reading it.

References:

Fightingthedemonanorexia. (2016). “Anorexia brainwashing.” Retrieved from

https://fightingthedemonanorexia.wordpress.com/2016/08/07/anorexia-brainwashing/comment-page-1/

Green, K. (2017). Lighter than my shadow. London: Jonathan Cape.

Human Body Theater: A Homeschool Review

This review is based on the criteria set out by the website Homeschool Reviews.  Homeschool Reviews reviews textbooks and other materials for homeschooling families.  Reviews are written by parents or students, not publishers, so the information provided is seen as more accurate/applicable for the readers.  I chose to review Human Body Theater for homeschoolers because as I read it, I realized how informative and fun it was, and wished I had had this text when I was a young homeschooling student.

Homeschool Reviews Criteria: Homeschool Reviews Criteria

(the text, and a link to the Homeschool Reviews Criteria page is within this PDF)

Picture Credit: Maris Wicks

Title: Human Body Theater: A Non-Fiction Revue

Author and Illustrator: Maris Wicks

Publisher and Publication Date: First Second, 2015

Age Range: Appropriate for ages 8-12

Size: About nine inches tall by six inches wide by one inch thick

Number of pages: 240

Religious, Secular, or Multi-use:  This book is multi-use, in that it covers how the human body works, without bringing religious or atheistic elements to the purely biologic.  It can be used in a religious or secular classroom, because it’s information is accurate and without bias (no evolution, or creationism, just facts).

Review:

Human Body Theater: A Non-Fiction Revue is a unique non-fiction work that would be a game changer in homeschool human biology classes.  It is a graphic novel (or rather, graphic textbook I suppose) with quality, explicit, understandable images and succinct text that will draw the attention of both voracious and hesitant readers, while encouraging comprehension through repetition/connection of concepts and clear explanation.  Taught through the narration of a hilarious skeleton (a character that leads all the other systems through a “performance” that teaches the reader how the human body works), it covers all of the basic human biology topics from the skeletal system to the five senses.  It is in-depth while still being interesting, and informative while still being entertaining.  It also has a good, child-oriented explanation of the reproductive system and puberty; it is not too explicit, sexual acts and sexuality are mostly ignored, but the information that is provided is thorough and appropriate for the demographic.

Broken into short chapters, or units, about each system, this book would be easy for a teacher to assign and a student to study independently, perhaps a chapter a day, or a week, depending on your child’s speed in comprehension.  Although the book does not have built-in learning activities or a teacher’s guide, with a small amount of effort a homeschool parent could form lessons around the chapters.  One could create multiple choice or short answer questions related to the content (for example, “how many bones does an adult have?”), or take a more creative approach such as asking the student to draw the systems. Students would enjoy the graphic format of this book, with its detailed information provided in a colorful and fun way, instead of through dry text.  Furthermore, the hardcover edition is very sturdy, and would hold up through many uses, barring water damage or a child who has a penchant for ripping pages.  For the price of the book, $14.99 if purchased at full-price, you will get more than your money’s worth in knowledge and educational enjoyment!  I highly recommend this text for any homeschooling family!

Through the Woods

VOYA Review of Through the Woods, by Emily Carroll

Picture Credit: Emily Carroll

W/J, Q5, 4P

     Through the Woods by Emily Carroll is a sumptuously illustrated graphic short stories collection that plays on the reader’s innate fear of the unknown, of what could be lurking around every dark corner.  Five tales are told in this book, each more creepy and macabre than the last.  From the narrative of a little girl whose family slowly goes missing one by one to an unknown “man,” to a teenager who visits her brother in the country, only to find that his fiancée may have had her body possessed by monsters, these stories are as disturbing as they are enjoyable.

Emily Carroll sets out to scare her audience, and she does not disappoint.  Writing in a largely first-person style, the narrative is deliberately deceptive, never quite explaining the strange occurrences, leaving the reader with a sense of impending doom at the close of every story.  The illustrations are just as disquieting with many events left unexplained in the gutter between the panels, only revealing the shocking twist in the very last pages.  The work effectively uses dark backgrounds and pale characters, contrasted with bright red evil beings to startle the reader into uneasiness.  Similar in content and tone to Alvin Schwartz’s scary story collections, but unlike any other young adult creepy comics currently available, this book is a must-have for both school and public libraries.  It will delight horror fans, and provide graphic novel enthusiasts with fantastically terrifying storytelling that will leave them begging for mercy, and for more!