Week 15 Prompt

Marketing my library's fiction collection

My library does several things to market our fiction collection. First, we offer "Recommended Reads" on the web page, with links also on Facebook and other social media platforms. Different librarians prepare a Recommended Reads flyer and they are updated each month. They are relevant to what is happening in the month - so they might be diverse reads or women authors or Earth Day related or something like that. They include our electronic materials, too.

Second, we always have several displays, and these are organized by the team leader of the adult section and each librarian has a display to develop each month. These are placed in the main lobby with signage and librarians make sure there are plenty of books in them all month long.

Third, we have our Summer and our Winter Reading Challenge programs. While these do reward people for reading any books, we create bookmarks with books from our collection as ideas for what they can read during the challenge dates. We make displays around these bookmarks and manage those like the other displays. This past winter we had our fiction section closed off for part of the Winter Reading Challenge dates because of some construction. That was a challenge! We created more displays with more books available to try to mitigate the loss for those few weeks, and that helped. 

I can't wait to see what everyone else does!

Week 14 Prompt - Unity? Separation?

 

Should we separate the collection by genre?

This is a difficult question, in my opinion, but an important one to consider. My current library separates fiction by genre, and as a mystery reader I have appreciated being able to go straight to the mystery section and browse for titles there. But I recognize there are several problems with this separation. First, many books don't fit well into a particular genre - so where do we put them? Second, it doesn't help readers expand their horizons very well. Third, it can send messages about value that we don't really want to send. 

For these reasons I say that we should NOT separate novels based on genre classifications. Let me elaborate.

1. Genre is really an artificial designation. 

A book can contain elements of mystery, romance, and science fiction, or any other typical genre. For example, I just read Throwback, by Maureen Goo. NoveList lists it as a science fiction novel, presumably because there is time travel. But if you loved science fiction I think you would be sorry to read this book, because there's really no science, and the time travel is just a plot device to get the right people together so the story can proceed. So not only do books span genres, collections staff have to decide which of many items is most important in where to place the item. Perhaps it's time to take an innovative step in our libraries and ditch genre altogether. It should still be listed in the catalog as a searchable term, but then you can have all the appropriate genres there as searchable terms so the books can be found be anyone interested in them. 

2. Separation doesn't help readers expand their horizons. 

If I only browse the Mystery section then I don't start to explore any new genres. As someone who has been reading mysteries for over 40 years, I have to admit that sometimes I just walk any and say "nah, nah, read that, read that, nah" and walk out without a book. If the books were mixed together I might say "hey, that looks interesting" and launch into a new genre or author. Barry Trott (Trott & Novak, 2006) points out that many authors write in a number of different genres. Having all of those books shelved together helps a reader choose a new genre with a tried and trusted author. This could then lead the reader to move outside of that "old" genre to explore new kinds of books and grow as a reader. These are good things that we want for our patrons.

3. Separation can send messages about value.

Placement of the different genres can make a huge difference. In my library the Romance and Large Print fiction are most prominently place, probably because most of our patrons like those books. Fantasy and Science Fiction are off to one side, adult Graphic Novels are back out of the way, and Urban Fiction is in the farthest back corner. What do those placements say? They make it clear that certain types of fiction are not popular, and maybe they even suggest that we are uncomfortable with some of those books. If we mix them all together then there is no chance that that message is sent - even if it is not meant.

An idea

This topic has made me think about how we can help patrons read more widely, and how we can honor all the kinds of books that the library owns. I think that when we do displays about topics we need to be sure we are including all different genres in the display. So, what if we're doing a display about Romance titles in February - could we include some other genres as well? Even some non-fiction? Some displays would be harder than others, but I think working to include that variety would open patrons' eyes to the wide variety of options available to them.

References

Trott, B., & Novak, V. (2006). A House Divided? Reference & User Services Quarterly, 46(2), 33–38. https://doi-org.proxy.ulib.uits.iu.edu/10.5860/rusq.46n2.33

YA novel annotation

Author:  Maurene Goo

Title: Throwback

 

Genre: YA (Relationship Fiction)

            Note: NoveList puts this as a Science Fiction novel. I disagree. The time travel is only a plot device to get Samantha and her mother together as peers and remove the mother-daughter drama. This allows Samantha to explore who her mother is, why she is the way she is, and it also leads to self-discovery on Samantha’s part. That fits the Relationship Fiction genre better.

Publication Date: April 11, 2023

Number of Pages: 368

Geographical Setting: LA, California, USA

Time Period: 2025 and 1995

Series (If applicable): N/A

Plot Summary:

While this story appears at first glance to be about time travel, it is actually about a mother-daughter relationship, focusing on the challenges that arise when mothers put their personal desires onto their daughters. Samantha Kang is a senior in high school and is struggling against her mother’s efforts to push her to do things that her mother thinks are important. Samantha’s relationship with her grandmother is strong, and both grandmother and granddaughter struggle against the mother in this story. Samantha travels back in time 30 years to her mother’s senior year in high school. In that experience she comes to learn more about her mother and develops a respect and understanding of why her mother has the drive she has. She also becomes more aware of her grandmother’s flaws. By the end of the story all three women have matured in their relationships with each other and have come to love and understand each other. There is a minor plot point of a romance that begins to develop. This relationship helps Samantha to come to see that she has value as her own person.

I loved how Samantha grew as a person throughout her experience. I particularly loved watching her find her own self, as defined by what she likes and enjoys, rather than as a response to those around her. I did not love how 1995 was portrayed. Some things were hard to see but important to notice, like the amount of racism (both overt and covert). But Goo works to incorporate 1990’s language and clothing styles and based on my memories she doesn’t quite hit the mark there. It’s a big challenge but it made some of the 1990’s scenes difficult to digest. Having said that, the storyline was compelling enough that it was easy to let those weak points go.

Subject Headings:

Fiction – Young Adult

Fiction – mother/daughter relationships

Fiction – racism

 

Appeal:

Tone: Relationship fiction novels “offer uncomplicated but not unsophisticated stories” (Wyatt & Saricks, 2019, p. 196).

Samantha believes her journey back in time is meant for her to resolve the relationship between her mother and her grandmother. But during that process she also learns about herself, and comes to understand why her mother is as driven as she is. 

Story Line: “These are novels of high drama, inner conflict, and domestic disrepair played out on a small, intimate scale, reflecting the trials and concerns of everyday life” (Wyatt & Saricks, 2019, p. 196).

As Samantha comes to know her mother as a high school senior and peer, and as she learns more about what life was like for her in that time, she appreciates what her mother is doing and much of her anger against her dissipates. Samantha also comes to learn that she has a gift of story-telling, and that she needs to identify her own dreams and follow them, rather than pushing against what her mother is encouraging her to do.

Characterization: “Although characters are of central importance, the genre is not noted for its extensive and dimensional characterizations” (Wyatt & Saricks, 2019, p. 198).

Samantha does represent a “typical” teenager, or at least a “typical” Korean American teenager. While the connection to Korean American culture is strong, it also can apply to any other immigrant group that is working to assimilate into American culture. 

3 terms that best describe this book:  

Character-driven, relationship-focused, witty

Similar Authors and Works:

Your Life Has Been Delayed, by Michelle Mason

 

A teenager boards a plane in 1990’s New York and gets off in 2020 St. Louis. This book has more romance than Throwback and less personal growth, though the main character is forced to face issues of death and loss. 

Common appeal: 90’s culture, romance, young adult (teen)

Heiress Apparently, by Diana Ma.

 

A Chinese American actress travels to China for a part in M. Butterfly. While there she learns about her family and herself.

Common appeal: Asian-American culture, romance, family discoveries

The Sun is Also a Star, by Nicola Yoon

 

A video game developer falls for her intern. Her work life is full of challenges related to gender discrimination.

Common appeal: immigrant experiences, Korean culture, romance

 

3 Relevant Non-Fiction Works and Authors

Almost American girl: an illustrated memoir, by Robin Ha

 

This graphic novel memoir confronts issues of immigration and mother-daughter relationships.

Common appeal: own voices, 1990’s, immigration

Rising class: how three first-generation college students conquered their first year, by Jennifer Miller

 

The story of three first-generation college freshmen as they deal with the challenges of entering college while dealing with responsibilities of their families at home.

Common appeal: social issues, personal growth, transition to college

We too sing America: South Asian, Arab, Muslim, and Sikh immigrants shape our multiracial future, by Deepa Iyer

 

This book considers racial tension in America up to around 2016 (published in 2015).

Common appeal: ethnic and racial discrimination, immigration, Asian Americans.

 

3 Relevant Fiction Works and Authors

We Are Not Free, by Traci Chee

 

This novel tells about second-generation Japanese American teens growing up during World War II, when Japanese Americans were being incarcerated.

Common appeal: Asian Americans, racial and ethnic discrimination, own voices

Starfish, by Akemi Dawn Bowman

 

This realistic fiction novel explores a young woman’s journey to escape from her mother and their toxic relationship. She learns about herself and life as the novel unfolds.

Common appeal: complex character, own voice, mother-daughter relationships

 

Hungry Ghost, by Victoria Ying

 

This graphic novel is about a teen hiding her eating disorder. Mother-daughter relationships are confronted as the main character learns to love herself.

Common appeal: mother-daughter relationships, personal growth, dysfunctions

 

References

 

Wyatt, N.  & Saricks, J. G. (2019). The Readers’ Advisory Guide to Genre Fiction (3rd ed.). ALA Editions.

Week 13 Prompt

Reflections on Young Adult, New Adult, Graphic novels

I want to start with a little personal background. My father was a reading educator (he taught teachers how to teach reading). So reading was a serious topic when I was a kid (and yes, I was an avid reader, like most of you!). I remember my dad saying many times that to get kids to read you have to stop caring so much about WHAT they read. If it's interesting to them, let them read it. So I am in favor of supporting graphic novels and whatever people need to find their interest in reading. I would hope that in time they would move to more complex literature and grow in their thinking as well as their ability to read. But all of these three types of literature can be more complex if the writer chooses to make them so.

Thus, I believe that a library should definitly offer YA, NA, and graphic novels in its collection. I think it does get complicated to figure out where to house NA works, but as long as they are in the catalog the patron should be able to find them. We had a patron in the teen area yesterday looking for a Sarah J. Maas book that we have shelved in the adult section. We looked it up and told her where it was and all was well.

Having said that, this topic has caused me to reflect - what did I read when I was a young adult and a "new adult?" Well, frankly, in college I read the textbooks and assigned materials during the school year - there was no time for fiction unless I was taking a literature class! But in the summers? I had "graduated" to Agatha Christie from my childhood reading of Walter Farley's Black Stallion books, moving through some fun historical fiction like John Jakes' Kent Family Chronicles in high school. Maybe those were my YA books? I did love Christie's Tommy and Tuppence, and even though they were of a different period, I could relate to their effort to find their independent way after the war. I guess I'm wondering if there were NA books back when I was a new adult, but they just weren't marketed that way? I did read a few romances but I wasn't that interested in them. They seemed to have a very repeated plot that didn't grab me (I know, mysteries have pretty similar plots - someone dies, someone figures out who the killer was, and there may be romance along the way). The new adults I know often read fantasy. They love relationships and don't mind a little romance and even some sex, but I think it's the appeal factors that matter.

I personally would like to see less of an emphasis on sexual interactions in NA and YA books, but especially in YA books. But that's not something a library should control. We did have a patron who wanted to get a book for her daughter that one of the librarians knew was a pretty "steamy" book, and the librarian did mention that to the mother, in case she was unaware. I have had conversations with parents about the fact that the YA literature is fairly broad in terms of what is covered and the challenges the parents have in reading in front of their children if they want to make sure a book is appropriate for them. I remember the point when I had to give up on that and trust that my children would make good choices because they were becoming adults. It's a challenge all parents have to face.

I have read a few graphic novels and I struggle with that genre personally. I've spoken to some younger patrons - really asking them to help me learn how to read the genre. Of course, most younger patrons don't want to be caught dead explaining these to an old librarian lady, so it's an uphill battle (lol). But I find that I don't follow what the author is trying to explain through the pictures. I need the words to understand. Yes, I need the novelization of the graphic novel! Anyway, I still think these are important books to include in the collection for a number of reasons. Most importantly, they are one way people can express themselves and find their own stories (as readers and as writers), and this is true for all ages. But for younger readers these books can help bridge the gap into bigger books, and I think that is also important. 

As a librarian, I think we need to have all of these book types in our libraries. But as a human (OK, yeah, I've been a teacher) I also want to help readers move into more complex reading and thinking. I think that could be done by creating displays that are directed at new adults that include popular NA titles but also more general fiction titles that share appeal factors. I think whenever we can help readers expand their reading horizon that's a good thing for them. 

Week 12 prompt

 Non-fiction RA matrix (from Wyatt, 2007) for The Boys: A Memoir of Hollywood and Family by Ron and Clint Howard. Published October, 2021, 323 pages (I actually listed to the audiobook - narrated by Ron and Clint with the forward written and read by Ron's daughter Bryce).

1. Where is the book on the narrative continuum?

        Highly narrative - the book was written like a story being told, highly narrative.

2. What is the subject of the book? The life of Ron and Clint Howard's mother and father (briefly) and then the life of the family up to the death of their parents.     

3. What type of book is it?

        A memoir.

4. Articulate appeal

        What is the pacing of the book? The pacing is medium. It never feels like a thriller, but the story never bogs down. There is description and background information but again it never gets slow.

        Describe the characters of the book. The main characters are Ron and Clint, their father and mother. There are some other people (Henry Winkler, George Lucas, Ron's wife) who show up some and matter to the story, but it's really about the nuclear family.

        How does the story feel? It's warm and fuzzy in a real sense. It does a good job of capturing how the family worked together.

        What is the intent of the author? To tell the story of growing up as a child star, and particularly to show how their parents made their lives work well even in the midst of the Hollywood upbringing. It explores why their parents were able to successfully raise well-rounded happy (for the most part) children in that situation.

        What is the focus of the story? The lives of Ron and Clint and how their upbringing affected their life choices, and also how their parents were able to raise them well.

        Does the language matter? Yes. It is clear and focused and easy to follow.

        Is the setting important and well described? Yes and yes. It doesn't go into lots of details about Hollywood and what other child actors experienced, but it does describe their neighborhood, and also what the life of a child actor was like - on set for the different shows.

        Are there details, and if so, of what? There are lots of details about the life of the child actor, and about their family life, many small stories that add to the reader's understanding. There are details about directing and acting as well. They are explained in ways that were not hard to understand.

        Are there sufficient charts and other graphic materials? Are they useful and clear?  None.

        Does the book stress moments of learning, understanding, or experience? Yes, all of those. They write about times when they came to learn important life lessons, about the challenges of going through adolescence, about how they made decisions regarding their adult careers. They also reflect on how well their parents kept them safe through their childhood. They were honest about some of the things that didn't go as well.

5. Why would a reader enjoy this book (rank appeal)?

  1.  Story line and subject                  2.  Character                               3. Learning/experiencing

Reference

Wyatt, N. (2007). The Readers Advisory Guide to Nonfiction. American Library Association.

Historical Fiction book annotation

Author:  M. J. Rose

Title: Cartier’s Hope

Genre: Historical Fiction

Publication Date: 2020

Number of Pages: 334

Geographical Setting: New York, New York, USA

Time Period: 1910-1911

Series: N/A

Plot Summary:

Vera Garland is the daughter of a wealthy business owner and a member of New York’s 400, those most wealthy and socially advanced families. Rejecting the life of a wealthy wife and perhaps mother, she pursues as career as a female reporter. To avoid causing her family embarrassment she works in disguise as Vee Swann. 

The story focuses on M. Cartier and his efforts to sell the famous Hope Diamond. While telling that story, Vera/Vee’s previous exploits are revealed. As she works on the Hope Diamond story she also falls in love with a jeweler, compromising her dual roles as reporter and socialite. 

The novel is rich in historical detail, particularly with respect to the social issues of the time such as women’s roles in the home and workplace, the plight of the poor immigrants living in tenements, unsafe abortion practices, and homosexuality.

In my opinion, this novel suffers from trying to do too much, and thus doesn’t do any of the things well. The premise that Vera/Vee can live in both worlds is hard to believe. The flashbacks to her earlier experiences feel like short stories inserted into the novel and made me wish the author had written the novels of those experiences first, or left them more murky as part of who Vera/Vee is. She tells us too much and shows us too little.

Subject Headings:

Historical Fiction – New York, 1910

Historical Fiction – Women reporters

Historical Fiction – Hope Diamond

Appeal:

Frame/Setting: “Many readers . . . turn instead to Historical Fiction to understand history from the inside, from the perspectives of individuals caught up in events” (Wyatt & Saricks, 2019, p. 171).

Rose includes many details about life in NYC during 1910-11 in this novel. As Vee delves into the lives of poor immigrants, women having abortions, and female reporters the reader learns more about these topics for this time and place. Because she is also a member of the social elite we also learn about the ways that this group of people lived and interacted. 

Story Line: “The story line explains and contextualizes events, linking them to the settings of the period and to particular characters and their motivations” (Wyatt & Saricks, 2019, p. 172).

This story covers specifically about one year, but in reality reaches further back into Vera’s personal history to help explain why she feels strongly about issues of justice and women’s rights. In doing that it explains the situation in which women of that time lived. Because Vera/Vee crosses between the wealthy and the lower classes the reader gets a picture of a broader spectrum of society from a more personal vantagepoint.

Characterization: “[N]ovelists bring all of their authorial skills to bear in creating dimensional, realistic figures.” “[F]or the most part the characters in Historical Fiction are meant to be joined as they traipse through time, taking the reader along for the ride” (Wyatt & Saricks, 2019, p. 173).

One of my main frustrations with this novel was the fact that the characters were not that dimensional and realistic. They tended to be either GOOD or not very good. Vera’s mother was the only character where good and bad interacted, and that was not well-developed. However, we do accompany Vera/Vee in her activities and thus get a first-hand look at the social problems of the day, as she experienced them, and that hit the characterization appeal factor for me.

3 terms that best describe this book:  

richly detailed, female reporters, New York City history

Similar Authors and Works:

The Phoenix Crown, by Kate Quinn and Janie Chang

                                                                                                                                  Set in 1906 San Francisco, two women from different backgrounds come together to solve a mystery and find justice.

Common appeal: strong female main character pushing against social norms; mystery surrounding jewelry; historical fiction; search for justice

  

The Magnolia Palace, by Fiona Davis

 

This novel mixes two time periods (WWI era and the 1960’s) New York, focusing on art and modeling and the Frick family.

Common appeal: Well-developed character, richly detailed writing style, historical period

 

 

Ask me no questions, by Shelley Noble

This novel is set in 1909. The main character is a widowed English member of the aristocracy. She travels to New York and is immediately involved in a murder.

Common appeal: Professional woman pushing boundaries of social norms; historical fiction; atmospheric

 

 

 

  

3 Relevant Non-Fiction Works and Authors

Hope diamond: the legendary history of a cursed gem, by Richard Kurin

 

This book traces the history of the Hope Diamond and would be interesting for someone to read and compare to what they learned in “Cartier’s Hope.”

Common appeal: history writing, richly detailed, well-researched

 

Ten days in a mad-house: a story of the intrepid reporter, by Nellie Blye

 

Nellie Blye was a role model for Vera Garland/Vee Swann. This is the true story of her investigative report about the conditions of mental patients.

Common appeal: history writing, female pushing social norms, New York

 

 

Jane Addams: Spirit in Action, by Louise W. Knight

 

This biography tells the story of Jane Addams, who was co-founder of the first settlement house, in Chicago, and who worked for many social justice issues.

 

Common appeal: women equality and suffrage, history writing, inspiring

 

 

 

3 Relevant Fiction Works and Authors

 

Deception by gaslight, by Kate Belli

 

 

Genevieve Stewart, a woman from a wealthy family, chooses to become a reporter. She becomes involved in finding a jewel thief and murder. 

Common appeal: richly detailed, female reporter in Gilded-Age New York, historical writing (mystery)

 

Great circle, by Maggie Shipstead

Marian Graves, nearly dying as an infant in 1914 lives in rural Montana and becomes a female pilot. The novel also tells the story of the actress chosen to portray Marian 100 years later.

Common appeal: historical fiction, intricately plotted, richly-detailed

 

 

Absolution, by Alice McDermott

 

This story is set in 1960’s Saigon, but tells about two women connected to the war efforts and their lives trying to make sense of the conflicts they experience.

 

Common appeal: societal issues, historical fiction, character-driven, atmospheric tone

 

 

 

 

References

 

Wyatt, N.  & Saricks, J. G. (2019). The Readers’ Advisory Guide to Genre Fiction (3rd ed.). ALA Editions.

 

 

Week 11 Prompt - ebooks and audiobooks

Appeal factors and audiobooks

I frequently listen to audiobooks and as Cahill and Moore (2017) point out, the way the audiobook is produced can have a great effect on how the listener experiences the story. Clearly appeal factors such as tone can be enhanced by productions that include music or other sound effects. Characterization is affected by how the reader/narrator can create the voices for the different characters, or in some cases different readers are used for the different characters. Some readers are so good I find myself wondering later how that book could have been read by one person! Part of my would love to be a reader of audiobooks, but then when I hear a book like that I feel sure I am not up to the task. Maybe I could narrate a non-fiction book! Pacing can also be affected by the way the reader/narrator reads. I listened to one book that I had to give up on because the narrator read so slowly and breathily. I felt like she was trying to make the story a romance novel when it was a mystery with a romantic element to it. 

In talking with patrons and helping them find audiobooks, I think paying attention to the narrator or the group that produces the book will matter. I haven't helped any patrons with this, so I realize I need to include that in my questions that I ask. I don't personally remember what narrators/readers I like to listen to, so I realize I have to be more aware of that, too, for myself. Which means I better start writing that down!

Cahill and Moore (2017) also talk about the value of audiobooks for children. I was encouraging a parent to try out some of our audiobooks and Vox books the other day as a way to help her child learn to read. My kids used to listen to "talking books" when they were young. We had books that came with tapes (yes, real live tapes) and a tape player. So they could hold the book and listen along. They loved them, and it gave me a break to do something while they read (instead of reading to them, which I also did, but sometimes the dishes just need to get done!).

Appeal factors and ebooks

I was talking to a patron just the other day about ebooks. He was not a fan, but then was sad that we didn't have certain large print books. So I pulled out my phone and showed him how he could change the font size if he read with an ebook. And I had my page black with white letters so I pointed out the color option that can make the reading easier on the eyes. But I had never really considered how ebooks can affect appeal factors, and I'm still not sure they do, though Dunneback and Trott's article (2011) made me think hard about this.

If I am reading a thriller, I guess if it gets a little too tense I could change to a different color background, like move to white background and black words. But if it's a good book I'm going to get immersed into it and so I don't think it will really make a difference. I do think font size could have an effect in that it would make me turn the pages more quickly if I have a large font size, and that might cause me to lose track of the storyline sometimes. That could also affect how I feel about the pacing. Dunneback and Trott (2011) mention that if you don't know how close you are to the end you might not feel the pacing as much. I often check where I am in an ebook, so I think that might not be as large of an issue, especially for people who are used to reading ebooks.

I wonder how the look of the writing on the page could affect things like the language aspect of appeal. For example, does the ebook in its different font options change where the line returns, and then does that affect how the reader experiences the work? I think this would be very important in poetry. In works that have lots of dialog it might make it harder to read (if the font is large and there seem to be lots of shorter lines of text). That might affect storyline and pace as well.

We haven't really talked about graphic novels in this class yet, but Dunneback and Trott (2011) mention that as well. Some readers are better at showing the graphics than others are. I think with a good device graphic novels could be properly enjoyed. I will have to ask some of our younger patrons who read these novels if they read them as ebooks. Interestingly, many younger patrons have restrictions on screen time, and this is another factor to consider with ebooks.

Digital materials and circulation

I have become quite interested in the issue of the circulation and cost of ebooks. I had been discussing this issue with a colleague last week and then when I read Gross's article (2021) I became more aware of the issue of access and licensing of digital resources. I often hear patrons wish we had physical copies when we only have digital copies. I thought digital copies were cheaper, but I don't know if that's really true. I feel like buying access or a license really minimizes the power the library has to serve its patrons. The point that with digital materials one cannot buy "used" copies is interesting and I had not thought about it before, but it is relevant. I think the biggest problem I have is one related to freedom of access to ideas. The ALA Library Bill of Rights (2019) states that libraries should help connect patrons to ideas. If publishers can limit access to materials by limiting licenses, that goes against this access. 

References:

American Library Association. (2019, January 29). Library Bill of Rights.

https://www.ala.org/advocacy/intfreedom/librarybill

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

Dunneback, K., & Trott, B. (2011). E-books and readers' advisory. Reference & User Services Quarterly, 50(4), 325-9. 

Gross, D. A. (2021, September 2). The surprisingly big business of library e-books. The New Yorker. Retrieved November 30, 2022

Book Club Experience

    I attended a book club at a library in a near-by town. It was the only book-club in the area that didn't conflict with my work schedule! 

    This book club was a little unusual in that the group shares books that they have enjoyed reading in the last month - it's not a book-club where everyone reads the same book. On the one hand, this was nice for me since I don't have a lot of free time between school and work (so I didn't have another assigned book to read!). On the other hand, it didn't give me a chance to see some of the things I did want to experience in terms of leading a book club discussion, like how the facilitator starts the conversation, and what kinds of questions they ask the members. 

    Upon my arrival I saw that the tables were arranged in a large square so members could sit facing each other. There were some light refreshments on a side table. There was an also a print-out that the facilitator prepared ahead of time. That print-out included summaries from the members about the books they were going to talk about. The facilitator asks for information from the members about a week before the event so she can prepare this document. There were also pencils so members could take notes.

    There were about twelve people in the group, and most of these were regulars, so they knew how things were run. The group members take turns talking about books they have read in the past month. The facilitator chose someone to start and asked each person to say their name and then talk about their books. In some cases the person had a copy of the book with them, and in other cases they didn't. People took turns and went in order around the tables. The facilitator did not start by reminding us of  any rules of order, but everyone seemed to follow the pattern set out by the first speaker. I was able to find the printed version of what they said in some cases (not everyone turns in material ahead of time). I also jotted down titles that sounded interesting as they talked. There wasn't very much discussion because usually only one person had read the particular book. However, in some cases others had also read the book. They still didn't do much cross-table talking. Sometimes someone would ask a question or make a comment, but more often when it was a person's turn he or she would then also make a comment about an earlier book that was discussed.

    What I liked about this was that no one dominated the conversation - everyone took a turn to talk and share about books. I liked walking away with more good books to read (as if my TBR list isn't long enough!). The people were friendly. They greeted me and I felt welcome. The second time I went there was a new person and she really didn't seem to like the group and said that when it was her turn to talk. I'm not sure what she was hoping for, but she said it was too formal. Maybe she wanted more discussion. It was odd since she also hadn't read a book and didn't share anything. I also liked that there was a wide variety of books discussed. Some people were reading biographies, some mysteries and thrillers, some non-fiction books about relevant topics today. We talked some about movies related to some of the books as well.

    What I didn't like as much was that there wasn't very much discussion. Sometimes people would engage a little about a book several people had read, but I think they were very careful not to take over the conversation. I appreciated that, but I think there is value to those intense discussions. In our readings for this week they talk about how good those discussions can be (though Prof. Cataldi shared some examples of some pretty awkward discussions!). I did ask questions about some of the books - mostly clarifying questions - and I felt like that was perfectly welcomed. 

    Overall, I like this book club. I would like to attend one where everyone talks about the same book - I'll have to figure out how to do that when it doesn't conflict with my work schedule. I would like to lead a book discussion, though I know that's a little daunting. I do think the facilitator has to let the group discuss and only speak up or ask questions to get the group back on track or when no one is talking, and to keep over-talkers in check. I went to a seminar last year where the presenter was explaining how you can lead a book club and not have read the book. I thought that it made sense. If you are just facilitating, then really any question can be brought to the group and doesn't require a librarian to answer. Though I think it would be more fun for the facilitator to have also read the book (and that brings up the question of how to choose the book, which was also discussed in our readings - there are several different models for this).

Crowdsourcing RA - special topics paper

 Crowdsourcing RA

            One of the first papers we read in our class was an interview of several librarians who engage in Reader’s Advisory (Tarulli and Wyatt, 2019). I wasn’t surprised at the importance of the personal interactions they discussed, but one comment stuck out to me. David Wright, a readers’ services librarian at Seattle Public Library exhorted us all to also use our tools (Tarulli and Wyatt, p. 3). As someone new to being a librarian, but not particularly new to reading and talking about books with friends, I wondered what those tools were. I soon learned about NoveList, which I used in our first set of prompts and in my book annotations. As I worked on more book annotations I realized that Goodreads would give me more information about books that NoveList suggested as read-alikes. The reviews by readers often gave me more insight into the book and helped me decide if it was one I wanted to list as a possible read-alike for my assignment. Using Goodreads in this way started me thinking about the crowdsourcing of reader’s advisory (RA). 

            Crowdsourcing is the process of using a large group of people who can be geographically dispersed to do a job or service, often for free (“Crowdsourcing,” 2024). It has been used in many ways because the internet has made this process easy and people seem to enjoy giving their opinions and feedback. Crowdsourcing is being used in the field of RA by web sites like Goodreads, LibraryThing, and Shelfari (Rapp, 2011). These sites use tags and predictive algorithms to help readers find their next book. Some might worry that this phenomenon could put librarians out of a job, but Stover (2009) suggests it these could be good sources for RA librarians.

            I decided to look at Goodreads for appeal factors and for read-alikes, and compare what I found there to what I found using NoveList. I found that there is a way to search Goodreads for appeal factors. To do this, go to "Browse>All Genres" and scroll to the bottom of that page and select "more genres" and you'll se a search bar that allows you to enter any text. If you choose standard appeal factor terms you will find books that people have shelved according to that term. It won't give you all books that have that appeal factor, but I was able to find books that also appear on the NoveList search for the same appeal factors. People do not always use the exact same terms because it's not regulated. I also found good ideas for read-alike using Goodread that were different from NoveList, but still had many similarities according to the NoveList site.

            In summary, Goodreads is definitely a good tool to use to help you find books for patrons, and you can look for read-alike or appeal factors and have success.

References

 

Crowdsourcing. (2024, February 26). In Wikipedia. https://en.wikipedia.org/w/index.php?title=Crowdsourcing&oldid=1204962342

Rapp D. (2011). Crowdsourcing RA. Library Journal,136(10), 56-57.

Stover, K. M. (2009). Stalking the wild appeal factor: Readers’ Advisory and social networking sites. Reference & User Services Quarterly, 48(3), 243–269. 

Mystery genre - annotation #3

Author:  Kathleen Marple Kalb

Title: A Fatal Finale

Genre: Mystery (Historical Mystery)

Publication Date: April 28, 2020

Number of Pages: 304

Geographical Setting: New York, New York, USA

Time Period: 1899

Series: Ella Shane Mysteries

Plot Summary:

It’s 1899 in the great city of New York and Ella Shane, who grew up poor in New York’s lower East Side is now an opera diva and owner of her own opera company. Her only problem is that the young woman playing Juliet (her real name was Frances) died on stage a few months ago. While the death is ruled a suicide, Frances' cousin, a duke from England, shows up on Ella’s doorstep wanting to know more about the death. So begins Ella’s exploration into this unusual death. 

During her informal investigation Ella uncovers the truth and develops a relationship with the duke that has the town talking. The novel is rich with period descriptions, particularly about the social conventions of the time.

The pace is quite slow and then the mystery is solved quickly right at the end, which was frustrating. But Ella, the duke, and the other characters that inhabit the novel are nicely developed and make the reader ready to read about Ella’s next adventure

Subject Headings:

Mystery – New York, Gilded Age

Mystery – Cozy, Historical

Mystery -- Opera

Appeal:

Tone: “Cozies strike a humorous and gentle note and assure that all will be made right.” (Wyatt & Saricks, 2019, p. 56).

This was a gentle novel, and in fact the reader does not know that murder has happened until the last few chapters. There is mild romantic tension between the duke and Ella, and there are mild social tensions that happen between people of different social classes.

Characterization: “Regardless of how they are drawn, the central protagonists in Mysteries have their sense of honor and justice challenged by the cases they encounter” (Wyatt & Saricks, 2019, p. 53).

Ella clearly is bothered by the question of whether someone killed Frances or she died because of an accidental overdose. Ella also worries that she could have somehow helped Frances more as the young girl tried to develop her career as an opera diva. These are issues of justice and honor and show that Ella is a person of integrity. She cares to see justice meted out.

Frame: “Frame refers to the details and side subjects, as well as the ancillary learning, that are often integrated into a Mystery. Insights into a favorite detective’s hobby or day job, the inclusion of a recipe, or the listing of a lengthy musical playlist are examples of frame details” (Wyatt & Saricks, 2019, p. 55).

The historical details in this novel made the period come to life. The protagonist speaks plainly about attire, and her background as a child of immigrants, and the challenges of being a woman of business in her time period. Issues of motherhood and careers came up, and while those may have been slightly anachronistic it seems reasonable that professional women of the time (and there were professional women then) had these decisions to make. 

The author includes details about operas and operatic life, as well as a glimpse into the life of newspaper reporters of the time. 

3 terms that best describe this book:  

gentle, richly detailed, female amateur detective

Similar Authors and Works:

What the dead leave behind, by Rosemary Simpson

Set in 1888 New York City, an heiress suspects her fiancé was murdered and works with his best friend to find the truth.

Common appeal: strong female amateur sleuth; Gilded Age New York City; richly detailed

A death of no importance, by Mariah Fredericks

This mystery is set in 1910 New York City. A professional housekeeper becomes involved in solving a society murder.

Common appeal: richly detailed, Gilded Age New York (though near the end of that period); independent/professional female amateur sleuth

Deception by gaslight, by Kate Belli

Genevieve Stewart, a woman from a wealthy family, chooses to become a reporter. She becomes involved in finding a jewel thief and murder. 

Common appeal: Professional woman as amateur sleuth; Gilded Age New York City; richly detailed

  

3 Relevant Non-Fiction Works and Authors

Grand opera: the story of the Met, by Charles Affron

 

This book traces the history of the Metropolitan Opera in New York City since 1883. 

Common appeal: history of the opera, divas

Mrs. Astor’s New York: money and social power in a Gilded Age, by Eric Homberger

 

This book describes New York society during the last part of the Gilded Age (late 1800’s), focusing on Mrs. Astor, who was considered the head of society at that timerou.

Common appeal: New York history, Gilded Age, social expectations

 

 

Rogues’ Gallery: the birth of modern policing and organized crime in Gilded Age New York, by John Oliver

 

This book describes the improvements developed in policing during the Gilded Age in New York. It includes stories of real crimes and criminals as well as policemen.

Common appeal: Gilded Age (history), true crime, society and culture

 

3 Relevant Fiction Works and Authors (not Mystery genre)

The Magnolia Palace, by Fiona Davis

 

This novel mixes two time periods (WWI era and the 1960’s) New York, focusing on art and modeling and the Frick family.

Common appeal: Well-developed character, richly detailed writing style, historical period (includes end of Gilded Age)

Carnegie’s Maid, by Marie Benedict

 

This historical fiction story is set in Andrew Carnegie’s house and times and gives the reader a picture of Carnegie’s life and times, told through the eyes of a fictional maid.

Common appeal: Well-developed character, richly detailed writing style, historical fiction

 

A beautiful rival: a novel of Helena Rubinstein and Elizabeth Arden, by Gill Paul

 

This historical novel shares the story of two famous women, how they each succeeded, and how they competed with each other.

Common appeal: richly detailed writing style, well-developed character, professional women in history

 

References

 

Wyatt, N.  & Saricks, J. G. (2019). The Readers’ Advisory Guide to Genre Fiction (3rd ed.). ALA Editions.