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Kay O'Neill
Kay O'Neill
Kay O'Neill
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Kay O'Neill (also known as K. O'Neill, and who has published under the name Katie O'Neill[1]) is an illustrator and writer from New Zealand.[2]

Key Information

Biography

[edit]

O'Neill is a self-taught artist[3] who has produced several comics and graphic novels. They initially built a fan base by publishing comics on their Tumblr page,[2] such as Princess Princess, which was later published as a book by Oni Press as Princess Princess Ever After.[4][5] O'Neill notes "a different kind of accessibility and visibility that comes with a book, particularly one that is in easy reach of kids’ hands in school and public libraries".[4]

Their graphic novels cover fantasy, slice-of-life stories which are intended for all ages.[6] These have won multiple awards, with The Tea Dragon Society in particular winning two Eisner Awards, a Harvey Award, and a Dwayne McDuffie Award for Kids' Comics. The Tea Dragon Society also led to a card game and plushies,[2] and two subsequent Tea Dragon books were published in 2019 and 2021.[7][8][9] When not working on a book, O'Neill is a fulltime freelance illustrator.[10]

O'Neil's work often includes LGBT+ characters and positive messages; they consider inclusiveness to be important, and that media "should reflect the diversity of the world around us." To this end they portray different identities in their stories.[4][11] The Tea Dragon Society was included in the American Library Association's Rainbow Book List for 2018.[12] Princess Princess Ever After was also on the Rainbow Book List in 2017, making its top ten,[13] and was awarded Autostraddle's Favourite Graphic Novel/Book in 2014.[14] Autostraddle writer Mey said that Princess Princess Ever After "has characters of different races and body types. It has two princesses who are their own heroes and don’t need to change who they are to save themselves and the day. It has a really cute queer couple. And all of this is in an all-ages comic." O'Neill has said that "with consciousness of a new generation I would like to try to make books that inspire kindness, self-acceptance and social responsibility."[6]

In a Twitter post of 18 December 2020, O'Neill said that they prefer to be known as Kay and use they/them pronouns.[15]

Awards

[edit]
Year Nominated work Category Result Notes
2019 Aquicorn Cove Eisner Award: Best Publication for Kids (ages 9–12) Nominated [16][17]
2018 The Tea Dragon Society Eisner Award: Best Publication for Kids (ages 9–12) Won [18]
2018 The Tea Dragon Society Eisner Award: Best Webcomic Won [18]
2018 The Tea Dragon Society Dwayne McDuffie Award for Kids' Comics Won [19][20]
2018 The Tea Dragon Society Harvey Award: Best Children or Young Adult Book Won Co-winner with The Prince and the Dressmaker[21]
2014 Princess Princess Ever After Cybils Award Nominated [22]
2014 Princess Princess Ever After Autostraddle: Favorite Graphic Novel/Book Won [23]

Works

[edit]
  • Counting Stars (2012), webcomic[3][24]
  • Song of the Wheel (2012), webcomic[25]
  • The Girl from Hell City (2013), webcomic[25]
  • The Girl With Eyes Like a Cat (2013), webcomic[26][27]
  • Don't Let Go (2013), webcomic[26][28][29]
  • Below the Waves (2014), webcomic[26][27]
  • Mushrooms (2014), webcomic[26][30]
  • Princess Princess Ever After (2016), published by Oni Press[31] (first version published as a 2014 webcomic titled Princess Princess)[4][5]
  • The Tea Dragon Society (2017), published by Oni Press[32]
  • Aquicorn Cove (2018), published by Oni Press[33]
  • The Tea Dragon Festival (2019), published by Oni Press[8]
  • Dewdrop (2020), published by Oni Press[34][35]
  • How to Date Your Dragon (2020) webcomic[36]
  • The Tea Dragon Tapestry (2021) by Oni Press[9]
  • The Moth Keeper (2023) by Random House Graphic[37]
  • A Song for You and I (2025) by Random House Graphic[38]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Kay O'Neill

View on Grokipedia
from Grokipedia
Kay O'Neill is a illustrator and graphic novelist known for producing fantasy-themed children's that emphasize friendship, craftsmanship, and gentle adventure. Their breakthrough work, The Tea Dragon Society, originated as a before expanding into a series of print graphic novels featuring anthropomorphic dragons who brew tea and impart lessons on heritage and community. O'Neill's debut graphic novel, Princess Princess Ever After, depicts two princesses who rescue each other in a fairy-tale romance, marking an early exploration of same-sex relationships in children's literature. Subsequent titles like Aquicorn Cove address environmental stewardship through stories of orphaned children befriending mer-creatures, while the Tea Dragon sequels, including The Tea Dragon Festival and The Tea Dragon Tapestry, build on the original's acclaim by delving deeper into character backstories and cultural motifs. The Tea Dragon Society earned multiple 2018 Eisner Awards for Best Publication for Kids (ages 9–12) and Best Webcomic, alongside the Dwayne McDuffie Award for Kids Comics, establishing O'Neill as a prominent figure in young adult graphic storytelling. Additional recognition includes Harvey Awards, reflecting the series' commercial success, which has extended to merchandise such as card games and plush toys. Based in Christchurch, O'Neill draws from personal influences like internet-accessible art communities during their upbringing in a small New Zealand city.

Early Life

Childhood in New Zealand

Kay O'Neill was born in the 1990s and raised in , a small city on 's , where they developed an early passion for and amid a local environment with limited access to professional art communities. The modest scale of Christchurch's cultural scene meant that traditional avenues for artistic exposure were scarce, positioning the as a pivotal resource for discovery and self-directed learning during O'Neill's formative years. From a young age, O'Neill engaged in daydreaming and crafting personal narratives, often doodling characters and stories during school hours, which reflected a natural inclination toward creative expression predating any structured training. Influences included childhood media such as Pokémon and virtual pet websites, which sparked a fascination with designing creatures—endowing them with unique appearances, personalities, and even imagined societies—fostering habits of sketching fantastical beings independently. Literary figures like Katy from What Katy Did Next and Sakura from Cardcaptor Sakura further shaped O'Neill's imaginative play, embodying traits such as book-loving independence that resonated deeply. O'Neill's early artistic pursuits were self-taught, pursued alongside academic subjects where they excelled in English, , , , and Japanese, while finding challenges in areas like and physics. This period in laid the groundwork for a reliance on online communities and global fantasy elements, compensating for the geographic isolation of New Zealand's setting.

Artistic Influences and Education

O'Neill received no formal training in art or illustration, instead developing their skills through self-directed practice and personal projects from childhood onward. They studied subjects including English, , , , and Japanese during in , while struggling with mathematics and physics and dropping the latter after meeting entrance requirements. This non-artistic academic background underscores a reliance on informal, hobbyist approaches to creative development rather than institutional programs. Predominantly self-taught, O'Neill credits the internet as a primary resource for artistic growth, particularly given their upbringing in a small city with limited local access to professional art communities. Early influences included such as Pokémon and websites, which shaped a focus on whimsical creature design, alongside global and characters like Katy from What Katy Did Next and Sakura from . Authors such as , , and further informed their storytelling sensibilities, emphasizing themes of kindness and self-acceptance drawn from personal reading experiences rather than curated academic curricula. By the early 2010s, O'Neill transitioned from casual doodling and online sharing—initially on platforms like message boards and —to a more professional mindset, honing techniques through iterative personal work and tools like discovered via online communities. This practical, resource-driven path bypassed traditional gatekeepers, allowing direct engagement with international illustrators in fantasy and genres through digital exposure.

Professional Career

Debut and Early Works

O'Neill entered the publishing landscape through self-published webcomics shared on under the username strangelykatie, where they cultivated an early audience with whimsical fantasy illustrations and short stories. These online efforts, beginning around 2012, allowed O'Neill to experiment with narrative styles and character designs without traditional gatekeepers, though the platform's algorithmic reach demanded consistent output to gain visibility. Their debut graphic narrative, Princess Princess Ever After, originated as the Princess Princess, serialized from December 2012 to March 2014, depicting two princesses—Sadie, a , and Amira, a dreamer—on a quest to overcome personal insecurities and find mutual rescue in a fairy-tale world. The story's positive online reception, praised for its uplifting portrayal of same-sex romance and empowering tropes subverted from classic tales, prompted a print adaptation released by on September 6, 2016, marking O'Neill's first professionally published book with 56 pages. This transition from digital to print highlighted the webcomic's role in demonstrating market viability to publishers. Operating as a self-taught from a small city in , O'Neill navigated the challenges of geographic isolation from major hubs like the or , where the local industry offered few opportunities for genre fantasy creators; the became pivotal for skill-building, feedback, and audience growth amid scarce in-person resources. This independent path required self-funding early productions and leveraging online communities for promotion, fostering resilience but underscoring barriers for non-metropolitan talents in a globally concentrated field.

Development of Signature Series

K. O'Neill developed the concept for the Tea Dragon series from an initial of tea dragons created on a whim and shared online, which garnered positive responses prompting the expansion into a . The story centers on Greta, a apprentice, who discovers a lost tea dragon and learns the intricate, nearly forgotten art of caretaking from elders Hesekiel and Erik, emphasizing the finicky nature of these creatures that brew tea from their horns. Originally released as a in late 2016, the first installment, The Tea Dragon Society, transitioned to print publication with on October 31, 2017, marking O'Neill's shift from digital to partnership with an established comics imprint. Building on this foundation, O'Neill expanded the series' world-building through sequels published by . The Tea Dragon Festival, released on September 17, 2019, introduces the young collector Rinn and explores communal events like a , delving deeper into tea dragon varieties and social traditions within the established lore. The trilogy concluded with The Tea Dragon Tapestry on June 1, 2021, which advances character arcs—particularly Greta's growth—and incorporates motifs of and legacy, tying historical tapestries to the preservation of dragon caretaking knowledge. This progression reflects O'Neill's creative choice to evolve from standalone origin tales to interconnected narratives that layer interpersonal dynamics and cultural depth across the volumes.

Recent Publications and Expansions

In 2023, O'Neill published The Moth Keeper, a middle-grade issued by Graphic on March 7, centering on Anya, a young protector of lunar moths who grapples with duty, passion, and community bonds in a fantasy setting. The work expands O'Neill's oeuvre beyond tea dragons into nocturnal ecosystems and personal sacrifice, maintaining their signature watercolor aesthetics. O'Neill's most recent release, A Song for You and I, appeared on March 4, 2025, also from Graphic, as a middle-grade featuring soft fantasy romance amid creature-filled worlds, aimed at readers of whimsical, relational narratives. This title continues O'Neill's pattern of standalone stories with emotional depth and illustrative warmth, distinct from serialized elements in prior series. Career expansions have included international outreach, such as O'Neill's inaugural book tour in early 2023, commencing at the and extending to signings in , , and other cities, fostering direct engagement with European audiences. Complementary developments encompass merchandise tied to the Tea Dragon franchise, notably the Tea Dragon Society Card Game developed by , which simulates dragon caretaking mechanics, and limited-edition enamel pins of characters like and crowdfunded via in 2023. Plush toy replicas of tea dragons have further extended the series' tactile presence in consumer markets.

Works

The Tea Dragon Series

The Tea Dragon Series comprises three graphic novels published by , originating from O'Neill's work and centering on anthropomorphic dragons—small, leaf-bearing creatures whose harvested growths are brewed into restorative teas. The first volume, The Tea Dragon Society (2017), follows Greta, a young apprentice, who rescues a neglected tea dragon named Minette from a marketplace and delivers it to the elderly caretakers Hesekiel and Erik. Through her in tea dragon husbandry—a fading tradition involving nurturing the dragons' tea-producing horns and tendrils—Greta forms bonds with the group, including the shy , while grappling with the societal shift away from such artisanal practices toward mechanized alternatives. This installment highlights the model's role in preserving communal knowledge and the quiet fulfillment derived from patient caregiving. The second volume, The Tea Dragon Festival (August 13, 2019), shifts to a narrative set in the mountain village of Erik's youth, introducing Rinn, a local familiar with wild tea dragons but unacquainted with larger specimens. Rinn encounters Aedhan, a slumbering guardian dragon recently awakened, and aids in preparations for the village's annual , which celebrates dragon lore through rituals, , and communal gatherings. New characters, including festival participants and dragon enthusiasts, expand the world-building with depictions of diverse cultural exchanges and the interplay between everyday and extraordinary encounters. The story underscores unique elements like festival-specific blends derived from rare dragon varieties and the collaborative efforts to revive dormant traditions amid seasonal festivities. The Tea Dragon Tapestry (June 1, 2021), the trilogy's concluding volume, intertwines the arcs of Greta and Rinn over a year following the events of the first book, as Greta confronts a pivotal by a master for formal while mourning losses tied to her tea dragon companions. Tasked with weaving a commemorative , Greta navigates self-doubt and the tension between blacksmithing ambitions and her affinity for dragon , culminating in a shared adventure that resolves lingering threads from prior volumes. Distinct features include the tapestry's role as a legacy artifact encoding dragon care techniques and the integration of multi-generational perspectives on inheritance, where characters like Rinn contribute expertise to a unified path forward. The inaugural volume earned the 2018 Eisner Award for Best and Best Publication for Teens, alongside the Award for Kids and a co-win for the Harvey Award for Best Children's or Young Adult Comic Book. Subsequent entries built on this acclaim by maintaining the series' focus on intricate, hand-harvested tea rituals and the dragons' symbiotic biology, where leaves regrow cyclically for ethical harvesting.

Standalone Graphic Novels

Princess Princess Ever After is a 56-page published in hardcover by on September 6, 2016. The story follows two princesses, the heroic Amira and the kind-hearted Sadie, who embark on an adventure after Amira rescues Sadie from a tower; it subverts traditional fairy-tale tropes by centering a that evolves into a romance, emphasizing mutual support and self-discovery over conventional rescue narratives. Aquicorn Cove, released by on October 16, 2018, spans 96 pages and depicts a young girl named Lana returning to her storm-ravaged seaside village with her father to aid in reconstruction. There, she encounters and protects a colony of magical aquicorns—seahorse-like creatures essential to the reef's ecosystem—highlighting themes of environmental recovery, community rebuilding, and intergenerational following natural disasters. Dewdrop, a 64-page work published by on April 7, 2020, centers on an easygoing named Dewdrop who supports his underwater companions during a sports . The narrative underscores encouragement, diverse talents, and participation over competition, portraying Dewdrop's role in fostering positivity among friends engaging in various aquatic events. The Moth Keeper, issued by Graphic on March 7, 2023, is a middle-grade fantasy where Anya assumes the duty of Keeper, safeguarding lunar moths that enable the annual blooming of Night-Lily flowers vital to her village. It explores tensions between personal passion and communal obligation, incorporating motifs of light versus encroaching darkness, resilience, and chosen family amid magical and ethical challenges.

Adaptations and Merchandise

Oni Press, the publisher of O'Neill's The Tea Dragon Society graphic novels, collaborated with to release The Tea Dragon Society Card Game in 2018, adapting elements of the book's world into a for 2-4 players. The game features artwork by O'Neill and mechanics centered on collecting tea dragon cards across seasonal rounds, extending the narrative's themes of caretaking and community into an interactive format suitable for family play. An expansion, Autumn Harvest: A Tea Dragon Society Game, followed in 2020, incorporating additional dragon varieties and memory-sharing elements to deepen player engagement. Merchandise tied to the series includes plush toys, such as the Mountain tea dragon plushie, which crowdfunded successfully on in April 2021, raising funds to produce the item based on O'Neill's character designs. These products, available through official channels like 's online store, complement the books by providing tangible representations of the dragons, broadening accessibility for younger audiences who may prefer physical play over reading. The card game and plush lines have contributed to the franchise's expansion beyond print, fostering fan interaction through licensed extensions while maintaining fidelity to O'Neill's original illustrations and gentle fantasy aesthetic.

Artistic Style and Themes

Illustration Techniques

O'Neill's illustration techniques rely on digital tools, primarily , to create layered compositions that blend structured shapes with organic, hand-drawn elements. The process begins with rough sketches using a small at low opacity—typically black lines at 15%—over which clean shapes are drawn freehand to form the base structure, avoiding strict vector precision in favor of fluid, painterly application. This "freehand vector" approach, as O'Neill describes it, organizes layers akin to vector software but executes coloring and texturing manually, resulting in soft gradients and subtle textures that evoke a watercolor aesthetic without traditional wet media. Creature designs emphasize whimsical, non-realistic details through distinctive silhouettes, expressive , and intricate hand-drawn features, such as the fur-like tea leaves on tea dragons, which prioritize charm and personality over anatomical accuracy. Color palettes consist of muted pastels and warm earth tones, applied with limited variance to foster a cohesive, cozy visual tone across panels and spreads. These choices manifest in clean linework paired with gentle shading, enhancing the tactile, inviting quality of elements like fabrics and foliage. In graphic novels, panel layouts employ open compositions with ample , promoting a deliberate, unhurried pacing that aligns with the works' narratives. Borders are often minimal or absent, allowing illustrations to breathe and guiding the eye through sequential flows that prioritize emotional over dynamic action sequences; this results in page designs described as visually undemanding and immersive. Such arrangements support extended views of single scenes, reinforcing the emphasis on quiet observation in O'Neill's storytelling visuals.

Core Themes and Motifs

O'Neill's graphic novels feature recurring motifs of companionship with mythical creatures, such as the nurturing tea dragons in The Tea Dragon Society series and the aquatic aquicorns in Aquicorn Cove, which symbolize traditions of care and harmony with nature. These elements underpin a gentle fantasy , characterized by low-conflict narratives that prioritize wonder, daily rituals, and interpersonal warmth over epic quests or antagonism. Found family emerges as a core theme across works, with protagonists—often young apprentices or outsiders—forming supportive bonds amid diverse ensembles, fostering lessons in collaboration, self-acceptance, and shared responsibilities. In The Moth Keeper, for instance, the duty of protecting lunar moths extends to communal guardianship, reinforcing motifs of collective duty over . Depictions of same-sex relationships and non-traditional expressions are integrated as normative within these worlds, without emphasis on conflict or identity struggles, contributing to portrayals of inclusive communities. Such representations recur in titles like Princess Princess Ever After, where two princesses unite against a dragon, normalizing partnerships in fairy-tale frameworks. Environmental undertones appear prominently in select stories, linking fantastical ecosystems to real-world concerns like habitat preservation; Aquicorn Cove specifically critiques and pollution's effects on , advocating sustainable practices through its plot of reef restoration. These motifs tie into broader patterns of balance between progress and tradition, as seen in the revival of fading arts like tea dragon husbandry.

Reception

Critical and Commercial Response

O'Neill's graphic novels, especially The Tea Dragon Society (2017), have garnered positive critical attention for their accessible narratives and enchanting visual style, often described as heartwarming and suitable for readers of . Reviewers emphasize the series' focus on themes of and tradition through simple, evocative that appeals broadly without complexity. User-generated metrics reflect strong reception, with The Tea Dragon Society averaging 4.3 out of 5 stars from 68,746 Goodreads ratings as of late 2023, and O'Neill's overall body of work holding an average rating of 4.28 across 178,511 ratings. Subsequent entries like The Tea Dragon Festival (2021) maintain similar acclaim, with ratings exceeding 4.3 and praise for their cozy, inclusive appeal. Commercially, the Tea Dragon series has seen success as a in children's graphic novels, appearing on Amazon's Best Comics & Graphic Novels for 2017 and School Library Journal's Top 10 Graphic Novels of the same year, indicating strong and retail demand. Its international reach is supported by translations into languages such as French, Italian, Korean, and Norwegian, facilitating global distribution and readership.

Awards and Recognitions

O'Neill's The Tea Dragon Society received the 2018 Eisner Award for Best Publication for Kids (ages 9–12). The same work also won the 2018 Eisner Award for Best . It was awarded the 2018 Award for Kids . Additionally, The Tea Dragon Society earned a Harvey Award for Best Children or Book in 2018. The book was selected for the American Library Association's 2018 Rainbow List. O'Neill's Aquicorn Cove was nominated for the 2019 Eisner Award for Best Publication for Kids (ages 9–12). Dewdrop received a nomination for the 2020 Goodreads Choice Award in the Children's category. In 2024, The Moth Keeper won the Mythopoeic Fantasy Award for Children's Literature.

Criticisms and Controversies

O'Neill's works, particularly The Tea Dragon Society (2017), have encountered challenges in educational settings over the inclusion of queer representation in content marketed for young audiences. The graphic novel, featuring an elderly gay couple as mentors to the protagonist, has been flagged for potential removal from school libraries, such as in the Urbandale Community School District in Iowa, where it was identified among titles addressing sexual orientation. Advocacy groups, including those advocating for parental oversight of library materials, have cited such elements as inappropriate for elementary-aged children, arguing they introduce themes of homosexuality in narratives intended for broad accessibility. These challenges align with wider efforts to restrict with LGBTQ+ content, as documented in reports tracking over 4,000 banned or contested titles in U.S. schools during the 2023–2024 , where The Tea Dragon Society appeared due to its depiction of same-sex relationships. Critics from conservative perspectives, often parents and community activists, contend that normalizing relationships in all-ages fantasy risks prioritizing adult ideological goals over age-appropriate storytelling, potentially influencing impressionable readers' understanding of family and identity without . No empirical studies directly link O'Neill's subtle representations to adverse developmental outcomes, though opponents invoke precautionary principles rooted in traditional views of child psychology, emphasizing protection from premature exposure to sexual minority themes. O'Neill has addressed their approach to diversity in interviews, stating that portraying inclusive worlds is "fundamental" to their fantasy narratives, designed to offer marginalized children visions of communal harmony without didactic intent. They describe creating environments where "children who belong to marginalized groups... can see how the world could be at its best," integrating elements naturally from personal experience rather than proselytizing. Beyond these library disputes, O'Neill's career lacks major personal scandals or legal controversies, with debates largely confined to cultural discourse on children's media representation.

Personal Life and Public Persona

Identity and Pronouns

In December 2020, O'Neill publicly announced a preference for the Kay and they/them pronouns via an post dated December 17. In the statement, O'Neill described the change as part of a personal process of , noting that their work in creating stories inclusive of diverse genders had contributed to understanding their own identity over time. This preference reflects broader cultural developments in , where guidelines issued in September 2020 urged schools to respect students' chosen names, genders, and pronouns in educational settings and records. Such shifts align with increasing societal use of , including the influence of te reo , which lacks gendered pronouns by default. O'Neill's announcement occurred amid these evolving norms, though it was framed as a personal milestone rather than a direct response to policy. O'Neill's creative output incorporates characters with varied gender expressions, such as the non-binary Rinn in The Tea Dragon Tapestry (2021), but O'Neill has clarified that these elements emerged prior to full personal realization and served to inform rather than derive from autobiographical experience.

Engagements and Advocacy

Kay O'Neill has engaged in public forums to discuss their graphic novels and creative methods. On March 12, 2023, O'Neill hosted an Ask Me Anything session on Reddit's r/books subreddit, fielding questions from users about works such as The Tea Dragon Society series and Princess Princess Ever After, with responses covering inspirations and artistic techniques. O'Neill announced a book tour in , marking their first such international promotional event, beginning at the and continuing to multiple cities for bookstore visits and fan interactions. This tour highlighted the growing European reception of their translated works. In interviews, O'Neill has elaborated on their approach to representation, stating that diverse characters and relationships, including same-sex couples and non-binary figures, are integrated organically into narratives to reflect everyday realities rather than as didactic elements. For instance, in a 2021 discussion with Comics Beat, O'Neill emphasized creating inclusive worlds where such elements enhance storytelling without compromising whimsy or accessibility for young readers. O'Neill maintains an active online presence, sharing sketches, process insights, and event updates via (@strangelykatie) and X (formerly Twitter, @strangelykatie), fostering direct engagement with fans and providing glimpses into their illustration workflow. These platforms have been used to announce appearances and merchandise, though O'Neill avoids explicit political advocacy, focusing instead on artistic and community-oriented activities.

References

  1. https://www.simonandschuster.com/authors/K-ONeill/183374120
  2. https://ktoneill.com/index.php/portfolio/the-tea-dragon-society/
  3. https://www.goodreads.com/author/show/7831390.Kay_O_Neill
  4. https://www.comicsbeat.com/kay-oneill-tea-dragon-tapestry-interview/
  5. https://my.christchurchcitylibraries.com/new-zealand-childrens-authors/interview-with-kay-oneill/
  6. https://www.librarything.com/author/oneillk
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  8. https://koneillstudio.tumblr.com/about
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  10. https://ktoneill.com/index.php/portfolio/princess-princess-ever-after/
  11. https://www.amazon.com/Princess-Ever-After-Katie-ONeill/dp/1620103400
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  13. https://www.animeherald.com/interview/vising-the-tea-dragon-society-katie-oneill-talks-with-anime-herald/
  14. https://www.amazon.com/Tea-Dragon-Society-Katie-ONeill/dp/1620104415
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  36. https://www.goodreads.com/book/show/61356477-the-moth-keeper
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  50. https://www.academia.edu/117730924/Queer_Communities_as_Utopias_of_Potentiality_in_the_Graphic_Novels_of_Kay_O_Neill
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  59. https://databases.desmoinesregister.com/books-flagged-for-removal-from-school-libraries/327/
  60. https://www.reddit.com/r/Libraries/comments/x9f383/armed_activists_show_up_to_idaho_library_and/
  61. https://pen.org/report/cover-to-cover/
  62. https://chipublib.bibliocommons.com/list/share/205980823/2773940057
  63. https://www.instagram.com/p/CI6WWJQh6E_/
  64. https://www.theguardian.com/world/2020/sep/09/new-zealand-schools-urged-to-use-students-preferred-names-genders-and-pronouns
  65. https://www.massey.ac.nz/about/news/eight-thoughts-on-gender-inclusive-language/
  66. https://www.dtilawyers.co.nz/news-item/promoting-inclusion-through-pronouns
  67. https://www.reddit.com/r/graphicnovels/comments/11pm1wb/crosspost_ama_with_k_oneill_new_zealand/
  68. https://www.instagram.com/strangelykatie/
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