Week Ten Prompt

 Audiobooks & eBooks

I am not an ebook or audiobook reader. When I read, I want to feel the book in my hand, flip back and forth through the pages, and make notes in the margins. I am drawn to cover art, paper weight and feel, and book size. All of the above affect whether I want to read a book or not. I like adding the physical relic of a story I loved to my book collection. I like purchasing secondhand books, especially older ones with other reader’s thoughts etched in the margins. Despite all of this, I purchased a Kindle last week because I have come to realize that audiobooks and ebooks are extremely popular, and to be able to engage in discussions with patrons about what they are reading, I need to dedicate some of my reading time to experiencing stories through these formats. 

The appeal factors that print, audio, and ebooks have in common are pacing, characterization, storyline, and frame (Chelton, 2003, p. 319). This is no surprise since the components of a story do not change based on its physical package. But the container that delivers the story does have an impact on the reader, and can add another layer of appeal to a story. 

An additional appeal factor to consider with audiobooks is audible presentation (Chelton, 2003, p. 319). The narrator must be able to:

• Match pacing of the book (Chelton, 2003, p. 319).
• Adopt different accents and use their voice to distinguish between characters (Chelton, 2003, p. 319).
• Frame the story using tone, mood, and atmosphere (Chelton, 2003, p. 319).
• Ensure that voice does not interfere with the meaning of the story or information (Cahill & Moore, 2017, p. 23).
• Use proper pronunciation (Cahill & Moore, 2017, p. 23).
• Withstand long hours of recording by having a clear, strong voice (Cahill & Moore, 2017, p. 24).

When conducting a readers’ advisory interview with a patron who uses audiobooks, it is important to ask questions about:

• preferences in narration
• where they plan to listen to the book
• what format they prefer (CD or downloadable)
• if the length is a factor in choosing a story
• if there are any technological features that they feel impacts the reading experience (Chelton, 2003, p. 321).

Although ebooks are a form of print, the appeal hinges on the convenience factor. E-readers are thin, portable, and make downloading new material easy. E-books can be borrowed from the library from any location and returned as quickly as they are checked out. For readers who are eager to get their hands on the next TBR list item, this is the most efficient option. I personally feel torn about using this format. I understand the appeal of getting new books quickly and efficiently, but I feel such a strong connection to the physical book that would be very selective in what I chose to read on a device. For instance, if I were checking out a recommended book that I wasn't sure I would like, I might choose to download it to read instead of taking the time to acquire a physical copy. I have also found that downloaded versions of books used for reference (such as a cookbook!) have been more efficient than finding a physical copy as well. 

Overall, it is important to understand how all of these factors affect the reader and to be knowledgeable about these aspects of the ebook and audiobook collections in your library. 

Fantasy Annotation

 

Author: Neil Gaiman

Title: Stardust

Genre: Fantasy

Publication Date: 1997

Number of Pages: 256

Geographical Setting: Magical Land of Faerie

Time Period: 1839-1856

🏆  Mythopoeic Fantasy Award for Adult Literature 1999                🏆 Alex Award 2000

Summary

In a small town, surround by a high stone wall (aptly named Wall), a man named Tristran Thorn promises Victoria Forester, the woman he loves, to find the fallen star they watched fall out of the sky. Tristran sets out on a journey, past the wall, through the dangerous land of Faerie, in search of the fallen star with the hope that bringing it back will earn him the privilege of marrying the woman he loves. The journey through Faerie is filled with witches, faeries, and talking trees.

Subject Headings

Young men -- Fiction.

Quests (Expeditions) -- Fiction.

Witches -- Fiction.

Appeal

Three words that describe this novel: world-building, lyrical, well-developed characters

According to Wyatt & Saricks (2019), setting, storyline, and characterization are crucial elements of the fantasy genre. 

Setting - "Magic frames the story. Readers turn to this genre to enter a new realm, and they want the world to be detailed and fully described" (Wyatt & Saricks, 2019, p. 124-125). 

Storyline - Forces of good will conquer evil; although the situation seems dire at first, the reader can expect a hopeful outcome, no matter how grievous the trials along the way. (Wyatt & Saricks, 2019, p. 126).

Characterization - "Many fantasy novels feature antiheroes, characters that change and grow over the course of a series, and former villains who reform in the face of bitter learning experiences" (Wyatt & Saricks, 2019, p. 128).

Read-alikes 

The Ocean at the End of the Lane by Neil Gaiman (2013)

The Princess Bride by William Goldman (1973)

The Colour of Magic by Terry Pratchett (1983)

Mythago Wood by Robert Holdstock (1984)

Beauty by Robin McKinley (1993)

A Darker Shade of Magic by V.E. Schwab (2017)

The Starless Sea by Erin Morgenstern (2019)

Wyatt, N., & Saricks, J. (2019). The reader's advisory guide to genre fiction (3rd ed.). ALA Editions.

Book Club Experience

I attended a virtual discussion group that focuses on True Crime stories and during this meeting, Killers of the Flower Moon by David Grann was discussed. The timing of this particular book is interesting because Martin Scorsese is working on a film adaption of the book starring Leonardo DiCaprio and Robert De Niro, to be released later this year.  

The facilitator began the discussion by asking what everyone thought of the book. The discussion formed organically and the participants responded to each other’s comments. The facilitator made sure that everyone had a chance to participate, and if someone in the group wasn’t commenting, the facilitator would ask them specifically if they had anything to add to the previous comments. The facilitator encouraged participation and kept the flow of conversation on topic for the most part. A few times, the discussion swayed off topic, but to the benefit of the group, and the facilitator was able to reign the conversation back in by tying the tangential conversation to something in the book. 

The facilitator participated in the discussion but was not the first to respond to a prompt. Sometimes she called on someone if she thought they might have thoughts to share, which may have been because almost everyone in the discussion seemed to know each other pretty well. 

The questions asked were open ended and they were built off the previous comments. Very few questions were needed to be asked to keep the discussion going. Almost everyone was eager to provide input and share their thoughts. There were many impromptu follow-up questions, and I could tell the other participants were very interested in the topic. Some of the other participants even chimed in with their own questions to the group. 

All attendees participated in the discussion. Some attendees had more input than others, but no one dominated the conversation.

This book discussion was held virtually. Some participants were at work and some at home. This was not a group of strangers. Even though the topic was a heavy one, the atmosphere of the group was light and fun. I especially enjoyed one participant’s mini tour of her library while she explained she jumped on right after her shift ended instead of going home so she wouldn’t miss the discussion group that night. 

This book group is focused on discussing True Crime stories. Books were the original format chosen but lately the group has expanded to include material that can be streamed or watched online. Since COVID-19 hit, the group has broadened discussion around podcasts, movies, and documentaries. 

Special Topics Paper Summary

 Implementing Passive Readers' Advisory in the Public Library

The purpose of implementing a passive readers’ advisory plan in the public library is to get patrons comfortable with interacting with the whole library collection. Passive readers’ advisory is utilizing tools to make reading recommendations to patrons without involving library staff. Implementing a system for recommending library materials to patrons is an important step in building a comprehensive readers’ advisory service at the public library. It is important that the library position itself as a literary center by acknowledging and meeting the reading needs of the community. 

Passive readers’ advisory is about creating displays, bulletin boards, book lists, bookmarks, and book groups to share reading recommendations. Many patrons are hesitant to approach librarians to have conversations about their personal reading interests so providing suggestions throughout the library can be useful to someone as they browse through the library stacks. This information can easily be shared with readers online by posting to the library website and sharing on social media. 

Promoting the carefully curated lists to patrons is the key to successful readers’ advisory service. It is important to tie the collection into all library programming and include other items, such as DVDs and CDs, in the recommendation lists. Take cues from the retail industry and use merchandising tactics to elevate displays. 

Below are some links to lists of resources to aid in building a passive readers’ advisory service:

American Library Association 

Book Riot 

INALJ 

Week Seven Prompt

Reader's Response

If a book is good, if it’s artful, entertaining, and informative, should it matter who the author is? This is the question explored in the article, Literary Hoaxes and the Ethics of Authorship. Ultimately, the answer to this question is going to be different for everyone. Some female authors use just their initials or change their name to something more gender neutral so they will be taken seriously as a writer. It is effective. It works. Other authors tell stories from the perspective of a race, gender, or ethnicity they are not, sometimes with remarkable accuracy as in Danny Santiago's Famous All Over Town. The bigger questions here are, Who gets to decide if something is right or wrong? Who gets to tell the stories?

Personally, I am not impressed with authors that hide behind pseudonyms. I’m the type of reader who is interested in the author as much as the stories they tell and finding out that an author isn't who they say they are is off putting to me. At the same time, I am in awe of authors who use their writing to explore different perspectives, even ones they have no possibility to fully understand. 

The current literary climate demands intersectionality. Individuals own their identities therefore, “a person who is not defined by them cannot tell the world what it is like to be a person who is” (Menand, 2018, para 11). I think this has idea has gained momentum because the insurgence of fake news in the 21st century has inspired a need for a more authentic presence in art and information.

Many of the literary hoaxes from times past (Go Ask Alice, Danny Satiago) have been defended using the literature professor’s defense, “The identity of the writer is irrelevant, What matters is the content” (Menand, 2018, para 25). This may have been true at one time, but I don’t believe this defense is effective anymore. Readers crave authenticity. People are tired for feeling duped. Integrity is a tall order, but one that pays off. 

Menand, L. (2018, December 3). Literary hoaxes and the ethics of authorship. The New Yorker. https://www.newyorker.com/magazine/2018/12/10/literary-hoaxes-and-the-ethics-of-authorship

Science Fiction Annotation

Author: Ursula K. Le Guin

Title: The Left Hand of Darkness

Genre: Science Fiction

Publication Date: 1969

Number of Pages: 304 

Geographical Setting: The planet Gethen or Winter

Time Period: 1491, Year One

Series: Hainish Cycle 

🏆  Nebula Award for Best Novel 1969      🏆  Hugo Award for Best Novel 1970

Summary

On the planet Winter, gender is not a constant state of being for its inhabitants. Only during periods of Kemmer are the sexual organs specified, creating a world where gender does not define the members of the species. Instead, this ambisexual race is able to transform into the child-bearing body of a female and the life-giving body of a male in any given cycle. This ungendered world is taken by surprise when a human, Genly Ai, lands his spaceship on the planet and begins to interact with this new world. 

Genly Ai, an envoy from the Ekumen, is sent to the planet Gethen (Winter) to convince the leader of the nation, Karhide, to join the interplanetary collective. He is challenged with the task of learning enough about Gethenian culture to convince the leader to trust an outsider and expose Gethen to unknown forces outside the planetary walls. Genly Ai fails and is exiled from Karhide. He sets out on a journey toward Orgoreyn a neighboring enemy nation, and runs into the Gethenian Prime Minister, Estraven, Genly’s only ally. They continue the journey together through the harsh ice-veiled terrain as they make the three-month trek to Orgoreyn, Estraven’s home country. As they journey across the cold, desolate ice-desert, a relationship blossoms between Genly and Estraven as they unravel the complexities of gender and intimacy. 

Subject Headings

Gender identity – Fiction

Ethnologists – Fiction

Life on other planets - Fiction

Appeal

Three words that describe this novel: world-building, thought-provoking, introspective

STORYLINE

The storyline in science fiction is central as it explores such philosophical questions as, “what if…” and the characters are challenged to make difficult choices that are often impossible to make (Wyatt & Saricks, 2019, p. 95). Genly Ai is challenged with confronting an alien species whose cultural cues are nearly impossible to interpret and where gender has no influence on social structures.

SETTING

World-building is key in science fiction giving readers a sense of otherness of time, place, and/or reality (Wyatt & Saricks, 2019, p. 96). Gethen's completely foreign society challenges well-known earthly physical and social constructs, forcing readers to thing differently. Series are common in science fiction, and this novel is part of the Hainish Cycle series that can be read in any order. 

CHARACTERIZATION

Science fiction’s focus is on ideas, especially centered around moral, social and philosophical questions (Wyatt & Saricks, 2019, p. 98). This creates opportunities to use a variety of characters to explore gender, race, ethnicity, and even the concept of being (Wyatt & Saricks, 2019, p. 98). All of these ideas are explored in The Left Hand of Darkness through the relationship between Genly and Estraven.

Read-alikes 

The Dispossessed by Ursula K. Le Guin (1974) – Included in the Hainish series, this stand-alone novel takes place in the same universe as The Left Hand of Darkness, but follows Shevek to the planet, Urras, where he must confront the forces of hate to unite the civilized universe.

The Snow Queen by Joan D. Vinge (1980) – Also a Hugo Award winner for best novel (1981) this space opera portrays the battle between the Snow Queen and Moon of the Summer tribe on the planet Tiamat as they fight for access to the fountain of youth. Mostly female characters. 

Venus Plus X by Theodore Sturgeon (1960) – Charlie is snatched from his home and transported to the world of Ledom, a civilization where gender no longer exists, and sexual desire takes a back seat in the lives of its people.

Dawn (Xenogenesis, book 1) by Octavia Butler (1987) – Lilith, one of the last surviving humans, is abducted by aliens, the Oankali, after an atomic war destroys Earth. Lilith and the other survivors are kept asleep for hundreds of years while the Oankali learn everything they can about Earth and the human race. The only way for both species to survive is to find a way to procreate together.

Adulthood Rites (Xenogenesis, book 2) by Octavia Butler (1988) – In the second book of the Xenogenesis series, Lilith gives birth to a son, Akin, who is not completely human. This novel introduces the sexless race, the Ooloi, who complicate the interplay of the mating dynamics between humans and aliens.

Imago (Xenogenesis, book 3) by Octavia Butler (1989) – In the last installment of the Xenogenesis series, the Ooloi, Jodahs is introduced. A shapeshifter with the ability to cure or create disease changes the trajectory in the development of the new human race. 

Ancillary Justice by Ann Leckie (2013) – In this novel, we follow Breq, a human and AI soldier on a quest across an icy planet ruled by the Radch who are on a mission to conquer the galaxy. The Radch use female pronouns only and do not differentiate by gender, which poses a challenge for Breq when confronted by binary characters. 

Dune by Frank Herbert (1965) – In this best-selling science fiction novel of all time, Paul Atreides, steward of the planet, Arrakis, is tasked with maintaining control over the planet which is the only source of the life-extending, mind-expanding drug, melange ("the spice") in the galaxy. 

Wyatt, N., & Saricks, J. (2019). The reader's advisory guide to genre fiction (3rd ed.). ALA Editions.