It’s Caldecott Time

Most would agree that Matt Phelan’s The Storm in the Barn (Candlewick, 2009) delivers an incredible tale of a young boy in Dust Bowl America. It even received starred reviews from SLJ, Kirkus, Horn Book, and Booklist. But for some adults and teachers, there’s one serious problem with this historical fiction title—it’s a graphic novel.

Graphic novel fans say they fly off the shelves, hook reluctant readers, and are the perfect vehicle for segueing kids into chapter books. But detractors say they’re mere amusement, pop-culture fluff, not “real” reading, and simply a waste of time. Neither picture book nor chapter book, the graphic novel is often a format without a home.

I say they’re wrong. In fact, it’s time for a graphic novel to win a Caldecott.

It shouldn’t be such a shocker, given that previous winners of the Caldecott, an award for the most distinguished American children’s picture book, have been surprises. Take David Macaulay’s groundbreaking Black and White (Houghton, 1990), which, with four stories that may or may not have been related, wasn’t a traditional picture book. And Brian Selznick’s The Invention of Hugo Cabret (Scholastic, 2007), which marked the first time a Caldecott was ever given to a novel.

The last 12 months have seen some excellent graphic novels that should be serious contenders for the Caldecott. So what are some of my favorites? With his close-ups and judicious use of color to demonstrate his long-suffering characters, Phelan’s graphic novel for early readers is definitely high on my list. David Petersen’s authentic medieval adventure Mouse Guard Volume 2: Winter 1152 (Archaia, 2009), about a society of mice who form a guard to fight intruders, is another one I love. This hardcover volume provides the complete tale in one convenient package, along with captivating and richly colored artwork.

Another notable is Kean Soo’s Jellaby: Monster in the City (Hyperion, 2009), about the adventures of two kids and a laconic purple creature that can be easily understood solely through the simple yet expressive artwork. Soo’s masterful use of sparse contrasting colors and images of Portia and Jason venturing into the purple-hued streetscapes in search of Jellaby’s home rivets readers, while the dialogue adds layers of storytelling and characterization.

The Caldecott committee should also keep its eyes on Bayou (Zuda, 2009), Jeremy Love’s haunting story, which takes us to Mississippi in 1933, where a black sharecropper’s daughter, Lee Wagstaff, learns how to be strong during segregation. The book is laid out in big blocks like Sunday comics, and Love uses hazy sunlight and menacing darkness to create a gritty atmosphere and mood.

Another one of my picks is Ashley Spires’s humorous Binky the Space Cat (Kids Can, 2009), which received stars from Kirkus and SLJ, and details a cat eager to escape the household confines. With plenty of visual gags, illustrations in mostly sepia tones, and bright bursts of red throughout, this graphic novel has broad appeal.

The sales of graphic novels rose from $375 million in 2007 to $395 million in 2008, according to figures released by ICv2, which tracks sales. Just look at the crossover appeal of Caldecott Medalist David Small’s memoir Stitches (Norton), a 2009 National Book Award finalist in the Young People’s Literature category. The graphic novel, about his dysfunctional family, was meant for adults, but its nomination in the YA category further reinforces the appeal of this genre for kids.

Eliza Dresang, a professor in children and youth services at the University of Washington Information School, says graphic novels could meet the Caldecott criteria as long as they “provide a visual experience for the child reader.” I’m with her 100 percent.