100 books like Vanni

Joe Saccos’ work has had such an impression on me.

In 1991-1992, Sacco spent two months in the occupied territories, collecting stories for this masterpiece of journalism and comics. He was breaking new ground; Comics Journalism as a form did not really exist before this book.

On the ground, Sacco found that as a cartoonist, he could delve deeper into the experiences of the Palestinians he interviewed; all knew their identities were safe as the book would be drawn, with no identifying photos, no names. Their stories and pain pour forth. 

Looking back on this publication thirty years later, the situation has become far, far worse for Palestinians. This book is an excellent primer to understand the atrocities of the present and the context of their past.

In researching my graphic novel, I read many comics on slavery.

This atmospheric account of enslaved Virginians in 1831 is a hard read, but it made a great impression on me.

Powerfully, Baker uses the verbatim testimony from the confession of Nat Turner as he awaited execution in jail. The narrative does not pull its punches; in one scene, Turner recounts the murder of a plantation owner's baby. It is shocking, but Baker skillfully puts this in the context of the brutality of the lived experience of the enslaved, their own children being routinely abducted and sold by their masters.

The comic is a powerful slave narrative in this sparse and mostly wordless retelling of America’s most famous slave revolt.

I grew up in a politically active family but had never read The Communist Manifesto. Martin Rowson's adaption blew me away. 

The book opens with an amazing series of spreads; in bold black and white and blood-splatted red, he charts the development of human history from the serfdom of early civilisations through the Middle Ages, up to the slave trade, the age of revolutions and the Industrial Revolution that ripped workers away from life in the fields and into factory labour and then on. 

From this, Marx and Engels begin their walk through the rest of the book, announcing, "A spectre is haunting Europe, the spectre of Communism."

Rowson’s dense and beautiful artwork makes demands on the reader; in its multi-layered depths of meaning, it’s a phenomenal achievement.  

I had read the original book many years ago, but I was interested in this book, as what the Rickard sisters were doing, an adaption, was similar to my project. 

The graphic novel is a brilliant distillation of Robert Tressell's very long prose book, never simplifying the core political messages. 

The lead, Owen, is berated, hated, and admired for his determined belief in the idea of a better world. His explanation and the Rickard sisters' visual depiction of that world are indeed inspirational. 

The original book is said to have inspired many political thinkers on the left, with George Orwell describing it as "a book that everyone should read."

The original was described by its publisher as "Damnably subversive but extraordinarily real." Sophie and Scarlett Rickard's gorgeously designed and illustrated adaption certainly lives up to that description.

Hosseini's book is timely and important. It is a story inspired by the image of a child washed up on the beach of a foreign shore. It tells the story of another child, whose parent send them off on a vessel across a wide ocean in search of a less turbulent future. The art is sweeping. The words travel far into the heart.

I cannot imagine sitting at the bedside of one of my children in a coma.

Isabel Allende not only did that, but used her grief, fear, pain, hope, optimism, memory, and humor to write an extraordinarily compelling book. We come to know not only Paula, Isabel’s gravely ill daughter, but a colorful cast of characters from the family’s past.

We learn about Chilean history and somehow find ourselves laughing and crying in the same chapter. At least I did. Allende is a master with words – and English is not her first language. Do yourself a favor and read this gem.

This wordless picture book uses gorgeous collage art to soften the frightening story of a wartime escape from Vietnam. The use of ants as a refugee metaphor, and the intertwined wordless stories of ants with a fleeing human family, may make the story a bit complex for very young readers. But the lack of text, in this case, makes it a perfect read-together book and conversation starter. It is a story of hope, courage, and kindness, which are key pillars for refugees to survive and thrive. Separately, we all tend to focus on the biggest, most current, refugee crises (and there are many!). Yet children should also hear refugee stories from around the world and through history. What do these journeys have in common? What makes them unique? What can we learn?

Okay, as a middle grade novel, this one may seem a little strange to have on this list, but bear with me.

The protagonist, Khosrou, tells the story of his Iranian family stretching back decades. Woven throughout the story are descriptions of the foods they enjoyed, many of which, as refugees to America, they cannot find anymore. Several times throughout this book I turned to the internet to tell me how to make something Daniel Naveri described.

A beautiful book that also contained more about using the bathroom than I ever expected!

When Paris was taken over by the Nazis in 1940, Hans and Margret Rey were forced to flee. The author and illustrator of beloved children’s book classic Curious George headed out on their bicycles, taking with them their most precious possessions, notably the manuscripts and illustrations for their books. This delightful picture book traces their journey by bike, train, and boat from France to Spain to Portugal to Brazil and then, finally, to New York.

Presented in a scrapbook style, Drummond’s energetic illustrations work well alongside the many photos, documents, and excerpts from some of the original manuscripts and artwork. All the visual elements blend beautifully to accompany the upbeat, free verse text.

This book is one of the first full-length books devoted to the specific topic of urban refugees. It was published in 2001, years before the pronouncement that most refugees live in towns and cities.

The book provides an intimate and detailed account of the promises and hardships refugees face in cities–in this case, Dar es Salaam in Tanzania.

An engrossing and accessible ethnography, the book shows the way that a variety of factors–age, religion, language, memory–intersect to shape refugees’ experiences in urban space.