As a researcher I am often asked to describe my research interests in a short form, sometimes referred to as our research “elevator speech”, a snippet that communicates just enough to pique peoples interest and want to a) talk to us, b) hire us, or c) give us money to do more interesting research. Never get stuck in an elevator with teacher education folks!
My research is in two areas: What is read in schools, and how people read. If I were to make a Venn diagram of these areas it might have looks like this.
Except, that doesn’t represent the relationships as they actually exist. A friend of mine is working on her dissertation – She is making explicit connections about how children’s literature is used and thought about across different domains (library science, English literature, and education). Her work is important because she is illustrating that the more explicit we are about the multiple ways we think about literature, the better we are as educators.
So, if I were honest, the diagram would look more like this,
Therefore it is probably impossible – at least for me – to separate out things like authenticity in representation, artistry, narrative, history, and literary merit.
I am writing about two books today; In Part 1 I’ll tell you about a lovely and brilliant and haunting graphic novel, in Part 2 I’ll tell you about a graphic novel series that isn’t just not great, but might be damaging. Why am I writing about them together? Because both graphic novels have American Indian characters, and represent vastly different portrayals of American Indian lore.
Just to be clear. I am not, as far as I know, any sort of Native American, nor am I a scholar of Native American literature. On the other hand, I think and write and teach about multicultural literature in education and believe it is important to highlight the good literature, as well as recognize the not so good stuff that is still all too prevalent.
The Night Wanderer: A Graphic Novel (2013) by Drew Taylor, Michael Wyatt (Illustrator), and Alison Kooistra (Adapted by) published by Annick Press, Limited.
The basics of this graphic adaptation are these – Pierre is a vampire who left Canada some 300 years ago for adventure but ended up becoming a side-show Indian for rich Europeans. He eventually contracted the measles and was “saved” from death by being turned into a vampire. The novel opens with his return to his birthplace where he rents a basement room from a broken family. The divorce is still fresh in everyone’s mind – Mom took off with a White guy and left dad with a headstrong teenage daughter, Tiffany. She and her dad live with his mom on the reservation. The story is a perfect balance between teen angst (no one understands why Tiffany is dating the dumb-jock White kid who is cheating on her) and the creepy, self-hatred of a 300 year old vampire who scares the crap out of everyone by just hanging around and being really tall .
But, as in all graphic novels, the story told in the words is not complete. The illustrations are clean and highly representational. The artist gets the most out of a very basic black and white pallet that includes shades of grey that allow for shadow and light to play at making the night alive and visible to me as a reader. The artist uses splashes of red around Pierre, but not so much that it become silly or predictable.
The Native American culture, religion, and narrative traditions are bound together in this book with visual representations of stories, people and places. There are modern Native Americans wearing jeans, drinking tea, being kind and being jerks. There are also the stories from Pierre’s childhood in which he and his family are in buckskins. It is the modern and old representation that is an important aspect in this book. Far too often Native Americans exist only as museum pieces and not as part of the present.
This isn’t the perfect book. Tiffany’s father is flat and seems included to provide a source of tension for Tiffany to bounce off. Her grandmother on the other hand changes dramatically as the story progresses, from a oldster who peppers her conversation with random Indian words, to someone who truly understands the pain and hunger that Pierre is just barely controlling.
The tension in Tiffany’s life, the fact that she has her first White boyfriend at the very same time her mother of off with some anonymous White husband play out for the reader, but Tiffany seems unaware of the irony. Pierre plays a pivotal roll in her life, just as Tiffany does in his. He tells her stories from his own childhood of rebellion and mistakes in order help her understand the consequences of rash actions now on her future.
This book provides both creepy entertainment, beauty, and an authentic representation of a non-White culture that is alive and well in 2013.
3 thoughts on “What They Read and How They Read It- Part 1”
I likewise am interested in how people “read,” although I focus more on interactive and moving texts, such as games, film, and television. Are you aware of the works of Iser, the writing of Holub, and the idea of gaps in how we receive a text?
The gaps in text are interesting – By ISER do you mean eye tracking? I’d love to get my hands on the technology because I actually think a lot of work happens in the breaks between panels.
By Iser I mean Wolfgang Iser (http://en.wikipedia.org/wiki/Wolfgang_Iser), of the German reception theories branch of reception studies. Reading his work helped me think about adaptation of comics into film, and then later I have used his work for my own approach to studying the reception of film.