Podcasts About Books for Kids and Teens

By Gwen Vanderhage, MLIS

kidlitwomen Credit should be Illustration by Grace Lin Books Between hey-ya-podcast


Pod·cast (ˈpädˌkast)

Noun: A digital audio file made available on the Internet for downloading to a computer or mobile device, typically available as a series, new installments of which can be received by subscribers automatically.

Verb: To make (a digital audio file) available as a podcast.


I am an avid podcast listener, yet until last year, when I explored the topic of library podcasts for this blog, I had not thought to seek out podcasts about literature or the business of librarianship. That previous post has been popular with our readers, so maybe you had not taken much time to seek out librarian shows, either. Tell me, have these podcasts inspired you? Have you found new library podcasts you love?

shutterstock_1360986551Since I spend my time reading and working with books for kids and teens, this year I have been listening to podcasts that feature topics, trends, and authors in young people’s literature. I don’t think I’m alone. There are some great ones out there for librarians, families, authors, and readers who appreciate the art and craft of writing for young people. At the ALA Annual Conference this past June, in Washington, D.C., the Pop-Top Stage in the exhibit hall featured live recordings of two different podcasts, both featuring BIG NAME authors for kids.

Dewey Decibel PodcastThe first live podcast recording I attended was for a Dewey Decibel podcast from the ALA’s American Libraries magazine. The host, Phil Morehart, Senior Editor at American Libraries, led a panel discussion about the history, influence, and resonance of the Coretta Scott King book awards, as this award celebrates its 50th anniversary this year. The panel featured past King winners and prominent African American authors and illustrators Jacqueline Woodson, Jason Reynolds, Angie Thomas, Christopher Myers, and Ekua Holmes.

While the Dewey Decibel podcast normally features topics from across the world of libraries, it was relevant to me to sit in on a discussion on the influence of children’s literature in the lives of young people, the importance for children to see themselves in books and pictures, and to experience the warmth and sense of family a community of book makers have when they sit down together. It was a wonderful experience that I think translates across the airwaves. I hope you enjoy it as much as I did.

The Children's Book PodcastThe second podcast recorded at ALA Annual was The Children’s Book Podcast, hosted by Matthew C. Winner, a school librarian in Maryland. He was joined by a panel of popular children’s book authors: Kate DiCamillo, Shannon Hale, and Cece Bell. These authors discussed humor in their books, relating to a child audience, and how their books provide a sense of “home” to young readers. The Children’s Book Podcast regularly hosts children’s book authors reading from and talking about their work. Host Winner is a fan of graphic novels and regularly includes graphic novel creators discussing their work, along with authors and illustrators of traditional formats.

Kidlit These Days PodcastMatthew Winner, host of The Children’s Book Podcast, is also the co-host of a new podcast, along with author Karina Yan Glaser (The Vanderbeekers of 141st Street, also a contributing editor to Book Riot), called Kidlit These Days, from Book Riot. Their podcast focuses on current topics in publishing, the news, and how authors and librarians can help children respond to them through literature. Each podcast pairs books with the show’s respective topic. The first episode featured the response from Latinx authors to teachers in Idaho who dressed up as the Border Wall for Halloween. Other episodes have included a children’s author who talks with kids about her hijab, problems around soft censorship, and how to use historic artifacts with kids. One thing I like about this podcast is that it highlights older books that work well in discussion with children and families, as well as new books. This aspect would also help librarians with lists and displays. The co-host format with one of my favorite authors is especially engaging.

Other terrific podcasts I have been listening to include:

kidlit women* podcast — hosted by acclaimed author/illustrator Grace Lin, who pulls together interviews with female children’s book authors talking about their careers and experiences

Read-Aloud Revival Podcast — celebrates the connections reading together can build in families; features topical book lists and is popular with homeschooling families

Dream Gardens — features authors talking about the books they love and loved as kids

Picturebooking — showcases the authors and illustrators of current picture books

The Yarn — delves deep into the process of book creation with bloggers Travis Jonker and Colby Sharp

Books Between — features book reviews and author interviews with a focus on the 8-12 age group, or “middle grade” readers

Hey, YA — Young Adult podcast from Book Riot featuring banter and insider buzz, as well as book reviews and lists of forthcoming Young Adult books

If you would like to sample any of the podcasts I have featured, they should be available to stream or download through the search feature in your favorite podcasting app (Stitcher, Downcast, Overcast, etc.), or iTunes. You can also click through the links here and listen online.

What youth literature podcasts or library podcasts do you enjoy? Are there others I should check out?

 

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Gwen

After spending many years as a children’s librarian and collection development specialist at Denver Public Library, Gwen joined Brodart to share her passion for children’s literature with as many different libraries as possible. Click here for more.

 

Librarians Make Great “Jeopardy!” Contestants

By Richard Hallman, M.Ln.

Now in its 35th season, the popular game show “Jeopardy!” definitely has an appeal that some other game shows — Wheel of Fortune, for instance — don’t. That’s because it’s all about knowing stuff: Shakespeare, science, sports, American history, potpourri, and lots more.

If you’re a librarian, especially a reference librarian, you may have heard someone say, “I bet you’re good at ‘Jeopardy!’” once or twice in your career. The two librarians at my house stopped watching “Jeopardy!” a while back because it’s hard to eat dinner while screaming answers in the form of a question at the TV. The only way we could win would be as a team. I’d handle categories like World Leaders, while Fern would cover Show Tunes. We would just punt on Sports.

Many librarians love “Jeopardy!”, and since it’s on five nights a week, there have beenContestants No Numbers with Frame quite a few librarian contestants over the years. In 2017, American Libraries estimated around 150 had been on the show since 2005. The magazine interviewed 11 of them, including one with whom my sister went to high school.

The American Libraries article said that since 2005 there had been 30 librarian champions, and that librarian contestants had won close to a million dollars on the show. That was before the “Giant Killer,” Emma Boettcher, took down James Holzhauer back in June. She performed her heroic deed just as Holzhauer was about to eclipse Ken Jennings’ record winnings of a little over $2.5 million. So hopefully, Jennings sent her a nice thank you card, or maybe just a check. Librarians are so helpful!

Boettcher is a user experience librarian, a job title that I’m pretty sure didn’t exist back when I was in library school. She majored in English as an undergraduate, so Shakespeare and other categories like Literature and Theater were right up her alley. Oh, and also she wrote a paper about “Jeopardy!” while in grad school, “using text mining to find out whether the readability of the show’s questions could predict their difficulty levels.” Duh!

Is it hard to get on the show? Boettcher first tried out when she was still in high school but didn’t get chosen. Nevertheless, she persisted, and it finally paid off, to the tune of just under $100,000 this year. She’ll be on a “special “Tournament of Champions” show in the first half of November along with Holzhauer and some other smarties so stay tuned.

 

Jeopardy with Text

Would you like to be a “Jeopardy!” contestant? Start here by registering, then use the online materials, including practice tests, along with your own smarts and study up.

May the best librarian crush!

 

Richard Hallman, M.Ln.

Richard

Budding collection developer Richard Hallman finally set aside his dreams of becoming a rock star, movie director, and/or famous novelist to embrace librarianship. Click here for more.

What Ever Happened to Virginia Woolf?

By Paul Duckworth, MLIS

Virginia_Woolf_Illustration

“Lies will flow from my lips, but there may perhaps be some truth mixed up with them; it is for you to seek out this truth and to decide whether any part of it is worth keeping.”

—Virginia Woolf, “A Room of One’s Own”

 

I’m a bit embarrassed, but I need to admit up front that I’ve never read anything by Virginia Woolf. Why embarrassing, you ask? First, because I’m writing this article about her. Second, because I was an English major in college and she was a prominent literary figure in the Bloomsbury set—as well as an atheist, feminist, and pacifist. One would think she would be a legitimate part of an English major’s education. What happened that kept me from getting acquainted with her? Maybe I skipped a course on early twentieth century writers, or perhaps my college didn’t give sufficient attention to female authors. Now, let’s look at the fact that most colleges in that time period, the early 1970s, failed to highlight most women authors. No, let’s not—that’s an entirely different article. Whatever the cause of my lack of familiarity with Woolf, I regret that I did not come to know her in my education. Thankfully, I discovered her through my career as a public librarian.

Right now, you may have thoughts and questions bubbling up in your mind.

“When did she live?”

shutterstock_705620560“She killed herself, right?”

“Bloomsbury set? That’s old-fashioned women’s underwear, isn’t it?”

“She lived in a lighthouse, didn’t she?”

“I heard she was anti-Semitic.”

“She was a lesbian.”

“Wait—don’t tell me. Wasn’t she in that film “Who’s Afraid of Virginia Woolf?”

“Someone told me that her first name was not Virginia. Is that true?”

Or perhaps even: “Why is this guy writing an article about her?”

Whoa! Stop right there, please. All will be revealed. Be patient and I will correct some misconceptions and tell you, if not everything, then at least a lot of interesting things about Virginia Woolf.

First of all, as some of you are presuming, she is, in fact, deceased. She was born in London, England, in 1882, to a wealthy intellectual family. Woolf died in 1941 in the depths of the River Ouse, near her home in Sussex. Suffering from yet another lengthy period of debilitating depression, she had waded into the river, her pockets filled with heavy stones so that she would sink and drown. She had tried to take her own life, unsuccessfully, a few times earlier in her life, but this attempt proved successful.

An odd word to use in describing suicide: successful. Was her life successful, or was it her death that succeeded? What makes a life a success? By the standards of her time, she was wildly successful in that she married well, was exceedingly well-read and educated, and was a published author of fiction, nonfiction, essays, plays, and short stories. In addition, she was the central figure in a prominent artistic and literary group called The Bloomsbury Group. Money was always easily available to her, and so her life wasn’t burdened by the manual labor that most women endured in England in this time period.

shutterstock_1216099198Nothing stood in her way to work creatively regarding her thoughts, opinions, insights, writings, and associations with people. Nothing except her psyche. Her failing was not one of those usual ones of ability, time, or space, but rather was hidden in the inner reaches of her highly intelligent mind. She inherited a family curse—mental health issues that many of her relatives experienced. Hers was a fragile mind, prone to exhaustion and depression and shaken by the family dynamics of her early years, including being sexually molested by her two older half brothers, Gerald and George. All contributed significantly to what is clear today—she dealt with bipolar illness. She was vivid in her descriptions of how it manifested itself at times. One example is Woolf’s reflection on her mental state after completing her first novel The Voyage Out. “I married, and then my brains went up in a shower of fireworks. As an experience, madness is terrific… and not to be sniffed at, and in its lava I still find most of the things I write about. It shoots out of one, everything shaped, final, not in mere driblets as sanity does.”

Well, what about Woolf’s family? They were prominent and quite successful in turn-of-the-century London. Her father, Leslie Stephen, was a writer, historian, and biographer. He was the son-in-law, through his first marriage, of the novelist William Makepeace Thackeray. Julia Margaret Cameron, her cousin, was a well-known photographer. Her brother, Adrian Stephen, was a pioneering psychoanalyst and well-known pacifist. Her half-brother Gerald Duckworth (no relation to the author of this article) founded the publishing company Gerald Duckworth and Company. Her sister, Vanessa Bell, was a painter and interior designer. Chevalier Pierre Ambrose Antoine de L’Etang, her great-great grandfather, was from the French nobility and served first as a page to Marie Antoinette and later as stable master of the royal stables at Versailles. Her husband, Leonard Woolf, was a political theorist, author, and publisher. He founded Hogarth Press, which consisted of a small hand-operated printing press located in his and Virginia’s home, Hogarth House, at 34 Paradise Road in London.

shutterstock_1145084495And so, what about Virginia herself?

  • No, she did not live in a lighthouse. She did, however, write the novel To the Lighthouse, published in 1927.
  • The question of anti-Semitism is a bit complicated. Her husband, Leonard, was Jewish. It’s clear, though, in some of her writings, that she described Jewish people in critical and negative ways. Here’s a line from a letter she wrote in 1930: “How I hated marrying a Jew — how I hated their nasal voices and their oriental jewelry, and their noses and their wattles — what a snob I was: for they have immense vitality, and I think I like that quality best of all.”
  • Whether or not she was a lesbian might be debatable, but it is a fact that she had a long physical and emotional relationship with Vita Sackville-West, which began after Virginia married Leonard Woolf. Leonard knew of their affair and approved of it, because he wanted his wife, who was often gloomy and depressed, to have some happiness.
  • Her first name was Adeline, the name of her mother’s deceased sister. Virginia’s family never called her Adeline, due to their painful association with the name.
  • She did not, obviously, play any part in the 1966 Mike Nichols film, Who’s Afraid of Virginia Woolf?, which was adapted from the 1962 Edward Albee play. So, where does the title come from, you ask? George and Martha, played onscreen by Richard Burton and Elizabeth Taylor, sing the lyrics “Who’s Afraid of Virginia Woolf?” to the tune of “Who’s Afraid of the Big Bad Wolf?” Interesting enough, in an interview with him published in The Paris Review, Albee stated “‘Who’s afraid of Virginia Woolf?’ means ‘Who’s afraid of the big bad wolf…who’s afraid of living without false illusions?” (See here for additional clarification)
  • In addition to her novels, she is also known for her essays, including “A Room of One’s Own,” in which she stated, “A woman must have money and a room of her own if she is to write fiction.”

So, what are the takeaways here?

  1. Would Woolf perhaps still be living and writing if she had had access to Symbyax, Prozac, or Risperdal? Slim chance, as she would be 137 years old.
  2. Could she have benefited from talk therapy or positive psychology? While beneficial for many people, these approaches could not be a remedy for the severe bipolar symptoms from which Woolf suffered.
  3. Should she be ignored, not given a spotlight, since, like so many prejudiced people, she seemed to have harbored anti-Semitic views? Good question, but it begs similarly revisionist appraisals of any number of past luminaries, including Theodore Roosevelt for his joy in slaughtering wild animals, Melvil Dewey for his lascivious behavior with women, and Frederic Remington for his anti-Semitism and racist views of Native Americans.
  4. Should she have left her husband for Vita Sackville-West or worked for a closer connection with Leonard? Hmmm, sounds like magical thinking to me. What knowledge does one have of the ways of the heart and the pathways of individuation? Besides, by most accounts, Virginia and her husband were close.
  5. Are her contributions of little value, given her personal life and death? Seriously!? How many other giants of literature could be similarly dismissed, given this manner of thinking?
  6. Was Woolf a complicated enigma who offers little of value to modern readers? I wonder if this question might be more than a wee bit judgmental. Let’s dissect this thread and examine the facts.
    1. One should resist the temptation to judge historical authors on the basis of current standards and mores
    2. Her impact on her contemporaries was significant
    3. She helped lay the groundwork for future feminists

Woolf was a professional reviewer, innovative essayist, novelist, publisher, biographer, and political organizer in the socialist and women’s movements. She seems to have known or met nearly everyone of importance in her day, including Sigmund Freud, with whom she and Leonard had tea shortly after Freud escaped Nazi Vienna for London. She spoke out against war and violence. Professor Jean Mills, author of Virginia Woolf, Jane Ellen Harrison, and the Spirit of Modernist Classicism, said: “Woolf’s comment ‘thinking is my fighting’ was an aphorism that we can usefully claim for ourselves today. Her essay “Three Guineas” has been read as her attempt to grapple with the root causes of violence and war, and she articulates several conceptions of peace throughout her literary output.”

 

shutterstock_575109037Woolf was not hesitant to break the mold of cultural expectations for proper women’s behavior. In “10 Things You (Probably) Didn’t Know About Virginia Woolf,” the British literary biographer Lyndall Gordon wrote, “In the 19th century nice women were quiet. Virginia Woolf said that she and her sister were taught the ‘tea-table’ manner. This was designed to keep polite, self-effacing conversation flowing. The most vital fact in her life was the contrast between this stifling of utterance, this concealment in ’shadow’ and the ground shaking under her like an earthquake when she brought out her full-throated ’Outsider’ voice, protesting against military or domestic violence in favour of nurture, listening and sympathy, values which the civilized of both sexes already share. The voice of her Outsider prepares the way for the present voice of the #MeToo generation.”

In the midst of Woolf’s articulate contributions to literary, cultural, political, and social circles, there was an intermittent and turbulent wrestling with an unknown force within her psyche. She was unable to elude it. In a suicide note she left to her husband, Leonard Woolf, she wrote, “I feel certain that I am going mad again. I feel we can’t go through another of these terrible times. And I shan’t recover this time. I begin to hear voices and I can’t concentrate. So I am doing what seems the best thing to do.”

If a person were to take away only one reason to celebrate Woolf, it would be my assertion that she was not just an important author, but a feminist icon. How so? She gave two lectures at the University of Cambridge’s women’s colleges in 1928 and developed them into the famous essay “A Room of One’s Own,” which was published the following year. As Wikipedia states, it was “an important feminist text… noted in its argument for both a literal and figurative space for women writers within a literary tradition dominated by men.” Her voice, along with those of other women writers before and after, has helped to open up publishing to women. And, it has helped put more women’s book on our library shelves and important voices in the spotlight.

 

Paul Duckworth New - 2.5 x 3
Paul

Nothing brings a smile to Paul Duckworth’s face quite like a good book, a long walk, and the unmatched beauty of country life. Click here for more.

 

 

A Closer Look at Authority Control in MARC Records

By Scott Piepenburg, MLIS

shutterstock_367446221Accuracy of data in cataloging records is critical. A misplaced number or value can impact the ability to import a record into your system, or a misspelled word can render a title or subject lost or irretrievable by your system. There are even provisions in the MARC record to document “incorrect” information as well as its “corrected” form. This is common when an author or publisher will intentionally misspell or rearrange words in the title so the book stands out in the marketplace.

The cataloging community has long recognized the importance of consistency and accuracy in data, particularly in the areas of subjects and names. This has led to controlled vocabularies for subjects, the most notable of these being the Library of Congress Subject Headings (LCSH), as well as Medical Subject Headings (MeSH) and Sears List of Subject Headings (Sears). Through the use of these vocabularies, libraries strive to use consistent and constant terminology for ideas and subjects. This helps to ensure that as users move between public libraries in a geographic area, from school to college, or even online, they will find consistent and definable terms, thereby ensuring successful results.

shutterstock_1275512578This consistency extends to the names of people, organizations, and events. The most notable example in the United States is the Library of Congress Name Authority File (NAF). When catalogers enter the name for the author of a book (or a subject, in the case of biographies), they check the NAF to see if the Library of Congress has defined a name for this person. If so, the library will typically use this name to promote consistency in its catalog, as well as consistency with other libraries using this structure. This also ensures that records created locally will be consistent with those vendors and outside sources that also use this structure.

A classic example of this concept is Samuel Clemens, better known by his nom de plume, Mark Twain. The library will use the form of Mark Twain to ensure that all examples of his work are cataloged under the same, consistent form. The same applies to the names of corporations, governmental entities, and events, such as Olympic Games. The Library of Congress, or other trained and certified catalogers working under the auspices of the Library of Congress, contribute names to the NAF as they need them, oftentimes for works by new authors or events. In this way, the file grows and is maintained by a network of libraries, not just the Library of Congress. This enhances its usability and versatility.

The next time you are looking at a bibliographic record, it’s important to note the effort that has gone into making the headings in that record consistent and able to “play well” with other bibliographic records in your system—and with headings in many of your non-bibliographic resources, such as databases and electronic resources.

 

Scott Piepenburg Image

Scott

Scott Piepenburg is currently the Cataloging Services Manager at Brodart and is the author of the popular Easy MARC series, as well as articles on the future of library automation, the history of disc-based recording technology, and the role of cataloging AV materials for school and public libraries. Click here for more.

Does Your Library Carry Las Novelas Gráficas? Perhaps It Should.

By Jessica Blaker, Spanish Services, Collection Development & Acquisitions

Animal with WordingOver the last decade, graphic novels have gained in popularity and are now widely considered an essential component of almost any library’s collection. Beyond graphic novels in general gaining recognition, librarians have been clamoring for expanded Spanish graphic novel collections. There are two main audiences driving the increased demand for Spanish language graphic novels: Spanish-speaking library patrons and students learning Spanish (or, more precisely, teachers trying to encourage students who are learning Spanish).

So why are Spanish graphic novels so important to a library’s collection? Graphic novels, whether in English or Spanish, have high appeal because these types of books are fun to read and encourage literacy. Spanish-speaking patrons are picking up (and checking out) graphic novels in their native language. One librarian mentioned to me that while some children from bilingual families may speak English outside of the home, they still prefer reading in their native language and may also share their reading material with their parents. Graphic novels translated from English to Spanish can provide immigrants with valuable insights into their adopted culture.

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Spanish graphic novels are beneficial for students learning Spanish because there are numerous visual aids that provide hints to the plot of the story and aid in comprehension. The dramatic illustrations grab readers’ attention, pulling them in. With the help of such visual cues, students are more apt to absorb and retain vocabulary. Reluctant readers are also more inclined to pick up a graphic novel because the exciting illustrations and small amounts of text provide a sense of accomplishment when finished, building the reader’s confidence.

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Demographically speaking, the demand for Spanish-language graphic novels has increased because there are more Spanish speaking people in the US than there have ever been before. Hispanics accounted for 18% of the nation’s population in 2016, according to the Pew Research Center. Not surprisingly, libraries across the country have more Spanish-speaking patrons requesting reading material.

In addition, immersion programs have gained momentum in urban areas with diverse populations. One of Brodart’s customers recently noticed that children whose first language is English are checking out graphic novels in Spanish. They may be in immersion programs and feel comfortable reading in Spanish — doing so for pleasure, not necessarily for classwork. It stands to reason that demand for Spanish graphic novels will also continue to grow.

With the skyrocketing demand for Spanish graphic novels, publishers are doing their best to keep up with new titles. There are many children’s and YA popular titles in translation, such as Raina Telgemeier’s books, the Hombre Perro (Dog Man) series, and the Rick Riordan graphic novel adaptations of his novels, to name a few. Also, there are many Spanish editions of some adult graphic novels and graphic nonfiction. Some of the well-known publishers and distributors actively acquiring and promoting Spanish graphic novels include Lectorum, Spanish Publishers, Penguin Random House, Scholastic, IPG, and Stone Arch Books. The one area lacking in Spanish graphic novels, however, is superheroes. Marvel and DC do not currently have Spanish translations available to customers in the United States.

Booklist announced through ALA News that July 2019 will be Graphic Novels in Libraries Month. Suffice it to say, when a highly recognized and accredited journal deems an entire month should be dedicated to graphic novels, their importance should not be ignored.

 

Jessica Blaker

Jessica

Jessica Blaker has been a Spanish cataloger and a customer account manager at Brodart. She came back to Spanish as a collection development paraprofessional, which she loves due to the variety and the opportunity to work with customers. Click here for more.

How to Get Rid of Unwanted Books (Quietly, So as Not to Incite a Riot)

By Stephanie Campbell, MLIS

Stacks of Old Books_437994868When talking about their chosen profession to a general audience, librarians inevitably hear “You must really love books!” And while this is probably true of many of us, I have found that it’s the non-librarians who seem more attached to books, often maniacally so, especially when doing their own weeding projects or witnessing ours. Book sale donations, while wonderful for fundraising, can be the bane of our existence when they contain such gems as midcentury Encyclopedia Britannica sets, not to mention whatever wildlife took up occupancy in the boxes while they were in the attic or garage. And if you try to deny such materials with your donation policy, you are met with indignation about how expensive the set was when new and that “there’s still a lot of good information in there!”

Similarly, it can be hard for librarians to make decisions about old, expensive, previously revered materials. The biggest thing standing in your way of having a great collection is that your shelves are clogged with obsolete items. They haven’t circulated or been used in eons and you know they should go, but what to do with the materials that have been weeded?

Whether the books are donations or discards, make sure you exhaust organizations such as the American Rescue Workers, Goodwill, Salvation Army, Military Order of the Purple Heart, etc. Contact your local churches to see if they have any missionary projects in impoverished areas around the world. Private primary and secondary schools are also an option for unwanted but viable titles. Perhaps you can try selling items through Better World Books, Amazon, eBay, etc.?

Do be aware that charitable and for-profit organizations can be selective about what they will accept. Add to that the guilt you may feel about donating/selling items that are horribly dated or otherwise blatantly undesirable.

If you dumpster them, dumpster divers and/or tattletales will invariably report about the perfectly good books the library is throwing away, which may have been funded by taxpayer dollars. Boxing up books and putting them at the curb can also prove too scintillating. In my experience, boxes were inevitably torn open after library hours and rummaged through. I tried duct-taping the boxes shut and then putting the boxes in garbage bags to disguise them as trash, but not even those measures could deter the rabid bibliophiles (perhaps bibliohoarders or bibliopolice would be a more apt term).

This kind of activity can spur the librarian stealth ops. Place the boxes out at the curb under cover of darkness, or arrive at work pre-dawn and put them out just before trash pickup. It’s amazing we have to go to such lengths. Believe it or not, I once had a colleague who took the library discards home and burned them in her outdoor furnace in an attempt to avoid opprobrium. And librarians are the ones who usually oppose book burning!

Large sets are especially onerous. I once gave away a vintage Oxford English Dictionary set to a local shabby chic home designer and she turned it into a side table for a client (I’m still kicking myself for not getting a photo of that!). Municipalities will often only accept paperback books for recycling. So I also enlisted the help of the library maintenance man to make a complete Contemporary Authors set “go away” by cutting the hardcovers off with his table saw and recycling the pages.

But enough is enough! We never agreed to warehouse items that no one wants. And it’s exhausting trying to hide the dirty little secret that libraries regularly deaccession and often throw away books. Perhaps I’m in the minority, but I absolutely love weeding. However, I absolutely hate clogging landfills with stuff that is otherwise reusable or recyclable.

Family Donating_1332264656All laughter aside, we must strike a delicate balance. We want to welcome well-meaning individuals who wish to donate their personal collections for our fundraising efforts. And we also value the members of our community who pay the most attention to us (and what goes into our dumpsters). Our biggest champions can also be our harshest critics. In terms of selling library discards in book sales, you can also face push-back, especially when expensive items are selling for as little as 25 cents.

We take our role of information steward seriously. Transparency is key. Be forthcoming about what you are doing and why. Keeping up with your weeding projects will also prevent the massive deaccessioning jobs that arouse suspicion. I found it best to not “nickel and dime” the process and simply make discarded books free for the taking. And if anyone questioned it, I simply said, “Your tax dollars paid for these, now we’re giving them back to you.” In one of my last jobs, we would take cart after cart of materials that had been weeded, roll them into our book sale area with a “FREE” sign, and most of them would disappear within a few days.

We’d love to hear any funny (or not so funny) stories you’d like to share about navigating the world of unwanted books!

 

Further reading:

ALA’s LibGuide on Discards

“Weeding without Worry” from American Libraries

Check out Awful Library Books (Tagline: “Hoarding is not collection development”) for lots of laughs, plus a section on their website about how to “Discard Responsibly.”

 

stephaniecampbell

Stephanie

Before joining Brodart in 2016, Stephanie Campbell worked for more than 20 years in public, academic, and special libraries. She is an avid gardener, bicyclist, and kayaker. Click here for more.

Attending to the Forgotten: Welcoming Homeless Children into the Fold

By Gwen Vanderhage, MLIS

Homeless boy_383085028Public libraries are very familiar with our country’s homeless population. From small libraries with a handful of regulars, to large libraries with a crowd assembling outside at opening time, most of us service at least some homeless patrons. The current economy and nationwide housing crisis have simply made it harder for families to find places they can afford to live. As a result, the difficult reality facing homeless adult patrons has become a regular part of public library discourse. The movie The Public, by Emilio Estevez, which was released last month (after being screened for librarians at last year’s ALA Annual Conference and this year’s Midwinter), has helped to raise awareness about the issue of homelessness in connection with libraries.

But homelessness often hits kids even harder than adults. Over the last decade, the number of homeless children and teens has grown exponentially. One-third of the homeless population is now comprised of children, according to the National Alliance to End Homelessness. This population is less visible in the library, since kids are often in school during the day. But they are an important group of people, nonetheless, that are using and benefiting from public library services.

Removing barriers for families that deter them from using the public library is important as we librarians become some of the best partners to help the children of homelessness succeed. Can your library waive the physical address requirement for homeless patrons seeking to acquire a library card? Does your library offer fine forgiveness? Many public libraries are moving to remove fines altogether, whether from children’s materials and cards, or from all materials and cards. When children are unable to control their own transportation to and from the library, fines on materials create a huge barrier to checking out homework materials or books for escapist pleasure reading.

While public schools provide meals and a safe place for children during the day, the stresses of being homeless and the inherent lack of stability impact their academic achievement. Homeless children have higher rates of absenteeism and tend to change schools more frequently. Their literacy and graduation rates are lower than those of their peers. The growing digital divide is yet another problem plaguing these children and other low-income students. While internet access is more available via cheaper phones, it’s hard to do homework research on a phone. Libraries provide materials for homework, computer access, and a safe, warm place after school and on weekends. Some libraries partner with their local school district to provide free lunches during the summer.

Reading to kids_201736358For many years, librarians have partnered with day shelters to provide outreach services and materials for homeless families. Librarians from Queens, New York, to Cleveland and Seattle, share storytimes with kids in shelters. When I was a children’s librarian in Denver, Colorado, I was one of them. I held a weekly storytime for the kids at a nearby women’s and children’s shelter during computer training for mothers. The preschoolers in this group were eager to hear stories, sing songs, and particularly loved to interact with puppets and pop-up books. It was not just a time for the children to learn those storytime skills of active listening and learning vocabulary, but also a time when a grown-up would talk with them and listen to them. As we librarians became more nimble with Every Child Ready to Read practices, we also began to include the mothers, hoping to pass on some of those skills to help parents be a child’s first teacher. Parents under the stress of homelessness are likely not thinking about speaking 30,000 words to their child each day. Anything librarians can do to model the behaviors of reading signs, singing together, and telling stories about what you’re doing will help demonstrate that the foundations of reading readiness are easy to incorporate.

Does your library offer unique services and programs open to, or particularly for, homeless youth and their families? A recent article from School Library Journal, “Almost Home: How Public Libraries Serve Homeless Teenagers,” outlined many efforts aimed to get homeless teens into the library, engage them with programs, and pair them with services. If your area offers services particularly tailored for teens, consider forming a partnership with them. Offering donuts and board games during a time that a social worker can come and help teens is a great way to open the door.

We spend a great deal of energy encouraging people to come in when their children are tots. We are always wondering how to keep the kids coming in to the library until they become adult library advocates. Why not apply that same principle to children who happen not to have a home? Homeless patrons simply represent another subset of our community, albeit one with a particular set of needs and challenges. Providing whatever aid we can and a welcoming place during hard times is a wonderful way to grow lifelong library lovers. Isn’t this one of our primary goals as librarians?

Other resources:

Library Service to Homeless Youth and Families,” Vikki C. Terrile, IFLA

Homelessness: A State of Emergency,” The Seattle Public Library

 

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Gwen

After spending many years as a children’s librarian and collection development specialist at Denver Public Library, Gwen joined Brodart to share her passion for children’s literature with as many different libraries as possible. Click here for more.

 

Newbery Award Final Contenders: Who Are They? Inquiring Minds Want to Know

By Suzanne W. Hawley, MLS

“The suspense feeds the crowd’s anticipation, which is palpable — it’s almost as if we are all holding our collective breath.

-Kathleen T. Horning, “Secrecy and the Newbery Medal,” School Library Journal, July 6, 2011

Group sitting_1133218661The year I was fortunate enough to be a member of the Newbery Committee, we all agreed that we were inundated with a remarkable number of very fine titles. Our debates went on for hours; so many fascinating perspectives shared about so many wonderful titles. In the wee hours of the morning before the Newbery Award announcement, the committee had whittled down the prospective honors to about 20. At the gentle prodding of our wise chairwoman, we finally settled on four honor books. We could have chosen 16 more!

At the time, and often since then, I wondered how we could promote all the other titles that we found so compelling. Due to the secrecy surrounding the Newbery Committee’s discussions, committee members are not allowed to say what the other books were that rose to the top. Unfortunately, this means that librarians may miss these titles when they are building their collections. Budgets are small, and most of us rely on medal winners, lists of favorites like the Children’s Notables, reviews, and some word of mouth to help inform our choices. I can’t help thinking that some of those titles that were “off the table” would add richness to collections and provide opportunities for students to stretch their proverbial wings in the world of reading.

After the 2019 American Library Association awards were presented this year, Barbara Langridge reminded us on an LM_Net post that “shortlists” are announced for non-fiction finalists. Others chimed in by mentioning that shortlists are also announced for Carnegie and Morris awards. The question “Why not have finalists announced for Newbery and Caldecott as shortlists?” was asked by several people in that series of posts.

This is not a new idea. In 1972, the Children’s Library Division began publishing the list of committee nominations twice a year in Top of the News, as well as in School Library Journal and Booklist.

This practice, originally intended as a one-year experiment, was so successful that it continued for the next five years. Giving in to complaints, primarily that the lists invaded the beloved secrecy surrounding the Newbery discussions, the practice was discontinued in 1977.

I like the idea of announcing the list of finalists for Newbery. However, I would suggest that the list be announced after the awards presentations at ALA Midwinter. Even though committee members correspond frequently throughout the year with suggestions — a process that culminates in seven nominations each — new titles released in December (as in my committee’s case) don’t have the opportunity for a real “vetting” until the committee meets at ALA Midwinter. Possibly, one or more of those would end up as a genuine contender for the award. But if the list were announced prior to the ALA Youth Media Awards announcement, such books would be missed on the list. Also, the committee hasn’t really determined the top titles until they decide on the award and the honor books. Usually, that doesn’t happen until the night before the ALA Awards are announced.

I believe that a list of the 20 or so contenders would be a valuable list for librarians and libraries to have at their fingertips. It gives them another resource for finding important titles to add to their collections and, often, there are titles that students wouldn’t discover unless they were “hand-sold.”

A counterargument might be that surely those titles would be in the list of Notable Children’s Books for that year. However, that list is often over 100 titles and librarians’ budgets are notoriously small. If they can purchase all the Notable Children’s books for that year, then lucky they are. If not, a good resource to draw on would be a list of the top 20 final contenders for the Newbery Award.

What do you think? Please share your thoughts!

 

suzanne

Suzanne

In addition to selecting children and young adult materials for library collections, Suzy Hawley spends her days interfering in her children’s lives as much as possible, wheedling her husband into cooking dinner just one more time, and walking on the beach. Click here for more.

You Can Run a Successful Will Eisner Week

By Kat Kan, MLS

Will EisnerMost people who work with comics in school, public, or academic libraries should have at least heard the name Will Eisner. He wrote and drew comics from the 1930s until his death in early January of 2005. He created the character called The Spirit, wrote military how-to manuals in comic book format during WWII, and continued that work in PS, The Preventive Maintenance Monthly until 1971. He also wrote and illustrated graphic novels, starting with A Contract with God, and Other Tenement Stories in 1978.

In testament to his standing in the industry, Eisner is commemorated in a number of ways. The Will Eisner Comic Industry Awards, among the major comics industry awards in the U.S., have been given out since 1988 as part of San Diego Comic-Con International. After his death, Eisner’s niece and nephew, Nancy and Carl Gropper, started the Will and Ann Eisner Family Foundation. The Foundation has funded library grants in cooperation with the American Library Association, and in 2009 began to commemorate Eisner’s birthday with Will Eisner Week — an annual celebration promoting comics, graphic novel literacy, free speech, and the legacy of Will Eisner. The celebration runs from March 1–7 every year (Eisner’s birthday is March 6). By 2017, which would have been Eisner’s 100th birthday, various agencies produced more than 100 events around the U.S. and in other countries.

For several years now, I have run a small program for Will Eisner Week at my local public library, Bay County Public Library (In fact, my 2016 program has been mentioned in the Will Eisner Week Playbook since 2017). In the past, the library had me do a program for kids and teens on a weekday afternoon, where I featured lots of age-appropriate comics for attendees to look at and gave away some free comics. Will Eisner Week Program 2019 booksThis year, we scheduled an early evening program for all ages, and I brought a sampling of recently published graphic novels and comics for all ages, from TOON Books for very early readers up to graphic novels for adult readers, including Eisner’s last book, The Plot, a nonfiction account of the anti-Semitic hoax The Protocols of the Learned Elders of Zion. I put together a one-page handout with a short biography of Eisner, and I downloaded a great comic about Eisner from Pop Culture Classroom, written by Jill Gerber, illustrated by Matt Strackbein, and edited by Dr. Katie Monnin (it’s a free download). The library made several copies of each handout available for those who attended. I gave a short talk about Eisner and his accomplishments, the Eisner Awards, and how librarians became closely connected to them by serving as judges on the Eisner juries.

We had a small audience of several families and one retired college professor who taught comics at his former institution up north (he’s what we call a snowbird: a winter resident in Florida). I brought a selection of free comics for people to take with them and encouraged everyone to come back for Free Comic Book Day in May. Considering that Panama City had suffered catastrophic damage from Hurricane Michael just five months before our program, I think it was a great success.

Programs around the country range from comics celebrity-studded panel discussions, film festivals, and comics conventions to small-town library programs, which cover just about anything related to Eisner himself or any aspect of comics and comics fandom. The Foundation provides access to a Playbook with all kinds of ideas for programming, a short biography of Eisner, and a list of past programs in many different libraries domestically and internationally. They also produce a poster and flyer each year featuring art from Eisner that any organization can customize with their program information. All of this is available at www.willeisner.com. This is a great resource for libraries to draw upon when developing their own programs and celebrations.

"Celebrate Will EIsner Week" image

Anyone can sign up to hold a program. Check the official web site of Will Eisner Studios, Inc. later on this year (signups usually open around November) to sign up for 2020. If you do, you can email details about your program to be included in their list for 2020, and you can request posters to put up in your library. You can do anything from holding a mini-comic convention, to a comics how-to program, to something like my program, which was more of what I call a “comics petting zoo” with books people for people to look at. Other libraries have done displays of Eisner’s works.  If you have a local comics retailer who is willing to support libraries, you could partner with the retailer for a program. If you know any comics creators local to your area, you might want to ask them to do a comics workshop; that’s what I’d like to do next year.

Just take it from me — conducting a Will Eisner Week program is both fun and easy!

Kat_Kan_Better_Pic

Katharine

If you’re looking for a graphic novel guru, you’re looking for Kat Kan. Kat looks like the stereotypical librarian with glasses and a bun, until you see the hair sticks and notice her earrings may be tiny books, TARDISes from Doctor Who, or LEGO Batgirls. Click here for more.

Large Print Books Are Crucial for Striving Readers

By Ann Wilson, MLS, MA

As educators and librarians struggle to combat the dire reality of illiteracy and its impact on low graduation rates, meager job prospects, low income, and even crime, many remedies have been tried, with little success. Thankfully, one rather old-fashioned tool is gaining traction and showing promising results: using large print books with young, striving readers.

Large print is defined as text formatted in roughly 16 point type, compared to the usual 11-13 point type found in most hardcover books and on computer screens. A clear, clean font is used, and there is increased space (leading) between the lines. The dark, high-density ink stands out clearly from the high-opacity paper, creating a higher contrast, which is easier to read (see this article about helping reluctant readers for more). These characteristics have long been understood to benefit older folks with visual impairments, and for years, most books published in large print have been geared toward this audience. Unfortunately, children and teens with visual impairments have been largely ignored by the publishing industry.

Boy tired from reading _1100944319

Not only does a large print format assist those with visual impairments, but large print helps reduce eye strain for everyone, a factor which has become even more important as our population — especially teens — is spending more time on small-screen digital media.

In their quest to make reading an enjoyable experience for students, educators have noticed that too much text, information density, and visual clutter on a page can make reading a daunting task for many students. Large print books have fewer words and more white space, presenting a more inviting visual cue that increases reading performance and builds confidence. Students young and old, who are learning English as a second language, also seem to respond well to large print.

While research is important and can help us understand what’s going on, it’s also important to hear from teachers and librarians on the front lines. In a recent Booklist webinar titled “Large Print, Big Advantages: Strategies for Increasing Youth Literacy,” Camille Freund, ENL teacher at Urban Assembly Media Studies HS in New York, explained how incorporating large print books into her classroom collection has improved student literacy. Freund says that these books have motivated striving readers to keep trying, and that these students quickly make progress with reading and feel successful. In fact, Freund says, students often seek large print titles, refusing to read anything else.

Also during the webinar, Don Giacomini and Shelly Schwerzler from Gwinnett County Public Library System (GA) addressed the “why” and “how” of their large print title program, geared to middle grade students and teens. They explained that the large print titles are interfiled throughout their collections, allowing patrons to browse these books alongside books with normal-sized print. The library staff has worked closely with reading specialists and other education professionals in schools near each branch library to help promote the large print collection. Circulation statistics show that this collection is very heavily used.

Girls reading_470554472According to the presenters, adults’ concerns that the stigma of reading large print books will deter striving readers are almost entirely unfounded, especially for younger teens. If allowed to choose any book they wanted, many students automatically gravitate toward “books with big words.” When teachers and librarians extolled the virtues of “good books” while passing around large print versions, many kids responded favorably. Some students were quite receptive to large print titles, stating that their eyes were tired.

With a wide range of titles to choose from, supported by research and endorsed by the kids who read them, large print books are finding new uses and enthusiastic acceptance in today’s libraries. They’re not just for the visually impaired anymore. Why not consider expanding your selection of large print titles to help reluctant readers?

 

AnnWilson

Ann

Ann Wilson started working for Brodart, where she is affectionately known as The Sourceress, in 2000. Ann draws from her high school/public library career experience to feed sources and choose key titles for our selection lists. Click here for more.