A Study of Graphic Novel Cataloging Records.

DOCUMENT RESUME

ED 352 976

IR 054 326

AUTHOR

Andelson, Eric

TITLE

A Study of Graphic Novel Cataloging Records.

PUB DATE Feb 92

NOTE

93p.; Master's Thesis, Kent State University.

PUB TYPE Dissertations/Theses

Masters Theses (042)

EDRS PRICE

MF01/PC04 Plus Postage.

DESCRIPTORS

Bibliographic Utilities; *Cataloging; College

Libraries; Higher Education; Library Research; Online

Catalogs; Online Searching; Research Methodology;

Statistical Analysis; *Subject Index Terms; Tables

(Data)

IDENTIFIERS

Bowling Green State University OH; *Graphic Novels;

OCLC; Statistical Package for the Social Sciences

ABSTRACT

Graphic novels are a blending of words and art in

which the illustrations bear the same relationship to the text that a

film carries to its screenplay. The hypothesis of this research is

that, as a new form of literature, graphic novels will display

inconsistent cataloging. Methodology consisted of searching the

titles generated from Bowling Green State University's subject

heading, Graphic Novels, against OCLC records. There are 191 titles,

with 299 OCLC records and 3,416 holdings. All records for the same

title were downloaded from OCLC, encoded, and entered into SPSS.

Statistical analysis such as tabulating and frequency distribution

are utilized in analyzing the cataloging records. Definitions,

examples, AACR2 cataloging rules, subject headings, added entries,

and classification numbers clarify the format as well as the

cataloging of graphic novels. One conclusion is that there are

consistencies as well as inconsistencies in the cataloging record.

Another is that graphic novels are not automatically cGnsidered

juvenile works. Several recommendations based on the study findings

are offered: (1) "chiefly ill." should be used in the physical field;

(2) a subject heading "Graphic Novels" should be assigned in order to

bring out this form of literature;

(3) libraries may want to class

graphic novels together locally; and (4) more individuals and roles

should be listed in the statement of responsibility or notes. An

appendix lists the titles of the graphic novels used for analysis.

Thirteen computer/CD-Rom citations and seven catalogs are listed in

addition to 32 references. (Author/ALF)

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A STUDY OF GRAPHIC NOVEL CATALOGING RECORDS

A Masters Research Paper submitted to the

Kent State University School of Library Science

in partial fulfillment of the requirements

for the degree Master of Library Science

Eric Andelson

February 1992

BEST COPY AVAILABLE

"PERMISSION TO REPRODUCE THIS

MATERIAL HAS BEEN GRANTED

Eric Andelson

TO THE EDUCATIONAL

RESOURCES

INFORMATION CENTER (ERIC)."

A STUDY OF GRAPHIC NOVEL CATALOGING RECORDS

Eric Andelson

ABSTRACT

Graphic novels are a blending of words and art.

The illustrations in a graphic novel bear the same

relationship to the text that a film carries to its

screenplay. The hypothesis is that as a new form of

literature, graphic novels will display inconsistent

cataloging.

The Bowling Green State University Popular

Culture Library uses the Subject Heading "Graphic

Novels.

The titles generated from BGSU's Subject

Heading were searched against OCLC records.

There are

191 titles, with 299 OCLC records and 3416 holdings.

All records for the same title were downloaded from

OCLC, encoded and entered into SPSS.

Statistical

analysis such as tabulating and frequency distribution

are utilized in analyzing the cataloging records.

Definitions, examples, AACR2 cataloging rules, subject

headings, added entries, classification numbers, etc.

clarify the format as well as the cataloging of graphic

novels.

One conclusion is that there are consistencies

as well as inconsistencies in the cataloging record.

Another is that graphic novels are not automatically

considered juvenile works. A subject heading Graphic

Novels should be assigned in order to bring out the

form of the literature.

TABLE OF CONTENTS

1. INTRODUCTION

2. REVIEW OF THE LITERATURE

A. Definitions of the Graphic Novel

B. Bibliographic control

Cataloging Questions

1) Format

2) Access Points

3) Classification

4) Illustration

5) Seriality

3. METHODOLOGY

A. Coding Form

4. LIST OF TABLES

Table

Number of OCLC records per title

The year entered in OCLC

The form of ill. in OCLC

The value of F in F/M/B

Intellectual level: Int lvl

Translated

7A.

LC number

7A1. LC number if known translation

7B.

LC classification

7B1. LC classification (if fiction)

8. Dewey number

8A.

Dewey number (if fiction)

Other form

10.

"Graphic novel" mentioned in

11.

Number of Subject Headings

11A. Number of SH not visual in type

11B. Number of SH (if fiction)

12.

Total number of people responsible

13.

Are all "roles" indicated

14.

Total number of people traced

15.

Mentioned in record, but not traced

16.

Holdings records

iii

5. CONCLUSION

6. APPENDIX

Graphic novel titles used for analysis

7. Bibliography

INTRODUCTION

Graphic novels are a form in which graphic narration and

text are combined in such a way that neither can

survive without

the other.

They share, with novels, a beginning, middle and

end.

They range from a trade paperback reprint of a

comic book to

serious literary works.

As of this moment, there is no

single

definition for the form.

Graphic novels are becoming popular in America.

They are

entering the world of mainstream publishing, are

appearing in

bookstores, and are bought and cataloged by

libraries.

Warner

Brothers, Fawcett, and Simon & Schuster are among

the large

houses publishing graphic novels.

The book chain, Waldenbooks,

has a "Graphic Novels" section, and the Library

of Congress is

currently cataloging

them.1

Graphic novels have been published in Europe and

Asia since

World War II, but not until the late 1970's,

have they been

published in any number in the U.S.A..

It is only in the last

few years that the general public has become aware

of them.

late as 1989, a reviewer identified

Maus, published

in 1986, as

the first graphic

novel.

"What...Spiegelman has done is the

seemingly impossible: He has fused the novel

and the

The Library of Congress has revised

cataloging priorities

including minimal-level cataloging.

Graphic novels are not

expressly listed, but are likely to be affected

by the revisions.

Cataloging Priorities and Levels of Cataloging,

Cataloging

Service Bulletin, Winter 1991, 3-7.

(.)

cartoon...."

An important reason for the late arrival of graphic novels

in our country was the publication of Fredric Wertham's book,

Seduction of the Innocent, in which he linked comics and juvenile

delinquency, a theory popular in the 1950's.2

The ensuing

uproar resulted in a "Comics Code Authority" which limited the

nature of comics to material deemed suitable to children and

juveniles.

The Code banned inflammatory words such as "Fear", "Horror",

"Weird", and "Terror" from titles.3

They had stories changed in

order to ensure that the "good guys" won.

A criminal not only

had to lose, but could not commit a realistic

crime.5

Social

problems such as prostitution, racism, and drug abuse were taboo.

The Code has changed since its inception, but it is still in

existence.

Between 1940 and the early sixties the industry

commonly accepted the profile of the comic book reader

as that of a '10-year old from Iowa.'

In adults the

reading of comic books was regarded as a sign of low

intelligence.

Publishers neither encouraged nor

1Dreifus,

Claudia.

"An Interview

with Art

Spiegelman."

Progressive November 1989: 34.

'Wertham, Fredric. Seduction of the Innocent. New York:

Rinehart, 1954.

ihompson, Don. "The spawn of the son of M.C. Gaines" The

comic-book book, 312.

4'ibid. 314.

'Code for Editorial Matter, General Standards. Part A: #2.

"No comics shall explicitly present the unique details and

methods of a crime".

supported anything more.'

The situation has changed.

Waldenbooks states, "...research

indicates that those buying comics these days are in their 20's

and 30's."; furthermore, the adult reader now has comics and

graphic novels aimed towards him/her.2

This trend has lead to

graphic novels deserving consideration as serious works.

Cataloging problems emerge when standard conventions are

used to describe a new form.

Questions arise in definition,

subject headings, terminology, and physical description.

systematic analysis of the cataloging records of identified

graphic novels will help define the term as well as point out

inconsistencies in cataloging records.

'Eisner,

Will.

Comics

Sequential

Art.

Florida: Poorhouse Press, 1985: 138.

Tamarac,

'Condon,

Garret.

"Graphic

Novels Appeal to

New

Generation

of Comic-Book Readers." [vertical file at OSU]

REVIEW OF THE LITERATURE

A. Definitions of the Graphic Novel

Definitions are in a state of flux.

There is no single

definition for the graphic novel that satisfies everyone.

In the

comic world, whose publications (fanzines) can be considered part

of the alternative press it is a source of continuous debate.

There are articles on graphic novels by the mainstream press, but

the definition of the term is often assumed.

One of the first,

semi-formal definitions in mainstream publishing, appeared in

Publishers Weekly in 1987.1

The author, George Beahm, is director of marketing for a

company that

produces and

sells graphic novels.

Hs, addresses

some of the problems

in defining them:

The

graphic novel is, in short, a new format with

an identity problem, handicapped by preconceived

notions.

The erroneous assumption: because a graphic

novel uses comic art as its medium of expression, many

don't take it seriously.

They are not slick comic books for kids or adults

whose lips move when they read.

Graphic novels are not comics or magazines.

Graphic novels are not necessarily about comic

book superheroes.

novels are not simple stories simply

told.

Beahm's company, Donning Company Publishers, and its

imprint, Starblaze, published some of the graphic novels used in

Beahm,

George.

"Graphic

Novels:

Comics,

Magazines,

Books?"

Publishers Weekly November 6, 1987: 22.

ibid.

this masters paper.

Appendix I contains the list of all graphic

novels analyzed in this study.

Some examples from the Donning

Company are titles #2, 135, & 185.

Bodian's Publishing Desk Reference: A Comprehensive

Dictionary of Practices and Techniques for Book and Journal

Marketing and Bookselling was published in

1988.1

Bodian's

definition of the graphic novel cites Beahm's 1987 article:

GRAPHIC NOVEL

A short novel that tells its story

through comic artwork, typically in trade paperback

format (7"x10" or 8 1/2x11"), usually in full color,

and priced from $6.95 to $12.95.

A comic novel

combines prose and the visual excitement of artwork.

Usually a minimum of 64 pages, bit can extend to over

100 pages depending on the story.

Virtually every article on graphic novels has its own

definition. In 1989, Gregory Walker reviews some graphic novels

for Booklist.3

Graphic novels... are the most sophisticated form of

comics art.

Similar to novelettes and short stories in

length and narrative style, they set new visual stand-

ards with artwork that rivals the best in

children's

books and paperback

covers.4

Graphic novels mentioned in Walker's review are titles #9, 20,

55, 73, 154, 186, & 191 of this paper.

Bodian,

Nat

Bodian's

Publishing

Desk

Reference:

Comprehensive Dictionary of Practices and Techniques for Book and

Journal

Marketing

and Bookselling. Phoenix: Oryx

Press,

1988.

154.

2ibid.,

154.

Walker, Gregory. "Comics and Graphic Novels."

Booklist

April 1, 1989: 1370-1374.

4ibid.,

1370.

In order to catalog them, some libraries have had to create

a working definition for the graphic novel, due to the lack of a

standard for the genre.

An example is the Popular Culture

Library at Bowling Green State University, Bowling Green, Ohio.

Their definition, adopted in November 1987, lead to a locally

assigned subject heading of "Graphic Novels". Note that their

definition also mentions Beahm's article.

A list compiled from

Bowling Green's subject heading forms the graphic novels analyzed

in this paper.

GRAPHIC NOVELS

1. The graphic novel is both a "literary genre/form" as

well as a "publication format."

It is a hybrid genre,

most easily described as a novel or collection of short

stories in comic-book format, but with fuller plots and

characterization, and more narrative cohesion than

conventional serialized comic books.

The graphic novel

is both a literary genre (in form, technique, and

subject matter), as well as a publication format....

Graphic novels may focus on may different kinds of

content -- fiction, as well as non-fiction. ...-- these

may be traditional popular novels that have been

adapted and re-released in the graphic novel format

with elaborate illustrations, or may be independent

stories that can stand alone, but that compromise an

important part of a fictional character's mythos.

Other graphic novels more clearly related to

conventional comic books.

These include comic books

re-released in the graphic novel format (i.e., six

Superman issues reprinted in one hardbound volume) as

well as new stories with new graphic art (i.e., a folio

graphic novel featuring the Hulk's early years not

treated in conventional comic books), or may be

extensions of serially-published comic books (i.e.,

graphic novels may fill in the premiere or penultimate

issue that has not been previously published in

conventional comic book form).

2. Graphic novels can be distinguished from comic books

primarily by their format and illustrative style (but

this is not always the case).

They can also be

distinguished from comic books because they are usually

novel-length,or are otherwise self-contained (i.e.,

the case of a collection of stories).

They are not

26/28 cm, pulp paper, regular serials, as are

conventional comic books.

3. See Publishers Weekly May 22, 1987 for a published,

although not "scholarly" definition of graphic novels.

BGSU never plays a "leadership role" in defining any

comic-type materials.

I suggest that the Popular Culture Library's

collection of graphic novels be classed in LC, and put

on the regular shelves...

They need to be brought

together in the card and online catalogs with common

added subject headings, and with series title tracings

in the 440 field.

In addition, we need to inclu4 data

on the adaptor, artist, illustrator, editor, etc.

-L

Another library that has a locally assigned subject heading

of "Graphic novels" is Hennepin County Library (Minnesota).

The

Authority record reads;

Graphic novels 105 095 966 VA H-50

here are entered novels in comic-art form,

usually published as full-color trade

paperbacks.

Cartoon novels. / Fotonovelas. / Movie novels.

/ Stories without words.

Comic book novels. / Novels, graphic.

80-4366260 HCL form.

Vendors sometimes bypass defining the product by

listing

them with trade paperbacks.

The Fantasy Collection and The

Premium Specialty Collection are two vendor catalogs which use

the headings "Trade Paperback" and "Hardcovers" to describe

their

graphic novels.2

A closer look shows that they

are created

from the same database, the only difference being The

Premium

Specialty Collection is for dealers and contains discount and

*McCallum, Brenda. "Working definition", [memmo], Nov 16,

1987.

The

Fantasy Collection.

[Catalog]

Capital

city

distribution, May 1990. 74.

The Premium Specialty Collection. [Catalog]

Capital city

distribution, October 1990. 74.

ordering information. The Fantasy Collection is aimed at the

individual buyer and has no discount information.

Catalogs are also issued by publishers of graphic novels.

An example is Eclipse Books.

The back of their 1989 catalog

says, "Eclipse Books has been publishing graphic novels

for more

than ten years and remains the innovator in content, design, and

packaging."1

Examples of Eclipse's publishing in BGSUs list are

titles #016, 073, 085, 104, 150, and 126.

On the verso of the

title page of Classic DC Graphic Novels Catalog (put out by DC

Comics) has "This Classic DC Graphic Novels catalog represents

DC's crowning achievements in the comic art form.

The following

new and original graphic novels and trade paperback

collections,

reprinting rare Golden Age and contemporary stories, have been

appreciated by readers for years."2

Examples of DC's publishing

in BGSUs list are titles

008, 020, 112, 113, 122,

131, and 163.

In the definitions, the use of the term "novel" implies

visual formats that are not considered

graphic novels.

Bound

collections of

newspaper strips, such as Calvin

and Hobbs,

Ziagy, Peanuts,etc. do not

the

common definition of a

novel -- that

it has

a beginning, middle and end.

Collected

strips usually only tell

an ongoing

story at best.

Other

compiled strips, such as Prince Valiant or Little Orphan Annie

might be considered graphic novels as their compilations tell a

'Eclipse Books [Catalog], Catalogue design by Larry Marder,

1989. [16]

'Classic DC Graphic Novels Catalog, Diamond Comic

Distributors, 1989. [12]

complete story.

This ambiguity could lead to

a bias against considering any

bound collection of newspaper strips,

a graphic novel.

This bias

could extend to compilations from

a magazine or bound mini-

series.

Many of the titles used in this study have

a prior

history in another form;

some examples are titles # 46, 58, 96,

112,

181.

Anthologies on the whole are another format that

do not fit

the definition of a novel.

Collections are

not considered

novels even if they are linked

a common

theme or story.

exception is made if the reviewer,

cataloger or reader is not

aware of the prior history of the anthology.

Science fiction

uses the term fix-up which is "a book made

up of stories

originally published separately, but altered

to fit together...

they are usually marketed as novels."1

'Nicholls, Peter, ed. The Science Fiction Encyclopedia,

B. Bibliographic Control

There

are major problems in conducting a literature

review

of graphic novels.

One is that the term "graphic novel" is still

evolving, and graphic novels are confused with comic books and

other graphic art.

Another problem is that much of the

literature and discussion about the form,

occur in material to

which the researcher or librarian has limited access, such

as the

alternative press.

The exclusiveness as well as lack of access

to "comic" publications will probably lead to mainstream

writings, opinions and definitions being accepted

as the

standard.

This paper, for the most part, looks at sources

available in mainstream publishing.

Most librarians prefer to order material after reading

reviews or looking at the material itself; others

use approval

plans.

Approval plans demand a definition for the material that

the vendor and the librarian agree on.

Publishers Weekly is the

only mainstream tool that constantly

reviews graphic novels.

Keith DeCandido's 1990 article in Library Journal is

one of the

few treatments of

graphic

novels in library

literature. 1

DeCandido lists

three

major serial sources for critical

discussion

graphic novels: The Comics Journal, The Comics

Buyer's

Guide, and Amazing Heroes.2

From a librarian's

*DeCandido,

Keith

R. A. "Picture This: Graphic

Novels

Libraries." Library Journal March 15, 1990: 50-55.

2'ibid., 51.

standpoint, they are not good

sources as they have no indexes.

Furthermore, access to them is limited for according

to OCLC

cataloging records, The Comics Journal is only held

eighteen

locations,

The Comics Buyer's Guide in seven and Amazing Heroes

in four.1

The holding's record makes it obvious that the three

magazines are not used often by librarians.

And though DeCandido

"...reviews comics and graphic novels for

The

Comics Journal",

these reviews do not appear on most reviewing indexes.2

There are no comprehensive indexes for

graphic novels,

comics, or comic-related

art.

In order to deal with this,

special libraries such as The

Cartoon,

Graphic,

and

Photographic

Arts Research

Library

at Ohio State University

or the Russel B. Nye Popular Culture Collection at Michigan State

University keep vertical files.

Another source of information is the graphic novel itself.

Many have forewards and other information in the preface

colophon of the book.

Mention is often made of other graphic

novels by the same publishers and/or authors.

Many graphic novels remain in print or are reprinted;

therefore, a

librarian can usually preview a graphic novel at a

local comic or book store before purchasing.

Most book

Amazing Heroes. Stamford, CT: Zam, OCLC #7616065.

The

Comics Buyer's Guide. Iola, WI: Krause

Publications,

OCLC #9185196.

The

Comics

Journal.

Bethel, CT:

The

Comics

Journal,

OCLC #4521305.

DeCandido, 50.

stores have some graphic novels; Waldenbooks, for example, has

labeled

racks.

Of special interest to the librarian is Robert Overstreet's

annual bible

for comic book collectors since many graphic

novels began as a serial or multi-volume works (comic book

mini-

series).1

Overstreet usually will indicate

a graphic

novel

or trade

paperback

has

been published for a comic.

limitation, however, is that he does not always show if the

graphic novel is a reprint.

A good example of a graphic novel reprint is

Watchmen.

first appeared

as a DC comics twelve issue

mini-series.

collector would pay over $40.00 to get all twelve

,out-of-print,

issues from a comic book store.

The graphic novel, a reprint of

all issues, costs $16.95.

Watchmen is not on BGSUs list of

titles, probably because it was cataloged before the subject

heading "graphic novels" was assigned.

Another source of listings is the publishers series such as

First Comics Graphic Novel, DC Graphic Novel and

Marvel Graphic

Novel.

If a work is in a series, good cataloging should

include

1Overstreet, Robert M. Official Overstreet Comic Book Price

Guide. 18th ed. New York: House of Collectibles, 1988.

Moore,

Alan & Dave Gibbons ill. & letterer, John

Higgins

colorist. Watchmen. New York: DC Comics, 1986. OCLC # 15063233.

#17257135.

#18203911.

#17301724.

Watchmen. New York: DC Comics, 1987. OCLC

Watchmen. New York: Warner books, 1987. OCLC

series added entries.

Randall Scott, a

cataloger at Michigan

State University, specializes

comic books

and other related

art.

He wrote the

chapter

"Cataloging Comics"

in Cataloging

Special Materials.1

Scott traces series

in his cataloging on

OCLC.

There

are

dissertations directly relating

the graphic

novel, but they do not relate to cataloging.

Two of them are

"Reinventing the Wheel"

and

"L'aventure D'une Ecriture".2

"Reinventing the Wheel" is a master's thesis relating

to the

graphic novel, Watchmen.

"L'aventure D'une Ecriture"

about

"bandes dessinees" or "B.D's", a Belgian/European

term for comic

art and graphic novels. The abstract to "L'aventure

D'une

Ecriture" provides yet another

definition of

graphic novels,

"... a theatre of writing where

contagion between

writing,

graphics,

literature,

painting

and

theatre occurs."3

Almost

every article dealing with graphic novels cites

their popularity in Europe or Asia, but offers little

concrete

information to confirm the fact.

Two exceptions are articles by

Scott,

Randall.

Cataloging

Comics."

Cataloging

Special Materials: Critiques and Innovations, ed.

Sanford Berman,

50-70: Oryx Press, 1986.

Fauvel, Marie-Louise. "L'Aventure D'Une Ecriture: La Bande

Dessinee

D'essai."

(Ph.D.

diss.,

University of

Wisconson,

1989)

[French

Text]

200,

Dialog,

Dissertation

Abstracts

International, #01100712.

Holman,

Curtis

Lehner. "Reinventing the

Wheel: A

Multi-

Perspective

Analysis

of Alan Moore and

Dave

Gibbon's

Graphic

Novel

'Watchmen'."

(M.A.

diss.,

University of

Georgia,

1989),

Dialog,

Dissertation

Abstracts

International,

#01099187.

Fauvel, ibid.

Roger Du Mars and Anne Devreux.1

Du Mars lists some of

the

translated graphic novels and says that "...Japanese readers

purchased more

than

1.5 billion graphic novels in

1986."2

The

Devreux article deals with the history and popularity of Belgian

bandes dessinees (graphic novels).

In 1983, 28.7% of the Belgian

book industry consisted of graphic novels. In 1985

the

percentage

had

gone to

32.7%

constituting

million

dollars.3

Devreux lists some graphic novels on BGSUs list such

as Titles #72 and 76.

Examples from the Du Mars article are

Titles #22, 112, 143, 144, and 162.

Devreux,

Anne

Shapiro. "Biff Wham Bam!: Call

Bandes

Dessinee or

Graphic

Novel, it's the

Newest

Belgian

Winner!"

Belgian American Trade Review [Vertical file, Ohio State

University]: 18-21.

Mars,

Roger

Dean. "The Comic Book

Grows

Up,

Graphic

Novels:

Not Just Kid Stuff." Christian Science Monitor

December

28, 1988:[Vertical file, Ohio State University]

Du Mars.

Devreux, 18.

Cataloging Ouestions

1) Format

To a librarian, a major difference

between a comic book

and

a graphic novel is that the graphic

novel (in trade paperback

hardcover form)

can

withstand more circulations.

Libraries

that

carry

comic books

do not always catalog them,

because

comic books are not built

to withstand

the

forces generated by

cataloging,

yet

alone patron use.

Graphic novels, on the other

hand, can withstand

the normal wear and

care that most library

materials undergo.

The newness of the format in this

country stretches the

existing cataloging rules and

conventions.

There are very few

catalogers dealing with the form in this

country.

One of them is

Randall Scott at Michigan State

University Library.

Sanford

Berman described Scott as "... the

foremost library authority and

advocate for

... comic books... as well as producing the basic

tools and guides for both collecting

and organizing comic book

collections.

In this otherwise neglected but

significant field,

he has no peer."1

Scott uses AACR2 conventions and

rules.

He tries to extend

and modify them in a logical

and systematic manner.

His recent

book, Comics Librarianship:

a handbook, is an invaluable

source

in interpreting the data

for this masters paper.2

The

Ohio

Scott, Randall. Comics Librarianship:

a handbook.

Jefferson, North Carolina: McFarland,

1990.

2.ibid.

State University's

"Cartoon, Graphic and

Photographic Arts

Research Library" uses

a Scott article as a reference source.'

2) Access Points

Who is the Main Entry

and how many Added Entries

to list

poses a problem with graphic

novels for

a graphic novel can have

more than eighteen individuals

playing different roles.2

Some of

the roles found in graphic

novels are Pencilers,

Inkers,

Letterers, Creators, Adapters,

Visual Effects Specialists,

Colorists, Illustrators,

Writers, Editors, Authors,

Painters,

Calligraphers, Translators,

Cover Artists, and

so forth.

The

publishers often have their

own statement of responsibility:

Presidents, Design Directors,

Managing Editors, Production

Directors, Editors,

Co-Editors, Controllers,

and so on.

Sometimes there

are layers of editors, with separate

ones for the

publisher and for the graphic

novel.

Michigan State University

"...classifies by the first

name on the title page, when

graphic novel is

presented as by an artist/writer

or a

writer/artist team".3

This plethora of roles

can lead to the use of a title main

entry.

Graphic novels that adopt

a comic book format can cause

confusion for comic books

often have a changing

cover title while

keeping a constant indica

title.

Comic book bibliographies

such

Scott,

Randall.

"Cataloging

Comics." ibid.

Miller, Frank. Batman

The Dark Knight Returns

New York,

: Warner Books, 1986. ISBN

0-446-38505-0 NOTE: This is Title

112.

'Scott, Comics Librarianship,

76-77.

as Overstreet use the indica title as a

main entry.

AACR2rev in

rule 12.0B1, uses the title page as chief source of

information.

This leads to a single comic having several different

titles.1

1986 rule interpretation allows the use of a

"stable" title.2

3) Classification

A preliminary look at the classification numbers

indicates

that graphic novels and comics are often

classified together.

Dewey has most in the 741's (Drawing & Drawings).

Library of

Congress (LC) often classifies them in PN6700's

(Comic Books.

Strips. etc.).3

PN6700 contains material about comics,

anthologies, works about illustration, newspaper strip

reprints,

how to draw comics, etc.

Graphic novels, obviously are an

"etc.".

Bodian lists two sizes for graphic novels: 7"x10" and 8

1/2"x11".4

These are the standard sizes for comic books and

magazines respectively.

Graphic novels thus fit the standard

shelves in comic book stores but not most

library fiction

shelves. This size difference might be the

basis for the

Scott, Randall. Comics Librarianship, 63-66.

NOTE: Randall uses the example of the comic

book Scout which has

been compiled into graphic novels Scout: Mount

Fire & Scout: The

Four Monsters.

*LCRI Cumulated 12.0b1:CSB34.

Scott, Comics Librarianship, 77.

413odian, ibid.

preference of using PN6700's as the shelves are usually taller.

Scott, at Michigan State University, has the advantage of

an archival research library which allows a certain flexibility

in classification numbers. His preference is to list comic books

by title.'

"The MSU call number system differs from the LC

schedule mainly in its treatment of United States comic books.

Grouping is by decade in which a serial begins, with subgrouping

by publisher."2

4) Illustration

The graphic novel can not exist without illustration which

is one of the main differences between it and a conventional

novel.

The graphic novel's illustration also tells a sequential

story. AACR2 makes no distinction between illustrations that are

an accessory to the story and illustrations that are vital.

AACR2 in section 2.5c. Illustrative matter uses terms such as

ill., all ill.: chiefly ill., col. ill., ill. (some col.).

The

preference would be to use chiefly ill. for graphic novels.

Library of Congress memorandum states "Describe an illustrated

printed monograph as ill in all cases..."3

Catalogers following

this memorandum will have a serious information loss.

Fortunately the rule interpretation allows other libraries to use

fuller forms of ill.

*bid, 70.

2'ibid, 73.

Cataloging Service Bulletin, No. 47(Winter 1990), 30.

5) Seriality

Graphic novels may start as a serialization, either

as part

of an ongoing comic book or a separately published mini-series,

thus cataloging records may exist for both series and

the graphic

novel.

Cataloging records on OCLC, however, do not always

show

the

graphic

novel

originally was serialized as a comic

book.

Watchmen, for example, started out

as a twelve issue mini-

series, yet two of the OCLC records do not mention this.1

The

other two records have "Originally published in

issues,

magazine

form,

1986-1987."

and "'Originally

published

Comics

Inc. in twelve issues in magazine form,

1986-1987"--T.p.

verso."2

Another example is the graphic novel Maus, title # 162

of this study.

On the verso of the title page:

Chapters 1 through 6 first appeared, in somewhat

different form, in Raw magazine between 1980 and

1985.

"Prisoner on the Hell Planet" originally appeared in

Short Order Comix #1, 1973.

None of the Maus, OCLC records show this information.

1Moore,

Alan & Dave Gibbons ill. & letterer, John

Higgins

colorist. Watchmen. New York: DC Comics, 1986. OCLC # 15063233.

#17257135.

18203911.

Watchmen.

New

York:

Comics,

1987.

OCLC

Watchmen.

New York: DC Comics,

1987.

OCLC #

Watchmen.

New

York: Warner

books,

1987.

OCLC

#17301724.

3Spiegelman,

Art.

Maus:

Survivor's

Tale.

New

York:

Pantheon

Books, 1986.

OCLC #13524314.

METHODOLOGY

The hypothesis is that as a new format, graphic novels will

suffer from inconsistent cataloging.

Some of the inconsistencies

might be

in classification, subject analysis, added entries,

physical description, and so on.

Since November 1987, Bowling Green State University's

"Popular Culture Library", uses the term "Graphic Novels" as a

locally assigned subject heading in cataloging.

The catalogers

have used a single definition of graphic novels.'

These

bibliographic records, from the Bowling Green

State University's

online catalog in October 1990,

make up

the graphic novels titles used in this study. The titles from

BGSU will be searched in OCLC with the expectation that some

titles will have multiple records. All existing records on OCLC

for each title will be downloaded and encoded for statistical

analysis. The statistical package,

SPSS, will be used to

analyze the data. In this way, inconsistency, ambiguity and

similarity in the cataloging of graphic novels can be quantified.

The following data was extracted and encoded from the OCLC

records:

1) Accession Number: The number given to each unique OCLC

record.

2) Title Number: The number given to each title used.

Exerpts are reprinted in the section, A. Definitions of

the Graphic Novel, of this masters paper.

OCLC FIXED FORMAT:

3) OCLC Number: The OCLC number is listed but not

analyzed.

It will facilitate checking data.

4) Entrd: The year the graphic novel was cataloged on

OCLC.

This is system supplied.

The assumption is that most graphic

novels will be cataloged on OCLC.

5) M/F/B: The F allows the cataloger to indicate

if the work

is fiction or non fiction.

This is optional cataloging.

Int lvl: The cataloger can indicate if the work

is a

juvenile work (through age 16).

This is optional cataloging.

One constant in the definitions of graphic

novels is that they

are not children's works.

The assumption is that a j would be

rare in cataloging.

OCLC FIXED TAGS

7) 300 ill:

A graphic novel is chiefly illustration.

The

cataloging record should indicate this.

8) 040/Translation: If graphic novels have a longer

history

outside the USA, then it is likely that many

American graphic

novels would be translated from other countries.

9) 050/090/Classification Number LC:

The LC

call number,

the

first decimal point, will be noted.

This will be

the only Alpha-numeric record.

All other records are numeric.

10) 080/082/092/Classification Number DEWEY: The

first three

digits of the Dewey number, up to the decimal

point, will be

noted.

The term graphic novel implies that they are

novels,

therefore they should have a call number that reflects

that

11)

5xx/Other Form:

Graphic novels can start life

serialized in a comic book, adapted from a novel or

appearing in

another form.

Questions 12-14)

Does the phrase "graphic novel(s)" appear

in the OCLC cataloging record?

12) 245/Title: Is the term part of the title?

13) 5xx/Note: is the term in the Notes field?

14) 4xx/Series: Is the term part of a series

name?

Questions 15-16)

The Subject Headings given a work reflect

the perceived nature of the item.

The assumption at this

point is that the cataloger will focus on the visual aspect

the

graphic novels and that the subject

headings

will

reflect this.

15) 65x/69x Number: The number of subject headings.

16) 65x/69x Not-graphic: The number of subject

headings from

question 15 that do not reflect the visual nature of the work.

(i.e. do not have Comic books, strips, etc.).

Questions

17-19)

look

almost

any

graphic

novel

indicates that there can be many people responsible for

the

work.

The question of how many are listed and

subsequently

traced is important.

17) Total number of people responsible: This

will be taken

from the 100, 245, 500 tags.

18)

Total number of people traced: How many are traced

the added entries and main entry.

19)

Is role of everybody indicated:

Questions 20-26)

Cataloging rules state which names deserve

added

entries.

The plethora of names

graphic

novels

might lead to cataloging shortcuts, especially since some

the

roles

associated

with

the names

not

appear

cataloging rule books. Questions 20-26 look at names

listed

in the 245, 500, etc field in the OCLC record that were

not

given added entries.

20) Original Author not traced:

21) Writer/Adapter not traced:

22) Colorist/Illustrator/Painter/Artist not traced:

23) Calligrapher/Letterer not traced:

24) Editor not traced:

25) Translator not traced:

26) Other's not traced:

27) Number of Holdings: A large number of

holdings for

graphic novels could indicate that libraries are

buying and

cataloging them.

MASTER'S RESEARCH PAPER: CODING FORM

OCLC CODING: BOOKS FORMAT

1) Accession Number:

2) Title Number:

OCLC FIXED FORMAT

3) OCLC:

4) Entrd:

5) M/F/B:

6) Int lv17

OCLC TAGS

(OCLC Number)

(first 2 digits= year)

(F only, 2nd pos.

not/Fic=0,Fic=1)

([]=0,j=1)

7) 300 ill:

([]=0,i11=1,chiefly/mostly/totally ill=2,etc.=3)

8) Translation:

(all sources not trans= 0,trans =l)

9) 050/090:

(050 priority PN21.5=P,N,0,0,2,1)

10) 080/082/092: __,__,__

(082 priority 73.215=0,7,3)

(Originally pub. in other form/serialized/adapted, etc.)

11) 5xx Other form:

(all sources no=0,yes=1)

("Graphic Novel(s)" mentioned)

12) 245/Title:

(245 tact, only no=0,yes=1)

13) 5xx Note:

(5xx tags, only no=0,yes=1)

14) 4xx Series:

(4xx tags, only no=0,yes=1)

15) 65x/69x Number:

I __

(Topical Subject Headings)

16) 65x/69x Not-graphic: __,

(A not reflecting graphic nature

ie. "comic books, strips, etc.")

17) Total number of people responsible:

(100,245,500 tags)

18) Total number of people traced:

19) Is role of everybody indicated:

(#20-26 refer only to people in #17)

20) Original Author not traced:

21) Writer/Adapter not traced:

22) Colorist/illustrator/painter/artist not traced:_

23) Calligrapher/Letterer not traced:

24) Editor not traced:

25) Translator not traced:

26) Other's not traced:

(no=0,yes=1)

27) Number of holdings:

NOTES/QUESTIONS

(no=0,yes=1)

(no=C,yes=1)

(no=0,yes=1)

TABLE 1

Number of OCLC Records per Title

Number of OCLC

Records Per Title 1 2 3 4 5 6 7 11

Number of Titles 132 39 11 2 2 1 3 1

% of total titles 69.1% 20.4% 5.8% 1% 1% 0.5% 1.6% 0.5%

The Mean is for 1.502 OCLC records per title.

The Standard Deviation is 1.243.

TITLE #54 has 11 OCLC records.

TITLE #2, 143, 181 has 7 OCLC records.

TITLE #135 has 6 OCLC records.

TITLE #58, 112 has 5 OCLC records.

TITLE #80, 162 has 4 OCLC records.

TITLE #15,20,24,25,50,59,77,83,144,172,174 has 3 OCLC records.

Most of the titles only have one OCLC record.

Multiple

records should occur only if there are significant differences

between the old record and the new material to be cataloged.

Title #54, A Contract With God by Will Eisner, has 11 OCLC

records.

They represent cataloging done by four different

libraries including DLC.

OSU created eight different OCLC

records for eight foreign language editions; Swedish, Danish,

German, French, Finish, Yiddish, Italian and Spanish.

Eisner is

traced but, none of the translators, even when the translators

are mentioned in the statement of responsibility.1

The other

three records are for different publishers or copyright dates.

In total, there are 38 holding records for the 11 OCLC records.

Thieves world started as a fantasy anthology in which

*AACR2 does not usually trace translators, see TABLE 6.

different authors write about the same town.

This multi-volume

series proved to be so popular that it also has been published in

multi-volume graphic novel form.

Title #2 is for Thieves World

Graphics which has seven OCLC records.

Five of the OCLC records

are by DLC.

Two of the records treat Thieves World Graphics as

multi-volume work, four records are for single volume works, and

one record treats them as a serial.

Three records classify them

in PN6727(Comic books, by author)/741, two records do not

classify them(do not use LC format), one record puts them in

PS3551(Literature, by author)/813 and one record in PN6726(Comic

books, by collections).

OCLC lists 47 holdings.

Another graphic novel with seven holdings is Title #143,

Corto Maltese by Hugo Pratt.

This is one of the few graphic

novels that is completely done by one person.

The graphic novels

are made up of collected stories about Corto Maltese.

The

records are for works in Italian, French and English.

Three

records classify them in PN6768(Comic books, Italy, by Title),

one in PN6767(Comic books, Italy by Author) and one in

PN6748(Comic books, France, by Title).

OCLC lists 47 holdings.

The last graphic novel with seven OCLC records is Title

#181, Early days of the Southern Knights-

The Southern Knights

is a comic book whose issues have been compiled into trade

paperbacks.

Early Days of the Southern Knights, Volume two, has

on the back "...this graphic novel is just what you

need..."1

Volume 3 drops the term graphic novel and uses graphic album

Vogel, Henry Early Days of the Southern Knights, Vol. 2,

New Yor, New York: Comics Interview. 1986.

instead. There is a separate OCLC record for each volume. All

of the classification numbers are for PN6728(Comic books, by

title).

Title #135, Elfquest has six OCLC records.

Elfquest's

popularity caused it to be reprinted as a color comic. There are

also Elfquest mini-series. The comics and mini-series were then

reprinted as graphic novels. Later on, these graphic novels were

reprinted with enhanced color as The Complete Elfquest. Since

The Complete Elfquest does not indicate which Elfquest graphic

novels it reprints, it was not included in the analysis of

graphic novel titles. DLC treats it as a multi-volume work with

classification number PS3566(American literature, individual

authors) /813 (Literature, American) . The

only other

classification number given is PN6728.

There are 207 holdings

on OCLC for this title.

The examples of graphic novels with multiple records

indicates that there is considerable flexibility in the

cataloging. This could be caused by different interpretations of

the AACR2 cataloging rules by different libraries, or a sense of

confusion on the material being catalogued.

TABLE 2

The year entered in OCLC

Year entered

on OCLC

Number of

Records

Percent

1976

0.3%

1977

0.3%

1978

1.0%

1979

6 2.0%

1980

6 2.0%

1981

1.0%

1982 3

1.0%

1983

1.3%

1984

9.0%

1985

8.4%

1986

10.0%

1987

14.0%

1988

16.1%

1989

21.7%

1990

11.7%

TOTAL

299

100.0%

This table is interesting, but not very valid for the

following reasons.

First, it reflects BGSU's adoption of a

locally defined subject heading of "graphic novels" in late 1985.

The expected conclusion is that there would be more graphic

novels cataloged in a subject heading after the subject heading

was adopted.

The second reason is that there was no

retrospective conversion to give previously cataloged graphic

novels the subject heading "graphic novels".

The last reason is

that BGSU has a budget, which constrains purchasing.

The graphic nov is cataloged before the 1980's indicate some

of the earlier titles.

The earliest record is title #77[record

#248], Ulysses, entered in 1976.

The other two records for this

title were entered in 1979 and 1988.

The 1976 record is for the

English translation from the French original.

The more recent

records are for French reprints of the graphic novel.

All

records have the classification number PN6747(Comic books,

France, by author), with one having Homer as Main Entry and

another having the adapter as Main Entry.

Barbarella was originally a comic strip in a magazine during

1962.

The strips were then collected to form the graphic novel.

The movie starring Jane Fonda was based on the graphic novel.

The other entries were cataloged in 1983, 1986, 1988 and 1989.

Title #58[record #181], Barbarella, was cataloged in 1977.

Three entries are in French, two in English.

There are two DLC

records.

Three records, including DLC, have a classification

number of NC1499(Fine arts, Drawing, Pictorial humor, France, by

author).

The other numbers are NC1599(Fine arts, Drawing,

Pictorial humor, Denmark, by author) and PN6748(Literature,

collections, comic books, France, by title).

TABLE 3

The form of ill. in OCLC

Number of

Records

Percent

no ill. 7

2.3%

ill.,

color ill.

240

80.3%

totally ill.

mostly ill.

chiefly ill.

17.4%

TOTAL 299

100.0%

OCLC records with no entry for ill. are:

Title #2[005,007,286], Title #15[019], Title #58[180],

Title #143[259] and Title #179[156].

This data was taken from the OCLC 300 Physical Description

field. Germane AACR2 rules are 2.5C1 and 2.5C6.

Using the cataloging term ill. or color ill. reduces the

status of the artwork of a graphic novel to a mere addendum.

The

term chiefly 111.1 is a more accurate reflection of the ratio of

text to illustration that exists.

A convention of graphic novel cataloging should be the use

of the term chiefly ill..

Table #3 indicates that this is not

how they are cataloged.

There are two main places in an OCLC

record where information on the illustration level can be

obtained.

The first is in the OCLC Fixed Field illus:.

This is

intended to reflect and expand on the 300 field.

Illus: reveals

'chiefly ill. is preffered by AACR2 even though mostly ill.

and totally ill are also used by some member libraries.

the form but not the quantity of the illustration.

The only two

codes applicable to graphic novels are a[illustrations] or [][no

illustrations].

This is optional cataloging with [] also used as

the default.

The OCLC 300 Physical Description filed, Subfield b is where

AACR2 rules 2.5C1 and 2.5C6 apply.

This is not optional

cataloging.

Therefore, the seven records with no coding for ill.

were a surprise.

Record #156 has no 300 field but did code

illus: a. Record #180 has a 300 field, no ill., but did have a

subject heading of "French Wit and Humor, Pictorial".

Records

#19 and #259 have Enc lvl: of K which indicates that the

catalogers believed that they were cataloging at the Less-than-

full level.

Records #5,7 and 286 belong to the "Thieves Worlds"

anthologies and are DLC records.

Record #5 has Enc lvl: J which

indicates that the record has been deleted.

Record #7 has Enc

lvl: 8 which is Pre-Publication-level cataloging.

Record #286 is

a serial record with no Enc lvl: field.

The 580 field has

"Graphic novels based on ...".

The presence of this note

indicates an effort made to clarify the form of the record.

There are 52 OCLC records that have chiefly ill.,mostly

ill., or totally ill.

DLC has cataloged 24 of these records.

The most records were cataloged in 1988 with 14 entries.

24 of

the records have a Dewey number and 43 have a LC number.

records have one or more subject headings.

There are 848

holdings for the 52 records.

The presence of chiefly ill. implies that the artwork is a

major factor in the graphic novel.

There are, however, six

records that have an artist in the statement of responsibility,

but no added entry for the artist.

These are;

Title 2[rec 4,6]Thieves' world graphics

Title 53[rec 51]Teenage mutant ninja turtles

Title 108[rec 93]Les oiseaux du maitre

Title 164[rec 138]Batman: the cult

Title 168[rec 251]Incredible Hulk and the Thing...

Title 2[rec 4,6], Thieves' World Graphics was first

discussed with Table 1.

Record 4 has in the statement of

responsibility; "adapted by Robert Asprin and Lynn Abbey ; art by

Tim Sale".

Sale is not traced.

Record 6 has the same entries

for the statement of responsibility and Sale is not traced.

Record 2,3,5,7 cataloged by DLC for the same title, trace Sale.

A look at Thieves' world graphics has Sale clearly listed by

role, on the cover, title page and CIP.

Title 53[rec 51], Teenage mutant ninja turtles

has in the

statement or responsibility; "Kevin Eastman and Peter Laird" who

are traced.

In the OCLC 500 field, "Steve Lavigne, letterer

;

Kevin Eastman, Ken Feduniewicz, Janice Cohen, colorists".

Lavigne, Feduniewicz and Cohen were not traced.

This is the

colorized reprinting of the first three issues of the original

black and white comic book which has since been made into two

movies, animated cartoons and other spin offs.

Title 108[rec 93], Les Oiseaux du Maitre, has in the

statement of responsibility; [dessins] par... and couleur.

The

[dessins] par is traced, but the couleur is not.

Record 94 for

the same title has only col. ill. and the couleur is not traced.

Title 164[rec 138], Batman: the cult cataloged by DLC, has

in the statement of responsibility; "Jim

Starlin, writer

;

Berni

Wrightson, illustrator ;

Bill Wray, color artist

;

Todd Klein,

letterer".

The OCLC 500 field has "Created by Bob

Kane".

Wray

and Klein are not traced.

Record 137 for the same title has in

the statement of responsibility "Jim

Starlin, writer

;

Berni

Wrightson, illustrator

;

Bill Wray, color artist".

All are

traced.

Title 168[rec 251], Incredible Hulk and the

Thing..., has in

the statement of responsibility; "story by

Jim Starlin ;

art by

Berni Wrightson

;

Jim Novak, letterer

;

Carl Potts, titles

designer

; Allen Milgrom, editor".

The OCLC 490 field has "Stan

Lee presents...".

Starlin and Wrightson are the only two traced.

The recommendation is that chiefly ill.

should be used in

the physical description field.

TABLE 4

The value of F in M/F/B

Value

of F

Number of

Records

Percent

[serial rec]

2.0%

Not fiction

104

34.8%

Fiction

189

63.2%

serial records do not have an M /F /B field.

This data is from the F in the OCLC Fixed Fields Format

M/F/B.

This represents optional cataloging with 0 as the

default.

The F stands for the fiction code. The choices are

fiction 1 or non-fiction 0.

Drama is not considered fiction by

OCLC and should be coded 0.

A cataloger must deliberately code 1

for fiction.

Novels are usually considered fiction.

Graphic novels

should then be considered mostly fiction also.

Only a few of the

graphic novel titles in this study could be considered non-

fiction. Two of these are Title #16 and #162.

Title #16 is

Brought to Light which deals with undercover actions by the USA

government in South America. The classification number in

both

records is for F1436.

Record #20, by DLC, has six Subject Added

entries and 64 holding records.

Record #21 is for the British

publication of the same work.

Both records have 0 for F.

Title #162 is Maus* a survivor's tale by Spiegelman.

This

is a grim retelling of Spiegelman's parents experiences as Jews

during WWII.

Classification numbers are PS3569 and DU810 for LC

and 741 and 94n for DEWEY.

ill: is 2 for all entries and there

is a total of 648 holding records.

The F in M/F/B is coded 0 for

all four records.

Fiction works are not usually given Dewey classification

numbers unless they are in the 800's(Literature &

rhetoric).

There are only 12 Dewey records with a classification

number

having a F code of 1.

These are:

Title

2[rec 3]

Dewey

741

Thieves world

Title

2[rec 5]

Dewey

813

Thieves world

Title

4[rec 9]

Dewey

741

Through the looking

Title

6[rec 237]

Dewey

741 Robotech

Title

68[rec 281]

Dewey

741 Hamlet

Title

112[rec 201]

Dewey

741

Batman: Dark Knight

Title

185[rec 234]

Dewey

741 Lightrunner

Title

133[rec 117]

Dewey

813

Love shots

Title

135[rec 295]

Dewey

813 Elfquest

Title

148[rec 125]

Dewey

813

Silver metal lover

Title

61[rec 278]

Dewey

823

Great expectations

Title

30[rec 298]

Dewey

843

Hunting party

Another point to look at is the use of subject headings.

Works of fiction traditionally do not have many subject

headings;

most have none.

A look at Table 11B allows a comparison of the

fiction label and subject headings.

There are 172 subject

headings for all 299 records.

There are 75 subject headings for

the 189 records coded for fiction.

This seems to confirm that

works considered fiction recieve fewer subject headings.

More use of the fiction code F leads to a fuller

cataloging

record.

This is not, however, mandatory cataloging.

SEE

Table

compare

this

against

regular

Dewey

numbers.

TABLE 5

Intellectual Level: Int 1v1

Int lvl

value

Number of

Records

Percent

287

96%

The OCLC fixed field code Int lvl is

optional cataloging for

the intellectual level

the work is intended

well as

a non-juvenile

Title

24[rec 24]

Title

50[rec 46]

Title 107[rec 92]

of the work.

A j indicates a belief that

for juveniles through age 16. The

default as

work is 0.

The 12 records coded j are:

Through the looking glass

Yankee named Blueberry

Willow: the official...

Heroes of the equinox

Title

109

World without stars

Title

153

Enchanted apples of Oz

Title

The hunger dogs

Title

136

The adventures of Tom Sawyer

Title

161

Dr. Jeckel & Mr. Hyde

Title

Count of Monte Cristo

Title 95

Call of the wild

Title

135[rec

295]:

Elfquest

There are other ways to determine if

a work is considered

juvenile.

The presence of a 520 field is

rare in fiction

cataloging, with the exception of

childrens material.'

This is

often seen with the 650 field having

a second indicator value of

There are seven records with

a 520 field.

Seven records

also have a 650 field, with five of

those records having a 1 in

'The 520 field Summary, Abstract,

or Annotation Note is

optional cataloging.

'A 1 in the second indicator value of the

6xx field Subject

Added Entries stands for LC Subject

Heading for Children's

Literature, or Annotated Card Program

(AC).

the second indicator.

Only six records have the 520 field and a

650 field together.

This leads to a conclusion that the OCLC j

code and the Library of Congress's Annotated Card Program are not

closely linked by catalogers for graphic novels.

The fact that only twelve records were coded j indicates

that graphic novels are not automatically treated as juvenile

works by the catalogers.

TABLE 6

Translated

Number of

Records

Percent

YES

24.4%

226

75.6%

TOTAL

299

100.0%

Other countries and cultures have been creating graphic

novels longer than the U.S.A.

Popular and successful graphic

novels in one county usually are considered prime candidates for

publication in another.

It, therefore it should not be

surprising that a number of graphic novels in this country

are

translations. The cataloging records, unfortunately,

do not

always note this.

Table 6 was constructed by using the cataloging records, the

actual graphic novel, discussions with comic book dealers, and

references in texts.1

Therefore consider that at least 24.4% of

the records were translated.

AACR2 allows the translator to be listed in the statement of

responsibility, but often consider added entries to be

superfluous.2

A contract with God by Will Eisner is a good

example..3

The OCLC 041 Languages field is required cataloging.

Table 9 was formed the same way.

AACR2 rule 21.30K Translators.

Note that graphic novels

do not fit many of the conditions necessary for translator added

entries.

This is discussed with TABLE 1.

An indicator of 1 indicates that the work is a translation or

includes a translation.

Classification numbers for translations normally follow the

original text, but this is true only if the cataloger knows the

work is a translation, and knows in what language/country the

work was originally published.

A look at Table 7A and 7A1 shows

some flexibility with this practice.

Michigan State University shelves "comic book which are or

may be translations, with the publications of the country in

which they are published."1

This allows translations of Batman

graphic novels to be classified by language,but "Collections of

comic strips in book form, even if they are translated, are

shelved with the language they originated with...".2

Books are

felt to be less ambiguous.

'Scott, Comics Librarianship, 86.

ibid.

TABLE 7A

LC numt,er

number

Number of

Records

Percent

no number

14.4%

D 810

0.3%

F1436

.7%

NC1499

1.3%

NC1599

.3%

PN1997

.3%

PN6725-6728

154

51.1%

PN6737

1.0%

PN6745-6748

12.0%

PN6765-6768

3.3%

PN6775-6778

.7%

PN6790

10 3.3%

Q 1-3999

2.1%

PQ4876

.3%

PQ7798

.3%

PR 1-9680

1.7%

PS 1-3576

7.0%

PT2673

.3%

PZ 10

.3%

TOTAL

299

100.0%

TABLE 7A1

LC number if known translation

number

Number of

Records

Percent

no number

15.1%

NC1499

1.4%

NC1599

1.4%

PN1997

1.4%

PN6725-6728

15.0%

PN6737

2.7%

PN6745-6748

32.8%

PN6765-6768

9.6%

PN6775-6778

2.8%

PN6790

8.2%

13.Q 1-3999

4.2%

PQ7798

1.4%

PS 1-3576

2.7%

PT2673

.3%

TOTAL

100.0%

TABLE 7B

LC classification

classification

Number of

Records

Percent

no number

43 14.4%

History

1 0.3%

U.S.(local)

.7%

Fine Arts

5 1.7%

Drama

.3%

Comic Books

215 71.9%

Literature

31 10.4%

Juvenile

1 0.3%

TOTAL

299 100.0%

TABLE 7B1

LC classification (if fiction)

classification

Number of

Records

Percent

no number

20 10.6%

History

0 0.0%

U.S.(local)

0 0.0%

Fine Arts

1.1%

Drama

0 0.0%

Comic Books

138 73.0%

Literature

28 14.8%

Juvenile

0.5%

TOTAL

189 100.0%

Table 7B1 represents the LC classification for the F in the OCLC

fixed field coded 1, which represents fiction. See Table 4 for

more information about M/F/B.

4'5

Library of Congress classification

History: General and Old World

D 204-849 Modern history

D 731-838 World War II

D 810 TITLE #162[REC 195]

F United States(Local) and America except the United States

F 1421-1577 Central America

TITLE #16[REC 20,21]

N Fine Arts

NC Drawing. Design. Illustration

NC 1300-1766 Pictorial humor, caricature, etc.

NC 1490-1499 France

NC 1499 Special artists

TITLE #58[REC 180,181,183,] #59[REC 185]

NC 1590-1599 Denmark

NC 1599 Special artists

TITLE #58[REc 182]

PN 1-6790 LITERATURE (General)

PN 1600-3307 Drama

PN 1993-1999 Motion pictures

PN 1997-1997.85 Plays, scenarios, etc.

TITLE #189[REC 189]

PN 6010-6790 Collections of general literature

PN 6700-6790 Comic books, strips, etc.

PN 6725-6728 United States

PN 6726 Collections

PN 6727 Individual authors or works, A-Z

PN 6728 Individual comic strips. By title, A-Z.

PN 6735-6738 Great Britain

PN 6737 Individual authors or works, A-Z

PN 6745-6748 France

PN 6747 Individual authors or works, A-Z

PN 6748 Individual comic strips, By title, A-Z

PN 6765-6768 Italy

PN 6767 Individual authors or works, A-Z

PN 6768 Individual comic strips, By title, A-Z

PN 6775-6778 Spain

PN 6777 Individual authors or works, A-Z

PN 6778 Individual comic strips, By title, A-Z

PN 6790 Other regions or countries, A-Z

PQ 1-3999 French literature

PQ 1600-2651 Modern literature, Individual authors

PQ 2149-2551 19th century 1901-1960

PQ 2660-2686 1961- .A-Z

PQ 3801-3999 Provincial, local, colonial, etc.

PQ 4001-5991 Italian literature

PQ 4860-4886 Individual authors, 1961 -

PQ 6001-8999 Spanish literature

PQ 7000-8921 Provincial, local, colonial, etc.

PQ 7020-8921 Ouside of Spain

PQ 7071-8560 America

PQ 7081-8560 Spanish America

PQ 7551-8549 South America

PQ 7600-7798 Argentine Republic

PQ 7798 Individual authors, 1961- .A-Z

PR 1-9680 English literature

PR 3991-5990 19th century, 1770/1800-1890/1900

PR 6050-6076 1961-

PS 1-3576 American literature

PS 700-3576 Individual authors

PS 700-3390 19th century

PS 3500-3549 1900-1960

PS 3550-3576 1961-

PT 1-4897 German literature

PT 1501-2688 Individual authors and works

PT 2660-2688 1961 -

Title 100

PZ 1-90 Fiction and Juvenile belles lettres

PZ 5-90 Juvenile belles lettres

PZ 10 Science and industry

(PZ 10 no longer used.)

Title 95

Most of the graphic novels are classed in Literature (LC

classification P) with 82.2% of the records.

The percentage

drops when comic books are separated from national literature.

The majority of graphic novels are classed under "Comic books,

strips, etc." with 71.9% of the records.

There are several

reasons for this.

First of all, the illustrative nature of

graphic novels makes it a simplistic choice.

Secondly, the

closest analogy to a graphic novel is "Comic books, strips, etc."

Thirdly, the larger size of many graphic novels makes it hard to

fit them in fiction shelves.

Title 162[rec 195], Maus is the only one to be classed as

History in both LC classification(D 810) and Dewey(940).

None of

the other records for this title have LC classifications, but two

are classed in 741(Dewey) and one in 940(Dewey).

A look at Table

#16 shows that record 195 has 641 holdings, indicating not only

the popularity of the title, but satisfaction with this

cataloging record.

Title 58, Barbarella, has three records in Fine Arts and

one

record in Comic books.

Another title by the same author is Title

59, Barbarella, the Moon Child.

This has one record in Fine Arts

and two records in Comic books.

One record in Comic books is

cuttered by title and another for the author.

All records for

both titles are in the classification for France.

The exception

is for Title 58, record 182, which has the work listed in Fine

Arts under Denmark.

Since his inception, Batman has had numerous comic books,

authors, writers, artists and graphic novels.

Seven of the

graphic novels are Titles 8, 112, 113, 122, 131, 163 and 164.

The seven titles have 13 records.

Seven Batman records have a

Dewey number of 741.

Eight Batman records have an LC

classification number of PN6728, which is classed by title.

the PN6727-PN6728 range 105 records are classed by author and 48

records by title.

A look at Table 7A1 shows that most translations are not

classed with U.S.A. comic books.

The percentage drops from 51.1%

in the general population to 15%.

Classification for French

comic books rises from 12% in the general population to 32.8%.

Comparing Table 7B with Table 7B1 shows that about the

same

percentage of records are classed with comic books

This shows

that many catalogers consider the illustrations more important

than the literature (fiction) aspect of graphic novels

determining classification.

"Comic books, strips, etc." is too broad

a heading for

graphic novel classification.

A search of the shelves under

PN6727-PN6728 will not find graphic novels in

one location, which

is a disservice to the "novel" aspect

of the works.

The

probability the Library of Congress will

overhaul "Comic books,

strips, etc." from a classification standpoint

is not likely.

Changing computer records is much easier and

cheaper than

retrospectively changing class numbers

on the shelves.

The pattern is to allow a range of three for each countries

classification for "Comic books, strips, etc.".

This does not

allow much hidden space for a new number for "graphic

novels".

Yet, without this, patrons will not be able to find

them classed

together on the shelf.

TABLE 8

DEWEY number

Dewey

number

Number of

Records

Percent

no number

226

75.6%

303

0.3%

741

21.1%

791

.3%

813

1.3%

823

.3%

843

.3%

940

.7%

TOTAL

299

100.0%

TABLE 8A

DEWEY number

when the F

in M/F/B is 1 (FICTION)

Dewey

number

Number of

Records

Percent

no number

177

93.7%

741

3.2%

813

2.1%

823

.5%

843

.5%

TOTAL

189

100.0%

See Table 4 for a fuller explanation

of the fiction code.

Dewey Decimal Classification, edition

300 Social Sciences

303 Social Processes

700 The arts

740 Drawing & Decorative arts

741 Drawing and Drawings

741.5 Cartoon, caricatures, comics

790 Recreational & performing

arts

791 Public performances

(other than musical, sport,

game performances)

800 Literature & rhetoric

810 American literature in English

813 Fiction

820 English & Old English literatures

823 English fiction

840 Literatures of Romance languages

843 French fiction

900 Geography and history

940 General history of Europe

Dewey

303

Title

16[rec 20]

Brought to light

F1436

Dewey

791

Title

66[rec 250]

Alien...

Dewey

813

Title

133[rec 117]

Love shots

Dewey

813

Title

148[rec 125]

The silver metal

lover

Dewey

813

Title

135[rec 295]

Elfquest

PS3566

Dewey

813

Title

2[reo 5]

Thieves World...

PS3551

Dewey

823

Title

61[rec 278]

Great expectations

Dewey

843

Title

30[rec 298]

The hunting party_

Dewey

940

Title

162[rec 198]

Maus...

Dewey

940

Title

162[rec 195]

Maus...

D 810

Dewey numbers are not usually given

to fiction with the

exception of literature.

Only 24.4% of the graphic novel

records

received a Dewey number.

Of these records, 21.1%

were for "Comic

books, strips, etc.".

This leaves only 3.3% of the

records in a

Dewey classification that addresses

the content, rather than the

form.

There are two interpretations

for the 75.6% of the records

without a Dewey number.

The first is that graphic novels

are

considered fiction and

are not assigned a number.

The second,

and more likely is that

many libraries classify in LC and not

Dewey.

Dewey libraries are more likely

to be smaller and public

and often do not have the

funds to catalog on OCLC.

One solution would be for

Dewey to add a special subdivision

to 741.5 for graphic novels which

would allow them to be shelved

together.

Graphic novels are often quite

slim, which leaves

little spine space for

a classification number.

Putting them in

fiction will require

a number to be put in oversize shelving

since many are larger than

traditional fiction hardcovers.

TABLE 9

Other Form

Number of

Records

Percent

YES

127

42.5%

172

57.5%

TOTAL

299

100.0%

The graphic novel can be conceived and created

as one single

work though many have a prior history in another

form.

cataloger should transcribe this history for the material

to be

cataloged, but many graphic novels lack

bibliographic

information.)

The "Marvel Graphic Novel" series, with

over 40

different titles published often illustrates this lack.2

All

four examples are either based on

or continue a comic book title.

For example, Title 33 is considered to be the prologue

for the

successful "The New Mutants" comic book.

Title 157 is designed

to fit between two issues of the comic book "Dazzler".

This is

not information available on the item

or catalog record.

In terms of publishing history we see that; the graphic

novel can be an adaptation of a book or movie3, be originally

published as a multivolume work (comic book mini-series)4,

be a

'Table 9 resulted from information from the OCLC catalog

record as well as other sources. Consider at least 42.5% of

the

records have a prior history in another form.

2 .

'1.e. Titles 33,97,157,165, etc.

'1.e. Title 95, The call of the wild or Title 50, Willow:

the official comics....

.e. Title 60, Black Orchid or Title 112, Batman

the

dark knight returns.

reprint of a few issues

of a comic bookl, or for each

episode of

the graphic novel being

published as a serialization

in a

magazine2.

Ideally, each cataloging record

should give this background.

In practical terms, this

means entries in the NOTES with

subsequent added entries.

The lack of indexes for graphic

novels

leaves the cataloging record

as a vital source of information

regarding the history of the graphic

novel.

A look at Title 173, Conan of

the Isles underscores

some of

the problems.

Conan was created by Robert

E. Howard, who

committed suicide after writing

17 Conan stories.

Conan's

immense popularity brought

many other authors to continue the

Conan saga.

One is Conan of the Isles by L.

Sprague DeCamp and

Lin Carter which

was adapted into two issues of the comic

book

Conan the barbarian (1982?).

This was reprinted

as a "Marvel

Graphic Novel".

In order to effectively

catalog it, the

cataloger added two 500 fields:

"Featuring the character created

by Robert E. Howard." and

"Adapted from the novel

Conan of the

isles by L. Sprague DeCamp

and Lin Carter." in order

to give

added entries.

The patron now knows that the

graphic novel is

based on the book.

The graphic novel has

no mention of its

earlier existence as part of

Conan the barbarian in the graphic

novel itself.

i.e. Title 173, Conan of the

isles.

'.e. Title 58, Barbarella

or Title 120, Moebius: the

collected fantasies....

TABLE 10

"Graphic Novel" mentioned in

...

Number of

Records

Percent

TITLE

2.4%

NOTES

11.8%

SERIES

89.4%

TOTAL

103.6 %1

Authors, publishers and catalogers are interested in

bringing out the form of the work.

This allows the buyer or

patron to find it easier.

Since graphic novels are an emerging

form, one would expect the word "graphic novel" to be prominent.

Publishers can indicate this by title, jacket blurbs

or series

titles.

Catalogers can indicate this by notes or subject

headings.

There are 299 graphic novel records in this paper, of these,

only 85 have the word "graphic novels" in the OCLC record.

Title

6, Robotech, the graphic novel and Title 182, The Southern

Knights graphic novel are the only records with "graghic novel"

in the titles.

Title 6 is based on an immensely popular Japanese

animated TV show which spun off into American takeoffs.

The

graphic novel is considered a prologue to the TV show and

takeoffs.

Title 182, which reprints the comic book,

has an OCLC

500 field note in order to bring out a cover title.

The word

"graphic novel" appears seven times in the cover, blurb, and

"graphic novels" appeared in both Title & Notes for one

record and in Notes & Series for two records.

forward of the book.

Later reprints, Title 181, change the

title to Early days of the Southern Knights and eventually drops

using "graphic novels" in describing itself.

There are ten records that have the word "graphic novel" in

a 5xx OCLC field(Notes).

The notes, in part, are; "a color

compilation of the first 3 Thieves World graphic novels", "a

badger graphic novel", "graphic novels based on...", "at head of

title

... graphic novel", "on cover

'The ... graphic novel'",

"'... computer generated graphic novel'--cover", "First Graphic

novel".

Four of the records are DLC generated.

This does help

to bring out the form of the work.

Without a legitimate subject

heading for graphic novels inclusion of the term in a 5xx field

would significantly help in the accuracy of the cataloging

record.

There

are 76 uses of the term in series statements.

The

most prolific series is Marvel Graphic Novel.

Unfortunately for

catalogers and readers, this series is not always known for heavy

use of forwards, blurbs, biographies, CIP, provenance or other

useful items.

The series has published over 40 titles.

Many

other comic book publishers are printing their own graphic novel

series, however, without knowing the name of the series,

retrieval is difficult.

Boolean searching of series names is not

possible with all on line catalogues.

As of now, the evidence is that the word "graphic novel" is

more likely to be listed in series instead of in title or notes.

Henry Vogel & Butch Guice, The Southern Knights, the

graphic novel (New York

, N.Y.

Fictioneer, 1986).

TABLE 11

Number of Subject Headings

Number of SH

Number of

Records

Percent

188

62.9%

24.4%

8.7%

2.3%

.7%

.0%

1.0%

TOTAL

299

100.0%

TABLE 11A

Number of Subject Heaclings

not visual in typei

Number of SH

not visual

Number of

Records

Percent

80.2%

9.0%

7.2%

3 2.7%

.9%

TOTAL

111

100.0%

1..

i.e. does not have "Comic books, strips, etc.".

TABLE 11B

Number of Subject Headings

When F in M/F/B is 1(fiction)

Number of SH

not visual

Number of

Records

Percent

132

69.8%

22.8%

5.8%

1.1%

.5%

TOTAL

189

100.0%

See Table 4 for a fuller explanation of M/F/B.

6 Subject Headings: Title 16[rec 20]

Brought to light

6 Subject Headings: Title 16[rec 21]

Brought to light

6 Subject Headings: Title 46(rec 50]

Conquering armies

4 Subject Headings: Title 50[rec 45]

Willow...

4 Subject Headings: Title 158[rec 280] Moby Dick

The Library of Congress does not assign many subject

headings to works of fiction.

This can be evidence that graphic

novels are considered fiction since 62.9% of the records do not

have subject headings.

There are 172 subject headings with 77.3%

of them having "Comic books, strips, etc".

This drops to 43.6%

if the work is considered fiction.1

Only 22.7% of the subject

headings do not have "Comic books, strips, etc".

Along with the classification number, this is an overworked

designation.

"Comic books, strips, etc." is simply too broad

subject heading.

Graphic novels need a "Graphic novel" subject

heading.

There is strong precedence for creating a form based

'Table 11B.

subject heading of this type.

Fotonovelas are a form of the novel. As Scott puts it;

Fotonovelas are an important medium in Latin

America, as well as in France and the rest of

Mediterranean Europe and North Africa.

Fotonovelas

appear and are produced similarly to comic books,

except the word balloons are pasted on photographs

rather than included in drawings.

Actors and actresses

can build reputations by appearing in fotonovelas, and

it is not uncommon for popular singers or other

celebrities to appear as guest stars.1

The legitimacy of the form has caused the Library of

Congress to adopt it as a subject heading

Fotonovela

(May Subd Geog)

Fotoromanzo

Photo novels

Photoroman

Comic books, strips, etc.

Popular literature

Stories without words2

A similar subject heading for graphic novels might look

something like this;

Graphic novels

(May Subd Geog)

Comic book novels

Comic books, strips, etc.

Popular literature

Stories without words

This will allow a subject heading for graphic novels

considered fiction by the cataloger.

Otherwise its use as a

free-floating subdivision would be more appropriate.

'Scott, Comics Librarianship, 113.

'Library of Congress Subject Headings 13th ed.

TABLE 12

Total number of people responsible

Number

Responsible

Number of

Records

Percent

.3%

22.1%

27.1%

21.7%

12.4%

7.7%

3.3%

.7%

1.0%

0.0%

.3%

TOTAL

299

100.0%

TABLE 13

Are all "role's" indicated

Number of

Records

Percent

YES

173

57.9%

126

42.1%

TOTAL

299

100.0%

TABLE 14

Total number of people traced

Number

Number of

Percent

Traced

Records

.3%

28.8%

120

40.1%

23.1%

6.0%

1.3%

0.0%

.3%

TOTAL

299

100.0%

There are 871 people responsible for the 299 records. This

is an average of 2.9 people mentioned in each cataloging record.

The number traced (main entry and added entries) drops to only

632 individuals.

This leads to only 2.1 people traced per

record.

Some catalogers only put in the statement of responsibility

those entries that will receive added entries.

Any look at the

graphic novels indicates that this is occurring to

some degree

with many of the cataloging records.

Title 112, Batman: the dark

knight returns has eighteen individuals playing different roles.

One record lists six individuals and traces five.

Three records

list five individuals and traces one, three

or four respectively.

One record lists three individuals and traces three.

Roles are important.

An artist contributes more to the work

than a letterer or an inker.

Cataloging records that do not list

the roles for each individual make interpreting the record

harder.

Table 13 indicates that 42.1% of the records either have

no roles listed or leave out some.

If AACR2 increases the number

of roles that should be traced, cataloging records with the

fuller lists will be easier to modify if retrospective cataloging

takes place.

TABLE 15

Mentioned in record, but not traced

Number of

Records

Percent

Orig. Author

6.7%

Writer

2.9%

Artist

40.4%

Letterer

39.4%

Editor

24.0%

Translator

32.7%

Other

36.5%

TOTAL

104

182.6%

Many records have more than one role not traced.

Table 15 is based on questions #20-#26 of the coding

form.

Orig. Author stands for Original Author of

the work the graphic

novel is based on. AACR2 rule 21.12

Writer includes Writer/Adapter AACR2 rule

21.30C

Artist includes Colorist/illustrator/painter/artist

Rule 21.30K2

Letterer includes Calligrapher/letterer

Other stands for a role not listed above

AACR2 rules regarding "works that are modifications of

other

works" are Rule 21.9-21.23.

Rule 21.9 keeps the same main entry

if "... the modification is

an updating, rearrangement,

abridgment, or revision where the original

person or body is

still represented as being responsible". Rule

21.10 has the main

entry under the adapter.

This has the same effect as Rule 21.16A

which has the main entry under the adapter if

an "Art work" is

adapted from one medium to another.

Rulp 21.11 has the main

entry under author if a work is illustrated.

Rule 21.24 says

that in collaborative efforts between

an artist and a writer,

rather than an artist's illustration of

a writer's text, main

entry is under the one named first.

To summarize, there should be added entries for the original

author, writer and artist.

A number of graphic novels use the

term "illustrator" instead of artist.

Rule 21.30K2 makes added

entries for illustrators only

if "the illustrations occupy half

or more of the item" or "the illustrations are considered to be

an important feature of the work".

The illustrations in most if

not all graphic novels consist of more than half the item and

are

an indispensable part of the form.

Translators would not be traced in many graphic novels

according to rule 21.30K1.

Editors receive added entries except

for editors of a series (rule 21.30D).

The expected outcome for

Table 15 would be that original author, writer and artist would

be heavily traced.

The large number of artists not traced came

as a surprise.

A closer role of the coding name of "Artist's"

has a role of "Colorist/Color" that received few added entries.

There are 42 records in "Artist" with 36 of them belong to

"Colorist".

This leaves eight records or 7.7% of the

illustrators, painters, or artists without added entries.

Some of the roles in the "Other" list are; cover,

introduction, as told to, assistant, designer, with special

thanks, art director, creator, creator of character, based

series created by, production assistant,

a cura de, film by,

title designer, Stan Lee presents..., commentary, afterwards,

etc.

Even in a less cluttered medium, some of these roles would

still not get an added entry.

Graphic novels suffer several barriers to

person added

entries.

The statement of responsibility and notes in the OCLC

record is often edited from the graphic novel.

Added entries are

not made for all of the individuals in the statement

responsibility and roles that are not expressly mentioned

AACR2 are often ignored.

On line systems allow an expansion of

access points.

separate catalog card does not have to be produced for each edded

entry.

Even if extra added entries are not made for the plethora

of roles, listing people and roles in the statement

responsibility of the notes allows boolean searching.

Therefore,

a cataloging record for OCLC should be as complete as possible;

member libraries can always delete information for their

on line

systems.

TABLE 16

Holdings records

Holdings

on OCLC

Number of

Records

Percent

Total

Holdings

Percent

26.1%

2.3%

19.7%

118

3.4%

13.7%

123 3.6%

7.0%

2.5%

5.4%

2.3%

4.7%

2.5%

2.0%

1.2%

2 .7%

.5%

1.3%

1.0%

1.3%

1.2%

1 .3%

.3%

1 .3%

.4%

1.7%

1.9%

.7%

.8%

1 .3%

.4%

.7%

.9%

3 1.0%

1.5%

1.3%

2.1%

2 .7%

1.2%

1.0%

2.0%

1 .3%

.7%

1.5%

.3%

.8%

1 .3%

.9%

.3%

.9%

1.0%

2.8%

0.3%

1.0%

.3%

1.1%

1 .3%

36 1.1%

.7%

2.2%

.7%

2.2%

1.3%

1.1%

1 1.3%

1.1%

.3%

1.5%

.3%

1.7%

.3%

1.9%

.3%

2.1%

.3%

2.2%

1 .3%

2.2%

118

.3%

118

3.5%

138

.3%

138

4.0%

139

1 .3%

139

4.1%

147

.3%

147

4.3%

150

1 .3%

150

4.4%

641

.3%

641

18.8%

TOTAL

299 100.0%

3416

100.0%

£5

There are a total of 3416 holding records for only 191

titles.

This is impressive when considering that graphic novels

are mostly works of fiction, are similar in looks to comic books,

and are not always easy to catalog correctly.

The six graphic

novels with individual record holdings of over 100 are:

Title 162[rec

195] Maus...

641 holdings

Title 112[rec

202]

Batman: the dark

...

150 holdings

Title

20[rec

272]

The man of steel

147

holdings

Title 113[rec

99]

Batman: year

one

139 holdings

Title 135[rec

295] Elfquest

138

holdings

Title 189[rec

190]

Steven King's

creepshow

118 holdings

Maus... has the most holdings.

It is also the most talked

about graphic novel in literary circles.

Batman: the dark knight

returns revived and changed the treatment of Batman by DC comics.

The man of steel continues the saga of Superman.

Elfquest along

with Cerebus and Teenage mutant ninja turtles launched the

publishing of black and white comics.

Steven King is one of the

more popular and bankable authors publishing in fiction.

Since the OCLC records were downloaded, the holding records

must be growing.

The list and ranking of the records can

therefore change.

Cataloging records on OCLC are subject to

revision and change.

This is true of member records as well as

DLC copy.

CONCLUSION

Graphic novels are a blending of words and art.

The

illustrations in a graphic novel bear the same relationship to

the text that a film carries to its screenplay.

A concise

definition that satisfies all conditions is as probable

as a

definition of the novel that fits all cases.

The forces that

restrict comic books and other related formats in the United

States is waning.

The increasingly international aspect of OCLC

will result in more overseas cataloging of graphic novels.

There are several conclusions that can be drawn from the

graphic novels in this study.

1) Many are considered fiction.1

2) They are not automatically considered juvenile works.2

3) At least 24.4% are translations.3

4) Most are classed with comic books, many by author.4

5) At least 42.5% existed as an earlier, other format.5

6) "Graphic novel" appgars in 28% of the records, mostly in a

series statement.

'Table 4.

'Table 5.

'Table 6.

'Table 7.

'Table 9.

'Table 10.

7) Only 37.1% of the records have

ubject headings, most for

"Comic books, strips, etc."..L

8) Cataloging records list on average

.9 people per record but

trace only 2.1 people per record.'

9) Added entries are often provided for roles listedn AACR2,

but often are not provided for roles not listed.

This is an indication that there are inconsistencies in the

cataloging of graphic novels.

In order to standardize the

records, a number of recommendations can be made on the

cataloging of graphic novels..

1) Chiefly ill. should be used in the physical description field.

2) A subject heading Graphic Novels should be used locally until

the Library of Congress adopts one.

3) Libraries might want to class graphic novels together in a

local

addendum

"Comic books, strips,

etc."

or in

special section of fiction books, but it is not likely

that

the Library of Congress will.

3) More individuals and roles should be listed in the statement

of responsibility or notes.

The main recommendation is the use of a

Graphic Novel

subject heading, based on the similar subject heading

Fotonovelas.

It should be a Form subject heading only in the

absence of other subject headings, otherwise its use as a Free-

Floating subdivision would be more appropriate.

Failing that,

include graphic novels in the notes.

'Table 11 and Table 11A.

'Table 12 and Table 14.

'Table 15.

APPENDIX

GRAPHIC NOVEL TITLES USED FOR ANALYSIS

All titles are from Bowling Green State

University's locally

assigned

subject

heading

of "Graphic Novels".

The

list

was

obtained in October of 1990.

These titles were then searched

against OCLC records and downloaded.

There are 191 titles, with

299 OCLC records.

Different OCLC records for the same title can

have variant main entries or other

inconsistencies.

For this

reason, the format mostly follows

BGSU's main entry.

There are more graphic novels than

the 191 searched here,

however BGSU has the largest known

list compiled using a single

definition.

FORMAT of record

Title number

Main Entry

(OCLC 100 tag)

Title

(OCLC 245 tag)

Record number/OCLC number (all records

from

OCLC Books

Format unless otherwise indicated)

001

Aragones, Sergio

The Death of Groo

001/18107740

002

Asprin, Rober_

Thieves' World graphics

002/12420420

003/13215151

004/16679046

005/12555172

006/16679028

007/15790879

286/13817634

SERIES RECORD

003

Bagge, Peter

The Best of Neat Stuff

008/19617961

004

Baker, Kyle

Through the Looking Glass

009/21115846

005

Baron, Mike

Hexbreaker

010/18424135

006

Baron, Mike

Robotech, The Graphic Novel

237/14928262

007

Baron, Mike

The World of Ginger Fox

011/16470978

008

Barr, Mike W.

Batman, son of the Demon

014/18107744

009

Barreiro, Ricardo

Moving Fortress

012/20075578

010

Bates, Cary

Nightwings: a graphic adaptation

013/13668016

011

Beautemps, Andre

Michael Logan

254/17281150

012

Beowulf

215/11084125

013

Bilal, Enki

The Woman Trap

015/19096863

016/22069302

014

Bloch, Robert, 1917 -

Hell on Earth

211/12869114

212/13794064

015

Boucq, Francois

Pioneers of the human adventure

017/21129448

018/17179750

019/20973505

016

----

Brought to light

020/18741555

021/22227602

017

Brunner, Frank

Frank Brunner's Seven Samuroid

022/12151608

018

Busch, Jeffrey

Rip Van Winkle

283/22447206

019

Byrne, John

The Earth Stealers

023/18062384

020

Byrne, John

The Man of Steel

270/14262465

271/17614286

272/17399178

021

Caza

Escape from suburbia

238/16931291

022

Charlier, Jean-Michel

Bluberry's secret

027/20653187

023

Charlier, Jean-Michel

The Man With the Silver star

239/11503105

024

Charlier

Jean-Michel

A Yankee named Bluberry

024/13011502

025/21565961

026/15843126

025

Charyn, Jerome

The Magician's wife

028/18286450

029/18260965

030/17181617

026

Chaykin, Howard

Blackhawk

031/17868778

027

Chaykin, Howard

The swords of heaven

217/6176819

028

Chaykin, Howard

Time2, the epiphany

032/15546925

029

Chaykin, Howard

Time2, the satisfaction

of Black Mariah

033/18326261

030

Christin, Pierre

The hunting party

298/21415441

299/11638840

031

Christin, Pierre

The Ranks of the Black Order

034/20493787

035/11638654

032

Claremont, Christoper

Marada the she-wolf

036/13410047

033

Claremont, Chris

The new mutants

242/11511396

034

Claremont, Chris

Stan Lee presents the Uncanny X-Men: Days of Future Past

037/20653173

035

Claremont, Chris

X-Men :

God loves, man kills

245/11511344

036

Cockrum, Dave, 1943 -

The Futurians

219/11488608

220/17884394

037

Colon, Ernie

The Medusa chain: a graphic novel

232/11726737

233/11511453

038

Corben, Richard

Richard Corbents Never Where

191/4059624

192/11854611

039

Cover, Arthur Byron

Space Clusters

038/14636571

040

----

Crossroads

039/18397170

041

Cunningham, Dennis

Tales from the plague

040/15554094

042

DeFalco, Tom

The saga of the alien costume

041/18980095

043

DeMatteis, J. M.

Doctor Strange--Into Shamballa

042/14470739

044

DeMatteis, J. M.

Greenberg the Vampire

043/13104300

045

DeMatteis, J. M.

Moonshadow

044/20625879

046

Dionnet

Conquering Armies

249/4473275

047

Drake, Stan

The Million dolar hit

226/11688981

227/18436387

048

Drake, Stan

One, two, three... die!

225/10352721

049

Duffy, Jo

The Punisher in assassin's Guild

048/19478800

050

Duffy, Jo

Willow: the official comics...

045/18517897

046/18118301

047/18883562

051

Dumas

L'heritier de Rochemont

049/20106501

052

Durand, Rene, 1948 -

Operation chisteras

050/18660615

053

Eastman, Kevin B.

Teenage Mutant ninja turtles

051/15309328

7 4

054

Eisner, Will

A Contract With God

169/11450019

170/11560301

171/11486195

172/11450840

173/11450823

174/11419701

175/14155521

176/05376616

177/16527630

178/20695642

179/11450828

055

Eisner, Will

Will Eisner's The Dreamer

235/15554328

056

Feiffer, Jules

Feiffer, the collected works

052/21170225

053/22170584

057

Ferrer, Miguel

The dreamwalker

054/21170218

058

Forest, Jean Claude

Barbarella

180/9787387

181/2793748

182/19297317

183/13203880

184/17724940

059

Forest, Jean Claude

Barbarella, the moon child

185/4824213

186/5961742

187/15922130

060

Gaiman, Neil

Black Orchid

287/20666804

SERIES RECORD

061

Geary, Rick

Great Expectations

278/21217951

062

Geary, Rick

Wuthering Heights

284/22447193

063

Gerber, Steve, 1947

Void indigo

224/11488634

064

Glanzman, Sam

A sailor's story

055/18038947

065

Goines, Donald, 1937-1974

Daddy Cool

230/12685086

066

Goodwin, Archie

Alien: the illustrated story

250/5216143

067

Grant, Steven, 1953 -

The Count of Monte Cristo

285/21888022

068

Grant, Steven, 1953 -

Hamlet

281/21923421

069

Grant, Steven, 1953 -

The Island of Dr. Moreau

282/22447231

070

Grant, Steven

Twilight Man

059/20575682

071

Grell, Mike

Green Arrow: the longbow hunters

057/17288213

058/20495553

71 7 6

072

Hamme, Van, 1939

Thorgal, the archers

056/15163300

073

Hampton, Scott

Pigeons from hell

060/20173468

074

Harras, Bob

Nick Fury vs. S.H.I.E.L.D.

061/20666692

075

Hedden, Rich

Framed

062/19488118

076

Herman

The survivors

223/11429764

253/17281146

077

Homer

Ulysses

246/4635859

247/18056353

248/15782017

078

Hudnall, James D.

Lex Luthor: the unauthorized biography

063/20534211

079

Ibarrola, Jose

Orphee: d'apres l'opera de Claudio Monteverdi

252/17281144

080

Jacobs, Edgar P.

The Time Trap

064/20625907

065/20666707

066/20678085

067/17743752

081

Janson, Klaus

Frost and Fire

068/13702553

082

Jippes, Daan

Who Framed Roger Rabbit

069/19694207

083

Jodorowsky, Alexandro

The Incal

070/19048156

071/11652965

072/11652952

084

Jones, Bruce

Arena

073/20443939

085

Jones, Bruce

Silverheels

074/18039030

086

Jones, Bruce

Somerset Holmes

075/16569891

076/20702893

087

Kirby, Jack

The Hunger Dogs

193/11853762

088

Kirby, Jack

La Legion de la terreur

077/10585738

089

Kozure Okami

Lone wolf and cub

079/19738371

288/17052067

SERIES RECORD

090

Lawrence, Don

Storm

255/17281160

256/18040439

091

Layton, Bob

Hercules, prince of power

078/18660467

092

Lee, Elaine

Starstruck: the Luckless, the abandoned and the forsaked

080/12810094

093

Leloup, Roger

The Three suns of Vina

081/21170261

082/22485582

094

Lob, Jacques

Candice at sea

083/4618729

095

London, Jack, 1876-1916

The Call of the Wild

279/22192388

096

McGregor, Don

Detectives Inc. in a remembrance of threatening green

188/7150927

097

McGregor, Don

Killraven, Warrior of the worlds

243/11510543

098

McKie, Angus

So beautiful and so dangerous

084/5881968

099

Maggin, Elliot S.

Star raiders

209/11973345

210/10587817

100

Magnus, Gunter Hugo

Necron

274/21129468

101

Manara, Milo

An author in search of six characters

085/20666767

086/20839624

102

Mantlo, Bill

Cloak and Dagger in Predator and

prey

088/21117870

103

Mantlo, Bill

Swords of the Swashbucklers

087/172811

104

Marx, Christy

The sisterhood of steel

089/18107820

105

Mattotti, Lorenzo

Fires

097/18285223

106

Mezieres, J. C.

Ambassador of the Shadows

090/9956966

107

Mezieres, J. C.

Heroes of the Equinox

091/11501323

092/19458694

108

Mezieres, J. C.

Les oiseaux du maitre

093/17743728

094/17281168

109

Mezieres, J. C.

World without stars

095/10327235

096/19458684

110

Michelinie, David

The Aladdin effect

244/12496090

111

Michelinie, David

Revenge of the living monolith

098/12534696

112

Miller, Frank

Batman :

The dark knight returns

199/14203785

200/20023605

201/21157578

202/15058354

203/17230592

113

Miller, Frank

Batman: year one

099/18827514

100/17759045

114

Miller, Frank

Daredevil in Love and War

101/18624565

102/14989028

115

Miller, Frank

Daredevil--Born Again

273/17614369

116

Miller, Frank

Frank Miller's Ronin

103/16931743

104/17466069

117

Mills, Pat

Metalzoic

105/13727684

118

Moebius, 1938 -

Heavy Metal presents Moebius

207/9043362

119

Moebius, 1938 -

The magic crystal

106/21927466

289/20666778 SERIES FORMAT

120

Moebius, 1938

Moebius: the collected fantasies of Jean Giraud

208/17637607

121

Moorcock, Michael

Michael Moorcock's Elrick, the dreaming city

213/12020092

214/9063946

122

Moore, Alan, 1951 -

Batman: the killing joke

107/19353535

123

Motter, Dean

The prisoner

290/20551740

SERIES FORMAT

124

Munoz, Jose

Joe's bar

108/17614097

125

Muth, Jon J.

Dracula, a symphony in moonlight and nightmares

228/17842093

229/16307597

126

Nedaud

Zorro in old California

109/18286466

110/18193383

127

Night music

240/12401319

291/7018084

128

Nocenti, Ann

The Inhumans

111/18980120

SERIES RECORD

129

Nocenti, Ann

Somewhere strange

112/18980139

130

Oliphant, David

Solarman, the beginning

113/6323647

131

O'Neil, Dennis, 19a'

Batman: The official comic adaptation of the WArner

Bros....

114/20277341

132

O'Neil, Dennis, 1939

The 1941 Shadow: Hitler's astrologer

115/18262532

116/20296135

133

Paringaux, Philippe

Love

shots

117/19244689

134

Pini, Wendy

Beauty and the Beast: portrait of love

118/20211825

135

Pini, Wendy

Elfquest

292/15494075

293/15494103

294/15494120

295/7573020

296/19606232

297/15703444

136

Ploog, Michael

The Adventures of Tom Sawyer

276/22146164

137

Pohl, Frederik

The merchants of Venus

216/13713050

138

Potter, Greg

Me & Joe Priest

120/12639920

139

Potts, Carl

The Alien Legion-- A Grey Day to Die

119/14983408

140

Potts, Carl

The Last of the Dragons

121/20584876

141

Powell, Martin

Scarlet in gaslight

122/21129352

142

Pratt, Hugo

Les Celtiques

268/7359737

269/22471223

143

Pratt, Hugo

Corto Maltese

258/19689600

259/12891899

260/20584924

261/16693096

262/14983314

263/14470191

264/14983218

144

Pratt, Hugo

Corto Maltese en Siberie

265/11853591

266/17057821

267/19474626

145

Pratt, Hugo

Sgt. Kirk

257/17281165

146

Putney, Susan K.

The amazing Spider-Man in Hooky

123/13754900

147

Randall, Ron

Trekker

124/19479155

148

Robbins, Trina

The silver metal lover

125/11754774

149

Rogers, Marshall

Demon with a glass hand

126/16307565

150

Russell, P. Craig

Ariane and Bluebeard

127/20604803

151

Russell, P. Craig

Scarlet Letter

275/21426907

152

Saenz, Mike

Iron Man: crash

128/20666729

129/20525873

153

Shanower, Eric

The enchanted apples of Oz

130/14339276

154

Shanower, Eric

The forgotten forest of Oz

131/19414981

155

Shanower, Eric

The ice king of Oz

132/18039212

156

Shanower, Eric

The secret island of Oz

133/16931660

157

Shooter, Jim

Dazzler, the movie

134/17281175

158

Sienkiewicz, Bill

Moby Dick

280/21420070

159

Simonson, Walter

Star Slammers

221/11510424

80 85

160

Skeates, Steve

Warlords

135/14636626

161

Snyder, John K.

Dr. Jekyll & Mr. Hyde

277/21868827

162

Spiegelman, Art

Maus; a survivor's tale

195/13524314

196/17775342

197/21302303

198/20866056

163

Starlin, Jim

Batman: a death in the family

136/19237680

164

Starlin, Jim

Batman: the cult

137/20666666

138/21335992

165

Starlin, Jim

The Death of Captain Marvel

241/10161242

166

Starlin, Jim

Dreadstar

222/11511507

167

Starlin, Jim

Gilgamesh II

139/20666794

168

Starlin, Jim

The Incredible Hulk and the Thing in the big change

251/17281142

169

Stenstrum, James

Sherlock Holmes: Sir Arthur Conan Doyle's a Study in Scarlet

140/20604839

Pik

170

Steranko, 1938 -

Red Tide :

a Chandler novel

194/4278988

171

Stevens, Alec

The sinners

141/20604777

172

Stevens, Dave

The Rocketeer: an album

142/12755508

143/16523833

144/19928758

173

Thomas, Roy

Conan of the isles

145/19493624

174

Thomas, Roy

The Dragonlance saga

146/18081648

147/18811844

148/19245191

175

Thorne, Frank

Ghita of Alizarr

149/12729929

150/15543732

176

Torres, Daniel, 1958 -

Triton: the adventures of Rocco Vargas

151/18070588

152/14941223

177

Trillo, Carlos

Alvar Mayor, death and silver

153/20432258

154/20584863

178

Truman, Timothy

Time Beavers

155/12226848

179

Vance, W.(William)

Where the Indian walks

156/21129414

180

Veitch, Rick

Heartburst

231/11501268

181

Vogel, Henry

Early days of the Southern Knights

157/20584903

158/15580472

159/18202502

160/18262529

161/19781971

162/18937437

163/19917008

182

Vogel, Henry

The southern Knights graphic novel

164/14927917

183

Wagner, Matt

Grendel :

Devil by the deed

204/16525297

205/14993900

184

Wagner, Matt

Grendel : The devil inside

206/21201433

135

Waldron, Lamar, 1954-

Lightrunner: an epic science fiction adventure

234/9682248

186

Wildey, Doug

Rio

165/16925914

187

Wilson, Colin, 1949-

Rael: Into the Shadow of the Sun

166/17996062

167/20188819

188

Wilson, Ron

Super boxers

218/10587724

189

Wrightson, Berni

Stephen King's creepshow

189/11962045

190/8682546

190

Zelenetz, Alan

Kull: the

vale of shadow

168/21129394

191

Zelenetz, Alan

The raven banner: a tale of Asgard

236/12019871

BIBLIOGRAPHY

NOTE:

Some articles

from

the vertical

files

Ohio State

University did not have complete citations.

Beahm,

George.

"Graphic Novels: Comics, Magazines,

or Books?"

Publishers Weekly November 6, 1987: 22.

Berman, Sanford, ed. Cataloging Special Materials: Critiques

and

Innovations. Phoenix, Arizona: Oryx Press, 1986.

Bodian,

Nat

G. Bodian's

Publishing

Desk

Reference: A

Comprehensive

Dictionary

of Practices and

Techniques

for

Book

and Journal Marketing and Bookselling.

Phoenix:

Oryx

Press, 1988.

Condon,

Garret.

"Graphic

Novels Appeal to

New Generation

Comic-Book Readers." [Vertical file at OSU]

Dreifus, Claudia. "An Interview with Art Spiegelman." Progressive

November 1989: 34-37.

DeCandido,

Keith

R. A. "Picture

This:

Graphic

Novels in

Libraries." Library Journal March 15, 1990: 50-55.

Devreux,

Anne Shapiro. "Biff Wham Bam!: Call it Bandes

Dessinee

Graphic Novel, it's the Newest Belgian Winner!"

Belgian

American Trade Review :

18-21.[Vertical file at OSU]

Dorrell, Larry D. "Why Comic Books?" School Library Journal

Nov.

87: 30-32

Mars, Roger Dean. "The Comic Book Grows Up,

Graphic

Novels:

Not Just Kid Stuff." Christian Science Monitor December

28,

1988: [Vertical file at OSU]

Eisner,

Will. Comics

& Sequential

Art. Tamarac,

Florida:

Poorhouse Press, 1985.

Gopnik,

Adam.

"Comics and Catastrophe." New Republic

June 22,

1987: 29-34.

"Growing

Up into 'Graphic Novels'." The New York

Times January

31, 1988: [Vertical file at OSU]

Hoffman,

Frank.

"Comic books in Libraries, Archives

and Media

Centers." Serials Librarian 16 (1/2) 1989: 167-198.

Levine, Art. "Comic Books are Winning New Respect." U.S. News and

World Report Sept 21, 1987:69.

Levine, Beth.

"Graphic Novels: The Latest Word in Illustrated

Books." Publishers Weekly May 22, 1987: 45-47.

Lovece, Frank. "Carnal Comics." Genesis May 1989: 70-73.

Miller, Frank. Batman :

The Dark Knight Returns New York, NY

Warner Books, 1986. ISBN 0-446-38505-0

Myers, George Jr. "Graphic Novels Return." [Vertical file at OSU]

"Rough & Randy: Comics for Adults

Nothing to Laugh

About." [Vertical file at OSU]

Nicholls, Peter, ed. The science fiction encyclopedia Garden

City, NY

: Doubleday, 1979. 672.

"Out

of the Ghetto, Into the Mainstream." The

New

York Times

January 31, 1988: [Vertical file at OSU]

Prescott, Peter S. and Ray Sawhill. "The Comic Book (Gulp!) Grows

Up." Newsweek January 18, 1988: 70-71.

Richler, Mordecai. "Batman at Midlife: Or, the Funnies Grow

Up."

The New York Times Book Review May 3, 1987: 35.

Schwartz, John. "Comic Books Grow Up." Newsweek on Campus October

1987: 38-40.

Scott, Randall. Comics Librarianship: a handbook. Jefferson,

North Carolina: McFarland, 1990.

Sinberg, Stan. "Comic Relief." Daily News

: 3-4.[Vertical file at

OSU]

"Holy

Toledo! Comic Books Have Grown Up."

The Plain

Dealer Magazine June 17, 1990: 12-13.

Spiegelman, Art. "Maus & Man." Village Voice June 6, 1989: 20-22.

Thompson, Don. "The spawn of the son of M.C. Gaines." The comic-

book book 290-317.

Towle,

Lisa H. "What's New in The Comic Book Business." The

New

York Times January 31, 1988: [Vertical file at OSU]

Walker,

Gregory. "Comics and Graphic Novels." Booklist April

1989: 1370-1374.

Wertham, Fredric. Seduction of the Innocent. New York: Rinehart,

1954.

Computer Citations/CD-Rom Citations

Amazing Heroes. Stamford, CT: Zam, OCLC #7616065.

The

Comics Buyer's Guide. Iola, WI: Krause Publications, OCLC

#9185196.

The Comics Journal. Bethel,

CT: The Comics Journal, OCLC

#4521305.

Fauvel, Marie-Louise.

"L'Aventure D'Une Ecriture: La Bande

Dessinee D'essai." (Ph.D. diss., University of Wisconson,

1989) [French Text] 200, Dialog,

Dissertation Abstracts

International, #01100712.

Holman,

Curtis Lehner. "Reinventing the Wheel: A Multi-

Perspective Analysis of Alan Moore and Dave Gibbon's Graphic

Novel 'Watchmen'." (M.A. diss., University of Georgia,

1989), Dialog, Dissertation Abstracts International,

#01099187.

Moore,

Alan & Dave Gibbons ill. & letterer, John Higgins

colorist.

Watchmen. New York: DC Comics, 1986. OCLC #

15063233.

. Watchmen. New York: DC Comics, 1987. OCLC #17257135.

. Watchmen. New York: DC Comics, 1987. OCLC # 18203911.

. Watchmen. New York: Warner books, 1987. OCLC #17301724.

Spiegelman, Art. Maus: A Survivor's Tale. New York: Pantheon

Books, 1986.

OCLC #13524314.

. Maus: A Survivor's Tale. Harmondsworth: Penguin, 1987.

OCLC #17775342.

. Maus: A Survivor's Tale. London: Deutsch, 1987. OCLC

#21302303.

. Maus: Racconto di un Sopravvissuto. Milano:

Rizzoli.

1989. OCLC #20866056.

Catalogues/Price guides

Classic

DC Graphic Novels Catalog. Canada: Diamond

Comic

Distributors, 1989.

Direct Currents. #30. New York: DC Comics, June 1990

Eclipse Books. Forestville, CA: Eclipse Books, 1989.

The Fantasy Collection. May 1990.

Mail

Order Catalog. Spring/Summer 1990. Princeton,

WI: Kitchen

Sink Press.

Overstreet, Robert M. Official Overstreet Comic Book Price Guide.

18th ed. New York: House of Collectibles, 1988.

The Premium Specialty Collection. October 1990.