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.
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).
(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.
