A middle school teacher wants Leo Lionni books to teach her students how to make inferences. A historical preservationist is reinvigorated by Virginia Lee Burton’s The Little House. Two teenagers flirt and read Wee Little Chick to one another. Picture books are not just for children anymore.
The graphic novel naissance—comics renaissance—has provided entry for a new way of seeing and engaging with picture books. The marriage of picture with text or picture with wordless narrative is no longer just the first step of the serious American reader. Illustrated books with and without words are accepted for all ages, thanks to the successes of the graphic novel. This brings us to the humble picture book and the ways in which graphic novels and picture books have been colliding and expanding and exploding conventions. When American Born Chinese, The Red Book, Zen Shorts, The Invention of Hugo Cabret, and The Wall are award winners, we know there must be a sea-change.
I rediscovered picture books as a children’s librarian—no better way, perhaps. While I loved them as a child, I never thought of them as I traveled the typical reader’s trajectory: reading books for children, books for young adults and books for adults. I love children’s and young adult books because of my work. Most likely I would not have discovered their joys elsewhere. When people think of books—if they think of them at all—they adhere to a linear path linking human development and reading. Surely, reading picture books is regressing! Onward and upward, today Chicka Chicka Boom Boom, tomorrow Moby-Dick.
Like any range of literature, picture books can be gentle or challenging, in the terms of their language, themes, design, and images. Picture books can approach a difficult and complicated subject in a comforting and low-pressure way and they can provoke teen and adult readers to look deeply, intentionally, and closely at content that children might miss.
So what can result from interactions between teens and picture books? Teens can learn about book design in Black and White, The Stinky Cheese Man and Other Fairly Stupid Tales, and The Three Pigs; spirituality in Samsara Dog and The Three Questions; “wolves” in Wolves and The Woolves in the Sitee; animal biology (in rhyme!) in Chickens Aren’t the Only Ones; art elements in Hello, Fruit Face! The Paintings of Giuseppe Arcimboldo, Nina’s Book of Little Things, and Voices in the Park; war and violence in Patrol:An American Soldier in Vietnam, The Letter Home, The Butter Battle Book, and Rose Blanche; and death in Michael Rosen’s Sad Book and To Hell With Dying.
Librarians must educate patrons that the picture book is a format not always prescribed for very young children. This is a challenge when we are constantly asked for the 4-year old, 6-year old, and 12-year old sections and we dutifully point to picture books, easy readers, and chapter books. But we can inform parents and teachers of the myriad ways picture books can be used with teens. Picture books can be microcosmic in the multitudes contained in their brevity. Jon Muth’s books sometimes seem to teach us all we need to know about Buddhism.
Picture books can be used with reluctant readers and visual learners, they can be paired with novels or nonfiction works in history lessons, they can initiate art and design projects, draw on art historical connections and critical thinking strategies, and rekindle the personal experience with literature. As students begin deciphering textual meaning, they can use picture book connections to learn about character development, language, and theme. While we think of storytime as an essentially preschool activity, collaborative out loud engagement with text and image can be pursued with teens.
For the picture book to fulfill its programming potential, it would be ideal to cultivate a young adult collection of picture books. This may be a cataloging or administrative challenge, but as we see graphic novels collected in up to three locations in a building, a home for young adult picture books seems possible. While many children’s picture books can be used successfully with teens, avoiding redundancy is probably desired. There are many picture books that work more deeply and better with teens than with children and would probably get more love in a YA division. Some resources to check out include: http://readwritethink.org, http://vue.org, http://www.picturebookart.org, and http://www.wiredforyouth.com/books/index.cfm?booklist=picture
Titles mentioned
Brannen, Sarah. Uncle Bobby’s Wedding
Browne, Anthony. Voices From the Park
Burton, Virginia Lee. The Little House
Decker, Tim. The Letter Home
Gravett, Emily. Wolves
Haring, Keith. Nina’s Book of Little Things
Heller, Ruth. Chickens Aren’t the Only Ones
Innocenti, Roberto. Rose Blanche
Lionni, Leo.
Lehman, Barbara. The Red Book
Macaulay, David. Black and White
Manos, Helen and Julie Vivas. Samsara Dog
Muth, Jon. The Three Questions
Myers, Walter Dean. Patrol: An American Soldier in Vietnam
Richardson, Justin. And Tango Makes Three
Rosen, Michael. Michael Rosen’s Sad Book
Scieska, Jon and Lane Smith. The Stinky Cheese Man and Other Fairly Stupid Tales.
Selznick, Brian. The Invention of Hugo Cabret
Seuss, Dr. The Butter Battle Book
Sís, Peter. The Wall
Strand, Claudia. Hello, Fruit Face! The Paintings of Giuseppe Arcimboldo
Thompson, Lauren. Wee Little Chick
Walker, Alice. To Hell With Dying
Wiesner, David. Three Little Pigs
Wild, Margaret and Anne Spudvilas. Woolves in the Sitee
Yang, Gene Luen. American Born Chinese
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