Today I read Skeleton Sky, by Carolyn Guertin, for the first time. I think I read the whole thing, but I'm not sure. At first, the non-linear format of the poem frustrated me immensely. It was difficult to wrap my mind around the concept. What on earth is she trying to say? Is it about nature? No. Perhaps it's spiritual. Could it be about creation? I still don't know; however, as I continued to read, I became more engaged with the process. I realized that I was really enjoying the experience. This poem certainly reflects the digital-age elements that Dresang outlines in her Radical Change Theory (1999). I don't think I've ever experienced anything quite like it, and I doubt one would ever have the same experience on consecutive readings. This type of poetry could result in a whole new category of addiction!
According to Dresang, Radical Change is "a framework or theory that allows the reader to identify literature with characteristics of the digital age." The theory addresses the digital-age concepts of connectivity, interactivity, and access within literature. It sounds more simple than it is. As I have tried to unpack this theory, I find that I have trouble wrapping my mind around it as well. Perhaps that is because I was educated in an age of linear thought.
Skeleton Sky is loaded with hyper-text that connects to other parts of the poem eventually becoming recursive (connectivity). It requires the reader to mentally and physically engage by making decisions about which path to follow (interactivity). And it offers the reader "access to a broader and deeper range of information". When I consider the traditional hand-held YA novels I've read this semester, Will Grayson, Will Grayson (Green & Levithan) and The Orange Houses (Griffin) immediately jump out as Radical Change novels.
Each of these novels is told from multiple perspectives. The reader connects with each perspective as the characters in the novels connect with each other. The reader has to evaluate these perspectives and wrestle with the outcomes. In Will Grayson, Will Grayson, the font is different for each narrator. The transition involves visual cues. In The Orange Houses, the voice of the three narrators signals the change. The passage of time is also significant in this novel, adding a sense of urgency. Although both books connect the reader to the greater community, employ techniques that engage the reader with the text, and provide access to a broader range of information and issues, they are definitely linear in nature. However, both contain passages in which events occur concurrently. I think it would be difficult to produce a novel in the traditional hand-held format that would have the non-linear quality of Skeleton Sky. I have read books that are somewhat non-linear, but I can't at the moment recall their titles. They have all been books modeled after scrapbooks in which the reader explores letters tucked into envelopes and various memorabilia including ticket stubs and photographs.
Graphic novels are a particularly intriguing form of Radical Change literature. The passage of time is often non-linear in these novels with multiple events occurring concurrently. Flashback is also frequently used. The reader has to fully engage with the representation of time to follow the plot. In her reassessment of Radical Change, Dresang points out that the reader must create "the story/text that falls into the gutter between the panels" (2008). Rather than creating story text, I think graphic novels require the reader to decode a different type of text to complete the story. The reader must decode images in conjunction with the text. The images add another way of knowing for the reader. In other words, the pictures provide greater access to understanding.
I have supported the use of graphic novels in the classroom for a long time. These novels address Gardner's Multiple Intelligences in a variety of ways. They are both art and literature. They are visually stimulating and, typically, involve a great deal of physical action on the part of the characters. Because the action is visually represented, I think the reader responds to it in a more vicarious way much like one does with television or video games. Also, like with poetry, an economy of words is necessary requiring the author to carefully consider word choice. A complex vocabulary tends to be the result. I like the idea of teaching units on graphic novels in which students can select, from a pre-determined group, a novel that is appealing for both story and art. Additionally, I would like to have students write their own graphica stories. While this might sound intimidating at first for students who are not artistically inclined, Web 2.0 technologies such as ToonDoo make this sort of assignment less threatening. Graphic novels provide an exciting way to help students to connect with ideas and concepts in order to create knowledge, a fresh way to connect with the world.
Dresang, E. T., (1999). Radical Changes: Books for youth in a digital age. New York: H.W. Wilson Co.
Dresang, E. T. (2008). Radical change revisited: Dynamic digital age books for youth. Contemporary Issues in Technology and Teacher Education, 8(3). Retrieved from http://www.citejournal.org/vol8/iss3/seminal/article2.cfm
bookhenge
‘Graphic novels are both art and literature’. I totally agree with your point Jen and believe that this is the same reason that makes them more appealing. They address differently all kinds of readers (learning styles) and accordingly each individual reacts at his/her own level of Bloom’s taxonomy. Hence, it ends ups serving all.
ReplyDeleteJen -
ReplyDeleteWhat an interesting perspective that I had not taken on Skeleton Sky. I unfortunately did not get as engaged with the poem as it seems you did - and Scott and I shared a similar opinion that this poem was a bit of a stretch and as he called it, it was merely "noise" in the literary world.
I am intrigued by the idea of enrolling your students in creating their own graphic short stories - I think you may be met with some resistance at first, buy at the end I believe it should be a rewarding experience.
I enjoyed reading your post.
Cheers!
Frederik
I do find that "Skeleton Sky" is an art form that you either love or hate, Jen. Glad you found creating meaning out of chaos to be addictive. It's a great example of Reader Response with the reader forsaking linearity to create meaning from accumulated impressions. A reader has to be willing to go there and transact far more than with regular text -- you are the "co-poet."
ReplyDeleteI think you're right that books almost always demand linearity. Macaulay's Black and White is a terrific example of a hypertext book with four frames on each page and a different story going on in each frame. Or at least you think it's a different story until the end -- hint, hint ;-)
http://bit.ly/eVAMlr Bray's Going Bovine is so complex and convoluted that you almost lose any sense of linearity.
I applaud your suggestion of students creating their own graphic short stories. I think scaffolding with storyboarding would make it an assignment that most would really enjoy. Curiously, I'm betting that you'll find some students will be attracted to the Web 2.0 animated tools like Toondoo while others will enjoy sketching their own.
Hmmm not a bad idea for ECI 521 . . .
As always, I enjoyed reading your comments and thoughts, Jen. The approach you take to Radical Change is somewaht similar to mine and I thought you had a lot of innovative ideas about graphic novel implementation. I think your comments sparked some opinions and thoughts in my head and I wanted to get them out in response. You talk about how Skeleton Sky represents some of the movements mentioned in Radical Change, but I just think we settle far too often. We get caught up in fads or pushes in technology and suddenly call everything art. We build things up just because they are different. Do I think that differences are meant to be celebrated? Certainly. Do I think we should call every poem "art" because it has a new way of looking at the world. I don't think so. There is just a certain difference between Skeleton Sky and "Ode to a Grecian Urn". Here's the thing, even people who wouldn't like an archaic poem can appreciate why its considered good. Those that don't like Skeleton Sky struggle to see why anyone would think its "art". I also didn't feel particularly engaged while reading the poem. I mean, i had to make sure that the mouse was clicking a word that would "lead" to the next part of the poem, but I didn't have any clue how my decisions were making any influence on the path of the poem. As a result, the clicks felt random and frustrating to me. This caused me to DISENGAGE. I think its interesting that we get different things out of a piece of literature, which I suppose is proof that Skeleton Sky can fall in the category of literature. But still, there is something off-putting to me as an English major to consider "Skeleton Sky" something worth considering as serious literature.
ReplyDeleteI felt as you did when I read "Skeleton Sky;" I wasn't sure if I ever read the entire thing, and I changed my mind frequently about the poem's meaning/purpose. You articulated how I felt reading it better than I did.
ReplyDeleteI also appreciate your "nailing" my overarching impression of Radical Change Theory. I too initially thought it seemed simple only to discover it was a heck of a lot more complex. The details you gave for WG, WG and Orange Houses really delineated for me some key components of Radical Change. Admittedly, I'm not as up to speed this week as usual, so I truly found your blog entry helpful and clear. I too always enjoy reading your posts.
I hadn't thought of this, but you're right when you say, "I doubt one would ever have the same experience on consecutive readings."
ReplyDeleteI like your idea of readers having to decode a different type of text to create meaning. Do you think this makes it easier or harder for students? I found myself skipping over the cells without words when I was reading my last graphic novel, only to have to return to them to construct meaning.