Week 16 Prompt

Both of our readings this week talk about the culture of reading and the future of the book. So I have two questions for you as readers, pulling on your own experiences and all of the readings we have done over the semester: First, how have reading and books changed since you were a child, for you specifically? Second, talk a little about what you see in the future for reading, books, or publishing - say 20 years from now. Will we read more or less, will our reading become more interactive? What will happen to traditional publishing? This is a very free-form question, feel free to wildly extrapolate or calmly state facts, as suits your mood!

I have no memory of a time when I wasn’t a reader; I learned to read by accident when I was four.  My mom sat me at the kitchen table with coloring pages while she helped my sister with her phonics homework, and I learned by simply listening.  It wasn’t until I started reading a chapter book aloud later that year that my mom even realized I’d learned!  Then, when we were all in grade school, she started paying each of us $1.00 for each book we read (no repeats) in lieu of an allowance.  She was a great literacy advocate for my siblings and me and turned us all into lifelong readers. 

I went through waves in my appetite for reading, usually proportionate to the amount of academic reading I had to complete.  Once I completed my undergraduate degree, I started working as a nanny and ended up having quite a bit more free time to read.  Then, as a Christmas gift, the family that I worked for gave me a Kindle.  Before I knew it, I had thousands of free books on my Kindle, and I was reading wherever I went.  Now I use the Kindle application on my phone along with my Kindle device, as well as a whole selection of printed books.  Anymore, I read on both mediums, print and digital, and reading for enjoyment is an important part of each day. 

Given the way that reading habits have evolved over the past twenty years, it’s hard to imagine how they will change in the next twenty.  I can only assume that technology will continue to change the way that reading is experienced.  It’s easy to imagine that in the next several years that ebooks will have more integrated experiences.  Graphics, animation, sound, and other methods could easily be used to make reading a multi-sensory experience and can incorporate more than just the printed word.  I don’t think that printed books will every truly disappear, but it is likely that a higher proportion of people will begin to do some of their reading digitally, given the trends over the last several years. 

I do think that the publishing industry is likely to change significantly over then next couple decades.  I think the polarization between the big publishers and self-publishing will become greater; the big publishers will consolidate further and be able to exert greater control over the industry while smaller publishers will have to resort to more creative methods to market their products. 

I believe that reading in general will continue to remain important to daily life.  There is no replacement for literacy in daily life, and I think that a culture of reading will be maintained, even with the changes in reading habits that might occur over the next twenty years.  It will certainly be an exciting adventure, no matter what the future holds! 

Week 15 Prompt

As I work in a bookstore, my first inclination for marketing any book collection is to create eye-catching displays.  Simply putting products into the sight line of customers is often enough to get them to pick it up.  Hiding books in the shelves is efficient, but not a particularly great way to make the collection appealing.  Facing books out so that their covers, rather than their spines, are most visible will catch someone’s eye.  The majority of the displays should be comprised of books; other materials can be included as well, but the focus should be on the fiction materials.  It’s also important that those displays remain full, and change frequently so that people don’t become accustomed to what they see and begin to ignore it.  With a little bit of practice and preparation, displays are an easy way to market a collection. 

Another great way to market your collection is through social media and other online avenues.  Writing up book reviews on a blog that is linked through the library website can highlight some hidden gems, while featuring new arrivals on the library’s Facebook site lets patrons know about new materials.  Simply letting people know through a wide variety of online avenues what is available in the collection will cause an increase of interest.  Similarly, the online catalog should be easy to navigate, so that patrons can easily find what they’re looking for. 

Finally, keeping updated lists and resources is a great way to market a fiction collection.  Bookmarks, flyers, and annotated booklists are all easy ways to highlight some lesser known parts of the collection.  Simply making a short list of books in a very specific genre (like Amish fiction, zombie novels, fractured fairy tales, or reimagined classics) can help users find something that they’re looking for.  Creating a short, NoveList-inspired flyer to popular titles can help direct patrons who have enjoyed one work to something new.  It is also important to keep these lists updated and constantly changing so that there is always something new to discover. 

There are innumerable ways for librarians to market their fiction collections, and no one way is going to work well for every library.  However, including passive methods like the ones above alongside more proactive methods like programming makes for a well-balanced combination that is likely to reach every library user. 

Week 14 Prompt

Before making any decisions, I would first need to know why the request was being made.  I can imagine two likely scenarios.  First, a well-intentioned patron wants to make browsing through these genres easier by grouping them together.  Second, someone was offended or put off by finding these genres on the general fiction shelves and does not want his or her library experience to include seeing these genres.  Obviously, the request in the second scenario would not be granted, but the first would receive consideration.  However, even after deliberation, it is unlikely that the request would be granted for the following reasons:

1. Segregation is a form of discrimination, even with books.  Separating out the LGBTQ or African American materials might encourage some by creating a central location for all the items, but it is more likely to create a barrier.  Those that aren’t seeking out either of those genres are unlikely to browse through a dedicated section, while those that are looking for those genres are less likely to feel comfortable browsing for fear of judgment. 
2. Separating the section decreases clarity.  What about materials that don’t fit neatly into one category – would they need to be shelved in several places, or would they be shelved in just one location?  What about children’s or teen sections of the library – would they also need separate sections, or only adults? 
3. Studies have demonstrated that people, especially those that look for LGBTQ materials, prefer their privacy and are more likely to utilize that portion of the collection if they have the opportunity to do so anonymously (Mathson and Hancks).  Placing items from the LGBTQ and African American genres in the general fiction section increases the anonymity of a patron’s library experience.  
4. These collections can be highlighted in different ways, rather than shelving them separately.  Finding aids, displays, even spine labels (provided they are value-neutral) are all ways to highlight the collection without shelving them in their own sections. 
5. Separate sections often prevent other patrons from finding these genres on their own.  If these materials are included in the general collection, they are more likely to find a wider audience. 

Each of these reasons can also be applied to various other genres and subgenres; I shared last week how I disliked the ‘otherness’ of the YA/Graphic Novel section at my local library, which prevented some adult patrons from browsing there.  I am even uncomfortable with shelving major genres like science fiction, romance, and mystery separately; it offers too many opportunities for self-censorship by patrons simply because of where something is physically located.  If our goal is to provide a wide variety of materials to each of our patrons, the best way to do that is to remove as many barriers to the materials as possible. 

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Works Consulted:

American Library Association.  "Labeling and Rating Systems."  Accessed April 15, 2014.  http://www.ala.org/advocacy/intfreedom/librarybill/interpretations/labelingrating. 

Mathson, Stephanie and Jeffrey Hancks.  “Privacy Please?  A Comparison Between Self-Checkout and Book Checkout Desk Circulation Rates for LGBT and Other Books.”  Journal of Access Services 4 no. 3 (2006): 27-37.  

Week 13 Prompt - Young Adult, Graphic Novels, and Urban Fiction

I like to think that most of the reluctance to include a wide variety of materials in library collections comes from a lack of knowledge about those genres/materials and a fear that libraries won’t be able to support a wider range in their collection.  Unfortunately, however, the reality is that some people really do cling to a close-minded view of what is “appropriate” for certain patrons, no matter how much the larger library community wants to serve their patrons well. 

I’m a big advocate for YA literature for adults, especially given the high quality that most of what I’ve read lately has been.  Our Teen Fiction section is one of the most heavily shopped sections of the store, and only about two thirds of the shoppers in those sections are teens.  We are even creating a New Adult section early next week that will be shelved between the teen and general fiction section.  We also have a huge section for graphic novels, and I’ve loved talking with customers to get to know the titles that they love.  All of these trends in a commercial setting indicate that these types of materials are growing increasingly popular, so it is great to see these genres grow in local libraries as well.  We’ve considered starting an urban fiction section as well given the large number of titles we have in that genre, but unfortunately, there isn’t currently a whole lot of demand for that genre in my area. 

I have visited quite a few libraries in my area recently, and my favorite layouts are those that don’t have obvious separations between sections.  In my local library, the graphic novels are shelved with the teen books, and those shelf fixtures are obviously different in height from the adult fiction next to it.  Those libraries that use universally sized fixtures have fewer barriers to casual browsers that might be afraid that they’ll be judged for their reading choices.  

One of my favorite things that my local library does is that they make it easy to submit materials requests.  There is a limit to the number of materials you can request (five per month), but the process is simple.  Patrons simply fill out an online form with all the information they know, and if the purchase is approved, they get an automatic hold on the item when it comes in.  If the purchase is not approved, there is an option for an interlibrary loan request.  I’ve used this several times, and librarians that I’ve talked to at the library about this have stated that frequently, if one patron requests it, numerous other patrons are also excited to check out the material.  They do also frequently advertize this process, so that many patrons are regularly requesting materials.  This allows the collection to grow organically, and patrons can be sure that they will find materials that they want.  

Week 12 Prompt - Nonfiction Analysis

David and Goliath: Underdogs, Misfits, and the Art of Battling Giants
By Malcolm Gladwell
ISBN: 9780316204361

NONFICTION READER'S ADVISORY MATRIX

Where is the book on the narrative continuum?
This book is highly narrative, written as a series of essays. 

What is the subject of the book?
The book describes a new way of thinking about strengths and weaknesses.  Instead of seeing traditional strengths as advantages, Gladwell describes them as disadvantages because they frequently impede the ability to live a full life. 

What type of book is it?
The book is categorized as a psychology/sociology book, though it touches on various other genres as well. 

What is the pacing of the book?
The book moves quickly, with short, pointed chapters and subdivisions, though the tone is not hurried. 

Describe the characters of the book.
The book includes sketches of a wide variety of characters, including a basketball coach, a teacher, an undergraduate student, and a social activist, along with more famous characters such as T. E. Lawrence, Paul Cezanne, and Martin Luther King Jr.

How does the story feel?
The stories draw you in with a series of intelligent, unassuming arguments, which also have an intimate feel. 

What is the intent of the author?
The author wants readers to reevaluate the way that they see the world and to consider alternative ways of assigning value. 

What is the focus of the story?
The story focuses on the ways that truths about the realities of life are often counterintuitive. 

Does the language matter?
Yes, the language is lyrical and engages the reader. 

Is the setting important and well described?
Yes, each chapter dedicates sufficient time to setting the scene, including location, time period, and cultural atmosphere. 

Are there details, and if so, of what?
There are numerous specific details, as the arguments are often drawn from statistical evidence. 

Are there sufficient charts and other graphic materials? Are they useful and clear?
Each time a visual is discussed, it is integrated into the text so there is little misunderstanding on the part of the reader. 

Does the book stress moments of learning, understanding, or experience?
Yes, the goal of the book is to create a new understanding or way of thinking. 

Why would a reader enjoy this book?
Engaging language, Intriguing premise that offers learning, strong narrative. 

The Swerve: How the World Became Modern by Stephen Greenblatt

The Swerve: How the World Became Modern

by Stephen Greenblatt

Publication Date: 2011

Number of Pages: 356

ISBN: 9780393064476

In this Pulitzer Prize winning nonfiction book, the author argues that one piece of literature, an ancient work called On the Nature of Things by Lucretius, changed the course of history.  When it was penned before the first century, it proposed that the world was made up of millions of atoms that all interact and collide in random fashion, creating the world we see in front of us.  This proposition, in turn, serves as a metaphor for the discovery of the manuscript itself.  When it was rediscovered in 1417 by a humanist scholar and papal secretary named Poggio Bracciolini, it slowly began to be disseminated throughout Renaissance Europe and eventually, changed western civilization. 

This book is a short history, with well-organized chapters that take the reader on a journey alongside Bracciolini as he discovers what will soon be one of the more influential manuscripts of the Renaissance.  It moves along quickly, moving through years and over terrain, making the worlds of both Lucretius and Bracciolini come vividly to life.  These men, through their intellectual endeavors, and the winds of chance, became an important part of western cultural history, and this work is an exciting recovery of that reality. 

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If you enjoyed The Swerve, you might also enjoy these works:

1434 by Gavin Menzies

Another revisionist history, this book argues that it was China’s influence on Europe that sparked the Renaissance.  Though less meticulous in its research than The Swerve, it nonetheless presents a similar argument that previously unconsidered influences caused the huge cultural shift necessary for the European Renaissance. 

From Dawn to Decadence: 500 Years of Western Cultural Life, 1500 to the Present by Jacques Barzun

This expansive history book focuses on the cultural shifts in the western world over a five hundred year period, arguing that decadence is a marker of the end of great periods that is always eventually corrected.  Witty and engaging, this book is written by a well-respected scholar who pulls together seemingly unrelated tidbits into a cohesive whole.  

Brunelleschi’s Dome by Ross King

Also set against the backdrop of Renaissance Italy, Brunelleschi’s Dome is a chronicle of the architectural wonder that is the dome in the Florentine cathedral, Santa Maria del Fiore.  The achievement was all the more significant given the man who designed it, a clockmaker named Fillippo Brunelleschi.  This easy to read work follows the particular history of an unusual Renaissance man who ultimately achieved great significance in Renaissance culture. 

The Color of Magic by Terry Pratchett

The Color of Magic

by Terry Pratchett

Publication Date: 1983

Number of Pages: 210

ISBN: 9780061020711

This is the first novel of the legendary Discworld series, where the flat, disc-shaped world is balanced on the backs of four elephants, which then stand on the back of a giant turtle named the Great A’Tuin, who walks with infinite slowness toward a destination unknown.  In this introduction to Discworld, we meet Twoflower, a gullible tourist from the Counterweight Continent, and Rincewind, a blundering wizard, who have banded together (through rather contrived circumstances) to explore the Disc.  Twoflower’s insatiable curiosity and inability to assess potential danger lead the pair into a series of misadventures in their journey across the Disc. 

Discworld is a unique combination of magic and everyday practicality; Rincewind the wizard only managed to learn one spell before being kicked out of the Unseen University and survives largely on his wits and ability to outrun those he’s offended.  Much of the humor in the novel relies on parodying the traditional fantasy elements.  In Discworld, the wizard is incompetent, the heroes can barely string three syllables together, the magical objects (like the aggressive and slightly homicidal Luggage) are certainly unique, and the dragons tend to explode. 

This novel moves quickly from one event to the next, and features lots of humorous adventure and action.  The jokes are just as frequently seamless as they are momentary head-scratchers, keeping readers on the edge of their seats. 

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If you enjoyed The Color of Magic, you might also enjoy these books:

Discworld Series by Terry Pratchett

The Color of Magic is merely the first in a series of Discworld novels; there are currently 35 books in the series (as well as picture books, graphic novels, video games, and companion guides), with the release of Raising Steam in March 2014.  Each book in the series can be read as a standalone novel, though the each member of the cast of characters generally appears in numerous titles.  Continuity is not particularly important, so each novel has its own plot and theme, though titles can be grouped together as story arcs.  Try this page or this flowchart for more information! 

The Eyre Affair by Jasper Fforde

Set in an alternative version of England, The Eyre Affair begins the series with the mysterious kidnappings of literary characters, which is changing the content of classic literature, and therefore, the very fabric of society.  This novel is the first in Fforde’s Thursday Next series, and in the same way that Pratchett parodies traditional fantasy fiction stories, Fforde’s series parodies the world of literature.  This series is more mystery-driven, but equally humorous and witty. 

The Hitchhiker’s Guide to the Galaxy by Douglas Adams

This classic fantasy novel features Englishman Arthur Dent’s adventures (and misadventures) as he travels throughout the galaxy with a tour-guide writer.  This irreverent, humorous novel is also the first in a series that includes six books, each featuring the offbeat Dent and a zany cast of characters.