Kathryn Strong Hansen

In Defense of The author describes why

she teaches graphic novels

Graphic Novels and directly confronts

criticism teachers may face
from colleagues,
administrators, parents,
and students as they first
teach examples of this fast-
growing genre.

I n the 18th century, critics grumbled

about a new literary form that sup-
posedly threatened the abilities of
youth to distinguish between real-
ity and artificiality. This kind of text, the criticism
ran, misinformed its readers about love, morals, so-
pare teachers to counter these criticisms success-
fully so that they have at their disposal a uniquely
useful body of literature.
Perhaps one reason that graphic novels are
on the receiving end of so much skepticism is that
the terms used to categorize the genre aren’t clearly
cial class, and everything that society most valued. set. While graphic novel is a common term, other
This form was the novel, one of the literary forms terms also pop up: sequential art, manga, comics, novel
that critics now hold dearest. New forms often at- in pictures.1 Equally problematic can be the defini-
tract scorn, which is why “novel,” meaning “new,” tion of these terms. In essence, a graphic novel can
originally was a term to disparage this Johnny- be thought of as a sequence of images, often (but
come-lately style of writing. But newness isn’t a not always) accompanied by text that tells a story
justification for dismissing something outright. or provides information. This definition is impre-
Currently, the graphic novel receives a great deal of cise at best. But I argue that the hazy definition
criticism, much of which betrays a dislike of what telegraphs part of the graphic novel’s appeal. The
is new rather than a carefully considered critique boundlessness of the category of graphic novel hints
of the graphic novel as a genre. Yet many teachers at its almost limitless possibilities, which is what I
have shown how graphic novels can help energize would suggest teachers tell doubting parents and
students whose interests are hard to capture, can aid administrators. Some graphic novels can be tools
low-level and nonnative English-speaking readers for introducing different cultures, like Marjane Sa-
through the twinning of words with images, and trapi’s Persepolis (2000), a tale about a young Irani
can challenge higher-level readers to expand their girl, and Gene Luen Yang’s American Born Chinese
analytical skills to include consideration of visual (2006). Other graphic novels are expressly educa-
elements. tional, such as Apostolos Doxiadis and Christos H.
These rewards are worth a battle or two with Papadimitriou’s Logicomix: An Epic Search for Truth
those who might criticize these unfamiliar, under- (2009), which tells about Bertrand Russell’s studies
valued texts. Despite this, teachers might find that in mathematics, and Shin Takahashi’s The Manga
they have more battles than they initially anticipate Guide to Statistics (2008), which explains statistics
when they set out to include graphic novels in their concepts that are useful to marketing. Numer-
curricula. I hope that teachers consider graphic ous graphic novels are fictional narratives of many
novels for inclusion into their classrooms, but be- kinds. The wide range of stories told, themes ad-
fore they do so, teachers need to consider carefully vanced, and information presented provides op-
the criticism that they are likely to face. By setting portunities for the genre to develop in any number
forth these potential criticisms, I aim to help pre- of ways. This means that the graphic novel has the

English Journal 102.2 (2012): 57–63 57

Copyright © 2012 by the National Council of Teachers of English. All rights reserved.

EJ_Nov2012_B.indd 57 11/7/12 1:24 PM

 In Defense of Graphic Novels

potential to appeal to almost any reader. So despite priate for young children, though an examination
the definitional and terminological issues, graphic of them is necessary to ascertain that. If a novice
novels are a vibrant and compelling tool for teach- teacher of graphic novels is worried about text se-
ing, and in particular the teaching of writing and lection, aids exist that provide guidance for using
of literature. graphic novels in the classroom (see fig. 1). Uneasy
teachers can also find a valuable resource in their
local comics shop; managers and workers there can
Criticism from Outside the Classroom
help teachers search through graphic novels to find
Before discussing how to prepare for some unex- those that are best suited to particular classroom
pected battles, I will first address the criticisms needs.
likely to emerge from disapproving voices outside But the existence of objectionable material in
the classroom that teachers might indeed expect. some examples of the form does not excuse opposing
One such expected argument raised against graphic the entire canon of graphic novels. Graphic novels
novels, likely related to their most common name, range widely in content, so careful selection of texts
is that they’re too violent, too brutal, or, in a word, by instructors can obviate these kinds of claims.
too graphic. This criticism might refer to the super- First and foremost, no teacher should use a graphic
hero comics, in which overly novel that she or he has not read. These texts vary in
Uneasy teachers muscled characters show their quality as well as content. This shouldn’t be a sur-
can find a valuable worth by physically subduing prise, but like most genres, the genre of the graphic
resource in their their antagonists. In some re- novel encompasses a wide range of topics. Though
local comics shop; spects, this is a valid criticism, many critics of the form believe that punches and
managers and workers
especially when the assumed bullet sprays are the hallmarks of all graphic nov-
audience consists of young els, this is absolutely untrue. For instance, Craig
there can help teachers
children, even though it is a Thompson’s Blankets (2003) tells a story of a teen
search through radically simplistic overview from an evangelical Christian background and his
graphic novels to find of superhero graphic novels. difficulties in coming of age. Its panels are show-
those that are best As is the case with any genre cases of the tumultuous nature of first love and a
suited to particular of text, not all graphic novels young man’s maturation, not fisticuffs—emotional
classroom needs. are intended for younger au- intensity, not physical violence. For middle school–
diences. This is a notion that aged readers, Barry Deutsch’s Hereville: How Mirka
teachers must keep in mind. To help emphasize this Got Her Sword (2010) provides a plucky young
point, think of it this way: many currently popular heroine who comes to terms with her longing for a
animated television shows are analogous to graphic less-traditional life even as she learns better to un-
novels. That is, some people think that the seem- derstand her stepmother. These complex characters
ingly childish format (animation for television exemplify the wide range of graphic novel charac-
shows or “cartoon art” for graphic novels) indicates ters who exist in a world far apart from one featur-
that the material is targeted at children. As shows ing battles between superheroes and supervillians.
such as Family Guy and South Park demonstrate, Even those who don’t find themselves both-
this is not always the case. But the need for teach- ered by violence might complain that graphic
ers to choose graphic novels wisely shouldn’t bar all novels are easy texts for lazy readers. This is by no
graphic novels from classroom use. Some graphic means the case, but this might be the most per-
novels have names that pretty clearly label them as sistent criticism to combat. Yet challenging and
beyond the pale for most school use, such as Jho- engaging graphic novels abound. Neil Gaiman’s
nen Vasquez’s Johnny the Homicidal Maniac (1995– The Sandman series (1989–96) frequently makes
97). Others, including Frank Miller’s Hard Boiled allusions to classical literature, for example, with
(1990–92); John Wagner, Carlos Ezquerra, and Pat the character of Orpheus from Greek myth mak-
Mills’s Judge Dredd (1990–present); and John Alba- ing repeated appearances. Gaiman also riffs on the
no’s Jonah Hex (1971–present), are just as inappro- plots of William Shakespeare’s A Midsummer Night’s

58 November 2012

EJ_Nov2012_B.indd 58 11/7/12 1:24 PM

 Kathryn Strong Hansen

FIGURE 1. Resources for Beginning to Use Dream and Geoffrey Chaucer’s The Canterbury Tales
Graphic Novels in the Classroom in installments of The Sandman, creating possible
jumping-off points for introducing—or reexam-
Carter, James Bucky, Ed. Rationales for Teaching ining—those works. Even without taking into
Graphic Novels. Gainesville: Maupin House, 2010. CD-
ROM. This sets forth synopses and potential objections account the beautiful and compelling images in
for almost 100 graphic novels, giving educators infor- Gaiman’s graphic novels, their complex stories and
mation to explain these works’ worth to administrators. rich character development
Comic Shop Locator, http://www.comicshoplocator. create pleasurable chal- While most people
com/. This site allows users to find comic shops in their lenges for readers. Gaiman’s claim to honor art as a
vicinity and provides additional information, such as
graphic novel reviews and notifications of upcoming work serves as only one ex- cultivating force, some of
conferences. ample; another engaging those same people also
Comics Worth Reading, http://comicsworthreading. piece of literature is found
loudly oppose graphic
com. This site offers Johanna Draper Carlson’s catalog in David B.’s autobiograph-
of graphic novels, manga, and other related works. Her novels because they so
ical graphic novel Epileptic
“Must-Read Comic Classics” list is a good starting heavily rely on visual
point.
(2002). The central charac-
ter’s family slowly unravels elements.
Cooperative Children’s Book Center, http://www.edu-
cation.wisc.edu/ccbc/books/graphicnovels.asp. The as they try to cure his epi-
University of Wisconsin–Madison’s School of Education leptic brother. A moving account of how families
hosts this site, which provides lists of recommended experience suffering and disease, it also shows the
graphic novels as well as resources for understanding
and defending them.
young protagonist’s escape into imagination as a
coping mechanism. As a result, this graphic novel
Graphic Novels Program Guide, http://www.bright-
pointliteracy.com/assets/researchfiles/NA63_web.pdf.
raises issues of the differences between literality and
Bright Point Literacy’s guide includes ideas for using metaphor. These examples demonstrate only a tiny
graphic novels in the classroom. bit of the complexity offered in the plot, character-
Great Graphic Novels for Teens, http://www.ala.org/ ization, and themes of graphic novels.
yalsa/ggnt. This site showcases the Young Adult Library But it’s also important to take into account
Services Association’s list of recommended graphic nov-
els for older children.
the subtlety and beauty of graphic novels’ artwork.
The argument of lazy readership discounts the
Newsarama, http://www.newsarama.com/. Actor/
director Kevin Smith’s site keeps abreast of graphic
power and impact of images. While most people
novel news, including reviews and information about claim to honor art as a cultivating force, some of
movie adaptations. those same people also loudly oppose graphic nov-
No Flying, No Tights, http://noflyingnotights.com/. els because they so heavily rely on visual elements.
This website is a storehouse for reviews of graphic nov- Imagery and drawings are not inherently less valu-
els that do not feature superheroes.
able than verbal, “literary” art. In fact, images often
Teaching Comics, http://www.teachingcomics.org. The convey a richness and depth of ideas that require
website of the National Association of Comics Art Edu-
cators provides lesson plans, handouts, study guides,
interpretation and high-level critical thinking,
and other resources for classroom use of graphic analysis, and evaluation skills. These are the same
novels. kinds of thinking skills and interpretative activities
Using Graphic Novels with Children and Teens: A Guide that reading affords students, and I invite teach-
for Teachers and Librarians, http://www.scholastic.com/ ers to remind skeptics of this. Take as an example
teachers/lesson-plan/using-graphic-novels-children-
and-teens-guide-teachers-and-librarians. Scholastic’s
a panel from Art Spiegelman’s Pulitzer Prize–win-
website provides a printable PDF that offers graphic ning graphic novel Maus I (1986), an account of
novel suggestions for young readers, middle grade one family’s struggles to survive the Holocaust. In
readers, and young adult readers as well as a list of one sample panel (125), two mouse-headed charac-
additional resources for educators.
ters walk on a path through what looks like a park.
Young Adult Library Services Association, http://www The simplicity of the drawing style initially might
.ala.org/ala/mgrps/divs/yalsa/booklistsawards/great-
graphicnovelsforteens/gn.cfm. This site gives an annual appear sweet and charming—and it is. But this
list of “Great Graphic Novels for Teens.” panel simultaneously shows the relentlessness and

English Journal 59

EJ_Nov2012_B.indd 59 11/7/12 1:24 PM

 In Defense of Graphic Novels

inescapability of Nazism, because even the path perience and deepen their appreciation for story.
that these characters tread is shaped like a swastika. Thinking of graphic novels as somehow outside of
The darkness and twisted lines of the landscape un- the realm of literature denies students a chance to
derscore and enhance this feeling of pervasive doom. master standards in engaging ways.
When juxtaposed with the sweetness of line draw-
ings of mice, the enormity of the horror imposed
Criticism from Inside the Classroom
by the Holocaust is thrown into starker contrast.
This one panel provides an opportunity for students So far, I’ve discussed the kinds of criticisms likeliest
to explore an image that provides no words for to come from those with the least familiarity with
them, though the panel is by no means unusual in graphic novels, a category that is likely to include
its depth for a graphic novel panel. To describe this parents and administrators. Yet even those who are
scene, students have to take the role of producers of more aware of the range, power, and complexity of
language. In this way, graphic novels can serve as a graphic novels might raise criticism of them. Re-
basis for writing and critical thinking assignments. sistance can even come from unexpected groups,
They serve as a way of presenting information in an and one of the most important critics of graphic
interesting and engaging manner to spark students’ novels could be the students themselves. Even
attention, and such assignments demand that stu- though many students express immediate inter-
dents actively produce the language not only to de- est in graphic novels, Sean P. Conners writes that a
scribe these visuals, but to interpret, critique, and stigma exists around graphic novels that may make
analyze them. (See also Paula Wolfe and Danielle some students less likely to embrace the form.
Kleijwegt’s discussion of students as “active per- Many well-meaning teachers, librarians, and other
ceivers” rather than “passive receivers” of graphic educational professionals have touted graphic nov-
novels in the May 2012 English Journal.) els’ use with students whose classroom performance
In fact, graphic novels satisfy many of the falls short of desired outcome, and this way of treat-
International Reading Association’s and National ing graphic novels has not escaped students’ notice.
Council of Teachers of English’s joint Standards Conners explains that “arguments that foreground
for the English Language Arts. The first standard graphic novels as tools with which to support strug-
specifies that students need to read a “wide range of gling readers, promote multiple literacies, motivate
print and nonprint texts” (19), and thanks to their reluctant readers, or lead students to transact with
combining of language and visuals, graphic novels more traditional forms of literature have the unin-
satisfy both of these categories at once. But graphic tended effect of relegating them to a secondary role
novels can help teach many in the classroom; in doing so, they overlook the aes-
If students equate of the aspects of other stan- thetic value in much the same way as educators did
graphic novels with dards, too. They could be used in the past” (67). Much of the discussion about the
the establishment of to discuss the multifaceted benefit of graphic novels centers on how these texts
basic skills and with range of human experience can help resistant readers and lower-functioning
struggling learners, (standard 2 [21]); to highlight readers. Yet if students equate graphic novels with
textual features such as sen- the establishment of basic skills and with strug-
better readers and self-
tence structure, context, and gling learners, better readers and self-conscious stu-
conscious students are
graphics (standard 3 [22]); to dents are likely to want to distance themselves from
likely to want to distance teach media techniques and the genre. Though part of the successes that teach-
themselves from figurative language (standard ers describe with using graphic novels involves
the genre. 6 [26]); to aid in learning to motivating less-than-enthusiastic students to be-
synthesize data from print and come more active readers, teachers need to moni-
nonprint sources (standard 7 [27]); to develop fa- tor how they speak of graphic novels. The stigma
miliarity with differing cultures (standard 9); and of graphic novels being the province of struggling
to foster enjoyment in reading (standard 12 [32]). readers threatens to keep other students away from
In short, graphic novels are like any other kind of the form—or even to discourage those lower-skilled
literature in their ability to broaden students’ ex- readers by making them feel as though they are re-

60 November 2012

EJ_Nov2012_B.indd 60 11/7/12 1:24 PM

 Kathryn Strong Hansen

ceiving less challenging texts because they are not these issues. Many graphic novels have achieved
capable of handling more complex texts. Empha- acclaim in literary circles as well as in popular
sizing the graphic novels’ wide-ranging subject culture, and discussing how entrenched in these
matter, stressing their complexity, and focusing on arenas graphic novels have become might work to
their innovative storylines might go far in battling chip away at any associations with “nerds.” Texts
the perceived association of graphic novels with such as Alan Moore and Eddie Campbell’s From
poorer students. Hell (2000), Frank Miller’s 300 (1998), and Bryan
Once this hurdle is cleared, many teachers Lee O’Malley’s Scott Pilgrim series (2004–10)
report wonderful successes with graphic novels in have found their way into successful movie adap-
their classrooms. Maureen Bakis posted her views in tations. Michael Chabon’s novel The Amazing Ad-
an online op-ed piece, joyfully recounting the skills ventures of Kavalier and Klay (2000) is a Pulitzer
that graphic novels helped foster in her students: Prize–winning tale of the complicated lives of two
comic-book creators during the mid-20th-century
Using graphic novels allowed students to think “Golden Age” of comics. Though Chabon’s text
critically and analytically, and because the graphic
is not itself a graphic novel, its serious treatment
novels we read elicited sophisticated and mature
of the impact of comic books helps to show the
discussion about topics that mattered to them,
they were able to further develop personal style, form’s impact on World War II. The documentary
voice, and other aspects of their writing. Because Comic Book Confidential (1988), directed by Ron
they developed a passion about the stories and a Mann, provides historical context that could help
real appreciation and understanding of the artistry show students the patriotic work of early wartime
of the comics they were reading, students were comics that has given way to their development
more engaged toward in-depth discussions. as underground expression as well as literary art.
Stressing these and other popular-culture adapta-
Capitalizing on students’ interests, Bakis was able tions of or references to graphic novels might help
to enhance her students’ writing. This kind of suc- convince the “cool kids” that graphic novels aren’t
cess is important not only for improving students’ merely the province of social misfits.
writing but also for inspiring a passion for reading But there exists one last group of potential
among her students. Other educators report similar graphic novel critics that is likeliest to be the most
results. In discussing a book group he offered as an difficult to overcome: teachers themselves. Here I
elective class, Jonathan Seyfried wrote that “more don’t refer to those teachers who disdain the entire
than just an elective or book group, our experience genre, since those teachers need to be exposed to
together went right to the heart of books and the the information in the first section of this essay. I
joy of reading” (46). For Seyfried, teaching graphic speak instead of the teachers who only view graphic
novels provided unexpected payoffs, and he recounts novels as the handmaidens to “real” or “good” liter-
how students sought him out after the class had ature, those who, through their actions if not their
ended for reading recommendations—and not just words, treat graphic novels as inherently lesser than
for graphic novels. This kind of passion is as im- any other work of art or literature. These teachers
portant in high-achieving students as it is in those would do well to heed Douglas Wolk’s words about
whose reading skills aren’t as strongly developed. graphic novels and comics, which he references
Students might harbor other socially based under the single term comics:
biases regarding graphic novels. Conners discusses
Comics are not prose. Comics are not movies.
how students are “aware of stigmas attached to
They are not a text-driven medium with added
graphic novels,” and one such stigma is that people
pictures; they’re not the visual equivalent of prose
who read graphic novels are “social misfits—or, to narrative or a static version of a film. They are
borrow their [his students’] term, ‘nerds’” (68). their own thing: a medium with its own devices,
Teachers who ignore the social implications of its own innovators, its own clichés, its own genres
such labels might not find that graphic novels af- and traps and liberties. The first step toward
ford them much classroom success. Again, the way attentively reading and fully appreciating comics
that teachers discuss these texts can help sidestep is acknowledging that. (14)

English Journal 61

EJ_Nov2012_B.indd 61 11/7/12 1:24 PM

 In Defense of Graphic Novels

This means that, among other things, graphic this creates a unique teaching opportunity with
novels deserve respect. It also means that they can graphic novels. Joanna Schmidt writes of her expe-
perform work in classrooms that other genres can- rience with graphic novels in her college classroom
not provide. For instance, Eric S. Rabkin discusses for struggling writers. While her students “were
how he uses graphic novels to supposed to be nonreaders and . . . defined them-
Artists can communicate focus his class’s attention on selves as reluctant readers (after they learned the
through their visual how narrative time unfolds. term)” and “had said they had never written any-
presentations of He explains that he will have thing more than six or seven pages, ever,” Schmidt’s
information, allowing “students in turn focus on a class demonstrated real interest in the graphic nov-
the graphic novel single frame of a graphic nar- els with which she presented them. In fact, she ex-
rative, speak aloud whatever pected their final essays “to be ten to twelve pages
to be an excellent
they see and whatever they of text, but most were closer to 15 pages” (106).
vehicle to teach the
infer, including their reflective This level of engagement suggests that many stu-
concepts of symbolism, and proleptic understandings dents are passionate about graphic novels, and that
foreshadowing, metaphor, of how the frame fits into the they can see the distinctiveness of graphic novels
and many other literary flow of the larger narrative. that Douglas Wolk articulated.
devices. When each individual stops,
others offer alternative or Instilling Passion for Learning
complementary observations” (39). Some students
might feel less pressure articulating what happens Though all aspects of teaching can be challenging,
within a panel from a graphic novel than they do instilling a passion for learning in students might
when asked to articulate what happens in the line of be the most difficult challenge for teachers. To till
a poem or a paragraph from a short story. Because of fertile ground for that passion to spring up, teach-
this, students have the opportunity to understand ers need to examine critically new genres for their
more fully how narrative or time sequences work. pedagogical possibilities, but they should also take
Just as teaching poetry offers different oppor- into account their students’ interest level. It’s also
tunities from teaching drama or novellas, graphic important for teachers to be aware that not only
novels offer distinctive teaching opportunities. Jesse might some of their students have some misgiv-
Cohn writes about one such opportunity when he ings about graphic novels, but teachers’ attitudes
argues that graphic novels allow students to under- toward the form also greatly influence students’
stand “visual rhetoric,” using the example of “how views. Readers became passionate about novels in
layout can exercise persuasive force” (49). Cohn uses the 18th century, and now the novel enjoys a lofty
the complex layouts of Chris Ware’s Jimmy Corri- perch in literary study in part because it inspired
gan: The Smartest Kid on Earth (2000) to show his so many people to read voraciously. We shouldn’t
students how a graphic novel’s form can contribute deny graphic novels the same chance to motivate
to its meaning. Pointing out several pages in Jimmy students.
Corrigan that do not prompt the reader to read the Note
panels in one clearly labeled path, Cohn discusses 1. For ease and consistency, I have chosen to use the
with his students how Ware “seems to favor this phrase graphic novel in this article because it appears to be
kind of layout at moments when the question of the most common appellation.
[interpersonal] relations is at issue” (52). Artists
Works Cited
can communicate through their visual presenta-
Bakis, Maureen. “Hidden Gems: Teaching Graphic Novels
tions of information, allowing the graphic novel to to Not-So-Young Adults.” The Graphic Novel
be an excellent vehicle to teach the concepts of sym- Reporter. Web. 16 May 2011. <http:/www.graphic
bolism, foreshadowing, metaphor, and many other novelreporter.com/content/hidden-gems-teaching-
literary devices. graphic-novels-not-so-young-adults-op-ed>.
Cohn, Jesse. “Mise-en-Page: A Vocabulary.” Teaching the
Many teachers report that their students re- Graphic Novel. Ed. Stephen E. Tabachnick. New
spond exceptionally well to the graphic novel, and York: MLA, 2009. 44–57. Print.

62 November 2012

EJ_Nov2012_B.indd 62 11/7/12 1:24 PM

 Kathryn Strong Hansen

Conners, Sean P. “‘The Best of Both Worlds’: Rethinking Seyfried, Jonathan. “Reinventing the Book Club: Graphic
the Merit of Graphic Novels.” The ALAN Review Novels and Educational Heavyweights.” Knowledge
(Summer 2010): 67–70. Print. Quest 36.3 (2008). Web. 2 May 2011. <http://www
IRA and NCTE. Standards for the English Language Arts. .aasl.org/ala/mgrps/divs/aasl/aaslpubsandjournals/
Newark and Urbana: IRA and NCTE, 1996. Web. knowledgequest/kqwebarchives/v36/363/KQW36_
15 July 2011. <http://www.ncte.org/library/NCTE- 3Seyfried.pdf>.
Files/Resources/Books/Sample/StandardsDoc.pdf>. Wolfe, Paula, and Danielle Kleijwegt. “Interpreting Graphic
Rabkin, Eric S. “Reading Time in Graphic Narrative.” Versions of Shakespearean Plays.” English Journal
Teaching the Graphic Novel. Ed. Stephen E. Tabach- 101.5 (2012): 30–36. Print.
nick. New York: MLA, 2009. 36–43. Print. Wolk, Douglas. Reading Comics: How Graphic Novels Work
Schmidt, Joanna. “Graphic Novels in the Classroom: Cur- and What They Mean. Philadelphia: Da Capo, 2007.
riculum Design, Implementation, and Reflection.” Print.
English Journal 100.5 (2011): 104–07. Print.

Kathryn Strong Hansen is assistant professor of English at The Citadel, The Military College of South Carolina. Her research
interests range from the 18th-century novel to visual culture, and she is also a teacher-consultant for the Lowcountry Writing
Project. Contact her at [email protected].

R E A D W RI T E T H IN K C O N N E CT IO N Lisa Storm Fink, RWT

Tune in to the ReadWriteThink.org podcast episode “An Introduction to Graphic Novels” to hear background
about graphic novels as well as specific recommendations of fantasy epics, memoirs, biographies, and adventure
thriller stories, all presented in the form of a graphic novel. http://www.readwritethink.org/parent-afterschool-
resources/podcast-episodes/introduction-graphic-novels-30326.html
See a recommended text list: http://www.readwritethink.org/files/resources/podcasts/Ep15HandountRecs.pdf

Transformation
Just for a second
someone looked out from my eyes,
shoved me aside
and sat in the same head.
A breeze tilted the earth and raced
to conclusions without me.
I waited for the final answer.
None came.
When a message cast about for a rocky landing,
I drifted back to my throne.
Buzzards circled in the heat.
Years later, I blinked. The sound
of such a simple action shattered glass.
Sight spilled and
I could not contain it in my own head.
—Sally Armstrong Gradle
© 2012 Sally Armstrong Gradle
Sally Armstrong Gradle is an art educator at the School of Art & Design, Southern Illinois University in Carbondale. Email
her at [email protected].

English Journal 63

EJ_Nov2012_B.indd 63 11/7/12 1:24 PM