From The Wall Street Journal:
“Sabrina,” the first graphic novel to make the longlist for Britain’s prestigious Man Booker prize, is everywhere in book conversations this summer—and almost nowhere on shelves.
“Everything in our warehouse is now gone,” said Peggy Burns, publisher of Drawn & Quarterly, which released the graphic novel by Nick Drnaso in the U.S. and Canada in May. Following the July announcement that “Sabrina” was one of 13 titles in contention for the 2018 Man Booker, it sold out at many bookstores. It won’t be back in stock until mid-August.
The recognition for “Sabrina,” a chilling story of a murdered woman and a media campaign that denies her death—a work treated with reverence by members of the comics community—is one of several milestones graphic novels have reached in recent months.
“The Adventure Zone,” a graphic novel based on a podcast that features a father and his grown sons playing Dungeons & Dragons, just debuted at the top of the New York Times paperback trade fiction bestseller list, a category driven by less expensive versions of hardcover books. Tillie Walden’s “Spinning,” a figure skating coming-out story from a Macmillan imprint, recently won the comics industry’s Eisner award for reality-based work—what some industry veterans consider an accomplishment for a nonfiction work with a strong literary bent.
“There’s more awareness for graphic novels than there ever has been before,” said Gina Gagliano, publishing director of Random House Graphic, a new graphic-novel imprint for children and teens founded this spring. She added that recent successes “really have the power to change the landscape for the adult literary graphic novel.”
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Eric Stephenson, publisher at Image Comics, said the graphic-novel market is rearranging itself. “There was a point not too long ago when the market for graphic novels was split between superheroes and more-literary work, but there’s a great deal of space in between and we’re seeing more and more material that occupies that middle ground,” he said.
The demographics of the readers and writers are changing, said Karen Green, curator of comics and cartoons at Columbia University. “You’ve got more cartoonists coming up who are looking for things that are more challenging, I would say more literary,” she said, adding that the audience for superhero comics now often skews much older.
Link to the rest at The Wall Street Journal