Week 16 Prompt

Week 16 Prompt

The Trend of Children’s Books

One of my favorite childhood books was [and still is] Make Way for Ducklings by Robert McCloskey (1941).  With warm sepia drawings and relaxed pace, I found the story of the mallard family comforting.  Today, children print and virtual books may feature interactive elements, allowing the reader to choose the storyline and drive the plot such as in Pango’s Storytime reading app where the child pushes and swipes, shakes and touches the characters to move the story forward, (A., Dana).  As a young child, I was surrounded by an endless supply of books.  My mom, a librarian, instilled the tradition of reading together as a family that has inspired a third generation of avid readers.  From classics to interactive virtual stories and everything in between, children today have an impressive assortment of reading materials to suit their interests, needs and moods.  My kids have enjoyed the interactive nature of print books such as Disney’s Little Einsteins series, where young readers can tap and sing along with the text.   More recently, my daughter has loved Touch the Brightest Star and Tap the Magic Tree by Christie Matheson, allowing children to participate in the story and tap, rub and swipe the illustrations to move the story forward, much like a virtual reading app.   While traditional books are highly valued and often find cherished places on bookshelves, the addition of interactive features attract and engage busy young readers, in the hopes of building a life-long love of reading.

A Look Into the Future

Last week my son’s 6^th grade teacher sent an email to the parents asking the students to bring a water bottle, charged laptop [and charger] and a “paper book” with them to the ISTEP testing.  I assumed the teacher meant a paperback book, perhaps to fit in the students’ laptop case?  My son, though, was certain she meant a print book [specifically eliminating the digital book option].  Who knew?

As our classrooms become paperless and adults access books, news and friends digitally, the electronic age brings greater opportunity to enjoy reading material.  With the proper device and accounts, a reader has the capabilities to tap into extensive digital resources, 24 hours a day, remotely and immediately.  Electronics have enhanced the readers’ world, but have not pushed the print book aside.

The digital world expands the previously excepted materials traditionally published by welcoming self-published works and books of all sizes, “Many of those self-published books are ones in which traditional publishers would have had no interest, but which almost-free distribution makes worthwhile: …The size of the text, as well as the size of the niche, becomes less of an issue, too; short stories and novellas are making a comeback,” (Suich).  Suich explains how the content of the written book:  the ability to enlighten, reform and advance thought remains strongly intact while technology enhances the honorable book qualities, “Books read in electronic form will boast the same power and some new ones to boot. The printed book is an excellent means of channelling information from writer to reader; the e-book can send information back as well. Teachers will be able to learn of a pupil’s progress and questions; publishers will be able to see which books are gulped down, which sipped slowly. Already readers can see what other readers have thought worthy of note, and seek out like-minded people for further discussion of what they have read. The private joys of the book will remain; new public pleasures are there to be added.”

Booklovers will continue to read, and because texts are more readily available, will read more well into the future.  Added features such as interactive book chats, further encourages the population to read.  Because self-publishing and giants like Amazon are pushing prices down and forcing traditional publishers to be more efficient, consumers preferring print books are paying less, on average, for their physical reads (Suich).  With lower prices and delivery to your door, readers easily enjoy their favorite print books and the convenient, durable, package of the traditional book. 

The publishing industry has drastically changed since Peter James’ 1993 novel Host was published on two floppy disks (Nuwer).  From print parchment to floppy disks, to downloadable ebooks, readers and publishers alike can expect the industry to continually evolve.  In 20 years, readers will, likely be experimenting with technology not yet introduced, “Stein imagines, for example, that future forms of books might be developed not by conventional publishers but by the gaming industry. He also envisions that the distinction between writer and reader will be blurred by a social reading experience in which authors and consumers can digitally interact with each other to discuss any passage, sentence or line,” (Nuwer).   The growing use of technology driven readership attracts readers while the survival of print books remains durable, dependable and lasting.

Works Cited

A., Dana.   App Review of Pango Story Time. Common Sense Media, https://www.commonsensemedia.org/app-reviews/pango-storytime. Accessed 17 April 2018.

Nuwer, Rachel. “Are Paper Books Really Disappearing?” BBC Future. 12 January 2016, http://www.bbc.com/future/story/20160124-are-paper-books-really-disappearing.  Accessed 17 April 2018.

Suich, Alexandra. “Papyrus to Pixels:  The Digital Transformation in the Way Books are Written, Published and Sold Has Only Just Begun,” The Economist, https://www.economist.com/news/essays/21623373-which-something-old-and-powerful-encountered-vault.

Week 15 Prompt

Week 15 Prompt

Although Saricks initially emphasizes the effectiveness of genre fiction categorization or genre marking on the book spines as a means to provide patrons with better access to materials (138), additional tools are necessary to mitigate the drawbacks of genre fiction categorization.  Through innovative use of the library’s webpage, readily accessible RA tools such as displays, and inviting patron/ staff interactions, RA services are convenient for patrons and effectively encourage use of the library’s fiction collection. 

Library’s Website

Patrons have readily available access to library events and materials through the library website, “Library websites serve as ‘the public face of the institution’ and provide extensive information and library services to patrons who never set foot into a physical branch… [and] serve as a resource for users who do patronize their community libraries in person, alerting them to the services, events, and resources that will be available to them when they visit,” (Burke 132).  By making RA services available online, libraries offer private, convenient and efficient RA services, (Burke 133).  Online use of RA services is non-invasive, more thorough, and promotes the contents of the collection by highlighting titles that may be disregarded, (Burke 133).  Using email and chat options, RA services can be personalized, in addition to the passive services of online book trailers, podcasts offering booktalks and online booklists, (Burke 133).  Burke’s study concluded that online library services are feasible and that patron interests are strongly supported when libraries implement, update and maximize their online presence, “Recreational readers want to talk about books, and many of them want to have those conversations online.  Shouldn’t public libraries join them? (Burke 142). 

Library’s Environment, Layout and Design (including displays)

For RA services to be effective in marketing the fiction collection, the RA librarian must be present and approachable.  Despite the array of RA tools available, Nann Hilyard contends that the RA librarian is an unmatched asset to patrons, “…’nothing can take the place of an intelligent and obliging assistant at the desk,” (19).  A simple sign inviting patrons to ask the librarian for book recommendations such as “Ask Here for a Good Book” encourages patron/ librarian interaction and establishes a welcoming environment (Saricks 137).

Ensuring patrons are comfortable while they browse the collection is essential and can be accomplished with an inviting greeting, easily readable book displays (not overwhelming) and better vision of low shelving “creates an atmosphere that underlines the importance of reading and is conducive to leisurely book selection,” (Saricks 137). Book displays should include a small group of books to easily attract patron interests and descriptive signs (Saricks 139).

https://prowritingaid.com/art/577/The-Best-Historical-Fiction-Books-of-All-Time.aspx

Saricks encourages displays such as “Good Books You May Have Missed” in an effort to attract reader attention to older, quality books (142).  This ongoing display includes a variety of genres and because book selection is shared by many staff members, new titles are added frequently.   Effective book displays speak to the patron moods and display themes aligned with patron interests (Saricks 142).  “Staff Picks” lists noted throughout the collection, gives readers easy access to their beloved librarians’ favorite materials.

https://education.library.ubc.ca/blog/new-dvd-staff-picks-and-recommended-dvd-guide-at-education-library/

Many display ideas can also be implemented on the library’s website, reaching both the virtual library patron in addition to the patrons visiting the physical library,

 

http://www.wakefieldlibrary.org/books-movies-more/book-buzz/staff-picks/

Cross-Training

Finally, implementing some successful tips from bookstores can assist the library in marketing their fiction collection.  In an interview with a Barnes and Nobles bookstore manager, Chris Ripple notes the importance of creating an inviting atmosphere for customers.  By cross-training staff wherein the café staff member can recommend a good mystery to the coffee-lover raving about a great read, invites customer/ staff interactions (Ripple).  Similarly, circulation staff members frequently talk with patrons as they enter, exit and check out materials.  Brief exchanges between circulation staff and patrons offer a friendly, easily accessible opportunity to discuss the books the patron is checking out or renewing, and perhaps offer additional titles of interest.  Confident staff will more likely greet patrons and enjoy brief book discussions periodically throughout their day.  Ripple reminds the reader that customers [patrons] who are greeted, feel more welcome and invited to ask questions (webjunction.org). 

Librarians enjoy a vast array of tools available to market their fiction collection.  By using passive and active, virtual and physical tools, libraries can effectively reach their diverse patron base.

Works Cited

Burke Susan K. and Molly Strothmann. “Adult Readers’ Advisory Services through Public Library Websites,” Reference & User Services Quarterly, vol. 55, iss. 2, 2015.

Hilyard, Nann Blaine. “The Expanding Scope of Readers’ Advisory.”  Public Libraries, Jan/ Feb 2010.

Ripple, Chris. “What Libraries Can Learn from Bookstores,” Web Junction:  The Learning Place for Libraries. 21 March 2012, https://www.webjunction.org/documents/webjunction/What_Libraries_Can_Learn_from_Bookstores.html.  Accessed 16 March 2018.

Saricks, Joyce. “Promoting and Marketing Readers’ Advisory Collections and Services.  Readers’ Advisory Service in the Public Library.  ALA, 2005, pp. 136-160.

Week 14 Prompt

Week 14 Prompt

According to journalist Jennifer Lenzini, the petition supporters in Orange City, Iowa feel as though materials including themes of lesbian, gay, bisexual, transgender and questioning [LGBTQ] are “being pushed on us,” (Lenzini).  Perhaps the proponents of clearly labeled LGBTQ materials seek obvious labels in an effort to avoid such items, or, so their children do not inadvertently stumble upon sensitive issues.  While clearly labeling LGBTQ materials [and African American Fiction] will allow patrons to more easily avoid, or check out the materials, such labeling introduces several substantial negative traits.

(1)   Labeling all LGBTQ materials and/ or African American Fiction does not allow patrons to discretely select materials that may be questioned by the community and their social peers.

photo: https://www.pinterest.com/pin/321092648427343357/

Utilizing visual displays, relevant easy access booklists, passive RA services, specialized book discussions using GBLTQ and African American Fiction titles, and outreach programs, the library can effectively provide patrons interested in GBLTQ and African American Fiction titles in a respectful, informative manner while maintaining privacy for patrons wishing to browse the collections in search of GBLTQ resources. The American Library Association provides guidance for libraries in servicing GLBT library users, “LGBT patrons and their allies want their privacy protected from prying eyes (which libraries already do well); the ability to check out materials without comment or judgment; materials that are interesting, timely, and bought on-par with other subject matters; resources available in local branches without the need to order them from the far-flung reaches of the library galaxy; and programming to meet the needs of children, teens, adults, and families. Further, LGBT patrons want all of these things without having to ask,” (American Library Association).  While book spine labels may invite unwanted glances or comments, libraries can communicate new LGBT and African American Fiction releases with readily available bookmarks or displays indicating the library location of these titles to assist the patron in finding their desired materials in an effective, discrete manner and providing patrons the privacy and materials afforded to them.

(2)  Labeling all LGBTQ and African American Fiction materials limits the possibility of patrons stumbling upon LGBTQ materials and/ or African American Fiction and discovering unexpected enjoyment.

Patrons may be able to relate to themes, characters, story lines of LGBTQ and African American Fiction for reasons other than their sexual orientation or culture.  Patrons feeling underserved, disrespected and disadvantaged may find empathy, encouragement or inspiration from characters and plots in LGBTQ/ African American Fiction, “Urban lit did open a new pathway into literature for an under-represented group of people…” (Munshi).  Although young black people are the most likely readers of urban lit, perhaps young readers of differing ethnicities will also discover reasons to engage in urban lit, “…the books are often ‘the biggest and most compelling reason for a lot of people to turn to reading who otherwise wouldn’t,” (Munshi).  The appeal of each genre likely reaches a broad spectrum of prospective and interested readers, “Without formal research, however, it is difficult to determine how broad the genre’s appeal is,” (Honig).  Librarians are charged with the duty to serve all patrons’ interests, “…not all types of books will appeal to all readers, but..many readers do find this genre [Urban Lit] meaningful and your job as a librarian and readers’ advisor is to serve all of your readers’ interests and tastes,” (Honig, ix).

photo: https://www.aclibrary.org/content/jails-juvenile-inmate-library-services

(3)  Labeling LGBTQ and African American Fiction assumes that LGBTQ and African American Fiction are not multi-themed, containing additional elements of engagement and discussion other than the sexual orientation or cultural characteristics of the protagonists or secondary personalities.

The genre of Urban Lit, for example, may draw readers based on emotional, social or developmental needs addressed in the title; landscapes and settings with which the reader can identify; intrigue or understanding of abuse, drug use, violence, poverty, loss of friends and family members; fast-paced entertainment similar to their favorite movies and explore other perspectives, (Honig, xx-xxi).  Jennifer Lenzini quotes Amanda Vazquez, Library Director of the Orange City Public Library when discussing the classification of Morris Micklewhite and the Tangerine Dress, “right now it is placed on the shelf under fiction for K-12, and placed in its spot based on the author’s last name.  Whereas, if we were to go with the bisac heading, …it would fall under juvenile fiction, social themes, self-esteem and self-reliance.”  Diverse patron needs and interests propel patrons to seek titles for a variety of reasons.  Classifying works as Urban Lit or LGBTQ narrowly defines the titles and hinders access to patrons.

Neither LGBTQ nor African American Fiction materials should be labeled and segregated.  In alignment with the ALA’s suggested labeling and rating systems, libraries should commingle African American Fiction and LGBTQ titles within their overall collection, “Identifying books with a GLBT label may prevent library users from accessing them for fear of being outed. Interfiling GLBT materials can be a positive move for libraries; when these materials are placed alongside other books and materials, GLBT users feel welcomed and not ostracized,” (American Library Association).

Works Cited

American Library Association, “Open To All: Serving the GLBT Community in Your Library,” http://www.ala.org/rt/sites/ala.org.rt/files/content/professionaltools/160309-glbtrt-open-to-all-toolkit-online.pdf.  Accessed 9 April 2018.

Honig, Megan. “Introduction.  In Urban Grit:  A Guide to Street Lit.”  Libraries Unlimited, 2011.

Lenzini, Jennifer,”Orange City, Iowa Public Library To Test Trial-Run of Separately Labeling Books with LGBTQ Themes,” ktiv.com, 20 March 2018.

Munshi, Neil, “Urban Fiction: Words on the Street,” Life & Arts, 13 Nov. 2015.

Week 13 Prompt

Week 13 Prompt 

If readers advisory librarians focus on connecting patrons with an enjoyable read, regardless of genre and format, the patron may discover new areas of interest, perhaps outside of the traditional legitimate reading options, “The objective of readers advisory is not to recommend a book that is ‘good for you,’ but simply to suggest a good book for an enjoyable read,” (Booth 34).  Libraries can provide both passive and active readers advisory services in an effort to reach the needs and interests of all their patrons [or, to expose patrons to possible new interests].  Actively conversing with patrons and offering displays such as book maps, books to screen displays, read alike options, patrons are offered quick access to materials and may be introduced to new formats and genres that they otherwise wouldn’t approach independently, “Part of the service we need to provide includes passive advisory including displays and bibliographies and active advisory including approaching patrons and conducting advisory interviews,” (Hilyard, 12).

   www.peaceporridge.com

Using social media to reach potential YA readers is a valuable tool for librarians to share, and not just announce, genres and formats and linking them to movies, music and tv episodes that patrons are engaged with, “The discussion [comments about the show, Charlaine Harris’ books, and other titles we liked or didn’t] moved out of the realm of Facebook and right into work, family gatherings, and other real-life meet-ups.  The readers’ advisory librarian in me finally got it.  It really is about the sharing.” (Hilyard 13).  Engaging, actively or passively, in person or through social media, will educate the librarian on the patrons areas of interest as well as introduce patrons to new materials that they might not otherwise experience, “All of these are ways to draw in followers and make them feel like part of the conversation and in the know, while getting across information about new titles, programming, and insight into the variety of things we do in public libraries,” (Hilyard 14).  By providing a variety of genres and formats, accessible in both active and passive RA services, libraries can effectively reach diverse community needs.

  

Works Cited

Booth, Heather. “RA for YA:  Tailoring the Readers Advisory Interview to the Needs of Young Adult         Patrons.”  Public Libraries, Vol. 44 no. 1, Jan / Feb 2005, pp. 33-36.

Daum, Alexandria. “Creative Displays:  Your Best Passive Readers’ Advisory Tool.” Peace Library System, 16 Feb. 2015, https://www.peaceporridge.com/the-blog/creative-displays-your-best-passive-readers-advisory-tool.  Accessed 2 April 2018.

Hilyard, Nann Blaine.  “The Expanding Scope of Readers’ Advisory,” Public Libraries, vol. 49 no. 1, 2010, pp. 10-25.

Week 12 Prompt - Code Green: Experiences of a Lifetime by Kerry Lorimer

Coordinating Author: Kerry Lorimer

Title:   Code Green: Experiences of a Lifetime

Publication date:        2006

Number of Pages:     211

Geographic Setting:   Africa & the Middle East, Asia, Australia & New Zealand, Europe, North America, Pacific, South & Central America, Mexico, Antarctica & the Caribbean

Time Period:  Present

Subject Headings:     Travel, ecotourism, sports & outdoor, nature travel

Type:   Adult Nonfiction

Series Notes: General Reference

Book Summary:         Code Green is a collection of almost a hundred eco-friendly travel experiences from across the globe.  Code Green is a demonstration on how to travel and immerse yourself in the environment and culture of your destination so that upon your departure, your destination is positively impacted by your presence.   With varied destinations, and travel mistakes along the way, the documented travel experiences are entertaining and eye-opening.  The examples contained within all have one common element, “…every example adheres to the principles of responsible tourism:  they are sensitive to environment and culture, and ensure that a proportion of their revenue is directed into the host community,” (Lorimer 8).

Beginning with the basics, “What is ‘Responsible Tourism?’ and finishing with the global impact of an estimated 1.5 billion people traveling internationally by 2020, Code Green educates, enlightens and entices the adventurous reader to travel, domestically and internationally, in an environmentally responsible manner, leaving a trail of positive impacts behind, “Traveling by the responsible travel ethos is one of the most direct and personal ways you can make a difference to some of the biggest issues affecting our world: poverty and peace.  And you’ll have the time of your life doing it,” (Lorimer 210).

Reading elements:   

Setting

Detailed settings and rich, descriptive language, establish the backdrop of the forthcoming eco-friendly travel experience, “Straddling the border between Poland and Belarus, the Bialowieza primeval forest is the most important and largest remaining tract of the ancient lowland forest that covered Europe until 6000 years ago,” (Lorimer 126).  Descriptive language paints a visual picture for the reader, creating a sense of awe and desire to experience the scene personally, “At first glance the Romanian city of Tulcea looks like little more than a concrete ulcer blighting the banks of the Danube.  But with its busy wharves and jostling ferries, it is the launching pad for voyages into one of the most extraordinary and far-flung corners of Europe:  The Danube Delta,” (Lorimer 133). 

Style/ Language

The rich language encourages a slower pace, inviting the reader to enjoy every step, stroke and sight of the journey, “As you navigate the arms of the river and the channels that crisscross the Delta’s 5640 sq km, passing traditional fishing villages that lie hours by boat from any road, you can encounter a proliferation of mammal and reptile life…” (Lorimer 133).  Like fishing on a lazy river, Code Green offers readers an unhurried reading experience.

Characterization

The often used second person narrative invites the reader into the scene, transforming the reader into an active participant, “You start of walking in tropical warmth alongside the raging rapids of the Tamba and Bhote Kosi Rivers,” (Lorimer 77).  The reader can almost feel the tropical steam as they hike along the rapids.  Including the reader in the travel experience by implementing a second person narrative, allows them to visualize the journey and encourages participation in future eco-travel adventures.

Tone/ Mood

The collection of eco-friendly travel experiences offer an intimate glimpse into the lives of the travelers during their trip.  The author thoroughly explores the scene of the travel, reflecting on the grandness of the adventure, “I’d dreamed of driving its (Route 66) 3550km ever since I’d moved to California.  Starting at Santa Monica Pier down by the Pacific Ocean, I gunned my car’s engine and whooped as I sped down the road,” (Lorimer 157).  A sense of awe and tone of admiration and appreciation flow throughout the book, used to highlight the positive impacts of traveling in an environmentally and ecologically friendly manner.

Annotation

Code Green is a collection of travel experiences and tips inviting readers to “explore some of the world’s most magnificent wilderness…help tag turtles on the Great Barrier Reef, count macaws in Peru or learn to be a ranger in an Indian tiger sanctuary,”  or numerous other adventures in a sustainable, eco-friendly travel experience, (Lorimer 8).

 Similar Works

  An Innocent Abroad:  Life Changing Trips from 35 Great Writers Edited by Don George

Lonely Planet Publications (2014)

 

 A Year in the World by Frances Mayes

New York: Broadway Books (2006)

 

A Cook’s Tour:  In Search of the Perfect Meal by Anthony Bourdain

New York:  Bloomsbury (2001)