Bits and Bobs of Library History

Salutations!

Going back through some old discussion board posts, I found that my INFO 5000 Introduction of Information Professions in Fall 2022 really opened my eyes to all that is within this varied world of library-ness. Below are the highlights from a historical examination of libraries that were quite interesting or unknown to me at the time. There were so many intriguing bits and bobs highlighted by Rubin and Rubin (2020) in Foundations of Library and Information Science that I am tempted to make an outline or two for some historical fiction I want to write someday centered on female librarians throughout history, such as what it must have been like to work in a special library in the 1920s learning to use microfilm as new technology (p. 41). My Top 3 new-to-me, curious, and/or surprising things from Chapter 2 are the Alexandrian Library in Egypt, the illuminated manuscripts of Scriptures in the Middle Ages, and the social libraries that went West.

I was first intrigued that the Alexandrian seems to be the historically and scholastically agreed-upon “first institution to embody the idea of systematically organized, collaborative, encyclopedic research” (as cited in Rubin & Rubin, p. 26). Honestly, I was floored to learn that the Library in Alexandria, Egypt — that iconic, legendary library, of which memes exist in droves it seems — was actually the brainchild of Greek military leaders wanting Alexandria to be the cultural hub for their empire. Previously, I had always assumed one Egyptian dynasty came up with the idea as a means by which to record the history of the world power known as Egypt and their daily life routines and belief systems up to that current reign with subsequent rulers merely adding to the growing body of knowledge. I also appreciated the fact that the Museum/Library as a combined institution housed together was focused on bringing to light all the world’s knowledge at the time into one physical place, so it would ambitiously “be a ‘universal’ library that promoted Greek language” while also including “Near Eastern traditions, including some of the great works of the Jews” (Rubin & Rubin, p. 27). However, I do not approve of the aggressive collection methods which saw fit to confiscate original on incoming trade ships for the purposes of copying them, only to return the copies back to their owners! I found the inclusion of systematic author and subject cataloging within the acquisition and processing details given by Rubin and Rubin’s citation of Wilson’s 1980 work to be interesting, and I especially enjoyed the mention of their ongoing conservation program (pp. 26-27). 

Secondly, not exactly having to do with the roles or functions of libraries as used by people per say, I relished the inclusion of illuminated manuscripts produced during the Middle Ages in monastic libraries. Any illuminated manuscripts of Scriptures have always fascinated me, especially those I saw during my visit to the Museum of the Bible in Washington, D.C. last year. When thinking about the monks pouring over pages and ink for hours to result in these works of art, I definitely see the reverential intention to “reveal the beauty of God,” since I am a devout Christian myself, and understand that the mostly meticulous work “reflected the copyist’s realization that he was representing sacred words from Scripture” (as cited in Rubin & Rubin, p. 33). I found it amusing and encouraging that Clanchy’s 1979 work is quoted as mentioning the fact that visible use and display of these illuminated manuscripts “might have also been  inspirational to the laity and might have even served as an early incentive for literacy” (as cited in Rubin & Rubin, p. 33). Sometimes, seeing someone else with the book you want to understand is all it takes for you to do whatever you have to so you can access what that book has to offer.

Thirdly, I will always have a soft spot in my heart for the Westward Expansion period, thanks to a happy childhood reveling in the works and world of Laura Ingalls Wilder, so I perked up a bit when reading migrants West “took the social library model with them, which resulted in a wide variety of libraries — YMCA libraries, agricultural libraries, ‘ladies’ club,’ mechanics’ and mercantile libraries — all developed to meet the special interests of their particular constituencies” (as cited in Rubin & Rubin, p. 39). The entire concept of the social library was completely new to me. Previously, I had always considered all libraries, even if it was merely a physical location where small, select groups of people seemingly swapped purchased books routinely, would be free to any individual who wished to use the materials offered within said library spaces. If I have connected the dots properly regarding the progression, I understand social libraries to be an interesting precursor to circulating libraries, which, in turn, fostered public libraries as we know them today. I enjoyed the directory of various social libraries established after settlers moved into the wilds of the West, especially the ladies’ club libraries and the mercantile libraries. Who knew shopkeepers and general store owners needed their own specialized little libraries in territories past the Mississippi River and Rockies Mountains? I hadn’t considered it before, and similarly found, in the previous section documenting the types of 1876 libraries, the inclusion of saloon reading rooms, sewing circle libraries, and railroad libraries (as cited in Rubin & Rubin, p. 38) to all be amusing and thought-provoking from an author’s standpoint. For example, were the railroad libraries about railroads and equipment maintenance or was it for travelers to “take a book, leave a book” from stop to stop when riding the rails? Did sewing circle libraries branch out topically to include knitting? What items were available and used in the saloon reading rooms?

RLGing,

Sarah Hope

Reference: Rubin, R. E. & Rubin, R. G. (2020). Foundations of library and information science (5th ed.). ALA Neal-Schuman.

Degas and the National Gallery of Art

Salutations!

I originally posted this within the discussion board environment for my INFO 5300 Organization of Information class in Fall 2022.

As Joudrey and Taylor (2018) stated “the National Gallery of Art (NGA) in Washington, DC [has made its] entire collection (drawings, paintings, photographs, prints, and sculptures)… searchable… [and] allows the public to search the collection’s ‘object records’ by… [many] fields” (pp. 120-121). Intrigued, I poked around this afternoon on the NGA “Search Collection” tab to see what was available and how the system worked, especially what information it might give and how search terms had to be inputted to get desired outputs. All my searches were limited to images offered online since I chose to check the “Images only: check to limit your search to objects for which images are available” box. 

I first started looking for anything in the “Key words in object information” box for my favorite actress/comedienne Gracie Allen, hoping to find a new-to-me photograph, to no avail, so I switched to looking for her name in the “Key words in title” box. Nothing. I abandoned the idea of Gracie photos and moved to Impressionist painters, since I was on the NGA website after all. I tried both Mary Casset and Mary Cassett, in first-last order without success, so I plugged in merely Degas and found the entry for one of my favorites: “The Dance Class” (see below; as the image is in the public domain, I was able to download it from NGA to repost here. Isn’t it lovely?). Incidentally, I misspelled the first painter’s surname incorrectly — Mary Cassatt, apparent by some Degas sketches/etchings of her at the Louvre surfacing in my results.

Degas' painting "The Dance Class"

Degas’ painting “The Dance Class”

Examination of information provided for “The Dance Class” yielded a veritable treasure trove. I discovered in its exhibition history that it was first shown in London at the Deschamps Gallery in April 1876 as no. 131 (National Gallery of Art, n.d.), whatever that meant to the gallery at the time; the following year, it arrived in Paris as no. 38 and was featured as part of “La 3e Exposition de Peinture [Third Impressionist Exhibition]” (NGA, n.d.). Recently, the painting traveled in 2019 to Paris as no. 219 (National Gallery of Art, n.d.); NGA published about the exhibition, Degas at the Opéra, which was a collaboration between curators at the NGA and the Musée d’Orsay to “[celebrate] the 350th anniversary of the [Paris] Opéra’s founding… [and presented] approximately 100 of [Degas’] best-known and beloved works” (National Gallery of Art, 2020, para. 2).

The image description below provided by NGA is gorgeous; its beautifully rich detail reminds me of how Mary Ingalls would ask Laura to see out loud for her in By the Shores of Silver Lake.

A dimly lit ballet studio is filled with about two dozen young dancers tying on their shoes, stretching, or practicing en pointe in this horizontal painting. The girls all wear dance costumes with knee length tutus, tight bodices, and belts in canary yellow, rose pink, or royal blue. The girls all have brown or dark blond hair. The room seems to be mostly lit from windows on the wall opposite us so some of the girls’ faces are in shadow, but all appear to have light skin. Starting from the left, two dancers are visible from the waist down as they descend a spiral staircase that rises along the left edge of the canvas and off the top. To our left of center is a knot of several dancers, two of whom stand on their toes en pointe, with arms raised. Further right and closest to us, four dancers cluster around a mahogany-brown bench. Rose-pink ballet slippers are piled next to a seated dancer wearing a scarlet-red jacket over her costume. Her head is turned to our right, looking at the girl standing next to her. On the other side of the bench, another dancer bends over to reach her feet, presumably tying on her slippers. The fourth stands on the far right with her back to us, her head turned to our left to look back at the central group. More dancers practice in a room beyond, seen through a wide, squared opening in the upper right of the composition. The room we seem to be in has dark olive-green walls and the room beyond has brighter, parchment-yellow walls. The faces and some details of the costume are loosely painted so their features are indistinct. The artist signed the painting in the lower right corner, “Degas.”

RLGing,

Sarah Hope

References

Joudrey, D. N. & Taylor, A. G. (with Wisser, K. M.). (2018). The organization of information (4th ed.). Libraries Unlimited.

National Gallery of Art. (n.d.). The dance class, c. 1873 [Register Entry]. https://www.nga.gov/collection/art-object-page.165300.html

National Gallery of Art. (2020). Degas at the Opéra. https://www.nga.gov/exhibitions/2020/degas-opera.html

Collocation and Controlled Vocabulary

Salutations!

My INFO 5300 Organization of Information class during the Fall 2022 semester was eye-opening to things I knew instinctively yet couldn’t articulate, as well as broadening for my horizons to what theoretical underpinnings support some cataloging decisions.

I connected effortlessly with the assertion that humans naturally organize information and laughed knowingly at the quip that people are either filers or pilers (Joudrey & Taylor, 2018, p. 2)! Collocation, that is “[organizing] to bring similar things or ideas together into groups…[such as] books on the same subject or sound recordings in the same musical genre” (Joudrey & Taylor, p. 3), resonated with me. Once I stopped reading the word as “collation,” putting pages in numerical order, and actually looked at it while remembering the definition provided, I realized collocation could be used to describe how my personal shelves are categorized; until now, I never had one term to explain why all my books on or by Laura Ingalls Wilder are together, followed by my dance/ballet books, with my DVDs grouped by genre and the actresses important to me. On my own, I connected the concept of collocation to a cataloger’s reliance on the Dewey Decimal System when working with a certain topic, such as the call numbers of all the juvenile books about pandas being J 599.789.

During further examination of Chapter 1 of Joudrey and Taylor’s The Organization of Information, I found the statement “controlled vocabulary ensures consistency in subject representation and allows for collocation” (p. 17), which validates my inclination. I was helping to train a new staff member yesterday, and we were looking at a MARC record with our director of youth services. We discussed how a child might want to search for “bunnies” in the OPAC, yet the Sierra catalog typically prefers the subject term “rabbits,” since that word is typical “librarian speak” as we call it. When searching for materials on raising pet rabbits, back in one of my elementary schools, I remember my young patrons would not get results for “bunnies” because Follett Destiny used only “rabbits.” Actually it seems more common nowadays than I anticipated for words like “bunnies,” “puppies,” and “kitties” to be the titles of some non-fiction books for children. It seems the publishing industry is becoming increasingly cognizant of childhood vocabulary trends. My public library’s OPAC yielded 206 different items across all branches and several formats featuring the word “bunnies” somewhere in the resource records through keyword searching; a search of “puppies” populated 559 results, while “kitties” offered a scant 40 results; the board book Bunnies by Gail Gibbons has its subject heading as merely “Rabbits–Juvenile literature.”

RLGing,

Sarah Hope

PS. Citation for textbook referenced: Joudrey, D. N. & Taylor, A. G. (with Wisser, K. M.). (2018). The organization of information (4th ed.). Libraries Unlimited.

Sample Programming for International Gaming Month (November 2023)

Salutations!

For my CLS 543 Adult Programming for Public Libraries course in Summer 2022, I was tasked with creating a planner of sample programs tied to one theme, so I chose International Gaming Month in November, since it is a time for public library programming filled with family-friendly and multi-age opportunities. With this topic in mind, I outlined six different programs a library could host and made a flyer for one of those six.

Hope these ideas of mine ignite your creativity in planning for your own International Gaming Month programming!

RLGing,

Sarah Hope

Amish Fiction Pathfinder

Salutations!

For CLS 534 Adult Programming for Public Libraries in Summer 2022, I was tasked with creating a pathfinder for a genre of choice with associated explanatory essay; I chose Amish fiction, since it was outside my usual genre picks, and formally reviewed five representative novels. The pathfinder, made using Microsoft Publisher, is in the Google Drive folder “Documents/Presentations (MSLS & Beyond);” below are the TL;DR highlights (in my humble opinion):

  •  Amish Romance, the primary focus of the novels highlighted as a representative sample in this Genre Pathfinder, can be defined as “romances that are morally and socially acceptable within [the Amish] community and religion, such as chastity and conservative values” (Harris et al., 2021). These novels feature characteristics common to both Amish Romance fiction and Christian Romance fiction, namely “a redemptive arc….a strong heroine…good prevailing over evil,” making them “safe and wholesome” books that makes readers “feel uplifted, inspired, and hopeful,” with many loyal readers avowing “their experience of the genre resembles devotional reading as much as it does entertainment” (Harris et al., 2021; Weaver-Zercher, 2013a, para. 5).
  • The origin of Amish fiction as a whole seems to stem from the agreed-upon seminal publication of Beverly Lewis’ The Shunning in 1997, the first adult novel by a beloved children’s author that “quickly found an audience among fans of historical fiction”  (Markert, 2017, p. 280; Riess, 2008, p. S8). As of 2008, The Shunning “sold 766,000 copies, contributing to the 4.5 million total copies sold of Lewis’s Amish-related adult fiction” (Riess, p. S8). Beverley Lewis unknowingly paved the way for authors Wanda Brunstetter and Cindy Woodsmall to establish themselves as leaders within the new genre, leaping “to best-seller status and [continuing alongside her] to write Amish-themed romances that generate strong sales for the [publishing] houses that launched their [respective] careers” (Markert, p. 280).
  • Overall, books in the Amish fiction genre or the Amish Romance fiction genre appeal to primarily female readers of varied ages and backgrounds, whether religious or not, for several different reasons. Most commonly, “the Amish lifestyle encapsulates many things [numerous readers across the United States primarily] find attractive—a strong sense of spirituality, a close-knit community, and the ability to remain relatively constant in a changing culture” (Reiss, p. S8), with some readers even discovering a sense of “permission to wrestle with some of their own doubts about how their faith intersects with the culture” (Reiss, p. S8); other readers are inspired to begin or continue “many of the practices they see slipping away from contemporary life: eating together as a family, caring for one’s neighbors, … resisting the urge to buy every new gadget, [and] choosing to forgive” (Weaver-Zercher, p. 24).

I grouped the pathfinder’s representative titles into a Goodreads shelve, with the same reviews posted there, you want to add any of them to your own TBR shelves!

RLGing,

Sarah Hope

My Reader Autobiography

Salutations!

My professor for CLS 534 Adult Programming for Public Libraries in Summer 2022 wanted to get to know us individually as readers and tasked us with writing our autobiographies in this specific context. The entirety of my essay is in the Google Drive folder “Documents/Presentations (MSLS & Beyond);” below are the TL;DR highlights (in my humble opinion):

  • My journey of actually learning to read was difficult and tearful; my mom remembers me sitting in her lap crying over “Hooked on Phonics” almost daily, since we began homeschooling when I was around “kindergarten” age. Somehow one day, the words on the page, what they meant, and how they connected to oral language, must have all clicked in my brain because I have been an avid reader for as long as I can remember.
  • Since I loved the book Stuart Little by E. B. White so much after meeting the Littles when I was eight or nine, my parents and I actually made an audiobook recording on cassette tape to accompany my cousin’s Christmas present one year – a hardback copy of the darling story of the family living in New York whose second son is somewhat like a mouse. A couple of years later, my cousin would actually recommend to me the one and only novel she had read that she thought I would enjoy, namely Kate DiCamillo’s Because of Winn-Dixie.
  • My high-school years found me roaming the Canadian countryside with orphan Anne Shirley, trying to speak eloquently like Elinor Dashwood, spending time with the March sisters in Massachusetts, and identifying keenly with the protagonist of Jane Eyre for still slightly unbeknownst reasons, considering I have never been a governess.
  • Reading has had tremendous significance in my life to date and has definitely played a major role in who and what I am today; reading is important to me because it allows me to go on adventures not likely to happen in my real life in the modern day; it is how I process most information since I am a visual learner; it connects me to different or similar emotions and personality characteristics I want to cultivate or avoid; I can go around the world without leaving home or achieve time-travel to have a cup of tea with a dear friend. Likewise, I find as an adult that my growing collection of vintage and rare books affords the opportunity for me to hold onto a bit of a stranger’s life through the inscriptions and notes written inside, such as pages left in the two English college textbooks dated April 15, 1943, and to vicariously relive my favorite historical eras through books that would have been indicative of pop culture in bookshops throughout the country with their release, such as my 1936 copy of Susannah of the Mounties by Muriel Denison that is a Shirely Temple movie tie-in edition.
  • My feelings and attitudes about reading are the reason I have the goals I do in regards to library and information science. Deep down, even when I couldn’t articulate it, I have always believed God blessed me with my love of books. He gave me a curiosity about people and places that is usually satisfied by well-written novels, a thirst for information typically quenched by well-researched answers, and a respect for how books can be little puzzle pieces from bygone times. “Librarian” checks those boxes quite well.

RLGing,

Sarah Hope

PS. I feel like this GIF of Brigitta Von Trapp from The Sound of Music (1965) pretty much sums up my childhood via GIPHY. The GIF doesn’t really open up properly, so you might need to use the link.☺

Readers’ Advisory Thoughts

Salutations!

In my CLS 534 Adult Programming for Public Libraries class, we discussed readers’ advisory; since this post was originally written in Summer 2022 when I’d just started in my part-time public library position, strictly in the Children’s department, my interest and abilities in readers’ advisory has grown with my increased working with adults in the Reference department for the past 8 months.

Readers’ advisory is one of my absolute favorite aspects of librarianship. I always loved it when I had a few moments while teaching elementary or middle school library to help that one kiddo find his or her perfect-for-you book and see that little face light up in anticipation of borrowing and reading that book. Now that I’m in the children’s department of a public library I am finding I enjoy even more getting to conduct readers’ advisory sessions with the parents and caregivers of children. Just the other day, I sat on the floor with a mom of a 9-year-old girl discussing the intricacies of the American Girl book series, of which she was totally unfamiliar, while the daughter was off playing in the Discovery Zone. We had a blast, and she was really excited for her little girl to hopefully connect with the stories of a couple of the different historical characters. Last week, I delved into the nuances of World War II in non-fiction titles with a dad looking for books for his 11-year-old son, and yesterday, I introduced a grandmother to the possible merits of the Guardians of Ga’Hoole series by Karen Lasky about owls, since her granddaughter loves the Warriors series by Erin Hunter about cats.

My advice for conducting readers’ advisory is to be well-versed in the section of literature about which you will be advising patrons and use library terminology as appropriate with aside explanations so patrons can begin to use the vocabulary of libraries. In order to best serve the patron asking for recommendations, one must have read a variety of books across genres or have at least a working knowledge of the content and availability of different titles and series. The proper usage of “library speak” will help patrons when working with other library staff and to be able to better understand and articulate their information needs. Especially when working with kids, I always start with an age-appropriate version of the question: “Would you like facts or stories?” to help them start the process of elimination as a filter for the vast array of books available. Reading with relish Saricks’ (2005) book on readers’ advisory for the Genre Pathfinder assignment, I resonated with the following passage:

Without either lowering our personal standards or denigrating a reader’s taste, we can talk about nonstop action, characters we recognize from the first page, or a suspenseful atmosphere, and we can provide readers with enough clues to decide whether or not they want to read the book…Appeal frees us from reliance on plot summaries and from giving mini booktalks by providing a framework on which we can attach all the information we know about an author or title—drawn from our personal reading of books, reviews, book jacket summaries—as well as what we have heard about a book or author from fans or colleagues… [allowing] us to characterize comfortably an author or a genre as well as a specific title and make suggestions for a wider range of books than we could ever read ourselves. (pp. 63-64)

I believe the heart behind readers’ advisory is tied to helping readers find books they will enjoy or benefit from reading without judgment or criticism. I was always saddened by my elementary students belittling each other over reading “baby books” that came from the picture book section with such sarcasm and always tried to nip such views in the bud with the reminder that books are for everyone, especially picture books. All books are, as Dr. Rudine Sims Bishop put it, windows, mirrors, and sliding glass doors, which beautifully explains “how children [as well as adults can] see themselves in books and how they can also learn about the lives of others through literature” (as cited in Potter, 2019, para. 2). It is through high-quality readers’ advisory that librarians accomplish the mission of helping readers find their literary windows, mirrors, and sliding glass doors.

RLGing,

Sarah Hope

References

Potter, C. (2019, January 25). Windows and mirrors and sliding glass doors: ensuring students see themselves and others in literature. Institute for Humane Education. https://humaneeducation.org

Saricks, J. G. (2005). Readers’ advisory service in the public library. (3rd ed.). American Library Association.