Representation and Diversity in Libraries

Photo by cottonbro studio

We know representation and diversity is important. When we read, we always want to relate to what we're reading. Even when we read fantasy or science fiction, we must somehow connect with the characters and the story. There has to be some familiarity, which acts as a hook and a way in. This can be achieved in different ways, but certainly, seeing ourselves reflected in the page, in one way or another, motivates reading.

I wrote a rambling blog post, Representation and Diversity: Creating Little Ripples to Change Everything, a few years ago about this. I've always believed in this, from the time when I was teaching to my time working in libraries. In the context of what's been happening in the last few years since I wrote that blog post, it's more important than ever that we continue to actively advocate for representation and diversity in arts and media.

I know, it's pretty unbelievable that it has to be said and that some people need research to back it up but here we are. So here are some studies and research that I've encountered and read recently. 

Gay Ivey and Peter Johnston, two professors of reading and literacy have published Teens Choosing to Read: Fostering Social, Emotional, and Intellectual Growth Through Books. Their research confirms that teens read more when they can make choices and read things they can relate to. No surprise there. All teachers and librarians know that. 

Their study also shows that reading 'disturbing' or some would describe them as 'inappropriate books that need to be banned' (🙄😡) doesn't turn them into copy cat criminals. On the contrary, teens "described characters’ questionable decisions as cautionary tales, not narratives to live into," and they were desperate to discuss what they read with friends and trusted adults to unpack and make sense of it.

Okay, their study focuses on young adults but I think it's fair to extrapolate those findings to children and adults too. I really don't think that's a stretch and I'd say that readers of all ages read more when they see themselves in the books, when those books and characters serve as mirrors to their identity, experiences, questions. The Impact of a Diverse Classroom Library study and report published by the non-profit First Book presents some really interesting findings that are worth delving into.

One of the key findings in the study is that students spent more time reading after educators added diverse books to their classroom libraries. Again, this reinforces the findings of the previous study and what our instincts tell us. Another key finding of the study is that: 

"both prior to and after expanding the collection of diverse books, students more often chose books to read that served as mirrors (70 percent), in which they could read about characters and experiences that reflected their own lives and experiences."

The study also shows how important it is that students are allowed to choose the books they want to read. Now, that's a really important one that often gets forgotten but it's absolutely essential. We need to have a diverse range of books for a wide range of cultures, identities and experiences. We need to make those accessible to the readers to give them the opportunity to find them but then it's essential that we don't impose and let them choose their reads. The study shows that: 

"students who had been reluctant readers, or had previous engaged in "fake reading" - pretending to read when they actually weren't reading - started reading when given the opportunity to choose from among diverse books."

Not surprisingly then, when students had access to diverse books in their classroom libraries their reading scores increased. The increases were "3 points higher (+9) than nationally expected average yearly gains." Most importantly, "gains were greatest for the lowest scoring students (+11)."

Granted, we need more studies but what all that research tells us is really important. This is why it's so worrying to see constant attacks on books that deal with issues, concerns, experiences and identities that children, young adults and adults want to read about and explore. 

LGBTQIA+ books are the most challenged. That is clear, but the same goes with books that explore racism and colonialism. Books that challenge the official version of history that we have been fed by imperial and colonialist forces. And, new forms of art and media, which are always portrayed as the devil incarnate. 

Let's not forget that serialised novels were claimed to be end of literature. Now Charles Dickens is considered a must read, classic author. 

On a personal note, I have said it many times: I tick all the boxes. I should be the devil incarnate. 

  • My only motivation to learn to read was so I could read comics. I've read them my whole life now. 
  • When I was about 12 and started listening to music and buying records, I was heavily into punk rock and questioning authority. 
  • Then I discovered metal music and fell in love with that too. I'm a punk and a metal-head. 
  • I played video games my whole life, sometimes obsessively. 
  • I've always been a devoted horror fan since I accidentally watched John Carpenter's The Thing when I was about 12. 
  • And I've read a lot of non-fiction that is critical of colonialism, imperialism, and capitalism. Books that explore the other side of the story to what the mainstream media and official versions of history tell us.
  • My favourite author is Ursula K. Le Guin. In life, she openly declared herself a feminist and anarchist.

Okay, I'm going a bit off topic here. Rambling a bit. But the point is that all those things that some orcs are attacking as dangerous, that they challenge and want to ban, those are the things that made me seek more and more books, arts and media. They are the ones that turned me into an avid reader.

And more importantly, into a better human.

So why are public libraries, classroom libraries, and libraries staffed by conscientious and informed librarians important? Because, we want people reading, we want informed citizens and in a world where misinformation and disinformation are everywhere. A world where democracy is waning and authoritarian regimes and political parties are on the increase (here's a report that discusses the current status of 63 democracies and 74 autocracies), we need informed and engaged citizens more than ever.

The autocrats and their followers, the conservatives and those who seek to ban texts they deem inappropriate, want people who are less informed, who toe the line. They want libraries depleted of staff who will curate a collection that caters to everyone in the community with diverse and quality publications. 

We can't let that happen. Libraries have never been and will never be neutral. We need to own this and ensure that we're active.

The Impact of a Diverse Classroom Library study and report mentioned above says this in its conclusion (emphasis from the original text): 

"increasing access to diverse books in the classroom environment increases the amount of time that children spend reading, and positively impacts students’ reading scores. It also reveals that while educators almost uniformly believe that a diverse classroom library is important, most classroom libraries fall far short of representing or reflecting the current diverse student population."

We know it's important, we know we need to defend this and be pro-active. But are we doing enough?

Comics Librarianship

We started ALIA Graphic Novels and Comics in February 2020. The first episode of our podcast was published in March 2020 as the world prepared to go into lockdown and it's been a whirlwind ever since. As I was editing and preparing to publish the 100th episode of the ALIA Graphic Podcast (it will be out Monday or Tuesday and it's a little celebration - make sure you listen), I saw a bunch of really exciting news that show how much comics librarianship has grown and how its influence is expanding. So I couldn't help and reflect on where we are with comics librarianship. 

Comics librarianship was virtually non existent twenty years ago but things have changed drastically. There were a few turning points and I won't go through all of them but the creation of the American Library Association's Graphic Novels and Comics Roundtable(GNCRT) was, I'd say, the most significant of all. It was first informally formed as a Facebook group but then, with enthusiastic member support, the group became an official roundtable at the 2018 ALA Annual Conference.

Ever since, the GNCRT has achieved a great amount. Just to cite a few, they launched the yearly Best Graphic Novels for Adults and Best Graphic Novels for Children lists. They didn't create one for young adults as YALSA has been doing this for years already. They published a large number of webinars, established a committee to address comic book bans and challenges, they collaborate with the Eisner Awards for the Eisner Graphic Novel Grants for Libraries and they also offer librarian conference travel grant for comics librarians to attend the ALA Annual Conference. If that wasn't enough, the GNCRT has established a relationship with various comic cons and had a presence in them from speaking at panels, to ask a comics librarian sessions and comics themed story times. The San Diego Comic Con has also hosted the Comic Con Conference for Librarians and Educators since 2018.

Just today, I have seen that Matt Noe, one of the greatest ambassadors of graphic medicine in the world and past president of the GNCRT has presented in a couple of panels at New York Comic Con, including one moderated by Amie Wright, who was the first elected president of the GNCRT when it was formed. Also, just today, she has been announced as the new Executive Director of the renown Toronto Comics Arts Festival. Which really seems like the perfect excuse for me to finally go to Canada. Something I've been meaning to do for decades.

All that put together is quite astounding. Best of all the GNCRT has inspired the Australian Library and Information Association's Graphic Novels and Comics special interest group, which formed in February 2020 after my presentation at the New Librarian's Symposium 9 in Adelaide. While our achievements are not as big as the GNCRT's, we have been active. Our websiteYouTube channel and podcast feed showcase a lot of what we have achieved.

We've been publishing monthly roundups of news, resources, webinars and new titles published since March 2020. This takes an enormous amount of time to compile but we feel it's important to share everything we have gathered, not just among the committee but with everyone and anyone interested. We have also made a special effort to interview as many Australian comics creators as possible. Our creator chats focus on Australian creators discussing what they love about comics, how they fell in love with the medium and, of course, their comics and graphic novels. A lot of them are on our YouTube channel and all of them are on our podcast feed (because some of them are camera shy and that's totally fair). We never could've imagined but we are about to publish the 100th episode of our podcast.

We have also created the yearly ALIA Graphic Notables celebrating the best graphic novels by Australian creators in any given year. The ALIA Graphic Notables list was first published in 2021 celebrating the best of 2020 and, I must admit, it was done in a very haphazard, improvised way. The response and feedback from comics creators and librarians has been really positive and we've been getting better at organising them. The 2024 ALIA Graphic Notables will be announced in the first half of 2025 and the committee is planning to make it better than ever. In fact, if you're reading this and work in a library as a librarian, or library officer, or you're an information management student you can apply to be in the judging panel right now. Just fill in this online form.

We have also collaborated with other organisations. We've participated on GNCRT webinars a couple of times, I spoke at a panel at the Perth Comics Arts Festival last year and we have collaborated with the Comic Arts Awards of Australia facilitating a comics librarian to be in the judging panel for the last three years.

Next year, the Perth Comics Arts Festival will see the biggest presence of the ALIA Graphic group yet. I can't reveal much yet, it's early days, but the ALIA Graphic Committee has received an invitation from the festival and we plan to be there both for the Academy Day and tabling at the Market Day.

All this just to say, there's something in the air. Comics librarianship is real, it's active, it's growing and it's here to stay. There's no turning back and I can't wait to see it continuing to develop.

Comic Books and I: Part 1: Mafalda

Anyone that knows me knows how much I love comics. 

I’ve been reading them as far as I can remember. In fact, some my earliest memories involve going to the newsagent with the little money that I had managed to get from my parents. The rack with the newest issues I craved used to be right at the entrance on the right hand side. Next to the newspapers. 

I can still see the image in my mind like it was yesterday.

But I read comics even before then. In a way, I was always destined to fall in love with comics. My parents, escaping from Franco's fascist regime, lived in France for quite a few years and I was born in the French side of the Basque Country. My dad read comics and we had lots of them at home. Most of them were in French, some were in Spanish. I remember, Reiser being a favourite of my dad's and lots of the early Charlie Hebdo cartoonists. I was attracted to these amazing books full of pictures. Totally fascinated.

I always wanted to read them with him but he didn't want to share them with me. He always chose one story or a few pages, showed them to me and translated the French text. I wanted more, but he always showed me just a little and sent me away.

What I didn't know then and realised much later was that those comics were not for children and most of the stories were quite inappropriate. That's why he had to carefully select which ones to share.

Quino and his best known creation: Mafalda

My parents also read a comic in Spanish created by Argentinian master Quino.

My first big love when it comes to comics was Mafalda. In fact, Mafalda had a huge impact on me. I was the last one in my class in terms of reading. Living in the outskirts of town, the river, the mountains, the forest, the canal, were my playground. I had too much to explore to 'waste' time on reading. At least that's how I saw it. I simply wasn't interested and I refused to learn to read.

Then I met Mafalda, Felipe, Manolito, Susanita and the rest. What can I say, it was love at first sight. Quino's art is simple and easy to read but that simplicity belies the extraordinary skill of the artist in creating these wonderful characters.

Even though the main characters are children, Quino's creation cannot be said to be made for children but children read it and loved it. I've heard it compared to Peanuts. A fair comparison, but I like that in Mafalda adults still feature in the strips. It allows Quino to explore the contradictions between adults and how children see the world. I would also compare it to Calvin and Hobbes and argue that Mafalda is somewhere between both but with a more mature socio political angle.


The stories and jokes often touch on politics and social issues and, thankfully, Quino doesn't dumb down any of it. We see the world from the children's perspectives, we see their innocence, their naivety, their imagination, but also their concerns. 

Mafalda and her friends often see adults who don't seem to have it together. They point out the things that adults do and take as the norm that from a children's perspective make no sense. It's important to note that Quino was drawing these cartoons between 1964 to 1973, amid political instability and turmoil in Argentina, including the 1966 military coup.

Mafalda and her friends long for peace and justice, they want to make sense of a seemingly senseless world. Quino said that Mafalda was a socio-political comic strip firmly rooted on family values. And I would say it was also the closest thing to philosophy I read as a kid. Quino's humour is sharp but also warm and full of humanity.

I often say, that Mafalda taught me to read, but it also taught me how to be a better person and, perhaps most importantly, helped me understand life, humanity, society and politics. Reading Mafalda wasn't just for fun, it also shaped my thinking and world view.

Mafalda and Quino have been largely unknown in the English speaking world. Some people were in the know but there hasn't been a proper English translation. That's about to change and I wonder what North America, the UK and Australia will make of these characters from the global south. Don't get me wrong, Mafalda has aged really well. The strips are still as impactful and highly relevant today as they were back then, but I wonder if the socio political themes will be embraced.

Mafalda's announcement poster for Netflix

An animated TV series Netflix series has also been announced. I would usually be wary of an adaptation but Argentinian director Juan José Campanella, most famous for the Oscar winner Secret in Their Eyes, is at the helm and I'm confident he'll do a great job.

Personally I couldn't be happier that Mafalda will finally have an English translation and an animated series. I've shared some of the strips with my son. He doesn't speak Spanish but I've translated some of them for him. He knows how much she means to me and from the few strips I've translated he's totally fallen in love with Mafalda and her friends. How could it be otherwise? 

I can't wait for the English translation to be published so I can buy all five volumes and give them as a personal gift to him. It won't have the same impact on him. He's already an excellent reader. But I look forward to hear him laugh out loud repeatedly and I'm sure he will learn a lot from these strips. It will make him a better person.

That's the power of Quino.