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)

How e-books and audio books affect appeal factors - Writing Prompt

ebooks

Library patrons will be interested in learning about and using innovative formats, “Any time a new format is introduced in libraries, we [librarians] need to look at how that format affects the readers’ approach to the material,” (Dunneback 325).  Patrons approach librarians for advice on “the best possible reading experience” (Dunneback 327).  The reading experience not only includes the titles, but the formats, as well.  While some libraries loan out the necessary devices for digital books and audio books, not all patrons have the capability to view downloads.  Furthermore, physical restrictions might create challenges for patrons to use digital technology, “Library patrons’ physical restrictions contribute to a satisfactory reading experience that can be helped or hindered by the reading devices available,” (Dunneback 327).  The librarian must be certain that, if providing e-book suggestions, the patron is able to download and view their materials. 

Appeal and Display

From enlarging the font for easier viewing for senior patrons, to using e-ink technology for an immersive experience, many unique features assist diverse patrons in enjoying digital books. Digital formats that do not include page numbers, might leave some patrons frustrated with not knowing how far into the book they are at any given point, “The reader will need to rely entirely on narrative drive to feel the pace of the story,” (Dunneback 328).  The amount of text on the screen affects the pacing and the screen layout impacts the tone.  In a print book, a reader can easily see the short paragraphs that include a lot of dialogue and the large chunks of text that may contain more details.  Viewing the text on the screen may not include these visual signals to the reader, “If the visual cues are not there, will the reader tire of the story more quickly?”  (Dunneback 328). 

Conclusion

Some patrons are interested and engaged with changing technology and seek new and innovative formats to read their favorite books.  Others may be frustrated with the learning process required to master e-book technology.  Personally, I do not download books.  I have no problem with the traditional print book, it feels comforting, like a cup of tea on a winter day.  But, especially for young readers who are well trained in advancing technology, e-books offer a medium that can be more engaging and more available.  In working with seniors, who require larger print, the ability to adjust the text size would make available many more titles for their reading pleasure.  Digital books are a valuable tool to serve a diverse community.

Audio Books

Personal Use

My kids, now ages 8, 12, and 14, have enjoyed audio books daily since they were small toddlers.  I quickly learned, that I could not read to my kids as much as they wanted to be read to [before they were able to read] and audio books filled that gap perfectly.  When they’re sick, they lay listening to audio books.  When they are eating breakfast, sleepy, grumpy, we often have an audio book to help us start our morning.  Certainly, vacations and almost any lengthy ride in a car, require audio books.  When my daughter was 4, we listened to the entire Harry Potter series.  She would not have been interested in me reading the series to her, but, with the dramatic narration and sound effects, the audio book was an engaging performance.

Pacing

Narrators influence the pacing of the recorded book, “In audio books, how a narrator approaches the pacing of the story can determine how interested the reader-listener becomes in the book,” (Mediatore 319).    A narrator who reads quickly, using short sentences highlights a briskly paced story.  A gentle, quiet voice and “thoughtful tone” creates a leisurely paced story (Mediatore 319).  For some, a fast paced read is essential to stay engaged in the story.  For other users, it may be difficult to understand the narrator if the pace is too brisk.  Not only does the pace of the narrator need to match the user’s abilities and interests, the pace of the narrator needs to compliment the story’s pace, “…a poor match between the pace of the story and the pace the narrator uses can cause a reader to stop listening to an audio book,” (Mediatore 319).

Characterization

The narrator brings the story’s characters to life, “…the narrator adopts a persona from which to relate the story,” (Mediatore 319).  The narrator has the ability to create vibrant characters through accents and/ or voice inflections.  Unadorned narration may be an appropriate fit for some users, but, other users may become disinterested if there are not changes in the narrator’s voice to reflect different characters.

Story Line

Narration that includes only subtle changes, forces the listener to focus on the storyline.  If the narration is thoughtful, introspective, more emphasis is placed on the story’s plot.  The story line may not focus on the characters, rendering the listening disinterested in character development and more interested in the twists and turns of the plot, “…unhurried, yet suspenseful, audio book [Book of Illusions] draws the listener in, and while the listener may come to care about the characters, not much is revealed about them besides their current circumstances… it is the mix of unadorned reading and an intriguing tale that allows the story line to become the listener’s focus,” (Mediatore 320).

Frame

The narrator also passes a certain tone or feeling to the listener from his / her reading of the audio book.  Music and sound elements impact the tone of the audio book presentation, “When examining frame in an audio book, listen for the ‘audible extras’ such as music, sound effects, or additional recorded material that wouldn’t be available in the print version,” (Mediatore 320).  Music can enhance the genre’s appeal of magical, suspenseful, mysterious, humorous and adventurous, for example.

Conclusion

The narrator holds the serious responsibility of presenting the book to the listener, which can delight or dismay the user, “As audio book narrators become known among readers, those readers find that choosing what to read with their ears can depend heavily on who is doing the reading to them, and in what context they are listening,” (Mediatore 318).  Matching users with audio books that meet their needs is a multi-level challenge, much of which hinges on the narrator’s performance.  If users are able to effectively communicate their preferred appeal factors, librarians will have an easier time connecting the patron with satisfying audio books. 

Works Cited

Dunneback, Katie. “E-books and Readers’ Advisory,” Reference and User Services Quarterly, vol. 50, no. 4, 2011, pp. 325-329.

Mediatore, Kaite. “Reading with Your Ears,” Reference and User Services Quarterly, vol. 42, no. 4, 2003, pp. 318-323.

Historical Fiction Annotation

              Author:                Lisa Wingate

                                                                Title:      Before We Were Yours

                                                                Publication Date:              2017

                                                                Pages:                                   342

                                                                Genre:                  Historical Fiction

                                                                Geographical Setting:

                                                                Memphis, Tennessee; Aiken, South Carolina

                                                               Time Period:      1939; present day

Plot Summary

Rill Foss, the eldest of five siblings, tells the heartbreaking story of being snatched away from her biological parents in 1939 as a young girl and funneled through the operations and abuses of unlicensed boarding facilities and group homes and final adoption by a wealthy family.  Rill struggles to keep her siblings safe and to return home to the riverboat, eventually letting go of Rill Foss to become May Weathers, May Seviers and finally a wise May Crandall announcing, “We must dance within the music of today, or we will always be out of step…” (Wingate 315).  In the present day, Avery Stafford, accomplished attorney and favored daughter of well-respected South Carolina Senator Wells Stafford, alternates the narration, describing meeting elderly May Crandall during a political appearance, to her journey towards discovery and truth that ultimately connects May and Avery in more ways than just a dragonfly bracelet.

Lisa Wingate, a former journalist accounts the devastation and heartbreak from Georgia Tann’s thirty years of unlawful child abductions and adoptions under the Memphis branch of the Tennessee Children’s Home Society, along with her vast network of accomplices, resulting in the death and mistreatment of countless children, “In a four-month period in 1945, a dysentery epidemic had caused the deaths of forty to fifty children under the care of Georgia’s facility…” (Wingate 337).  She shares the fictional Foss children and the “true-life story of the Tennessee Children’s Home Society” to remind us that children are a treasure, “…babies and children, no matter what corner of the world they hail from, are not commodities, or objects, or blank slates, Georgia Tann so often represented her wards; they are human beings with histories, and needs, and hopes, and dreams of their own,” (Wingate 339).

Subject Headings

Brothers and Sisters

Orphanages

Appeal

Frame/ Setting

“World-building is crucial in Historical Fiction.  In these books readers discover a wealth of details relating to the setting as well as to characters and events,” (Saricks 292).  Wingate vibrantly illustrates the culture of the river boat family in contrast to the prestigious lifestyle of the Stafford family.  While Avery describes the “Stafford sense of duty” (44) and “rock star treatment because of my family name,” (49), Rill talks about the difficult life on the shanty boat, “..there’s nothing more to do but go in the shanty and figure out how we’re gonna eat.  All we’ve got is the one cornpone cake and some pears…” (39). Wingate successfully emphasizes the cultural extremes, society and geographical differences between the wealthy families and the poor families struggling on the shanty boats.

Mood/ Tone

The mood established in a Historical Fiction novel can range from foreboding to heartwarming, “Mood is everywhere in this genre,” (Saricks 294).  Because of the variety of possible tones in this genre, the reader may want to anticipate the mood of a book before beginning, “Since these tone and mood terms are so effective when we talk with readers-allowing us to offer a revealing glimpse of how the book might affect them- we need to be aware of mood as we read…” (Saricks 294).  Wingate relates the deep fear and desperation of the young Foss children, alternating with Avery’s light and humorous journey to find truth.  While Rill’s love for her father, Briny is expressed in the backdrop of uncertainty and hardship, “Briny’s a good hustler….mostly now he hustles pool and plays [piano] for things he can trade off to get what we need,” (34), Avery’s pride and bond with her father is regularly emphasized, “There is not, anywhere, a stronger man or better man than my dad,” (Wingate 8).  Avery’s witty thoughts add a sense of comfort to the otherwise turbulent tone, “The good life demands a lot of maintenance,” (Wingate 114).

Story Line

Before We Were Yours describes a particular period of time, 1939-1950, and follows the life of Rill Foss from a 12-year old kidnapped youth to an elderly adult, “Story lines in Historical Fiction generally emphasize either a particular time or event or they follow the lives of characters in a time,” (Saricks 294).    The reader learns about survival in real-life facilities run by Georgia Tann from the fictional character of Rill Foss, “Although this is an intimate first-person account, the narrator and the other characters are not famous historical figures but people of their time caught up in an event,” (Saricks 294). Because unjust acts of Georgia Tann greatly impact Rill Foss, it is difficult to determine whether the event or the character is of greater importance in Before We Were Yours, “In some Historical novels, the distinction between event-centered and character-or family-centered is harder to make,” (Saricks 296).

Pacing:

Urgency and dreadful anticipation surround Rill’s narration as she struggles to keep her siblings safe, “In many [Historical novels] there is an immediacy to the pacing that pulls the reader quickly into the story,” (Saricks 297).  Rill tries to calm her younger sisters during their first morning in the Tennessee Children’s Home Society, “Sssshhh!’ She’s [Camellia] so loud, I half expect the door to swing open and we’ll all be in a fix,” (Wingate 103).

Calmness and heartwarming reflection provide a comforting mood throughout Avery’s narration, “The paddle trip brought back long-lost memories of a sixth-grade excursion to Edisto with my dad.  The memory is still golden, even all these years later,” (Wingate 190).  Wingate successful employs two distinct moods alternating with Rill and Avery’s narration and offering the reader an intense glimpse into the minds and hearts of the characters.

Style/ Language

Rill uses the unsophisticated language of growing up in a river boat, pulling the reader into the struggles of 1939, “It’s a sunny day and hot as fry grease in the house…I skitter around the fig tree and go up under the azaleas to listen,” (Wingate 135).  Avery uses polished language throughout her family relations and public appearances, “I give the prescribed response about whether or not I am being groomed for my father’s Senate seat,” (Wingate 31).  Avery and Rill’s language emphasize the drastic differences between their worlds, “Dialect can intensify a reader’s reaction…” (Saricks 298).

Read Alikes

Necessary Lies by Diane Chamberlain (2013):  Orphaned Ivy Hart, 15 years old, must care for her elderly grandmother, mentally unstable older sister and nephew as they struggle to work on a small tobacco farm in rural North Carolina.  Ivy doesn’t realize how much help she needs until social worker Jane Forrester gets involved, pulling the Hart family close and discovery dark secrets at the farm.  Similar to Rill Foss, in When We Were Yours, Ivy Hart takes on the role of provider for her weak family, working and struggling at a rural tobacco farm. 

 Orphan Train by Christina Baker Kline (2013):    Molly Ayers, 18 years old and nearing the end of her child welfare experience,  meets Vivian Daly as community service forces Molly to assist Vivian in cleaning out the 91 year old’s attic.  Sifting through attic boxes and chests, Molly uncovers Vivian’s turbulent past as a young Irish Immigrant, shipped to the western United States on an orphan train, and discovers unexpected connections with Vivian that Molly never suspected.  Similar to the Foss siblings in When We Were Yours, Molly and Vivian, although generations apart, share an orphaned girl’s experience and both strive to answer buried questions.

   First Desire by Nancy Reisman (2005): Adult siblings Sadie, Jo, Goldie and Irving Cohen offer alternative narratives of their lives from the Great Depression to just after WWII and their buried secrets.  After Rebecca Cohen’s death, her husband, Abe escapes into the arms of Lillian, leaving, Goldie, the eldest, to watch over the others.  Each with their own ailments and handicaps, Goldie’s sudden disappearance encourages healing.  It takes another family crisis to eventually bring Goldie home.  Similar to the Foss siblings, in When We Were Yours, the Cohen children, without parents, must rely on one another.   First Desire dives into the ensemble of sibling personalities and echoes the loneliness each child endures.

Works Cited

Saricks, Joyce. The Readers’ Advisory Guide to Genre Fiction, American Library Association, 2009.

Wingate, Lisa. Before We Were Yours, Ballantine Books, 2017.

Book Club Experience

Wednesday AM Book Club

Introduction

I observed the Wednesday AM Book Club in February.  I was at the library selecting books for the Senior Outreach program and stumbled upon the book club meeting.  Although I had not read the book discussed, Swans of 5^th Ave by Melanie Benjamin, I was instantly drawn to this casual, informal book discussion and sat as an observer for the duration of the two hour meeting.

Atmosphere

The Wednesday AM Book Club is one of four book clubs offered for adults at the Zionsville Public Library and meets once a month in the 2^nd floor Conversation Corner; the southeast corner of the fiction section, a secluded corner of the second floor providing comfortable chairs, side tables and natural light resonating from a wall of large windows, and warm light from additional table lamps.  The friendly, welcoming conversation and occasional chuckles among the seven participants attracted my interest immediately.  An adult services librarian selects the books and leads the discussion.  The book selections are listed for the next month on the Book Club Bulletin Board located in between the teen and adult departments, and noted in the library’s Featured Events monthly brochure.  All participants attending the book club had read the book and were eager to meet and discuss.  Refreshments were not provided at this book club, although two other library adult book clubs do offer coffee, desserts and/ or light refreshments.  Some participants did bring their own beverages to enjoy during the discussion, however. 

Discussion

The Wednesday AM Book Club meets the 2^nd Wednesday of every month from 10:00am until 12 noon, “meeting format should allow two to two and one half hours,” (ilovelibraries.org).  The adult services librarian facilitates the book discussion.  The facilitator for this group did not use a prop to spur conversation, engage in a literary game to energize the group, or write questions on notecards asking the members to take turns answering as noted in suggested discussion techniques, (ilovelibraries.org).  Instead, the facilitator posed one open ended question after another, ranging from plot discussion to character development.   Contrary to book club trends requesting “reading group guides and other supplementary material both by and about the author, and…direct access to writers…” the Wednesday AM Book Club did not use supplementary materials and offered only a simple,  relaxed atmosphere and an effective facilitator in which to explore Swans of 5^th Ave, (Goldstein 32). 

Much of the conversation centered on the complex character of Babe Paley and her relationship with Truman Capote, “Choose a primary character and ask participants to comment on him or her,” (ilovelibraries.org).  Participants discussed at length, Paley’s perfectionist persona and her underlying identity as well as Capote’s attraction to Paley and his self-destructive behavior.  The character traits of Paley and Capote were thoroughly considered, participants introducing various traits to discuss.  Paley emits an aura of perfection, providing a meticulous home and physical appearance for her husband, Bill, while sharing deep secrets and perhaps her true identity with Capote.   Book club participants eagerly offered insight into Paley’s complicated character.

When the discussion slowed, the facilitator introduced an open ended question to the group and waited a moment for someone to begin the conversation.  About half of the time, participants would offer insight.  If nobody responded immediately to the open ended question, the facilitator would rephrase the question and then invite a participant by name to offer insight.  No single participant dominated the conversation at any point, although a few were more outspoken than others.  The facilitator was able to engage each participant throughout the duration of the club meeting and conversation seemed to flow smoothly.

Ending the book club meeting, the facilitator asked the group how they felt about the book; were they immediately captivated?  Did it take a while to settle into the storyline?  Was there a character or character(s) that bothered them?  All participants easily responded with their personal reflections about the book’s appeal.  Ending the discussion with participants’ considering their individual reactions to the novel provides a moment of reflection and may assist the facilitator in choosing subsequent books for the group.

Conclusion

Although just a distant observer, I appreciated the dignity and respect the facilitator provided throughout the discussion.  Avoiding ice-breaker games and imaginary scenarios, “If you were one character in this book, which one would you be?” the conversation was always relevant and comfortable.  As an observer, I did not notice or feel a sense of “collective bargaining” or the  “rise of the book clubs’ influence…to a new era in publishing” or even that the group was, in fact, a “potent network” (Goldstein 30,32).  The tone of the discussion group was welcoming, patient and genuine.  Perhaps the attendees are regulars, but the participants never strayed far from the topic of discussion and created an open environment to engage and discuss.

Works Cited

Goldstein, Bill. “Reads well With Others,” Publishers Weekly, 23 May 2005, pp. 30-34.

Litlovers.com. “Starting a Book Club.” American Library Association,        www.ilovelibraries.org/booklovers/bookclub/org, 2009-2015. Accessed 2 March 2018.