From Publishers Weekly
While comics (books and strips) have been around for more than a century, graphic novels have only appeared in serious numbers in the last two decades. Since then, with publication of titles like Art Spiegelman's Maus and Chris Ware's Jimmy Corrigan, graphic novels have gained a growing regard as a literary medium. But for noncomics readers, navigating the field can be a challenge. Weiner, a librarian, former teacher and longtime comics reader, provides just the kind of information needed. Besides defining the graphic novel (a collection of comic strips, a collected comics periodical story arc or a comics story written to be published as a full-length book), Weiner offers capsule reviews of the works he has chosen and gives each a code indicating its reading level (children, all ages, adult). Weiner's guide is potentially useful, but some of his choices can be confusing; readers seeking the "best" graphic novels in print may be in for a disappointment. Does Star Trek: The Modala Imperative really qualify as an important graphic novel? Meanwhile, Joe Sacco's Palestine and Safe Area Gorazde, two critically acclaimed works of comics nonfiction journalism, are nowhere on Weiner's list. Thankfully, not all his choices are suspect, but Weiner seems more interested in reflecting the range of graphic novels rather than listing the best book-length comics available in print.
Copyright 2001 Cahners Business Information, Inc.
--This text refers to an out of print or unavailable edition of this title.
From School Library Journal
Adult/High School-Entries run the gamut of style and age-appropriateness from Maurice Sendak's In the Night Kitchen to Osamu Tezuka's Adolf, a five-volume manga examination of 20th-century cultural xenophobia. Weiner somewhat questionably includes a number of comic-strip collections (Walt Kelly's Pogo, Bill Griffith's Zippy, Lynn Johnston's For Better or for Worse, Garry Trudeau's Doonesbury, and Charles Schultz's Peanuts). Annotations are uneven in quality and vary in their levels of detail and scope, making it a challenge to ascertain a clear comparison or contrast between narrative styles and artistic dynamics, as well as to identify which themes and issues are treated with which degrees of fancy, sensitivity, realism, or hyperbole. The age coding (child, youth, adult) goes unsupported by many of the annotations and no front matter suggests that local standards would play a significant role in such designations. Appended bibliographies suggest further readings for library collection builders and significant out-of-print titles. Oddly missing is D. Aviva Rothschild's Graphic Novels: A Bibliographic Guide to Book-length Comics (Libraries Unlimited, 1995), a collection development tool that offered considerably more substance, in its day, than does this current title. The strengths of Weiner's book lie in the scanned black-and-white reproductions of most of the book covers, which give users firsthand experience of the rich diversity of illustrative styles, and a balance of fiction, in several of its genres, with nonfiction.
Francisca Goldsmith, Berkeley Public Library, CA
Copyright 2001 Cahners Business Information, Inc.