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)

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.