Week 16 Prompt Response

The most visible changes in reading since I was a child have been the result of new technologies, such as audiobooks, ebooks, virtual reality, and devices that can adapt fonts and font sizes. The new media have made reading more accessible for everyone. Graphic novels have been increasingly accepted as literature and as a format uniquely suited for telling stories with sensitive or difficult subjects. Nonfiction titles directed at children are designed to be much more appealing and fun. One example is the growth of nonfiction graphic novels. Self-publishing and Indie publishing have gained respect and brought diversity into the industry. I have worked in public library children’s departments for 8 years. One thing that has not changed is children’s excitement about reading, particularly print materials.

I do not anticipate the extinction of print materials over the next two decades. The sensory experience of holding a book still appeals to new and experienced readers. Print may not monopolize the reading format, but it will continue to be in demand. Larger publishing houses will absorb the smaller more specialized publishers, imprints will continue to grow as popular authors like Rick Riordan and celebrities like Sarah Jessica Parker enter the field. Changing demographics and the need for representational literature will compel large publishers to expand the diversity of their publications to appeal to different market segments and to cope with a growing number of specialized publishers.

In our library I have seen an increased interest in book clubs, storytimes, and other interactive events that bring people together. The library has become a place for families to spend an afternoon, attend a program, or browse the shelves. I do not know if we will read more or less, but I like to think that we will read more as new media create ways for people of diverse backgrounds and abilities to read.

Week 15 Prompt Response: Marketing the Fiction Collection

What do you think are the best ways to market your library's fiction collection? Name and describe three ways you do or would like to market your library or your future library's fiction. These can be tools, programs, services, displays - anything that you see as getting the word out.

In-house: Signage, displays, and bookmarks

Given the diversity of patrons' recreational reading interests, I would incorporate a variety of marketing tools. Saricks emphasizes the effectiveness of simple and straightforward ways to highlight library collections (Saricks 139). My intent is to follow her recommendation. Using Burke's delineation of readers' advisory into passive (static) and dynamic (active) approaches, I will focus on passive marketing tools that have proven effective in our library (Burke): signage, displays, and bookmarks. 

Signage promotes the entire fiction collection. Our department has noticed the importance of clear and intuitive signage, and I would make that part of the marketing plan.  The wording and placement of signage is a major part of our current space planning process. 

Next I would follow Saricks' example and maintain a permanent display similar to "Good Books You May Have Missed," that is not genre specific (Saricks 140).  Collectors will continue to set up small and temporary displays to highlight sections of their collections.  At the front of our department there is a four-sided wood tower used for displaying materials on specific topics. The location has made the tower a regular stop for patrons, and the items on display circulate well. The displays are restocked daily and changed out bi-weekly. Monthly staff picks with annotated bibliographies will occupy the display shelves next to the RA desk. 

Bookmarks that share staff picks and read alikes have been popular with patrons and staff.  Many patrons have commented on how much they appreciate them and often bring a bookmark to the service desk to ask about certain titles. Sometimes those questions lead to a readers' advisory conversation. If not, patrons are more aware of our collection and may find an item appealing to them. Popular titles that can be found in our online collections will be noted on the bookmark. 

Too many bookmarks, flyers, and posters can have a numbing effect. Patrons may feel overwhelmed by the saturation of promotional materials, and ignore them. The judicious placement of these tools will reduce that possibility.

Online: New Books, Staff Picks, Read Alikes

Our library website is a prime location for marketing the fiction collection, especially to patrons who are infrequent visitors to the library.  Signage here should also be eye catching and easy to navigate. The website would highlight new books, staff picks, and our NoveList database. The homepage for the Adult department will highlight titles that the staff is reading and provide links to the titles in the library catalogue.  Currently patrons have to scroll down to "online databases," or click on the "Research" tab and then on "NoveList."  Read alike suggestions through NoveList should be prominently displayed.  A "Read Alikes" tab would make it easier for patrons to access those materials. When we promote a program, materials related to the topic will be displayed on the department's webpage. 

References

Burke, S. K., & Strothmann, M. (2015). Adult Readers' Advisory Services through Public Library Websites. Reference & User Services Quarterly, 55(2), 132-143. Retrieved from Library & Information Science Source.

Saricks, J. (2005) Promoting and marketing readers’ advisory collections and services. In Readers’ Advisory Service in the Public Library. Chicago: ALA. 136-160. [Files - Canvas]

Week 14 Prompt Response: LGBTQ Fiction and Urban Fiction

My first instinct is to say that we should not segregate either genre. I have noticed that some libraries and bookstores do separate mysteries, science fiction, fantasy, and other genres. On the surface, doing the same with these genres would make sense. The difference is that those traditional genre labels do not generally provoke a strong reaction. Individual titles or series (Harry Potter, for example) have been challenged, but whole genres seem to be less provocative than the LGBTQ and Urban Fiction genres.

I would interfile LGBTQ fiction but separate the Urban Fiction. The LGBTQ and Urban Fiction genres generate challenges but for different reasons.

Reason #1

Although society has made some progress tolerating if not accepting sexual and gender identity differences, the Orange City library incident demonstrates how far we have to go (Associated Press). I was disappointed when the library relented and grouped materials with LGBTQ content apart from the general collection. That approach, which makes the LGBTQ fiction easier to see, also makes it easier to avoid and to judge patrons who browse that section.  It further stigmatizes patrons struggling to find themselves reflected in library materials in order to feel less isolated.

Reason#2

Although the library is not removing the challenged items, it is affecting their use.  Free access also means that patrons are comfortable retrieving library materials of interest to them.

Reason #3

The Library Bill of Rights contains policy guidelines that are directly applicable to the Orange City library:

VII. All people, regardless of origin, age, background, or views, possess a right to privacy and confidentiality in their library use. Libraries should advocate for, educate about, and protect people’s privacy, safeguarding all library use data, including personally identifiable information.

V. A person’s right to use a library should not be denied or abridged because of origin, age, background, or views.

II. Libraries should provide materials and information presenting all points of view on current and historical issues. Materials should not be proscribed or removed because of partisan or doctrinal disapproval.

(ALA)

Reason #4

Younger patrons trying to come to terms with their own identities in a community that is openly hostile to LGBTQ matters need to feel accepted and unafraid in their public library. A large part of that acceptance is to shelve LGBTQ materials inclusively with the larger collection community.  Gender identity and sexual orientation are subjects relevant to all ages. Our young patrons are also the most vulnerable. Their self-esteem is fragile and their need for acceptance from family and peers is acute. I have found children’s and YA books with LGBTQ content hidden between and behind materials in each library I have worked. The need for LGBTQ is clearly there. If the library separates and/or labels the materials, I do not think they would circulate as often as they do.

Reason#5

Urban Fiction brings up different considerations.

In “Urban Grit,” the author states, “Street lit is written by adults with an adult audience in mind” (Honig xx), but it is popular with teens, too. Honig also suggests shelving Urban Fiction separately. “Shelving street lit by itself allows readers looking for street lit to find it more easily, and avoids sending the message that your library believes there is only one universal “Black Experience” (Honig xix).

References

ALA (American Library Association). (2019). Library bill of rights. ALA.

Retrieved from http://www.ala.org/advocacy/intfreedom/librarybill

Associated Press. (2018). Orange City library to change how materials are

grouped after complaints on LGBTQ content. Des Moines Register. Retrieved from https://www.desmoinesregister.com/story/news/2018/03/21/library-change-lgbtq-content-grouping-change-orange-city-iowa/445970002/

Honig, M. (2011). Introduction. In urban grit: A guide to street lit. Santa Barbara: Libraries Unlimited. [Files - Canvas].

Week 13 Prompt Response

How can we as librarians, work to ensure that we are able to serve adults who enjoy YA literature or graphic novels? Or should we?

It is our job to help adults find library materials that appeal to them. Bookmarks, with Young Adult, New Adult, and Graphic Novel titles that adults might like, could be effective readers' advisory. If the adult is hesitant to ask for a YA book, they might be more comfortable referring to the bookmark and retrieving the item themselves. Digital formats are another option to highlight in-house and online. 

I had not heard of the New Adult, or Upper YA genres. Some of my coworkers regularly choose YA fiction for their personal reading. Working in a library may make me more comfortable with reading books across different age groups. I have also helped many adults look for children's titles that they want to read again - some make it a goal to read an old favorite each year.

I am accustomed to suggesting YA books to parents looking for "appropriate content" for their middle school and high school children, but not YA books or graphic novels for adults to read. The distinction between YA and Upper YA/New Adult is helpful. Knowing that New Adult books have protagonists who are 18 - 26 years old, and often have "steamy" content can prevent awkward readers' advisory moments (Brookeover; Cataldi).  

Our library shelves the Harry Potter series in both the children's and teen departments. The Harry Potter movies are in the children's DVD section and the adult audiovisual collection. Graphic novel collections are found in our children's, teen, and adult departments. 

There seems to be a trend to make it easier for adults to find YA and graphic novels.  Over the last few years I have seen titles marketed as having appeal for adults and teens. The Goodreads website highlights categories such as "Hottest Adult & Young Adult Romance Books," "Best YA/New Adult Contemporary Romance," and more.  

I came across an article in the December 1, 2017 issue of The Atlantic, entitled 

"Why So Many Adults Love Young-Adult Literature: Over half of today’s YA readers are over the age of 18" by Caroline Kitchener.

Kitchener stated that 55% of YA readers are adults, and listed 5 reasons adults read YA. Reason five referred to the Harry Potter series and how the publisher marketed them to adults:

In the United Kingdom, the Harry Potter books were published with two different covers: 

one for adults, one for kids. That way, Zimmerman said, adults would feel less self-conscious 

about their reading choices. When it comes to adults reading YA books, Masthead member

Bill aptly noted, “Having a wand and an owl helps.” (Kitchener)

References

Brookeover, S. (2014). What’s new about New Adult? Horn Book Magazine, 90(1), 41-45. Retrieved from Library Lit & Inf Full Text database.

Cataldi, Erin. (2015). Betwixt and between: New Adult fiction. The Library Journal. Retrieved from https://www.libraryjournal.com/?detailStory=betwixt-and-between-new-adult-fiction-collection-development-september-1-2015

Goodreads. (2019). Goodreads. Retrieved from https://www.goodreads.com/. Accessed 4/5/2019

Kitchener, C. (2017). Why so many adults love young adult literature: Over half of today’s YA readers are over the age of 18. The Atlantic. Retrieved from https://www.theatlantic.com/entertainment/archive/2017/12/why-so-many-adults-are-love-young-adult-literature/547334/

Annotation: Young Adult

Labels

Week 12 Prompt Response

Readers’ Advisory Matrix - Nonfiction

Title: The Boys in the Boat: Nine Americans and Their Epic Quest for Gold at the 1936 Berlin Olympics

Author: Daniel James Brown

Publisher: Viking: New York, NY

Publication Date: 2013

Where is the book on the narrative continuum? □ Highly narrative (reads like fiction) □ A mix (combines highly narrative moments with periods of fact-based prose) □ Highly fact-based (has few or no narrative moments)

What is the subject of the book? The author follows the  journey of Joe Nantz and eight other members of the University of Washington rowing team who defeated the odds and represented their country at the 1936 Olympics in Berlin.

What type of book is it? A biography

Articulate appeal What is the pacing of the book?  Fast. Readers are quickly introduced to Joe before he starts his adventures with the university rowing team. Detailed but clear descriptions of rowing technique and shell construction slow the pace just enough for readers to more thoroughly enjoy the story line. Describe the characters of the book.  The book centers on one rower, Joe Nantz, who, abandoned by his family, struggles to build his self-esteem and make a life for himself. The other characters are profiled, but their personalities are largely developed through relationships with teammates and coaches. How does the story feel?  The story feels like an adventure. Joe’s difficult life compels readers to form an emotional attachment so that they want him and the team to succeed. Even though the ending may be known, the author manages to maintain a level of suspense with each setback and victory. What is the intent of the author?  Brown turns an historical event into a story of determination and optimism during the Great Depression and the rise of Hitler’s Nazi Germany. The author’s intent is to teach the value of perseverance in overcoming what may seem insurmountable odds. What is the focus of the story?  The story focuses on Joe Nantz’s character development as he overcomes a miserable youth, grueling training, and distrust of others. He and his teammates learn to sacrifice for each other in order to become part of a perfectly synchronized team. Does the language matter?  Yes. Brown provides detailed descriptions of the sport and boat craftsmanship that introduce readers to the hard work and precision the sport requires. By the end of the book, the audience is familiar enough with the terminology and rigors of rowing to fully appreciate the exciting conclusion. Is the setting important and well-described?  Yes. Brown evokes the dreary often grim atmosphere in rural Washington State during the Great Depression. “To fail at this rowing business would mean, at best, returning to a small bleak town on the Olympic Peninsula with nothing ahead of him but the prospect of living alone in a cold, empty, half-built house surviving as best he could on odd jobs, foraging for food, and maybe, if he was very lucky, finding another highway construction job with the Civilian Conservation Corps. At worst it would mean joining a long line of broken men standing outside a soup kitchen like the one down on Yesler Way” (Brown 13). Are there details, and if so, of what?  The  details are in-depth descriptions of the training and equipment involved in competitive rowing. Are there sufficient charts and other graph materials? Are they useful and clear?  There are no graphs, but there are period photographs that deliver a sense of immediacy and understanding to Joe’s plight and the team’s uphill battle. Photographs of Joe as a child with his family and of the other characters, the university, and surrounding area contribute a backdrop for the story line. The pictures from the races and Olympics greatly enhance readers’ participation in the characters’ experiences. Does the book stress moments of learning, understanding, or experience?  Yes, all three. Not only are there facts about the sport of rowing, but readers learn about the economic and political turmoil of the time by following Joe’s experiences.

Why would a reader enjoy this book? 1.   Highly narrative                       2.    Characters                      3.   Learning/Experiencing

References

Brown, D. J. (2013). The boys in the boat: Nine Americans and their epic quest for gold at the 1936 Berlin Olympics. New York, NY: Viking.

Wyatt, N. (2007). The readers’ advisory guide for nonfiction. Chicago, IL: American Library Association.

Fantasy Annotation

Week 11 Prompt Response

When I worked in my children’s school library, one of the kindergarten teachers would always remind the students to “hold your book like a treasure,” as they returned to their classroom. I understood what she meant because there were books that made me feel that way. Although the media are evolving, the basic appeal factors of the content remain the same. Individual preferences for certain media and genres continue to demonstrate the relevance of Ranganthan’s five laws.

Mediatore succinctly relates Saricks’ appeal factors to audiobooks. The narrator blends the four elements: pacing, characterization, story line, and frame together through their audible presentation of the book (Mediatore 318). The hands-free convenience of the format is a strong appeal factor. One of my coworkers is an avid audiobook user. She downloads audiobooks on her phone and listens to them when she prepares for programs. She has favorite narrators and will look for their names when choosing her next audiobook. My limited experience with audiobooks consists of listening to them when I am driving. I prefer to read (listen to) unabridged books, but am not familiar enough with narrators to have favorites. The reader’s presentation style, especially the sound of their voice, can either induce me to try the book, or convince me to replace it. I have noticed that track length affects my decision to listen to a book more than the number of pages affects my decision to read a book in print.  I feel as though I have less control over my reading when I listen to a book and can become impatient with the narrator’s pacing. When the reader and text (and music, if present) are well-matched, I can feel the same sense of engagement with an audiobook as I do with print.  One example is Stephen Fry’s reading of Michael Bond’s A Bear Called Paddington.

Cahill shares several appeal factors specific to audiobooks that encourage literacy development. This format can motivate reading, develop children’s vocabulary and language, and promote comprehension (Cahill 26). Educators reluctant to read multicultural materials themselves can incorporate multicultural audiobooks into their lesson plans (Cahill 26). Audiobooks are uniquely effective for learning other languages; the reader’s pronunciation and inflection are essential parts of foreign language fluency.

Ebooks are also convenient tools for reading. The ability to adjust font size and type, brightness, and other features makes reading accessible to people with print disabilities. Anyone can tailor those features to optimize their personal reading experience. Ebook readers are less cumbersome than carrying several books when traveling. Over spring break I downloaded a couple of ebooks on my phone and was able to carry and read them easily everywhere we went. I prefer to read print materials, so the ebooks are a good option to holding the actual book.

At work many children and their caregivers will ask for audiobooks on CD, but I still receive more requests for print materials than other formats. Our librarians make regular school visits to show students how to access our ebook collection, online homework tools, and to build awareness of those resources.

I rarely have patrons ask for specific ebooks, possibly because they prefer to use the library’s online services. Most ebook questions involve how to read or download the ebook on various electronic devices. Troubleshooting requests occur fairly often, too. The extra steps needed to read or listen to audiobooks and ebooks may be a deterrent for some readers. When I offer an ebook version or to look up a title on Libby/Overdrive or Hoopla, most patrons say that it is not necessary, they will do that when they get home. The patrons are more willing to accept my offer to put the physical item on hold.

In spite of the expense of ebooks (print and audio versions), it is incumbent on libraries to offer a wide range of formats to meet their patrons needs and preferences. In 2017, Overdrive adopted Vinjamuri’s suggestion of negotiating a cost per circulation (Vinjamuri). Maybe that is a sign of better publisher/library relations.  Mediatore offers a valuable RA tip for evaluating an audiobook (or other formats):  “Is the book a good listen, or a better read?” (Mediatore 322)

References

Cahill, M., & Moore, J. (2017). A sound history. Children & Libraries: The Journal of the Association for Library Service to Children, 15(1), 22–29. Retrieved from Academic Search Premier

Mediatore, K. (2003). Reading with your ears: Readers' advisory and audio books. Reference & User Services Quarterly, 42(4), 318-23. Retrieved from Library Lit & Inf Full Text database

Vinjamuri, D. (2012). The wrong war over ebooks: Publishers vs. libraries. Forbes. http://www.forbes.com/sites/davidvinjamuri/2012/12/11/the-wrong-war-over-ebooks-publishers-vs-libraries/

Book Club Visit: A public library book club which meets the last Monday of each month

February 25, 2019:  The librarian in charge of the program escorted me upstairs. From her description of the program, it generally followed the LitLovers’ suggestions on the I Love Libraries site:

Ground Rules:

·         Members who haven’t read the book. (LitLovers)

The moderator asked if anyone had not finished the book. A couple of members had not, and two of us had read the book months ago.

·         Disagreements about the book. (LitLovers)

 The moderator welcomed and listened to everyone’s comments without judgement.

·         Dominating personalities. (LitLovers)

One man was vocal about his dislike of the book and tended to ramble. However he allowed other members to take their turns without interruption.

Book Selection Process and Meeting Format

·         Don't read favorites. Do mix genres. Don't choose for the whole year.  (LitLovers)

            The book club digressed from LitLovers’ guide in this section. Although they choose books from different genres that are not members’ favorites, every November the group makes selections for the following year. That session begins ½ hour earlier to allow for the selection process and the book discussion. The meeting did not include a social time or discussion of administration issues. The 90 minute discussion focused on the chosen book. The member who has chosen that month’s book leads the discussion.

Experience

            The discussion group consisted of ten people, including me. Each person attending that night were regular participants. All but one man from Rwanda and me were senior citizens from the local community. There were three men and seven women. The club met upstairs in a boardroom. We sat around an oval table and each of us had a place card with our name on it. On my visit, the selected book was the young adult dystopian novel, Scythe, by Neal Shusterman.

             Book Summary  (Source: Carmel Clay Public Library online catalog)

Two teens must learn the "art of killing" in the first in a chilling new series from Neal Shusterman, author of the New York Times bestselling Unwind dystology. A world with no hunger, no disease, no war, no misery: humanity has conquered all those things, and has even conquered death. Now Scythes are the only ones who can end life--and they are commanded to do so, in order to keep the size of the population under control. Citra and Rowan are chosen to apprentice to a scythe--a role that neither wants. These teens must master the "art" of taking life, knowing that the consequence of failure could mean losing their own (CCPL).

            The woman who led the discussion was a retired middle school English literature teacher. Her experience managing teens proved useful during the lively meeting. She started by asking if anyone had strong feelings about the book, its topic, or characters. Next she turned to the person to her right and asked them to share their thoughts. The other participants responded in succession. When the conversation came to one of the men, he condemned the book as blasphemous and an affront to the Bible.  Everyone listened politely and voiced their opinions calmly. I did however notice some disapproving and exasperated facial expressions among the members. One woman rolled her eyes when he said the book was “pure evil.”

            Probably the most interesting comments about the book came from the man from Rwanda. He talked about the author’s choice of the word “culling” to describe the act of killing as a means of population control. The scythes perform a duty analogous to one in Rwanda, he said, where culling is done to conserve African elephants and other animals. The man said that elephants can be very destructive; they threaten their own ecosystems when they uproot trees and trample plants in forests as they eat and roam. He also referred to the genocide in Rwanda as a form of culling. His reflections sparked questions about whether immortality in the scythe’s world is better than life in the age of mortality:

When there is no disease and income is guaranteed, is the motivation to improve taken away?
And if so, what is the value of life?

There still seems to be a built-in inequality because the scythes have power other people do not.
Is Shusterman creating a nihilistic society?

             When the discussion ended, the moderator placed handouts about the Scythe story arc on the table in case anyone was interested in reading the series. I was surprised that she had not passed out the materials at the beginning of our conversation. When everyone had left, the librarian and the retired teacher explained that the man who was so opposed to the book responded that way to any books they read. The women said that he only reads nonfiction, and he frequently references the 1950s TV show, Leave It to Beaver, as the standard of content appropriate for children and teens.

Evaluation

This was the first library book club I have attended. I enjoyed the experience, even though the one man seemed determined to make the conversation a platform for his religious beliefs. The moderator and other members managed to keep the discussion’s focus on the book. Each participant contributed interesting observations and stimulated conversation. Overall I found the experience enjoyable and would like to attend another meeting with the group in the future.

References

CCPL (Carmel Clay Public Library). (2019). Scythe: Summary. Carmel Clay Public Library. Retrieved from https://www.carmel.lib.in.us/

Starting a Book Club. http://www.ilovelibraries.org/booklovers/bookclub/bookclub

Shusterman, N. (2016). Scythe. New York, NY: Simon and Schuster.

YA and Adult Nonfiction Graphic Novels

I have seen the size of children's graphic novel collections grow in the eight years I have worked in public libraries. Both fiction and nonfiction graphics have become increasingly popular with boys and girls. I was curious if young adults and adults have also responded well to graphic nonfiction.

When I looked at my library's Young Adult and Adult graphic novel collections, I found that nonfiction graphic novels represented small parts of the Adult and Young Adult graphic novel collections. Nonfiction graphics accounted for approximately 6% of the adult graphics collection, and 9% of the young adult graphics collection. A surprising finding was that biographies, and autobiographies/ memoirs accounted for about 69% of the adult nonfiction graphics collection and about 33% of the young adult nonfiction graphics. After visiting the ALA, and NoveList websites, I learned that these types of graphic novels have received critical acclaim. Some notable titles are:

1) The March trilogy by John Lewis, Andrew Aydin and artist Nate Powell. The series is John Lewis’ memoir of the civil rights movement in the United States. March 3, the third book in the trilogy, won several awards, including the 2016 National Book Award for Young People's Literature, the 2017 Printz Award, and the 2017 Sibert Medal.

2) Maus (1980) by Art Spiegelman. The two volume memoir is about the authors’ parents and their experiences as Holocaust survivors in WWII. The book is drawn from conversations Spiegelman had with his father in the 1970’s. Maus won the 1992 Pulitzer Prize after the second volume was published.

3) Hey Kiddo: How I Lost My Mother, Found My Father, and Dealt with Family Addiction (2018) by Jarrett Krosoczka. This coming of age memoir was a National Book Award Finalist.

This paper began with my curiosity about nonfiction graphic novels for adults and young adults. My research into the topic led me in an unexpected direction. I gained a greater insight into the value of diverse media choices. The graphic format covers the range of genres and is particularly suited to personal stories such as memoirs. Librarians are in a position to keep up with emerging media and their potential for effective fiction and nonfiction narratives.

References

ALA (American Library Association) (February 11, 2018). ALA member news: 2018 Notable books list: Year’s best in fiction, nonfiction and poetry announced. ALA. Retrieved from http://www.ala.org/news/member-news/2018/02/2018-notable-books-list-year-s-best-fiction-nonfiction-and-poetry-announced


Krosoczka, J. (2018). Hey Kiddo. New York, NY: Graphix.

Lewis, J. & Aydin, A. (2016). March 3. St.Louis, MO: Turtleback.

Spiegelman, A. (1986). Maus I: A survivor’s tale: My father bleeds history. St. Louis, MO: Turtleback.

NoveList. (2019). Graphic novel genre: Adult and teen, nonfiction. NoveList Plus.

Retrieved from https://www.carmel.lib.in.us/

YALSA (Young Adult Library Services Association). (February 16, 2015). Genre guide: Graphic memoirs. The Hub. Retrieved from 

http://www.yalsa.ala.org/thehub/2015/02/16/genre-guide-graphic-memoirs/

Week Seven Prompt

"... talk about a time when a book or author that made headlines affected you personally or your work" (Cataldi).

Bill Cosby: Comedian, educator, convicted felon.

In the past 7+ years of working in the children's departments of public libraries, I  have not been asked for items related to Mr. Cosby. By the time the revelations about his behavior came out, he was on the waning side of his career, but held in high esteem for his contributions to children's education and American comedy. 

Almost daily I come across Cosby DVDs or beginning readers that used to bring back fun memories only to look at them now with repulsion. The children who see his books today may not associate them with a TV series or "America's Dad," but their parents have probably seen the headlines revealing his history of sexual assaults.  I looked up library materials under the author heading "Cosby, Bill." Our catalog showed an inventory of 21 items. Only one of those items was currently checked out. It was a beginning reader ironically entitled, My Big Lie, from the series, Little Bill Books for Beginning Readers. I would need to access and study library statistics to discover if circulation of his materials changed after the scandal broke and/or after he was indicted and convicted. 

Name recognition in politics, sports, and the arts can influence votes or attendance, and attract avid fans or detractors. Oprah's Book Club recommendations drove sales of lesser known authors to best seller status (Butler). When I attended the 2017 ALA Annual Conference, Sarah Jessica Parker and Hillary Rodham Clinton filled auditoriums for their talks (Liao). Would Bill Cosby's children's books be in publication if he wasn't a celebrity? Would they be on library bookshelves if he were a convicted child molester?  Can the merit of his books and shows be considered separately from his character? 

Inclusion or exclusion of materials requires consideration of a library's collection development and management policies. I wonder how many librarians have removed materials authored by Bill Cosby because of his conviction, or if those materials have been weeded because more popular books and shows required the shelf space. Banning items that are worthy of inclusion, although the collector may feel the author is not, is a dangerous precedent to make. 


Notes

Butler, R., Cowan, B., & Nilsson, S. (2005). From obscurity to bestseller: examining the impact of Oprah's Book Club selections. Publishing Research Quarterly, 20(4), 23-34. Retrieved from Academic Search Premier database.

Cataldi, E. (2019). Week Seven Prompt. Readers' Advisory. Retrieved from http://readersadvisoryblog.blogspot.com/

Liao, Angela. (2017) Celebrity book clubs create virtual reading community. Bookstr. Retrieved from https://www.bookstr.com/celebrity-book-clubs-create-virtual-reading-community