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How Should We Remember the Alamo?
Critical Analyses of Four Graphic Histories
Marianne Snow
Margaret Robbins
University of Georgia
This article examines, elementary leveled graphic history, a genre of literature relatively
untouched by research. Due to graphic nonfiction’s growing popularity in the realm of
children’s literature and its potential benefits for young readers, teachers may want to incorporate
this genre of literature into their social studies curriculum. Despite the genre’s appeal, educators
should be careful when introducing graphic histories to their students, as nonfiction texts of any
kind can possibly contain inaccuracies and biases that might foster misconceptions. In this
study, we used a critical content analysis approach to investigate both images and text in four
graphic histories on the Battle of the Alamo. We found these books contain several instances of
factual errors and biased perspectives. After our analyses, we discussed implications for using
these types of books in the classroom to help students enhance critical literacy skills. We
connected recommended critical literacy activities to Common Core State Standards for
informational texts and writing.
Keywords: graphic novels, nonfiction, social studies, elementary grades, Alamo, critical
literacy, children’s literature
Ever since I (Marianne) entered fourth grade in 1992, and long before then, Texan fourthgraders have studied Texas state history (Texas Education Agency, 2013). As a young child, I
loved learning about my home state’s heroes and tales of freedom. Trips to historical sites in
Austin, Goliad, and Washington-on-the-Brazos filled me with pride, but nothing impressed me
more than visits to the Alamo, the shrine of Texan independence (Hinton, 2013). I read many
children’s books about the Battle of the Alamo, and my heart always sank when I read about the
Texan freedom fighters’ brave deaths as they stood against the bloodthirsty, tyrannical Mexican
general, Santa Anna. More stirring for me was watching my heroes come to life in the popular
IMAX® film, Alamo: The Price of Freedom (Merrill, 1988), which still plays at the Rivercenter
movie theater in San Antonio today. Basically, the story of the Alamo I learned from Texas and
United States history textbooks, picture books, and movies went something like this: In the early
19th century, the Spanish government lured Anglo settlers (i.e., White Americans of European
descent) to Texas with cheap land. At that time, Texas was part of New Spain, a colony that
would gain its independence in 1821 as the fledgling nation of Mexico. In 1833, General
Antonio López de Santa Anna, a ruthless, arrogant tyrant, seized control of the Mexican
government, and he and his freedom-hating army began harassing the Anglo Texan settlers.
These settlers were honest, hardworking, freedom-loving Americans at heart and refused to
submit to a dictator, so they resisted his control, resulting in several battles and even a massacre
of Anglo Texans at Goliad in 1835. By early 1836, the Texan-Mexican conflict had boiled over
into full-on war. About 180 brave Anglo freedom fighters hunkered down near the town of San
Antonio de Bexar in the Alamo, an old mission they had forcibly taken. Among these brave men
were the famed Davy Crockett, Jim Bowie, and the Alamo’s commander, Colonel William
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Barret Travis, as well as women, children, and Colonel Travis’ slave, Joe. Furious about the
Texans’ rebellion, General Santa Anna vowed he would take back the mission so, in late
February of 1836, he and his army attacked it. Colonel Travis knew fighting back would mean
certain death for everyone, so he gathered the defenders in the Alamo’s courtyard, drew a line in
the sand with his sword, and told the men that anyone who cared about freedom should cross the
line and pay the ultimate price. Every man except for one coward crossed. The Texan defenders
then held the Alamo bravely, but after a few days, all of these heroes died fighting. After the
battle, Davy Crockett’s body was found surrounded by at least a dozen dead Mexican soldiers as
he had taken down as many enemies as he could before succumbing. Having been viciously
murdered in the name of liberty, the Alamo defenders became martyrs of the Texas Revolution
and inspired their Anglo brethren to defeat Santa Anna and win their freedom on April 21, 1836
at the Battle of San Jacinto.
I cherished this noble tale from Texan and American history. The only problem is this
tale is not completely accurate. As I have learned more about Texas history, I have come to
understand much of what I absorbed as a child was a mixture of fact, myth, and bias. The truth,
for example, is Colonel Travis most likely never drew that line in the sand (Hinton, 2013; Nofi,
1992), nor did some of the Alamo defenders die during the battle. A few men, possibly
including Davy Crockett, survived and were then captured and executed once the fighting
stopped (Groneman, 1999; Tucker, 2011). Many of Alamo defenders, moreover, were Tejanos
(people of Mexican ancestry living in Texas), so the Texas Revolution wasn’t a clear-cut ethnic
conflict between Anglos and Mexicans (Schoelwer, 1985; Tyler, Barnett, Barkley, Anderson, &
Odintz, 1996).
Other historical inaccuracies may seem less vital to the story but still reflect the errors I
learned. Anglo Texans, for instance, actually referred to themselves as Texians (Hardin, 2010),
and many historians now agree there were over 250 men, not 180, fighting with Colonel Travis
(Hardin, 2010; Tyler et al., 1996).
Next, comes the issue of perspective. The image of the Alamo fighters I developed was
one of perfection. These men were heroes or martyrs for the sacred cause of freedom; however,
William Barret Travis, Jim Bowie, and Davy Crockett were actually complicated human beings
with both strengths and flaws (Davis, 1998), so why was I not privy to that perspective? The
Alamo story I learned was solely from the Anglo Texian point of view. Why was I not exposed
to any accounts of the battle from the Tejano or Mexican perspectives? What about the
perspectives of the free and enslaved Black Texans from that time (Barr, 1996; Lack, 1985)? I
certainly do not recall ever learning about their experiences and points of view.
As a lover of history, confronting my flawed, one-sided vision of the Alamo was a jarring
ordeal that led us to investigate bias in social studies learning materials and curricula. Many
studies have shown history textbooks used in schools in the United States contain biases and
stereotypes (Cruz, 2002; Loewen, 2008, 2013; Moreau, 2003; Romanowski, 1996). Exploring
this research then caused us to wonder whether recent nonfiction children’s literature about the
Alamo contains errors and bias. Do newer books on this topic present multiple perspectives
about the battle, or do they still valorize the White Texian point of view? These questions are a
timely concern. Students across the United States learn about the Alamo and the Texas
Revolution as they study the country’s westward expansion during the 19th century (e.g.,
California Department of Education, 2009; Georgia Department of Education, 2013; Virginia
Department of Education, 2008). The Common Core State Standards, which have been formally
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adopted by 43 states and the District of Columbia, stress the importance of reading informational
texts as part of the elementary grades’ social studies and language arts curricula (Common Core
State Standard Initiative, 2015a). Elementary students around the United States, therefore, are
very likely to encounter nonfiction texts about the Alamo. We are interested in nonfiction
graphic literature (e.g., texts created in a comic book style), as it is a literary format currently
popular with students of all ages (Hughes-Hassell & Rodge, 2007) and is gaining more
acceptance as a valuable learning material in schools (Chase, Son, & Steiner, 2014).
Due to graphic literature’s growing popularity, the study of the Alamo and the Texas
Revolution in elementary schools across the country, and the Common Core State Standards’
emphasis on informational texts, we argue the importance of critically examining the types of
information students are gleaning from these books. We also examine the value of teaching
children in the primary grades to critically analyze history. Few studies have focused on graphic
literature about historical topics, and those have concentrated primarily on students in middle and
high school (Clark, 2013; Cromer & Clark, 2007; Frey & Noys, 2002; Mathews, 2011; Werner,
2002). We have been unable to find any research analyzing the content of graphic histories
intended for elementary students. The purpose of this study, therefore, was to critically analyze
the content of four primary-level graphic histories on the Alamo and to provide suggestions for
introducing these books in elementary school classrooms.
Graphic Literature
Teachers, generally speaking, have traditionally favored fiction texts over nonfiction texts
in all elementary subject areas (Duke, 2000; Venezky, 2000; Williams, 2009), which can prevent
children from experiencing the many benefits of reading nonfiction texts. First, reading a variety
of texts, including nonfiction, can foster children’s overall literacy development (Duke, BennettArmistead, & Roberts, 2003; Jones, Gorman, & Suellentrop, 2004). Exposure to information on
historical and other factual topics can also encourage students’ enthusiasm for learning, as “the
real world has something for everyone” (Harvey, 2002, p. 22). Reading and writing about realworld subjects, moreover, can improve children’s vocabulary and writing skills (Dreher, 2003;
Ray, 2004).
In order for elementary-aged children to benefit from reading nonfiction texts, the texts
need to be available and accessible in schools, meaning teachers must know how to effectively
select and implement nonfiction in the classroom (Palmer & Stewart, 2003). When searching for
quality narrative nonfiction texts, such as books about historical events, teachers should seek
“well-written and well-illustrated” (Kristo & Bamford, 2004, p. 12) stories with a clear
beginning, middle, and end (Williams, 2009). The authenticity of the books’ content should be
considered, to ensure information presented in these texts is accurate and void of stereotypes
about people and events (Bauml & Field, 2012).
Graphic literature can be an excellent source for nonfiction reading in the primary grades.
Unlike comics, which are more “ephemeral” and “light and humorous,” graphic literature tends
to deal with more serious topics and factual information (Cromer & Clark, 2007, p. 577).
Graphic nonfiction books can help ignite children’s enthusiasm for history due to their
combination of adventure, drama, and educational value, so providing students with history texts
in a popular, appealing format can pique their interest and help them enjoy learning about the
past (Christensen, 2006; Chute, 2008). In recent years, publishers have increased their
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production of graphic literature for elementary-aged children, making it easier for teachers to
find these types of books for their students (Brenner, 2010; Chase et al., 2014).
As mentioned previously, many nonfiction books include stereotypes and incorrect
information, so educators must remain aware of these concerns. Teachers, however, can still use
potentially problematic texts to help their students to not only understand any piece of writing
can contain biases and inaccuracies but to also know how to respond to these issues (Avila &
Moore, 2012; Mission & Morgan, 2006). Social studies classes are particularly promising places
to teach children to be critical consumers of information, since part of learning about history is
understanding not all primary and secondary sources are reliable (Epstein, 2009; Heffernan &
Lewison, 2009; Mathews, 2011; Soares & Wood, 2010; Wineburg & Martin, 2004).
Research Design
When planning our analysis of graphic histories about the Battle of the Alamo, we knew
we wanted to question Anglo perspectives on Texas history and privilege marginalized
populations’, in this case, the Mexicans’ and Tejanos’ points of view. We found Latino/a critical
theory to be a helpful framework, since this theory calls for scrutinizing racism directed at
Latino/a people and championing social justice (Delgado Bernal, 2002). Building upon this
theory also allowed us to challenge Anglo historical epistemologies, or ways of knowing history,
and to listen to marginalized voices and detect possible “counter-stories” (Solórzano & Yosso,
2002, p. 32) in the historical texts we analyzed (Yosso, Villalpando, Delgado Bernal, &
Solórzano, 2001).
To put Latino/a critical theory into action, we evaluated the Alamo books using a critical
literacy approach (Lewison, Flint, & Van Sluys, 2002). Beneficial not only to scholars, but also
to teachers, students, and other readers, critical literacy involves:
• Employing a critical perspective to consider various perspectives and viewpoints
present in a text, recognize perspectives that are minimized or omitted, and uncover
stereotypes;
• Investigating power relationships between or among people or groups depicted in a
text;
• Taking action to confront any unsubstantiated assumptions, stereotypes, or biases
portrayed in a text.
Readers can follow these guidelines when analyzing illustrations in books in order to practice
their critical visual literacy skills. A reader, for example, might critically question the use of
color in an image and the presence or absence of people or objects in illustrations (Callow, 2008;
Maney, 2005; Schieble, 2014). In this study, we used these guidelines to analyze four
elementary-level graphic histories on the Alamo. The following questions shaped our analysis:
1. How historically accurate are these books?
2. How do the books include or exclude multiple perspectives on the Battle of the Alamo?
After presenting our evaluation of the graphic histories in question, we explain how teachers can
take advantage of this critical reading process when using these books in their classrooms.
Data Collection
As we began searching for books to include in this study, we developed a list of criteria
to focus our selection process. First, the texts on the Alamo had to be nonfiction. Second,
books had to be intended for the later elementary (3rd through 5th) grades. Finally, books had to
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be published 2005 or later. This search resulted in a sample of 28 books. While sifting through
these texts, we discovered four were graphic histories, and given the popularity and potential
benefits of graphic literature for teaching and learning about history (Christensen, 2006; Chute,
2008) as well as the lack of research on graphic nonfiction for younger children, we decided to
concentrate on these books (Table 1).
Table 1
Alamo Graphic Histories
Publication Date
Title
Author
2005
The Battle of the Alamo
Matt Doeden
2006
The Battle of the Alamo
Kerri O’Hern &
Janet Riechecky
2008
The Battle of the Alamo
Rod Espinosa
2012
The Battle of the Alamo
Gary Jeffrey
As above indicated, we followed critical textual and visual analysis guidelines when
examining these books (Callow, 2008; Lewison et al., 2002; Maney, 2005; Schieble, 2014).
Since print and images work so closely together in graphic literature (Schwarz, 2002), we
considered the written text and the illustrations simultaneously when questioning each work for
its historical accuracy and its inclusion or exclusion of multiple perspectives about the Alamo.
We asked whether the authors of the books presented as facts well-known legends and
uncertainties, such as: William Barret Travis’ line in the sand, Davy Crockett’s death during
battle, and the number of Alamo defenders. We also noted other miscellaneous visual or textual
historical inaccuracies. The authors’ and illustrators’ portrayals of the participants in the battle
were investigated. Questions included: How are Anglo Texians, Mexicans, Tejanos, and Black
Texians depicted in these books? Do members of these various groups present their perspectives
in the texts, or do the books’ creators focus solely on the White Texian point of view? Are
Mexican figures demonized or stereotyped? With these themes in mind, we began reading the
texts and coding them accordingly. Whenever we found an example of historical inaccuracy in
one of the books, we labeled the passage in question as inaccurate and recorded its content and
location. We noted the presence, descriptions, and dialog of non-Anglo historical figures in the
books in order to determine whether the authors of the texts included information about or
perspectives of Tejanos, Mexicans, or Black Texians involved in the Battle of the Alamo. In the
following sections, we present examples of our findings for each of these themes.
Historical Accuracy
When investigating our research questions, we found problematic elements in each of the
texts in the sample. In describing our findings, we present the texts in the order in which we
analyzed them, starting with Matt Doeden’s (2005) The Battle of the Alamo. The discussion
moves to Kerri O’Hern and Janet Riehecky’s (2006) text, which is followed by Gary Jeffrey’s
(2012) version, and concludes with Rod Espinosa’s (2008) text.
Doeden
Doeden is the most successful of all the authors in separating myth and uncertainty from
fact. He, for example, acknowledges the line in the sand story is a legend (p. 15). He admits no
historians know precisely how Davy Crockett died (p. 25) or the exact number of Alamo
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defenders (p. 28). The illustrations, though, are the main source of inaccuracy. One error
involves the drawings of Mexican army uniforms, which in this book, consist of red jackets and
blue trousers. At the time of the Texas Revolution, however, General Santa Anna and most of
his soldiers wore dark blue jackets with varying amounts of red trim; only some soldiers wore
red jackets (Chartrand, 2004; Haythornthwaite, 1992). It is unclear why the illustrators chose red
for the Mexicans soldiers’ uniforms, but we posit they wanted to associate the Mexican army
with danger, or perhaps they wished to allude to another famous enemy in American military
history, the British Redcoats. This possible artistic license, however, may be confusing to young
readers if they have seen more accurate depictions of Mexican army uniforms elsewhere.
Another error in the artwork is the portrayal of Alamo combatants’ skin tones. When
creating human figures in this book, the illustrators chose to give all of the Mexican soldiers,
including General Santa Anna, the same brown skin tone, while all of the Alamo defenders have
pale skin. This choice neglects the reality of the combatants’ ethnicities, which, as previously
stated, were diverse. Many were Anglos of European descent, but others were of Mexican or
African descent. Santa Anna’s ancestry, meanwhile, was probably completely European
(Fowler, 2007), and the soldiers under his command were of indigenous, African, European, and
mixed ethnic backgrounds (Crisp, 2004). Due to this diversity, the combatants on both sides of
the battle would have had varying skin tones and physical appearances. By imbuing Mexican
soldiers with uniformly dark skin and Alamo defenders with uniformly light skin, the illustrators
run the risk of incorrectly teaching readers the battle was fought along color lines (Crisp, 2004)
and possibly leading children to associate light skin with heroes and dark skin with enemies.
O’Hern and Riehecky
The second book in the sample by O’Hern and Riehecky presents a mixture of truth and
error. While the authors exclude the myth of the line in the sand and acknowledge there were
“nearly 300” people in the Alamo (p. 21), they perpetuate the legend of Davy Crockett’s death
by showing Mexican soldiers gunning him down during the battle (p. 29). The text also
incorrectly labels the Texians as Texans. Illustrations contain several inaccuracies, particularly
in visual representations of flags. The drawing of the Spanish and Mexican flags (p. 7), for
example, shows the countries’ modern flags rather than the designs in use at the time
(Smithsonian, 2014; University of Texas, 2014). The illustrators, further, include a drawing of
the Lone Star flag (p. 13), which was not adopted until 1839, three years after the Battle of the
Alamo (Spain, 1992).
Jeffrey and Espinosa
Like O’Hern and Riehecky’s version, Jeffrey’s book omits the line in the sand myth but
depicts Davy Crockett dying in battle and refers to the Alamo defenders as Texans rather than
Texians. Espinosa’s book does the opposite. He portrays the line in the sand as a factual event
but correctly uses the term Texians and acknowledges Crockett’s execution after the battle.
In sum, all of the books in our sample contained significant historical inaccuracies, such
as unrealistic representations of people and objects in the illustrations and the propagation of
myths and incorrect terminology in the written text. Although the errors in these texts may seem
to be minor details, they can potentially give children wrong ideas about the historical context of
the Texas Revolution. This misrepresentation of the historical context might then lead readers to
develop a problematic conceptualization of this period, especially concerning political and ethnic
relations among the different cultural groups in 1830s Texas. Recognizing these inaccuracies,
therefore, is crucial should teachers consider using these books to teach history.
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Perspective
After analyzing the accuracy of the graphic histories, we examined the illustrations and
written text in each book to determine the ways that the authors and illustrators depicted the
actors in the battle and their points of view. In order to investigate issues of perspective, we:
recorded and analyzed who was present in the texts, studied how the narrator of each text
describes various historical figures, and investigated how the characters present their points of
view.
Doeden
Doeden portrays Anglos and Mexicans omitting any reference to other ethnicities in the
main body of the text, only briefly commenting on Tejanos in an endnote (p. 28). He
overwhelmingly uses positive language to define the Texians while reserving negative phrases
for the Mexicans. He explains, for example, how the Texians “fight hard for freedom” (p. 8),
constantly shout, “No surrender!” (pp. 17, 20, 22, 25), and hold fast to the famous American
phrase “Liberty or death!” (p. 20). On the other hand, Doeden describes Santa Anna as a
“ruthless” man who “want[s] ideas of freedom out of Texas” (p. 4). This focus on the Texians as
positive characters and Mexicans as negative characters shows readers that they should valorize
the Anglo perspective in these books while devaluing the Mexican point of view. Meanwhile,
Doeden also controls the perspectives presented in his book through his use of dialog.
Throughout the text, mostly famous figures (Travis, Crockett, and Santa Anna) do the speaking
and sharing of ideas and opinions. While he gives small amounts of dialog to regular Mexican
soldiers, the content of their speech consists merely of awed comments about Crockett’s shooting
skills and their acceptance of Santa Anna’s orders. Readers only encounter the opinions of highranking, famous Alamo combatants, preventing them from hearing what many ordinary Texians
and Mexicans potentially thought about the battle.
O’Hern and Riehecky
Like Doeden, O’Hern and Riehecky neglect to include information about the Tejano and
Black Texian presence in the Alamo. The only combatants portrayed in this text are Anglo
Texians and Mexicans. These co-authors also use positive language to describe the Anglos
while incorporating negative adjectives in their descriptions of Santa Anna. While the Texians
are a “symbol of courage […] against all odds” (p. 30), the Mexican general is “furious” (p. 12)
and “angry” (p. 16). O’Hern and Riehecky differ from Doeden in their use of dialog. Instead of
letting characters share their opinions, they rely mostly on third-person narration and hardly
include any dialog, limiting characters’ speech to orders and commands during the battle. We
are unable to learn more about what different figures felt and thought about the conflict due to
the dearth of dialog. Due to these choices, O’Hern and Riehecky construct a biased text that
encourages readers to support the Texian cause while vilifying the Mexican side and to remain
unaware of other cultural presences at the battle.
Jeffrey
Jeffrey also focuses simply on Anglo Texians and Mexicans while leaving out any
mention of Tejanos and Black Texians involved in the battle. When explaining the details of the
battle, he uses affirmative descriptors for the Texians, calling them “legendary” (p. 16) and
“stunning” (p. 22), whereas Santa Anna is “ruthless” (p. 22), and the Mexican soldiers are “sick
with battle fever” (p. 17). In addition to this biased language, Jeffrey makes another choice of
only presenting the perspectives of famous, high-ranking characters through dialog and silencing
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ordinary combatants. By portraying the Texians and Mexicans in these ways, Jeffrey urges
readers to identify with the heroes, the Texians, and adopt their points of view.
Espinosa
Diverging from the other authors’ patterns, Espinosa acknowledges the presence of
Tejanos and William Barret Travis’ slave, Joe, in the Alamo, although he only mentions these
figures in passing. Espinosa also recognizes the diversity present in the Mexican army, which
included “Mayan Indians who could not speak Spanish” and European and mixed ethnic ancestry
soldiers (p. 8). Espinosa gives dialog not only to Texian and Mexican figures, but also briefly to
a Tejano family and two Tejana women caring for the ailing Jim Bowie in the Alamo. These
brief facts and minimal dialog are the only attention Espinosa pays to the diversity of the Alamo
defenders and Mexican troops; otherwise, the focus of the text is on Anglo figures. In his
descriptions of the Texian and Mexican characters, Espinosa returns to the pattern set by the
other authors. Whereas the Texians are “rugged” (p. 5), full of “determination” (p. 20), and
“fierce” (p. 24), Santa Anna—the only Mexican character described—is “impatient” (pp. 21, 26)
and an instigator of “unnecessary” violence (p. 26). Though Espinosa overall acknowledges the
diversity of the Alamo combatants, he fails to break away completely from the typical
privileging of Anglos over other ethnicities.
To summarize, most of the authors include majority Texian and a few Mexican characters
and voices in their texts. Only in Espinosa’s book do readers see or hear anything substantive
from members of a different group. The main presence, descriptions, and perspectives readers
encounter in all of the texts, however, are those of the Alamo defenders: who want freedom, that
of Santa Anna: who wants to defeat the Texians. None of the texts present the actual opinions
of Tejanos, Black Texians, Mexican soldiers, or women about the battle. By overlooking and
silencing these people, the authors strip their power, and readers are unable to empathize with
them or even recognize their points of view.
Implications
After analyzing these four graphic histories about the Alamo, we found each book
contained historical inaccuracies and mainly presented Anglo perspectives about the conflict,
thereby privileging Anglos above historical figures of Tejano, Mexican, or Black Texian
backgrounds. By considering these issues, we followed the first three guidelines for critical
textual and visual analysis (Callow, 2008; Lewison et al., 2002; Maney, 2005; Schieble, 2014):
(1) questioning assumptions and stereotypes in texts, (2) discovering different perspectives in
texts, and (3) investigating power relationships amongst actors in texts. As for the fourth step,
taking action, we confronted the problematic elements of these books by sharing our findings.
Teachers and students do not have to passively accept the inaccuracies and biases in these books.
They can follow the same steps to engage in critical thinking when exploring graphic histories or
any nonfiction text.
Our analysis demonstrates the need for teachers to take the time to read nonfiction books
before introducing them in their classrooms. The books in this study contain errors and a
narrowness of perspective that need to be deliberated with students so they do not absorb
incorrect information and bias. Teachers do not need to avoid books or censor containing
historical inaccuracy or lack of multiple perspectives. They, instead, can read historically
accurate books with their students, then compare the accurate books with these graphic histories
and engage in critical discussions spurred by age-appropriate questions, such as:
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
Do you think it is okay the authors and illustrators presented incorrect information in
these books? Why or why not?
 Whose stories do these books tell? Whose stories are omitted? Do you think it is fair
that some people’s stories were left out? Why or why not?
 Are there any historical figures from the Alamo (famous or not famous) you’d like to
know more about?
 What roles did Tejanos, Black Texians, women, ordinary Mexican soldiers, and
civilians play at the Battle of the Alamo, and why do you think the authors left their
stories out?
After discussing these questions and sharing their ideas, students can work together to formulate
plans for taking action and confronting any injustices and inequities they have uncovered in the
books. If they have trouble generating their own ideas for action, teachers can suggest ideas,
such as writing to the books’ publishers to request more accurate and less biased books.
Students might work also with school librarians to find, fundraise, and purchase more accurate
nonfiction texts about the Alamo. Books to consider include: Sherry Garland’s (2000) Voices of
the Alamo, a collection of poetry narrated by the various historical figures who lived on the lands
where the Alamo stands; Amie Jane Leavitt’s (2008) The Battle of the Alamo, a choose-yourown-adventure book that presents the perspectives of multiple Mexican and Texian combatants;
and Susan Taylor Brown’s (2011) Enrique Esparza and The Battle of the Alamo, a reader’s
theater book that depicts the experiences and views of Enrique Esparza, son of one of the Tejano
Alamo defenders and survivor of the siege.
Though these books portray historical accuracy and multiple perspectives more
successfully than the books in our above sample, they are not graphic histories. Students,
therefore, can create their own graphic accounts of the Alamo by consulting and evaluating a
variety of primary and secondary sources about the battle. They then can work through drafts of
their graphic histories, and publish their final products by sharing them with classmates or by
placing them in the school library. This type of activity is especially beneficial, since it
encourages students to synthesize their creativity, writing and critical thinking skills, and the
historical information they have learned.
In addition to helping students develop their critical literacy skills, these types of
activities meet several of the Common Core literacy standards for the later elementary grades
(Common Core State Standards Initiative, 2014). Reading, comparing, and evaluating multiple
informational texts, such as graphic histories or less biased texts about the Battle of the Alamo
encourages students to (Common Core State Standards Initiative, 2015b-d):
 identify the main ideas of these nonfiction texts (ELA-Literacy.R1.3.2, 4.2, 5.2);
 differentiate their own perspectives from the authors’ (ELA-Literacy.R1.3.6);
 examine and evaluate two or more accounts of the same event (ELALiteracy.R1.5.6);
 and compare/contrast key points and synthesize information from more than one text
(ELA-Literacy.R1.3.9, 4.9, 5.9).
Meanwhile, creating their own graphic histories allows students to (Common Core State
Standards Initiative, 2015e-g):
 undertake their own research projects (ELA-Literacy.W.3.7, 4.7, 5.7);
 write their own informational texts (ELA-Literacy.W.3.2, 4.2, 5.2);
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
and draft, revise, and publish their work (ELA-Literacy.W.3.4-5, 4.4-5, 5.4-5).
Teachers and students must understand, although graphic histories are popular resources
that can foster children’s learning, they should be critiqued. Being vigilant about these texts’
contents can provide children with rich, valuable learning experiences to help them become more
critical consumers of the information that surrounds them. By engaging students in critical
readings of graphic histories and other historical texts and encouraging them to brainstorm and
implement creative approaches to confronting bias, educators can help children build their
academic skills while dismantling the stereotypes so pervasive in our nation’s historical
discourse.
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Yosso, T., Villalpando, O., Delgado Bernal, D., & Solórzano, D. G. (2001). Critical race theory
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Web-based References
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Informational text, grade 3. Retrieved from http://www.corestandards.org/ELALiteracy/RL/3/
Common Core State Standards Initiative. (2015c). English language arts standards: Reading:
Informational text, grade 4. Retrieved from http://www.corestandards.org/ELALiteracy/RI/4/
Common Core State Standards Initiative. (2015d). English language arts standards: Reading:
Informational text, grade 5. Retrieved from http://www.corestandards.org/ELALiteracy/RI/5/
Common Core State Standards Initiative. (2015e). English language arts standards: Writing,
grade 3. Retrieved from http://www.corestandards.org/ELA-Literacy/W/3/
Common Core State Standards Initiative. (2015f). English language arts standards: Writing,
grade 4. Retrieved from http://www.corestandards.org/ELA-Literacy/W/4/
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grade 5. Retrieved from http://www.corestandards.org/ELA-Literacy/W/5/
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Virginia Department of Education. (2008). History and social science standards of learning for
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n/stds_ushistory_to1865.pdf
Author Bios
Marianne Snow is a doctoral student at the University of Georgia and a former early childhood
teacher, although she continues to work with elementary-aged children at a local community
center. Her research interests include: Latin@, Latin American, and nonfiction children’s
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literature and marginalized communities’ access to children’s books. Email: mlsnow@uga.edu
Margaret Robbins is also pursuing her doctoral degree at the University of Georgia and
previously taught middle school. She currently works for the university’s Red Clay Writing
Project, and her research interests include: multicultural young adult literature, graphic literature
and comics, and the intersections of pop culture and literacy. Email: marobbin@uga.edu
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