Boys Over Flowers

Bibliographic Information: Yoko, K.  (2003).  Boys over flowers (Hana yori dango), vol. 1.  San Francisco: Viz Media

Plot Summary: Makino Tsukushi has been given the opportunity to enroll in a high school for the elite, Eitoku Academy. Her parents refuse to let her pass up the chance, because they believe that it will change her life. Tsukushi is extremely nervous because she knows that she will be surrounded by the sons and daughters of CEO's and wealthy businessmen; while she comes from a low middle class working family.

Upon arriving at the academy,Tsukushi immediately learns that the entire academy is run by the whims of a very wealthy group that calls themselves the F4 for the " the Flowery Four." The F4 rule the halls of Eitoku Academy by both bullying and charming their fellow peers. All the students live in fear of the F4, knowing that crossing them means being "red carded" and ostracized by the entire student body. Tsukushi learns this the hard way when she makes the choice to stand up for her friend, Yuuki Matsuoka, who has accidentally offended the leader of the F4, Tsukasa Domyoji. Tsukushi, unlike others, refuses to back down to Tsukasa and immediately finds herself amidst of a battle. In the midst of all the struggle,Tsukushi finds herself unexpectedly attracted to Rui Hanazawa, the kindest of the F4, while Tsukasa begins to take a strange interest in Tsukushi. Tsukushi realizes that she must learn her way around Eitoku Academy or risk losing her way and disappointing her family!

Critical Evaluation: Through Makino Tsukushi point of view in Boys Over Flowers, the reader can see a look into class issues of Japanese society. Tsukushi's narration, coupled with the elite setting, draws a sharp picture of what it means to be middle to low class in a world of extremly wealthy characters. Tsukushi is constantly reminded that she is not good enough because she both holds a job and can't afford to purchase a new Louis Vuitton bag each weekend. Tsukushi is also ridiculed for helping to take the trash out and is even called "middle class trash" when she chooses to stand up for her friend. It is this moment of rebellion that sets the tone for the rest of the novel and essentially forces Tsukushi into the role of the outsider. Tsukushi's refusal to be ashamed and her adoption of the nickname "the weed" (in reference to her being a weed among the "flowers" or F4) transforms her into a dangerous free radical that wont be silenced or pressured into "knowing her place." Tsukushi is constantly encouraged to want to be more, to be impressed with the materialistic aspect of wealth, and to strip herself of everything that makes her middle class. Most interestingly yet, is Tsukasa's attempt to buy Tsukushi over when he finds that he cannot squash her spirit. Tsukushi becomes a symbol of the honest and sincere middle to working class that will not be forced into changing who they are in order to please the whims of the rich.

Reader’s Annotation: Tsukushi stands up for what is right, no matter the consequences.
 

Information About the Author: Yoko Kamio, born on June 29, 1966 is best known for Hana Yori Dango, or Boys over Flowers (scholastic.com, 2012). Boys over Flowers broke records by becoming the best selling shojo manga series in Japan, it sold over 35 million copies (scholastic.com, 2012). Boys over Flowers even won a Shogakukan comic Award in 1996. Boys over Flowers was even made into a succesful Korean television series which has been featured on Hulu. 

Yoko Kamio has also written Mamade Matteiru (Waiting Until 20), Suki Suki Daisuki (I Really, Really Like You), and Mary-San No Hitsuji (Mary's Lamb) (scholastic.com, 2012). 

Boys Over Flowers Korean Series Trailer

Genre: Graphic Novel, Romance

Subgenre: Humorous Romance, Japanese Manga
 

Curriculum Ties: N/A

Booktalking Ideas: 
1) Why does Tsukasa change his opinion about Tsukushi?
2). Should Tsukushi be impressed by the F4's wealth and power?

Reading Level/Interest Age: Rated T (for Teen) (www.viz.com, 2012)

Challenge Issues: Some themes of rape and violence. I would use the following items to defend this graphic novel if it was challenged:

1) Refer to Library Bill of Rights, see items: I, II, and III (http://www.ala.org/advocacy/intfreedom/librarybill).
2) Refer to San Diego Public Library collection policy - (http://www.sandiego.gov/public-library/about-the-library/freedom.shtml).  Original site: The American Library Association (ALA) Freedom to Read/View Statement (http://www.ala.org/offices/oif/statementspols/ftrstatement/freedomreadstatement).
3) Refer to California School Library Association (CSLA), Model School Library Standards - September 2010 (http://www.csla.net/index.php/publications/school-library-standards). PDF: (http://www.cde.ca.gov/be/st/ss/documents/librarystandards.pdf).

4) Refer t0 American Association for School, Librarians Standards for the 21st Century Learner (http://www.ala.org/aasl/sites/ala.org.aasl/files/content/guidelinesandstandards/learningstandards/AASL_Learning_Standards_2007.pdf)

5) Contact Office of Intellectual Freedom for any further support, 800-545-2433, ext. 4223 or oif@ala.org.

6) Refer to legitimate book reviews, such as: School Library Journal, Booklist, Kirkus Reviews, Horn Book and others; found on either Academic Search Premier, Follett's TITLEWAVE, or Amazon.com.

Why did you include this book in the titles you selected?: I included this item in my collection as a representation of the very popular genre of graphic novels, manga. Boys Over Flowers is a very humorous story that features the musings of a high school girl that is trying hard to make her way in a new environment. Many teens will be able to empathize with Tsukushi as deals with the every day struggles and drama of high school.

Reference Page: 

scholastic.com.  (2012). Yoko Kamio bio.  Retrieved August 6, 2012 from http://www.scholastic.com/teachers/contributor/yoko-kamio
 

viz.com.  (2012).  Products: Boys over flowers, vol. 1.  Retrieved August 6, 2012 from http://www.viz.com/product?id=1596

Ender's Shadow: Battle School

Bibliographic Information: Card, O. S (Creator), Carey, M (Script) & Fiumara, S. (Illustrator).  (2009).  Ender's Shadow: Battle School.  New York: Marvel Comics. ISBN: 978-0-7851-3596-8

Plot Summary: Ender's Shadow: Battle School tells the story of Bean, a young abandoned child with a mysterious past who must survive in a war torn Rotterdam amongst the masses of homeless children. In a twist of fate, in which Bean witnesses the death of the beloved street gang leader, Poke, Bean fears for his life and is taken into the care of Sister Carlotta. Bean begins to spike the curiosity of Sister Carlotta who believes him to be special and unusual. Sister Carlotta then finds out how special Bean is when she administers a series of tests that prove his aptitude and mental understanding to be off of the charts. Sister Carlotta works hard to nominate Bean for Battle School, a contingent that is overseen by Colonel Graff. Colonel Graff is not convinced that Bean is special but extends an invitation to his school anyways. Bean is then immersed in Battle School where he carefully watches the world around him, always one step ahead of the rest.

Critical Evaluation: Based on Orson Scott Card's, Ender's Shadow novel, Ender's Shadow: Battle School takes a closer look at the character of Bean. Although Ender's Shadow: Battle School can be read as a stand alone graphic novel, many of the details of this story come from the novels. Sebastian Fiumara, brings this story to life with large multi-frame illustrations of Bean's life and world. The use of different angles and perspectives allow the reader to fall into Bean's story, giving the book an almost voyeuristic feel. Through Fiumara rich illustrations the reader is also able to witness the development of Bean, as he carefully plots his every move from the beginning of the story until the end. The reader almost forgets that Bean is really a small child ranging in age between 4 and 7 years of age because of his confrontational attitude. Bean is also constantly illustrated in rigid unblinking stances that communicate his lack of fear and his calculating and cool exterior. Fiumara's carefully picked palette of subdued colors really bring a sharp contrast to the characters and hectic quality of the war torn Rotterdam world.

Reader’s Annotation: The world continues to exist in disrepair forcing children to fight till the death in order to survive another day.
 

Information About the Author: Orson Scott Card was born in Richland, Washington in 1951 to a devout Mormon family (Card, 2012). Hi great grandfather, Charles Ora Card, was married to Zina Young Card daughter of Brigham Young, a very influential Mormon (Card, 2012). Card spent much of his childhood moving around but eventually ended up in Salt Lake City, Utah where he received a Presidential Scholarship to attend Brigham Young University  where he enrolled as an archeology major (Card, 2012). All throughout his childhood, Card was always interested in theater and eventually decided to change majors to become a theater major (Card, 2012). He ended up leaving his university a few credits short of graduating in order to go on his two year Mormon mission in Brazil (Card, 2012). Card eventually returned, finished his college degree, and proceeded to start a theater company that failed (Card, 2012). Card got married in 1977 to a daughter of a Brigham Young professor, Kristine Allen (Card, 2012). Card and his wife began a family, of which only three survived. 

Card has spent most of his career writing for several different Mormon publications in order to support his family (Card, 2012). He eventually wrote Ender's Game and Ender's Shadow in the 1990's which both slowly amassed a cult following. He currently lives in Greensboro, North Carolina with his wife and family (Card, 2012).

Genre: Science Fiction, Mystery, Horror, and Suspense, Adventure

Subgenre: Dystopian, Alternate Worlds, Militaristic, Space Opera and Galactic Empires
 

Curriculum Ties: N/A

Booktalking Ideas:
1). Why does Bean tell Poke to kill Achilles?
2). Why doesn't Bean play the computer games each "launchy" has been given?

Reading Level/Interest Age: Grades 10-12 (Karp, 2012)  

Challenge Issues: Includes themes of graphic violence and blood. I would use the following items to defend this book if it was challenged:

1) Refer to Library Bill of Rights, see items: I, II, and III (http://www.ala.org/advocacy/intfreedom/librarybill).
2) Refer to San Diego Public Library collection policy - (http://www.sandiego.gov/public-library/about-the-library/freedom.shtml).  Original site: The American Library Association (ALA) Freedom to Read/View Statement (http://www.ala.org/offices/oif/statementspols/ftrstatement/freedomreadstatement).
3) Refer to California School Library Association (CSLA), Model School Library Standards - September 2010 (http://www.csla.net/index.php/publications/school-library-standards). PDF: (http://www.cde.ca.gov/be/st/ss/documents/librarystandards.pdf).

4) Refer t0 American Association for School, Librarians Standards for the 21st Century Learner (http://www.ala.org/aasl/sites/ala.org.aasl/files/content/guidelinesandstandards/learningstandards/AASL_Learning_Standards_2007.pdf)

5) Contact Office of Intellectual Freedom for any further support, 800-545-2433, ext. 4223 or oif@ala.org.

6) Refer to legitimate book reviews, such as: School Library Journal, Booklist, Kirkus Reviews, Horn Book and others; found on either Academic Search Premier, Follett's TITLEWAVE, or Amazon.com.

Why did you include this graphic novel in the titles you selected?: I picked this graphic novel because it is a great addition to my collection. This graphic novel will interest reluctant readers who love science fiction stories. It may also motivate students to read Orson Scott Card's novels which will help further strengthen reading skills.

Reference Page: 

Karp, J.  (2012).  Booklist review.  Retrieved August 5, 2012 from http://www.amazon.com/Enders-Shadow-Battle-School-Game/dp/B005DI819Q/ref=sr_1_1?ie=UTF8&qid=1344184718&sr=8-1&keywords=enders+shadow%3A+battle+school

Cara, O. S.  (2012).  Who is Orson Scott Card?.  Retrieved August 5, 2012 from http://www.hatrack.com/osc/about-more.shtml

cover art: http://www.comicrelated.com/forums/lofiversion/index.php?t5021.html

Maus II: A Survivor's Tale: And Here My Troubles Began

Bibliographic Information: Spiegelman, A.  (1991).  Maus II: A survivor's tale: And here my troubles began. New York: Pantheon Books. ISBN: 978-0-679-72977-8

Plot Summary: Art Spiegelman draws a parallel story in this graphic novel between his father's last years in the Holocaust and his father's present day life. Spiegelman begins the story with him and his wife staying with some friends in Vermont. He then learns that his father's wife has left him, leaving him all alone and sick in his Catskills vacation home. Spiegelman decides to go and check in on his father, Vladek, even though he would greatly prefer not to. Spiegelman and his wife, Françoise, drive over to visit his father and spend a tense weekend trying to get along. Spiegelman decides to take advantage of being there and asks his father to tell him more about his time in the concentration camps. Spiegelman intends to write a book of his father's experiences and wants to capture the hardships his father endured. Spiegelman perfectly captures the difficulty of living with a survivor and the possibility that perhaps his father may not have survived after all. 

Critical Evaluation: Spiegelman's style of dialogue in Maus II speaks volumes about the characters and their experiences. Vladek's accent and English skills are translated in the way in which the dialogue is formatted. Often Vladek speaks with his functions of speech out of order asking his son questions like, "Why to tell?? This wasn't her business" (37) and "Well...Come! We have now to carry up my storm windows to put in" (103). Spiegelman is able to convey the fact that his father, who used his English skills to survive during the Holocaust, continues to use words to the best of his abilities. Vladek's dialogue with his son may be a constant reminder to Spiegelman of the experience that his father survived. The words that Vladek uses to describe his experience are a reminder of the deals he had to make, the solutions he had to find, and the necessity of putting himself first in order to survive. In this way, all the recordings that Spiegelman took of his father are a constant reminder of his inability to truly comprehend what his father and mother experienced. This realization has affected Spiegelman's life as his thoughts and feelings bleed into the dialogue of his characters in Maus II. The dialogue of Maus II is a powerful tool that describes several layers of loss, survival, and constant sorrow. Vladek's words not only carry the story but give shape to it; a dark shadow that will forever loom in Spiegelman's presence.
 
Reader’s Annotation: Surviving traumatic events is sometimes only half the battle.
 

Information About the Author: Art Spiegelman was born in Stockholm, Sweden on February 15, 1948 (jewishvirtuallibrary.org, 2012). His parents were Vladek and Anja Spiegelman, both survivors of the Holocaust (Spiegelman, 2012).  Both Maus I and Maus II are dedicated to telling their stories of survival, their loses, and great hardship (Spiegelman, 2012). Though born in Sweden, Spiegelman grew up in Rego Park, New York (jewishvirtuallibrary.org, 2012). He later enrolled in a university in New York but was unable to complete his studies due to a breakdown (jewishvirtuallibrary.org, 2012). Spiegelman then joined the Topps Gum Co. where he stayed for 20 years (jewishvirtuallibrary.org, 2012). Spiegelman worked on a variety of art related projects with the company (jewishvirtuallibrary.org, 2012). He did not end up writing Maus I and Maus II until years later (1986 and 1991 respectively). Maus II earned Spiegelman a Special Pulitzer Prize in 1992 (jewishvirtuallibrary.org, 2012). Spiegelman currently lives with his wife and children in Manhattan (jewishvirtuallibrary.org, 2012).

Spiegelman's other great works are: "Bazooka Joe" comics,  "Garbage Pail Kids," "Cabbage Patch Kids,"  and founded the magazine RAW (Real Art Works) in 1990 (gradesaver.com, 2012).

Genre: Historical

Subgenre: Europe, World War II and the Holocaust

Curriculum Ties: Can be worked into a lesson on the Holocaust, Nazi Germany, and World War II. Can also be used to discuss the way in which graphic novels capture history.

Booktalking Ideas:
1). What do the different animal identities say about the characters in this story?
2). Is it easier or harder to deal with the brutality of the Holocaust when it is in a graphic novel format?
3). What does Spiegelman mean by writing that the story is even about the  "children who somehow survive even the survivors?"

Reading Level/Interest Age: Lexile Prefex: NP/YA (Follett's Titlewave, 2012). 

Challenge Issues: This book is a gruesome account of  the Holocaust. I would use the following items to defend this book if it was challenged:

1) Refer to Library Bill of Rights, see items: I, II, and III (http://www.ala.org/advocacy/intfreedom/librarybill).
2) Refer to San Diego Public Library collection policy - (http://www.sandiego.gov/public-library/about-the-library/freedom.shtml).  Original site: The American Library Association (ALA) Freedom to Read/View Statement (http://www.ala.org/offices/oif/statementspols/ftrstatement/freedomreadstatement).
3) Refer to California School Library Association (CSLA), Model School Library Standards - September 2010 (http://www.csla.net/index.php/publications/school-library-standards). PDF: (http://www.cde.ca.gov/be/st/ss/documents/librarystandards.pdf).

4) Refer t0 American Association for School, Librarians Standards for the 21st Century Learner (http://www.ala.org/aasl/sites/ala.org.aasl/files/content/guidelinesandstandards/learningstandards/AASL_Learning_Standards_2007.pdf)

5) Contact Office of Intellectual Freedom for any further support, 800-545-2433, ext. 4223 or oif@ala.org.

6) Refer to legitimate book reviews, such as: School Library Journal, Booklist, Kirkus Reviews, Horn Book and others; found on either Academic Search Premier, Follett's TITLEWAVE, or Amazon.com.

Why did you include this graphic novel in the titles you selected?: I chose this graphic novel because of Art Spiegelman's intense and honest allegorical representation of his father's experience in the Holocaust. Teen readers will be able to learn the impact of Hitler's regime while analyzing the art and images that Spiegelman chose to use to express the different players and roles in World War II.

Reference Page:

Follett's Titlewave.  (2012).  Maus II.  Retrieved August 4, 2012 from Follett's Titlewave iPhone App.
 
gradesaver.com.  (2012).  Biography of Art Spiegelman.  Retrieved August 4, 2012 from http://www.gradesaver.com/author/art-spiegelman/ 

jewishvirtuallibrary.org.  (2012). Art Spiegelman.  Retrieved August 4, 2012 from http://www.jewishvirtuallibrary.org/jsource/biography/Spiegelman.html

cover art: http://kaymcgriff.edublogs.org/2011/09/20/maus-ii-by-art-spiegelman/

Batman: Year One

Bibliographic Information: Miller, F.  (2005).  Batman: year one. Illustrated by David Mazzucchelli. New York: DC Comics, ISBN: 978-1-40120-752-6

Plot Summary: Batman: Year One is a parallel story of two outcasts making their way in the rough and corrupted city of Gotham. James Gordon, a failed Lieutenant, has been transferred to Gotham because of some unmentioned failing at his last post. He finds himself having to deal with a dirty commissioner, twisted cops, and a city rampant with crime. Bruce Wayne, a local millionaire, is returning to Gotham after years of being away. Now in his mid-twenties, Wayne is ready to make his mark on the city and rid it of all the garbage. In the process of changing how the city is run, Wayne makes enemies with Selena, the soon to be Catwoman, the police department, and the local criminals. Wayne and Gordon find that they may be fighting on the same side of the battle to save Gotham.

Critical Evaluation:  David Mazzucchelli's illustrations in Batman: Year One create a dark and intense tone for the overall story. From the cover (which features an almost black silhouette of Batman that is set against a deep red maroon background) to the story ending page (which features a black and white batman lunging at the reader) the illustrations convey a message of stark confrontation and animalistic intent. These are also elements of Bruce Wayne's transformation from a carousing millionaire to bat vigilante that can be seen from chapter to chapter. Wayne reaches deep down into the dark jagged corners of his past and pulls out the strength and darkness he needs to stand up to both past and present adversaries.  The dark colors, shadowy settings, and lighting mark his transformation from broken young man to weapon. By embodying the dark rage that Wayne feels in his heart he is able to push himself forward and become the dark hero that the city of Gotham desperately needs.

Reader’s Annotation: Before Bruce Wayne could sweep Gotham free of crime, Bruce Wayne had to learn to be Batman.
 

Information About the Author: Frank Miller was born January 27, 1957 in Olney, Maryland but grew up in Montpelier, Vermont (tribute.ca, 2012). Miller has worked on the following comics: Marvel's Spectacular Spider-man, Daredevil, Batman: Year One, and his most famous piece: Batman- The Dark Knight Returns (tribute.ca, 2012). Miller also created the character Elektra and created several different Elektra-related comics (tribute.ca, 2012). He also worked on the comics: Ronin, Robocop 2 and 3, Hard Boiled and Bad Boy (tribute.ca, 2012).

Miller has also worked as a director when his comic Sin City was adapted into a film in 2005 (tribute.ca, 2012). Miller was very involved and only approved the proposal after many revisions were made (tribute.ca, 2012). Miller wanted to ensure that the adaption was as true as possible to the comic (tribute.ca, 2012). He has directed several other movies since then (tribute.ca, 2012).

  
Batman: Year One trailer

Genre: Science Fiction, Mystery, Horror, and Suspense, Adventure, Graphic Novel

Subgenre: Super Heroes, Heroism
 

Curriculum Ties: Can be incorporated into an art  lesson on graphic novel history and characters.

Booktalking Ideas:
1). What does the bat mean to Bruce Wayne?
2). Can Bruce Wayne ever truly avenge his parents?
3). Is James Gordon a good or bad character?

Reading Level/Interest Age: YA (Follett'sTitlewave, 2012)

Challenge Issues: This graphic novel feature images of violence and promiscuity. I would use the following items to defend it if needed:

1) Refer to Library Bill of Rights, see items: I, II, and III (http://www.ala.org/advocacy/intfreedom/librarybill).
2) Refer to San Diego Public Library collection policy - (http://www.sandiego.gov/public-library/about-the-library/freedom.shtml).  Original site: The American Library Association (ALA) Freedom to Read/View Statement (http://www.ala.org/offices/oif/statementspols/ftrstatement/freedomreadstatement).
3) Refer to California School Library Association (CSLA), Model School Library Standards - September 2010 (http://www.csla.net/index.php/publications/school-library-standards). PDF: (http://www.cde.ca.gov/be/st/ss/documents/librarystandards.pdf).

4) Refer t0 American Association for School, Librarians Standards for the 21st Century Learner (http://www.ala.org/aasl/sites/ala.org.aasl/files/content/guidelinesandstandards/learningstandards/AASL_Learning_Standards_2007.pdf)

5) Contact Office of Intellectual Freedom for any further support, 800-545-2433, ext. 4223 or oif@ala.org.

6) Refer to legitimate book reviews, such as: School Library Journal, Booklist, Kirkus Reviews, Horn Book and others; found on either Academic Search Premier, Follett's TITLEWAVE, or Amazon.com.

Why did you include this graphic novel in the titles you selected?: I included this item in my collection because it a great pick for reluctant readers. The combinations of text, graphics, and intense plotline will interest readers that may not usually be interested in reading lengthier works. 

 Reference Page:

Follett's Titlewave.  (2012). Batman: year one. Retrieved August 1, 2012 from Follett'sTitlewave iPhone app. 

tribute.ca.  (2012).  Frank Miller biography. Retrieved August 1, 2012 from http://www.tribute.ca/people/frank-miller/14302/ 

Cover art: http://cmro.travis-starnes.com/blog/tag/comic-list/

Lola: A Ghost Story

Bibliographic Information: Torres, J. & Or, E.  (2009).  Lola: A ghost story.  Portland: Oni Press.
ISBN: 978-1-934964-33-0

Plot Summary: At first glance, Jesse (the main character) seems like just another sullen teen who is angry to be dragged along on another family trip to the Philippines. The reader soon learns that Jesse is going to the Philippines to attend his grandmother's, or lola, funeral.

As the story continues to develop it becomes apparent that Jesse may not be like other teens, that Jesse may share some of the same gifts as his recently deceased lola. As the reader continues to see the world through Jesse's eyes it becomes apparent that the world is not quite what it seems.

This comic contained simple, sepia colored graphics and is read in the western style of front to back and left to right. 

Critical Evaluation: This comic is heavily laced with references to Filipino superstitions, references to Catholicism, and folklore. The main character, Jesse, refuses to admit that things like ghosts and "dwendes" (mythical dwarves) may actually exist. As the story moves forward it becomes obvious that Jesse is not simply just a western kid afraid of Filipino superstitions as the reader begins to see the world through Jesse's eyes. The presence folklore stories, Catholic customs, and superstitions also work as a way to pass on culture to younger generations. In this way the stories and religion that Jesse is told or part of deeply connect him to those who have already passed on, like his lola (grandmother). In a way these shared stories become a symbol of family, culture, and identity. At first Jesse wants to be separate from the culture, stating that every time he returns to the Philippines that the experience is just a little bit worse. His rejections are a way for him to reject parts of himself he does not like and wants to guard himself against. It is not until his kuya (cousin) urges him to use his knowledge that Jesse even considers that who he is and what he knows may actually be valuable to the culture and family he often keeps at a distance.

By the end of the story, Jesse can be seen accepting the Filipino stories and superstitions, as a metaphor of him finally accepting the parts of himself that he cannot completely explain.

Reader’s Annotation: Jesse finds that the ghosts within are sometimes only a reflection of the ghosts that surround us every day.
 

Information About the Author: J. Torres has received several recognitions for his work; including: the Shuster Award, being YSLA listed, and an Einser Award nomination (Torres, 2012). Some of Torres' most notable works are: Batman: Legends of the Dark Knight, Love as a Foreign Language, Teen Titans Go, and Allison Dare (Torres, 2012). Torres' current work includes: Jinx and Power Lunch (Torres, 2012).
Elbert Or is from Manila, Philippines (Torres & Or, 2009). Or often works as both an illustrator and writer and has had many of his works recognized (Torres & Or, 2009). Some of Or's most notable works include: National Book Award winning Siglo Anthologoies, Cast, and Bakemono High (Torres & Or, 2009). Or also teaches Comics Production while working for Oni Press Torres & Or, 2009).   

Genre: Mystery, Horror, and Suspense, Fantasy

Subgenre: Paranormal Powers, The Occult or Supernatural, Urban Fantasy
 

Curriculum Ties: Could be used for a section on folklore, superstitions, and loss.

Booktalking Ideas:
1). How do the superstitions and folktales play a role in Jesse's life?
2). What does the little zebra car mean to JonJon's parents? 

Reading Level/Interest Age: AR Reading Level: 2.4/YA (Follett's Titlewave, 2012). Gr. 7 & up (Lipinski, 2010)

Challenge Issues: None. If issues did arise, I would pull from my defense file as detailed below. I would use the following items to defend this graphic novel if it was challenged:

1) Refer to Library Bill of Rights, see items: I, II, and III (http://www.ala.org/advocacy/intfreedom/librarybill).
2) Refer to San Diego Public Library collection policy - (http://www.sandiego.gov/public-library/about-the-library/freedom.shtml).  Original site: The American Library Association (ALA) Freedom to Read/View Statement (http://www.ala.org/offices/oif/statementspols/ftrstatement/freedomreadstatement).
3) Refer to California School Library Association (CSLA), Model School Library Standards - September 2010 (http://www.csla.net/index.php/publications/school-library-standards). PDF: (http://www.cde.ca.gov/be/st/ss/documents/librarystandards.pdf).

4) Refer t0 American Association for School, Librarians Standards for the 21st Century Learner (http://www.ala.org/aasl/sites/ala.org.aasl/files/content/guidelinesandstandards/learningstandards/AASL_Learning_Standards_2007.pdf)

5) Contact Office of Intellectual Freedom for any further support, 800-545-2433, ext. 4223 or oif@ala.org.

6) Refer to legitimate book reviews, such as: School Library Journal, Booklist, Kirkus Reviews, Horn Book and others; found on either Academic Search Premier, Follett's TITLEWAVE, or Amazon.com.

Why did you include this graphic novel in the titles you selected?: This grapjic novel may be more suitable for the younger spectrum of the YA crowd, but offers a story rich in culture, superstitions, and folklore.The storyline and eventual lessons that the main character, Jesse, learns may inspire inner reflection in teens regarding the things that they do and do not understand about their own lives and beliefs.

Reference Page:

Follett's Titlewave.  (2012).  Lola: A ghost story.  Retrieved July 13, 2012 from Follett's Titlewave iPhone App.

Lipinski, A.  (2010, May 1).  [Review of Lola: A ghost story by J. Torres & E. Or].  School Library Journal.  Retrieved July 14, 2012 from http://www.amazon.com/Lola-Ghost-Story-J-Torres/dp/1934964336

Torres, J.  (2012).  wwww.jtorresonline.com.  Retrieved July 14, 2012 from http://jtorresonline.blogspot.com/ Torres, J. & Or, E.  (2009).  Lola: A ghost story.  Portland: Oni Press.
ISBN: 978-1-934964-33-0

Cover art:

Or, E.  (2009).  Lola: A ghost story cover.  Retrieved July 15, 2012 from http://www.onipress.com/titles/h/396