Adult Readers Advisory: Week 16 Prompt

Both of our readings this week talk about the culture of reading and the future of the book. So I have two questions for you as readers, pulling on your own experiences and all of the readings we have done over the semester: First, how have reading and books changed since you were a child, for you specifically? Second, talk a little about what you see in the future for reading, books, or publishing - say 20 years from now. Will we read more or less, will our reading become more interactive? What will happen to traditional publishing?

I grew up in a "reading" family, surrounding by books, magazines, and newspapers. My parents read to us when we were young and encouraged us to read when we were older, and my parents continue to be voracious readers - my mom reads novels and my dad reads magazines, newspapers, blogs, and the occasional books (mostly nonfiction). Those experiences shaped my reading habits and, to this day, I read a lot. One of the biggest changes since I was a child has been the explosion of books for teens. I work often in our Teen Library and I have to confess that I am a little jealous of the teens that come in - I went pretty much straight from children's chapter books to novels for adults. Honestly, though, I'm so happy that there are so many books in so many different styles and genres written specifically for teens. Provided that teens are given the freedom to explore on their own and read what they want to read, I think this will help build a strong generation of readers - stronger than my generation, that mostly went from children's chapter books to adult books. I just wish John Green, or someone like him, had been writing books for teens when I was a teen - I would have eaten it up!

I also see more and more subgenres and crossover genres, and I really enjoy exploring them. A lot of this is driven by e-books (where you can read romances about gay werewolves in the Army to your heart's content if you want), but these subgenres are creeping into print too. It makes it more difficult for libraries, I think, but as a reader, I love being able to dip my toe into a new type of book.

I think that fracturing is where the future lies, and we need to embrace it (even though it's tougher for the library profession). I'm not super concerned about the future of books, reading, or publishing. As Ursula K. LeGuin pointed out in, "Staying Awake," there's never been a time that everybody has read, and reading has continued. I'd take it a step further and say that storytelling has been around since we had enough language to tell stories, and so, regardless of format, storytelling will continue. If you look at it that way, storytelling has never been more robust. Traditional books may not have quite the market share, but they are still thriving, both in print and in e-books. There are also graphic novels, audiobooks, podcasts (some of which tell stories, like the popular "Welcome to Night Vale" - it's basically a serialized radio drama), magazines, blogs, newspapers, and news sites, not to mention movies, TV shows, and documentary films. Publishing firms are already embracing this, and they will continue to embrace it as they see money in it.

The biggest thing that we, as librarians and as book advocates, need to do is to accept the varied ways that people read and support that. That means different things to different libraries, but the biggest thing is give people the opportunity to find what they like to read, without judgment. That may mean making sure to purchase things in a variety of genres and subgenres, or creating displays and book lists, or boosting your magazine subscriptions or audiobook collection, or getting more e-books, or something else. Whether they're checking out "Great Expectations" or "50 Shades of Grey," it doesn't really matter - the more we accept this, the better off reading will be.

Adult Readers Advisory: Week 15 Prompt

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.

There are many great ways to market and promote a library's fiction collection above and beyond what we are currently doing.

The library where I work does have displays; however, Sarick's idea of a Good Books You May Have Missed display is a great one. One of the quirks of our main library building - a historic building with an addition - is that the fiction section is on the second floor, while staff is located on the first floor, and there is currently no way to staff a readers advisory desk on the second floor. A Good Books display on the second floor with the fiction books would be a great way to facilitate browsing and make the fiction section - which can look very overwhelming - look more inviting. I like the idea of having a variety of books from different genres and with different "feels" (or appeal elements). It is a good way to highlight the diversity of books in the library's collection.

Another way to market the fiction collection is through booklists, both annotated booklists available on paper and online, and short booklists and read-alike lists on bookmarks. I would like to start creating annotated booklists for some of the themed displays we do. We could keep them in a binder, with copies that patrons can take, and upload the booklists online - it could be part of the blog entries/website news posts that we already create for most displays. It would take a while to build a good mix of lists, but with several lists a year being created and a schedule of updating and weeding lists, we could end up with lists for people in the mood for nearly any book. Online, we could even make the content more dynamic by linking the names or covers of the books to the OPAC.

Links to the OPAC will also help with the third tool to help market the library's fiction collection - a subscription to EBSCO's NoveList database, especially NoveList Select, which integrates with a library's OPAC. As a patron looks for books through the dynamic booklists on the website, they could find even more books that are like the ones they are interested in. Soon, they can use that tool to help narrow down to the exact fiction book that works for them. NoveList will also help library staff with Readers Advisory which, in itself, can help market the fiction section - patrons will be more likely to use the fiction section if they can find books that they want to read. NoveList will also make creating displays and annotating books easier for staff.

Marketing any aspect of a library's services requires a mix of tools and library staff who know how to use them and teach patrons to use them effectively. In this case, a mix of in-house tools and tools provided by vendors can help market the fiction section more effectively.

Adult Readers Advisory: Week 14 Prompt

Consider yourself part of the collection management committee of your local library, or a library at which you would like to work. You must decide whether or not to separate GBLTQ fiction and African American Fiction from the general collection to its own special place. Some patrons have requested this, yet many staff are uncomfortable with the idea - saying it promotes segregation and disrupts serendipitous discovery of an author who might be different from the reader. Do you separate them? Do you separate one and not the other? Why or why not? You must provide at least 3 reasons for or against your decision. Feel free to use outside sources - this is a weighty question that is answered differently in a lot of different libraries.

The library where I work has our adult fiction interfiled, but we had long discussions about that decision and still have long discussions about genre stickers, so I have definitely thought long and hard about decisions like this - though we have never discussed separating GLBTQ fiction and African American fiction or having special stickers for those books.

In general, I like an interfiled collection with no genre stickers, because I love to browse and discover new books. An interfiled collection forces me to look at all different genres. I think that, as long as there are other tools in place to help people looking for a very particular type of book, an interfiled collection can better promote the collection and help people expand their horizons and reading tastes.

That being said, I definitely understand the appeal of a collection separated by genre. If you are into a certain type of book, it's very convenient to be able to go to one particular section and browse for the things you want. But to do that effectively, I feel like it has to be a "real" genre, and that the books need to either fit solidly into that genre or that the library needs to be able to have more than one copy of the book to put in each section (which is not going to happen in most libraries, especially small ones).

Thinking about all of that, I think that GLBTQ fiction and African American fiction should not be separated within a library collection. However, if genres are separated, Street Lit/Urban Lit is a valid.

Neither GLBTQ fiction nor African American fiction are really "genres," in my opinion. There are a myriad of books that have GLBTQ or African American characters or themes, and they do not all fit into a single genre. The blog of Reference & User Services Quarterly posted a very interesting discussion about "genres," and the concept of interfiling, that underscores this point. They wrote: "Here the idea of genre is useful because it defines a set of precepts that describe a certain style of writing. This knowledge will then allow us as readers’ advisors to connect readers to books that they will enjoy." For example, the appeal of the book I annotated this week, "The Bells of Times Square," was the appeal of a romance - it was a GLBTQ book because the romance was between two men. That's very different from the appeal of, for example, "Art on Fire," the 2014 winner of the Barbara Gittings Literature Award at the Stonewall Book Awards, which is about a young lesbian artist. The only connection is that the characters are not heterosexual. The same thing can be said for African American fiction - "Beloved" by Toni Morrison and "Rappers 'R In Danger" by Relentless Aaron are very different books. One is not necessarily better than the other, and the same person could appreciate both books, but if the point of genres is to group books with a certain style of writing, this fails miserably. However, shelving Relentless Aaron with other Street Lit books makes more sense, should a library want to shelve or sticker books by genre.

However, I'm still generally opposed to separating genres by shelving or stickers because they can put an invisible barrier between a patron and the books they want to read. Since homosexuality, bisexuality, transvestism, etc., is not always accepted by the community at large, and because sexuality is a private issue for people, shelving the GLBTQ books in a different section may deter people from exploring them. People discovering their sexuality may want to read books about a GLBTQ experience as a form of experimentation or self-discovery, but they may not want other patrons to know that they are doing this. Straight people may have interest in the lives of GLBTQ people but may not want people to know about their interest for a variety of reasons. These are all privacy issues that libraries need to consider and be sensitive to. The bylaws of the ALA's GLBT Roundtable state that the GLBTRT aims to "develop, promote and defend unrestricted access of all library users to information by or about gay, lesbian, bisexual, and transgender people." Even if access is not specifically restricted, having these books in a separate area may put up an invisible barrier to patrons, GLBTQ or not, who wish to read those books. There could be a similar phenomenon for African American fiction. People who are not African American may feel uncomfortable looking through those books because they are not "for" them. Street Lit as a genre does not have the same kind of concern; however, in general people may have preconceived notions about certain genres, Street Lit included, and be reluctant to explore them.

Finally, on the practical end, it would be incredibly difficult to come up with rules about shelving or stickering GLBTQ fiction and African American fiction, and the rules would likely end up being rather arbitrary. Would the GLBTQ fiction indicator only be for books that have GLBTQ main characters, or would it be appropriate for books with GLBTQ secondary characters? Would the GLBTQ indicator come first over other genre indicators (especially if only one copy of the book could be purchased, and the book could only go in one section)? For example, would "The Telling" by Ursual K. LeGuin be shelved or stickered as science fiction or GLBTQ, since it has a lesbian protagonist? Would "The Bells of Times Square" be romance or GLBTQ? For African American fiction, would those books be all books by African American authors? Do Walter Mosely's mysteries and science fiction books go in those sections, or are they all in the African American fiction section? Are Beverley Jenkins' novels romance or African American fiction? What about books about African Americans that are written by white authors, like "The Help" by Kathryn Stockett? It's an impractical and difficult system.

Don't get me wrong - I think that GLBTQ books and books by African American authors and/or about African Americans are extremely important for all libraries to have, and patrons should be able to find them! Libraries should be making book lists and other passive readers advisory materials to help people find the items they're looking for. Libraries' OPACs should have strong genres and subject headings to help find books with certain subjects. Librarians should be trained to help people find whatever they're looking for without judgment. However, I think that genre separating by shelving or stickers hinders patrons more than it helps them - and, especially in the case of GLBTQ fiction, it may hinder some of the most vulnerable patrons who need to read those books the most.

Adult Readers Advisory: "The Bells of Times Square" by Amy Lane

The Bells of Times Square

By Amy Lane

Synopsis: Every New Year's Eve since 1946, Nate Meyer has ventured to Times Square to listen for church bells. As he sits in Times Square, an old man, with his grandson Blaine, Nate reflects on his most secret memories - the bittersweet memories of his short but passionate relationship with Walter.

Appeal Elements

Pacing: "The Bells of Times Square" is a short book and a quick read, but after Nate and Walter's meeting, the book has a more relaxed pace as the pair's relationship grows. The pace grows quicker again as danger invades the cozy life Nate and Walter have made for themselves.

Frame & Setting: This is primarily a historical fiction story taking place during World War II; however, the story is framed by Nate's grandson, Blaine, coming out to his grandfather in the modern era. This combination gives the story extra depth and emotional weight; as Nate reflects on a life lived in the closet, he hopes his grandson is able to be himself. An additional element of the story is the fact that Nate is Jewish, and throughout the book he struggles with his Jewish identity, both as it relates to his role in World War II and his sexuality.

Story Line: The core of the plot is the romance between Nate and Walter, but there are many other elements that add tension to their relationship and to the book. The pair are frequently in danger, and their future is far from certain; not only is it far from sure that they will survive the war, but they know that if they survive the war, their relationship would have to remain a secret. In addition, they are from two different world - Nate is an upper-middle class Jewish Army officer from the big city, and Walter is a lower class gentile private from a rural area. 

Characterization: Nate and Walter grow and learn from each other throughout the book, and they protect each other. Nate and Walter both struggle with their own issues, and Walter's frankness and Nate's more reserved nature sometimes clash. However, throughout the book they are able to help each other overcome some of their fears and become better people. 

Tone and Mood: "The Bells of Times Square" has a rather melancholy tone - after all, from the beginning of the book, it becomes apparent that Nate and Walter don't get the traditional "happily ever after" of a romance novel. However, there is a thread of hopefulness woven through the book because of Blaine's budding relationship, and the ending, while not traditionally happy, is certainly uplifting. 

Style & Language: "The Bells of Times Square" is descriptive, especially of emotions and Nate's inner thoughts. The characters have strong voices, and feel realistic. The prose is easy to read.

Read-Alikes

Readers interested in reading more historical romance with GLBTQ characters may enjoy: 

• "Unhinge the Universe" by Aleksandr Voinov and L.A. Witt
• "Skybound" by Aleksandr Voinov
• "Turnbull House" by Jess Faraday
• "Bound to be a Groom" by Megan Multry

Jenny's Take: It's hard to call this a romance novel, exactly, because it doesn't have the traditional "happily ever after," but as a historical love story, this was good book, and I really enjoyed reading it. I felt like the last quarter of the book went by a little bit fast, to get Nate from World War II to the present day for the last scene, but other than that, it was really a good book. The historical stuff was a little bit fuzzy and glossed over, too, which was a bit bothersome since I know a lot about World War II, but it was no different from the historical fuzziness of most Regency romances - I just don't know as much about the Regency era. This is a good book for a romance reader who doesn't mind a more melancholy tone and an uplifting-but-not-exactly-happy ending. 

Adult Readers Advisory: Week 13 Prompt

Though this week's group of "genres" (YA, New Adult, Graphic Novels) all seem very different, they all have in common the fact that many people don't feel that they are legitimate literary choices and libraries shouldn't be spending money on them or promoting them to adults. Obviously, graphic novels are becoming more acceptable, but I still had to fight to get my progressive library in a liberal college town to purchase a book club kit containing graphic novels. The common belief is that adults still don't or shouldn't read that stuff. 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?

I have to admit, I have a dog in this fight - I read and love both graphic novels and YA novels. (I haven't gotten into New Adult much yet; I'm not opposed to it, just haven't been exposed to much yet.) Also, I'm exceptionally lucky to work at a library where our director sees the value in graphic novels (and a lot of other maligned genres, subgenres, formats, etc.). However, there are still people who just don't get it.

The thing is, libraries exist, at least in part, to provide people with what they want to read. The American Library Association confirms that people have the freedom to read. The Freedom To Read Statement says, in part, "It is in the public interest for publishers and librarians to make available the widest diversity of views and expressions, including those that are unorthodox, unpopular, or considered dangerous by the majority." If people want to read graphic novels, or YA books, or New Adult books, or anything else not specifically prohibited by law, they should be able to. Really, that's all the defense a library should need to make these items available. Libraries are not in the business of telling people what to read - we make suggestions, but those are based in the desire to help people find what they want to read, whatever it is, not to make people read certain books that we feel they should be reading. (If that were the case, libraries would have very different collections!)

But, of course, we know that it doesn't always work that way. We have to defend those books!

One of the best things for young adult, new adult, or graphic novels is to have some titles that you can point to as the "best" of the format, to help prove that they are worthwhile. Books like "The Fault in Our Stars" and "The Absolutely True Diary of a Part-Time Indian" for young adult and "Watchmen" and "Maus" for graphic novels have artistic merit and are critically acclaimed. Even though some books in those formats aren't nearly as artistic or notable, it at least helps make the argument that they are worthwhile for the collection or worthwhile for adults, at least in a general sense.

Integrating those items into displays, read-alike lists, and programs can also help the formats gain greater acceptance. The library can even do programs specifically geared toward those items. For example, for Teen Literature Day on April 16, we are going to have an open house at our teen library for adults, and one of the components is going to be a display of YA books that adults might enjoy. This type of integration achieves two aims. It does what it's "supposed" to do, which is to highlight parts of our collection and encourage patrons who haven't experienced them to pick up whatever is on the display or list, or featured in the program, even if it's a graphic novel or YA/NA book that they wouldn't normally read. However, it also achieves a secondary aim of telling patrons who already enjoy those materials that the library supports them. This will help them be more comfortable at the library, with the knowledge that the library has the books they want to read and features them as full, important parts of the library collection.

The best thing to do, though, is the thing librarians should do regardless of genre or format - purchase what the readers want and make sure they feel comfortable asking for them. A non-judgmental, knowledgeable librarian is the best link between a reader and books. This includes staff training, to at least have a basic understanding and to be able to speak intelligently on genres and formats, and a commitment to accepting those genres/formats are legitimate reading material for adults, even if you, personally, don't enjoy them.

Adult Readers' Advisory: Week Twelve Prompt

For your prompt this week, please complete the Readers' Advisory Matrix, found on the last page of the reading title RA Guide to Nonfiction in Oncourse Resources, about a non-fiction book you have read. If you have not read a non-fiction book recently, feel free to use some of the techniques on how to "read" a book in five minutes such as Mary Chelton's handouts or any others we have covered to get a feel for a non-fiction book. I look forward to reading these!

Packing for Mars: The Curious Science of Life in the Void

By Mary Roach

Where is the book on the narrative continuum? A mix (combines highly narrative moments with periods of fact-based prose)

What is the subject of the book? Space travel, specifically the affect that life in outer space has on human beings. Includes history of human space travel, current research into space travel, and what might happen in the future, especially on a manned mission to Mars.

What type of book is it? It is primarily a work of first-person reporting. 

Articulate Appeal

What is the pacing of this book? It has a quick pace. 

Describe the characters of the book? The author is a main character. She inserts herself into many different scenarios related to astronaut training. Other characters are astronauts, both the brave test pilots who became the first astronauts and the more scientific-minded modern astronauts, and the men and women who support astronauts and their missions. 

How does the story feel? It is exciting and interesting. It's written in a very friendly, accessible style, and it feels conversational and funny.

What is the focus of the story? The story focuses on what will have to be considered on a manned mission to Mars, and how that mission will affect humans in a variety of different ways.

Does the language matter? While the book is written in a conversational and often humorous style, the language is not particularly notable.

Is the setting important and well described? The settings are important; Roach shows the various places and ways that astronauts train and scientists experiment to hypothesize what will happen to humans spending a long time in space. These settings are well described.

Are there details and, if so, of what? There are many details about the human body and mind, and the effect that space has on it, physically, mentally, and emotionally. The book includes many physiological and psychological details.

Are there sufficient charts and other graphic materials? Are they useful and clear? The book includes a few photographs, which are clear and complement the material well.

Does the book stress moments of learning, understanding, or experience? There are moments of all three in the book. "Packing for Mars" including facts about space travel, understanding of what it is like to be in space, and experiences of people who have experienced life in outer space.

Why would a reader enjoy this book (rank appeal)? 1. Tone 2. Learning and understanding 3. Characters 4. Details

Jenny's Take: I know that we don't have to write any kind of review, but I just want to highly recommend "Packing for Mars" to anybody who is interested in space travel, aerospace history, or weird facts (I know a lot about going to the bathroom in zero-g after reading this book). It's incredibly entertaining and there are so many interesting aspects to space travel that are covered in this book. It's one of the best books I've read in a long time. 

Adult Readers Advisory: "Telegraph Days" by Larry McMurtry

Telegraph Days
By Larry McMurtry

Synopsis: After her father commits suicide, Nellie Courtright lives her exciting life in the Old West. She becomes the telegraph lady in little Rita Blanca, where her brother Jackson takes down the entire Yazee gang; meets Wyatt Earp and his brothers; works for Buffalo Bill Cody; has a ringside seat at the shootout at the O.K. Corral; and more. It's an epic tale of one woman watching the changing landscape of the West.

Western Elements:

Pacing: "Telegraph Days" has a leisurely pace, despite spanning many years of Nellie's life. It reads as a recollection of Nellie's adventures, with lots of asides and reflections, and less description of exciting events like shootouts and train robberies. Part of that may also have to do with Nellie's no-nonsense style of speaking; she's blunt and doesn't get excited easily.

Frame & Setting: The mythical old West of stories and movies is the setting for "Telegraph Days," and while Nellie visits many real places, such as Dodge City and North Platte, Nebraska, a good chunk of the action takes place in Rita Blanca, which, while being a real place, is "No-Man's Land" during the story - a place not claimed by any state. The book is set in a more solid time and place than many Westerns, but Nellie's descriptions of her surroundings makes the rough landscape its own character nonetheless.

Story Line: The story of "Telegraph Days" is, at its core, Nellie learning to not only survive, but thrive in the Wild West, along with a parallel story of the way that the Wild West went from being wild to being the stuff of myth, thanks to books and movies. This feels different from the typical Westerns. The traditional heroes and villains are made to be supporting characters in the drama of Nellie Courtright's life, and Nellie gives the reader an inside scoop. It's serves as a commentary on, or loving spoof of, traditional Westerns.

Characterization: Nellie is not a typical female Western character, neither a fallen woman with a heart of gold nor a good woman who stands by her man. She's more complicated than that. She isn't pure, and has dalliances with many different men during the course of the novel. She's a good woman, but she's also tough. She isn't exactly a typical Western hero in skirts either, though she does share some characteristics - she's a loner and a wanderer, though she doesn't administer justice or right wrongs. She's an active player in many big events described in the novel, many of which are events that take on mythical qualities, but she's usually working behind the scenes. Nellie can't quite be called a feminist heroine, but she certainly casts some light on the women behind the men described in Westerns.

Tone & Mood: "Telegraph Days" skims the surface of a lot of events without going in depth, which gives it a breezy feel. It's also funny, often darkly so. There is a nostalgia to the book, as any good Western should have, but it's a nostalgia that's tinged with sarcasm and droll commentary.

Style & Language: "Telegraph Days" is told in the straightforward tone of Nellie Courtright - sometimes shockingly so. The book is no-nonsense about everything, from descriptions of people and places to Nellie's forthright discussions of sex. There is a staccato feel to the dialogue, and the whole book feels gritty and frank.

Read-Alikes: Readers who enjoyed the Western setting and female protagonist of "Telegraph Days" may enjoy "True Grit" by Charles Portis, which also features a no-nonsense female protagonist (albeit a teenage one). "The Sisters Brothers" by Patrick deWitt is also a Western novel with a darkly funny tone. The books of Elmer Kelton, such as "The Day the Cowboys Quit," are Westerns that take place in the same transitional time period as "Telegraph Days." Pat Conroy's novels of the South, such as "The Prince of Tides" have a similar feel in a different setting from McMurtry's Western landscape and may be a win for someone looking for something a little bit different.

Jenny's Take: I wasn't sure what to expect with a Western, since it is a genre I have rarely read; most of my knowledge of the genre comes from movies. To complicate matters, I picked a book that doesn't appear to quite be a typical Western. I found the story to be kind of silly and far-fetched - Nellie meets a lot of famous Western characters - but I enjoyed the way that McMurtry put them all in the book and played with our perceptions of those people. It ended up feeling like a commentary, but I am sure I missed some of it because of my lack of knowledge of the genre. I really liked Nellie as a character, but for someone who reads a lot of Romance, with its flowery descriptions, Nellie's frank talk was a bit of a shock. It wasn't an unwelcome shock and it didn't offend me - in fact, it worked well for the character - but I'm not used to lines like, "Even then copulating with Teddy was no sure thing - he seemed to have no inkling as to how to find the entrance to the cave of joy. Tired of waiting - why can't the fool find it? - I put him in my hand, and then later, after an eruption and a nap, I put him in again and had some fun myself." (That encounter would have taken two or three chapters in a Romance novel.) It was fun to read a narrator who was that forthright - not just about sex, but about everything. I don't expect Westerns to become my favorite genre, but it was certainly a fun experience to read the book!

Adult Readers Advisory: Week 11 Prompt

This week's prompt: Ebooks and audiobooks are a part of our landscape. What does the change in medium mean for appeal factors? If you can't hold a book and feel the physical weight of it in your hands, how does that affect your knowledge of the genre? How about readers being able to change the font, line spacing, and color of text - how does that affect pacing and tone? How about audiobooks? Track length, narrator choice, is there music?  For this week, I want you to think about how ebooks and audiobooks affect appeal factors - also think about appeals that are unique to both mediums. Please feel free to use your own experience and that of your (anonymous of course) patrons. I look forward to reading these!

At first glace, it doesn't seem like reading a book as an e-book or an audiobook would change the appeal that much. A story is a story, no matter the medium, right?

Not necessarily!

There are some obvious appeal factors. A narrator can do a lot to enhance or detract from an audiobook, for example. The typography or layout of a print novel might be important too, especially for poetry or stories written in verse. When words are made big, or squeezed to fit on a smartphone screen, that can change the way that the layout of the novel looks. Books with footnotes, either informational or as a way for the author to insert funny asides, also do not translate well to e-books - your eye can't just flit to the bottom of the page.

But there are other factors that I hadn't really considered.

A great example from the articles we read was the idea of the length of book, and the physical sensation of going through the book, being different in an e-book. Dunneback writes, "Some e-book reading devices and software programs are able to compensate with indications of page numbers; however, this is not the same as the sensation of less than fifty pages in your right hand and you must absolutely finish the book tonight even if it’s 2:00 a.m. and you must be up at 5:00 a.m. for a critical-to-your-career meeting." I know the exact feeling she's talking about, and I never really considered the way that being able to see and feel the amount of pages left in the book affects whether I keep reading. It does, though - I have gotten to an exciting part in a book and realized I was almost done, then, consciously or unconsciously, decided to keep blazing through.

However, there is a lot of power to e-books, too. They allow any book to be large print, which I think is wonderful. Our library's large print section is getting more diverse, but it has mostly Christian fiction, westerns, mysteries, and a few cozy romances. Somebody who needs large print who likes other genres are well-served by e-books. E-books also have taken off as a place to read certain genres, such as romance and erotica. There's also privacy, because people can't see the cover and know what you're reading.

Audiobooks have their own unique appeal factors. The narrator, as I mentioned above, is obvious, but it's more than just having someone who reads well. Some books are better with multiple narrators - for example, romance novels. Others have things like music. One audiobook I've been listening to (as an e-audiobook, actually) is "Beauty Queens" written and narrated by Libba Bray, which even includes commercials (with jingles and everything) for products by The Corporation, a fictional company in the story. The book has the commercials too, but I can't imagine reading it; the jingles and music are too much fun.

It's important to be aware of the strengths and drawbacks of e-books and audiobooks, and to be prepared to talk about them. Some audiobook listeners might like the production with music; others might not like the extra "fluff." Some readers might enjoy e-books for certain types of books, like erotica, or for certain situations, like going on vacation. Just like with any readers advisory transaction, it's important to know about the books and know how to talk to patrons in their language about the books.

It's also important to know what books translate well into audiobooks and e-books, and, more importantly, what books the patrons think translate well into audiobooks and e-books. Talking to the patrons about what kinds of books they read as audiobooks and e-books, and discovering why they like the books in those genres, are important.

I started listening to audiobooks when I had a 30-minute commute each way to work. I have generally listened to books that I've already read, like the Harry Potter and Hunger Games series, and I found it a great way to re-read books in a new way. They were entertaining to listen to, especially the Harry Potter series because Jim Dale was such a delightful narrator. Even though I had read both series several times, I caught things I had never caught when reading the books. It was exciting! I listen less now because I live very close to work, though I really should start walking and listening to books again. I encourage people who are interested in audiobooks to start with something easy to see if they like the audiobook format as a way of reading.

I've read e-books for many years, and I enjoy the convenience of carrying around one device with many items. I also really like to shop the deals for cheap and free romance novels. (I rarely pay more than $2 for an e-book.) I also like being able to find a book day or night, whether the library or bookstore is open. Our library uses OverDrive and has a really nice mix of books - and many books not in the physical book collection.

The most important thing is not your personal opinions on audiobooks and e-books - they're not for everyone - but to be able to talk intelligently with patrons about what makes audiobooks and e-books work for them!

References

Dunneback, K. (2011). E-books and readers' advisory. Reference and User Services Quarterly 50(4), 325-329.

Adult Readers Advisory: Book Club Experience

I have been a member of a book club for approximately nine months. The relatively informal group is made up of 14 people, although the attendance is generally eight to ten people at each meeting. Attendance is by invitation only, although members are open to having new members attend. The majority of the group is people living in or near Ada, Ohio, although there are several members, myself included, connected with another member who do not live in Ada but still participate in the group. Most members of the group are librarians or library workers at public or academic libraries.
The book club meets at a member’s home, and includes refreshments. Usually, everybody attending brings a snack or beverage to share, although at Halloween and Christmas the book club held potluck dinners. The Halloween party also included the members dressing up as literary characters. Meetings are approximately once a month, but are scheduled for days, usually Friday or Saturday night, that are convenient for members, so there is no set schedule.

Leadership, such as it is, is passed around the group. Each member gets a turn to choose a book. The members are all friends, but reading tastes do not always overlap, so genres and styles are often very different between months. This was the design when the book club was set up; members wanted to read and discuss books that are outside of their normal reading tastes in order to expand their horizons. There has been quite a variety, including YA books (“Eleanor & Park” by Rainbow Rowell and “The 5th Wave” by Rick Yancey), science fiction (“Neuromancer” by William Gibson), historical fiction (“Outlander” by Diana Gabaldon), romance (“Unveiled” by Courtney Milan), and nonfiction (“Mortality” by Christopher Hitchens).

Leadership does not necessarily mean that the leader is in charge of the discussion or acting as moderator, although generally the person who chose the book will get the conversation started by asking what people thought of the book. The discussion then moves on to analysis of the books and peoples’ feelings about the book and its contents. Sometimes the person who chose the book will ask additional questions about certain key elements or plot points of the book.

Discussion is generally well-balanced between members, probably in part because the members are friends, and in part because many of the members have attended or facilitated other book clubs. Nobody dominates the conversation, and members are generally respectful of others’ opinions, although members have been known to gently tease each other about their preference for certain books or genres. Part of this may have to do with the fact that the majority of members are librarians and library workers who, while often holding strong opinions about books, are trained to be non-judgmental about others’ reading tastes in their professional lives.

Discussion does vary, though, depending on the number of members who have read the book and whether people had strong reactions to the book. For example, the discussion of “Outlander” was very short. The length of the book was a hindrance to many of the members, and most members of the book club thought the book was neither great nor terrible.

In contrast, discussion of “The 5th Wave” was more spirited. Nearly everybody read the book because it was shorter and a fairly easy read, and there was a lot of discussion about the nature of the relationship that the main characters had. It also led to a discussion about the way relationships are portrayed in teen fiction, and where the book series might be headed, as the book was discussed around the time that the second book was released.

Because the book club does not have a moderator, the book club does have a very informal structure, and there are months when discussion is forgotten in favor of chatting, snacking, and drinking. However, as time has gone on, discussion has gotten deeper and better.

I have really enjoyed being a part of this book club. It has given me a chance to read some books that were on my “to-read list,” and some books I may never have read without book club. I enjoy hearing and discussing different interpretations of books, and getting a chance to expand my reading horizons. I also enjoy the comradery with the librarians in the group as I grow in my career and work on my master’s degree. Most of them have been in the profession for longer than I have, and so they are a great source of support. Since the book club meets so far from my house, I can’t make it every month, but it is a very fun group to be involved with and I make an effort to get to the book club as often as I can.

Adult Readers' Advisory Special Topics Paper: Every Reader His or Her Graphic Novel

Often maligned and not always well understood, graphic novels and comics do not always find a welcoming home at public libraries. However, despite unique challenges that come with graphic novels and comics collections, the diverse format deserves its place on public library shelves. Through education, especially in readers’ advisory transactions, however, public librarians are uniquely poised to increase understanding and promote the format to a wide variety of patrons.

Prejudices against comics are nothing new. In the 1930s until the Comics Code was introduced in 1954, there were concerns by educators and librarians, who believed comic books lured children away from good literature and toward “lurid tales of superhero adventure”; civic and religious leaders, who objected to violent and sexual content; and psychiatrists, who believed that reading comics caused psychological damage (Nyberg, 2010). After the Comics Code was introduced, hysteria died down, but despite the rise of the graphic novel in the 1980s, acceptance was slow in libraries, and stigma still exists. “Many parents, teachers, and even librarians feel that comics are just trash … Most people don't see graphic novels as being on the same level or value as other works of literature” (Sheppard, 2007).

Even today, graphic novels are often the subject of challenges. According to the Comic Book Legal Defense Fund (n.d.b), “Comics are challenged for all of the same content reasons that other books are challenged, but are uniquely vulnerable to challenges because of the medium’s visual nature … Because comics thrive on the power of the static image, a single page or panel as part of a larger whole can be the impetus for a challenge in a way that’s different from a passage in a book or a scene in a movie.” In 2013, the comic Bone by Jeff Smith was the number ten on the American Library Association’s Top Ten Challenged Books (American Library Association, n.d.). The Comic Book Legal Defense Fund (n.d.a) lists several frequently challenged comics and graphic novels, including several that have won literary awards and critical acclaim, including Fun Home by Alison Bechdel, Maus by Art Spiegelman, Persepolis by Marjane Satrapi, Sandman by Neil Gaiman and various artists, and Watchmen by Alan Moore and Dave Gibbons.

Often, when comics and graphic novels as library materials are defended, they are billed as “an excellent way to appeal to adolescent readers and younger who wouldn't read otherwise” (Sheppard, 2007). Research appears to concur, but the view that graphic novels are for children and teens, especially reluctant or poor readers, sells short the format. By defending graphic novels as a good way to attract children and teens, “it remains firmly entrenched in the minds of many librarians that children are the primary audience for graphic novels” (Nyberg, 2010). However, graphic novels are written for nearly every age group and in nearly every genre. As Sheppard (2007) points out, “Comics are no longer simply men in tights - many graphic novels deal with current issues, serious subjects, and learning,” including graphic novels about literature, vocabulary, science, and history. “Even in the world of superheroes,” Sheppard continues, “graphic novels have become serious, tackling such issues as homosexuality, racism, and AIDS.”

Graphic novels, far from being a compilation of words and pictures, in fact, is a unique form of literary and artistic expression. “Highly textured in its narrative scaffolding, comics doesn’t blend the visual and the verbal - or use one simply to illustrate the other - but is rather prone to present the two nonsynchronously; a reader of comics not only fills in the gaps between panels but also works with the often disjunctive back-and-forth of reading and looking for meaning” (Chute, 2008). Reading graphic novels and comics, therefore, requires its own type of literacy, and reading graphic novels is a different - but no less important or enriching - experience from reading traditional print books.

Because graphic novels are misunderstood and often challenged, it can be easy for public libraries to give graphic novels, especially graphic novels for adults, short shrift. It can be easier, after all, to elect not to purchase a controversial graphic novel title, rather than face challenges and criticism, and if graphic novels are seen as somewhat less legitimate as a format, it may not seem like as pressing an issue as it would with a traditional print book. However, censorship, including self-censorship by librarians, and book-banning is no less dangerous when it is done with a graphic novel than with a traditional book. The American Library Association (2004) affirms that Freedom to Read - including the freedom to read graphic novels - is guaranteed by the U.S. Constitution and is “essential to our democracy.” Indeed, The Freedom to Read Statement says, “It is in the public interest for publishers and librarians to make available the widest diversity of views and expressions, including those that are unorthodox, unpopular, or considered dangerous by the majority.” Widening that diversity of expression to include graphic novels and comics seems not only allowable, but important.

Armed with this information, then, what is a public librarian to do? Obviously, selecting, purchasing, cataloging, and shelving graphic novels with the same care as is afforded other materials, and staunchly defending graphic novels against threats of censorship are both important steps. Graphic novels should be treated with the “same respect and authority granted to other formats” (Goldsmith, 2005). However, educating patrons, staff, board members, and other stakeholders in this unique format through readers advisory is another way to bring understanding and heightened respect to graphic novels.

Graphic novels are not a genre, but a format, much like audiobooks or large print, and tell a variety of stories. As Fletcher-Spear, Jenson-Benjamin, & Copeland (2005) wrote, “It is important, when thinking about and discussing graphic novels, to not confuse the medium and the message. As an educator, you may feel that X-Men is not valuable material, but it is important to remember that not all graphic novels are about superheroes. Excluding graphic novels because you dislike ‘spandex comics’ is the equivalent of excluding all audiobooks because you dislike those by Stephen King.” Therefore, while the format of graphic novels may not appeal to a reader, just as audiobooks may not appeal to a reader, dismissing graphic novels out-of-hand because of a perception that graphic novels only tell certain types of stories is shortsighted.

Indeed, graphic novels exist in almost every genre. “Graphic novels are as varied as any textual novel in their genre - from non-fiction (like Jay Hosler’s Clan Apis) to steam punk (Foglio and Foglio’s Girl Genius), from horror (Niles and Templesmith’s 30 Day of Night) to autobiography (Alison Bechdel’s Fun Home: A Family Tragicomic) and beyond” (Howerton, 2010). It is possible, therefore, to incorporate graphic novels into nearly any readers’ advisory transaction. Graphic novels can be included in static read-alike lists, displays, and “shelf-talker” signage throughout the library. Graphic novels also can be included in lists of reading suggestions created especially for patrons seeking reading suggestions. “Although it is pointless to suggest graphic novel titles to people who have clearly articulated that they have no interest in that format, almost any other advice seeker can be offered the opportunity to consider it” (Goldsmith, 2005).

The graphic novel world will sometimes do the heavy lifting for librarians, too, when popular authors, series, books, and other media branch out into graphic novel realm. As Howerton (2010) point out, “Adaptations of other stories in various mediums are fairly common in the graphics novel world.” Fans of Stephen King’s Dark Tower series can continue enjoying the story with a graphic novel series, beginning with Gunslinger Born, an adaptation of Wizard and Glass. Fans of Outlander by Diana Gabaldon can read The Exile, which tells the story from the male protagonist’s point of view; the graphic novel may also appeal to new fans who have discovered the stories through the Starz television series. The Barnaby & Hooker series by Janet Evanovich continues with new stories told in graphic novel form in Troublemaker. Fans of television shows such as Firefly, Buffy the Vampire Slayer, and Castle can read graphic novels that follow the continuing adventures of the characters. Fans of Game of Thrones, both book and television show, can relive the stories again in graphic novel form as well.

Hollywood can also help librarians get readers interested in graphic novels. Superhero movies and TV shows, based on comic book characters such as Iron Man, Batman, and Green Arrow, continue to grow in popularity. Non-superhero stories are also adapted for the big screen - including recent films Snowpiercer and Kingsman: The Secret Service, based on The Secret Service - and on television - including The Walking Dead and Constantine, based on Hellblazer and Constantine. A simple display or brochure featuring the graphic novel geneses of popular films and shows could get patrons interested in the format.

All of this work is for naught, however, if librarians do not, at least, understand enough about graphic novels to be confident in recommending them. Librarians should be aware of the unique characteristics of graphic novels, such as styles of illustration, which affect the reading experience. “Some readers are drawn not only to types of stories but to types of art as well. Additionally, the artistic style of the graphic novelist gives you some clues into the narrative” (Howerton, 2010).

Reading graphic novels will require practice on the librarians’ part. Reading graphic novels requires not only literacy in the “traditional” sense - being able to read and understand words on a page - but also visual literacy, and those two skills combine in a unique way when reading graphic novels. “Comics might be defined as a hybrid word-and-image form in which two narrative tracks, one verbal and one visual, register temporality spatially” (Chute, 2008).  But while being able to read is a skill that is prioritized in school, visually literacy is not always taught. “An art history elective in high school might revisit visual literacy, or perhaps a computer class on Web design will address the function of white space and organization of nonlinear information, but not every student has such opportunities” (Rudiger, 2005).

Learning to read, understand, and appreciate graphic novels is an important skill for librarians. After all, as Rudiger (2005) writes, “if grownups can’t read comics, they certainly can’t be expected to value them, much less promote them.” Even with the help of signs, lists, series adaptations, and Hollywood, enthusiastic promotion by a local, trusted librarian is still the best way to get library patrons interested in graphic novels.

(References & Appendix behind the jump)

Adult Reader's Advisory: "Lock In" by John Scalzi

Lock In

By John Scalzi

Synopsis: In the near future, a new virus causes a small segment of the population to "lock in" - unable to move but with perfectly functioning brains. Science allows victims of this disease, called Haden's Syndrome, to transfer their consciousness into a "threep," a machine that allows them to move through the world, or to borrow the body of an "Integrator" for a time by transferring their consciousness into the Integrator's body. In "Lock In," rookie FBI agent Chris Shane, a Haden sufferer, and Chris' more experienced partner, Leslie Vann, are assigned to investigate a Haden-related murder that could have ripple effects that they never could have imagined.

Science Fiction Elements: 

Pacing: "Lock-In" has a quick pace. There is a lot of action, and a lot of dialogue as Chris and Leslie unravel the murder mystery at the heart of the story. Even the world-building is done in a more incidental way, with the reader picking up bits and pieces about the world as Chris moves through it, although there are a few passages of "recollection" by Chris that fill in the blanks.

Frame & Setting: The world in "Lock-In" is fleshed out, interesting, and evocative. Scalzi is descriptive in his prose, making the world easy to see. He clearly has an idea of the science behind the futuristic aspects of the world, too. However, while there are scientific details that are discussed, especially relating to computer technology, they are accessible and explained in language that anybody with a basic understanding of computers can follow.

Story Line: "Lock In" is, basically, a police procedural mystery in a science fiction world. However, within that basic plotline, the book is able to explore a variety of timely issues, including economic disparity, disability culture, and gender. While the economic disparity and, especially, disability culture discussions are at the forefront of the story, the exploration of gender is much more subtle. 

Characterization: At the core, Chris and Leslie are basic characters in a police procedural mystery. Chris is a rookie, bright-eyed and a little lost, and Leslie is the more cynical seasoned veteran. Chris is the vehicle through which Scalzi is able to examine disability culture and gender, Chris is a likable person, and the relationship between Chris and Leslie is fun to watch as it builds. However, neither Chris nor Leslie are particularly notable characters on their own.

Tone & Mood: "Lock In" is straightforward and fairly upbeat. While there is murder and tragedy throughout the book, the book does not dwell on these aspects, instead continuing to move forward as Chris tries to solve the mystery. The book does, however, throw the reader into the world and fills in most of the blanks as the story progresses, so there is some light disorientation at first.

Style & Language: "Lock In" is written in a breezy, conversational style, in first-person from Chris' perspective. It is full of dialogue without a lot of description. There is jargon and slang that is unique to the book; however, slang terms make sense once they are explained, and are easy to understand.

Read-Alikes: John Scalzi's Hugo Award-winning "Redshirts" has the same easy readability, though it is darker with a more mind-bending concept. 

"Rule 34" by Charles Stross also features a near-future detective, this time monitoring the internet for illegal activity. 

"Flashback" by Dan Simmons is a near-future murder mystery, featuring a detective addicted to a drug that allows the user to re-experience moments of the past.

"Parasite" by Mira Grant is a near-future science fiction book with thriller and horror elements, about a world where genetically engineered tapeworms live inside humans and ward off disease.

"Ready Player One" by Ernest Cline is a near-future science fiction book about a young man who immerses himself in a technological utopia to escape the bleak Earth. 

Jenny's Take: I picked a perfect book for the week we read about mysteries and science fiction, because "Lock In" is both! Specifically, it's a police procedural that takes place in the near future. I enjoyed the easy-to-read, breezy style. I'm fascinated by science and I love the way a good science fiction author can bend science into an awesome concept, but sometimes I have trouble when there's too much hard science and jargon. "Lock In" is accessible but it has a lot of very interesting, notable issues that it's able to tackle in the framework of the story. This is a great genre-bender that will appeal to both science fiction fans and fans of mysteries and thrillers. It could be a great introduction into the science fiction genre, or (like it was for me) a fun, easy read for an existing sci-fi fan.

Adult Readers Advisory: Week Seven Prompt (In Defense of James Patterson)

For our prompt this week, I want you to think about fake memoirs, author mills, and celebrity inspired book clubs. Basically write a readers' response to one of the articles you are reading for this week - or talk about a time when a book or author that made headlines affected you personally or your work.

For this week's prompt, I want to talk about James Patterson.

Patterson is incredibly popular, but he's also controversial and often derided for his persona, writing style, commercialism, and use of co-authors. I've been known to make fun of him myself, mostly for his TV ads.

(Watch Patterson's commercial for "Private Vegas" here.)

He also doesn't really write the type of books I normally read, though I haven't read any of his books in particular. 

But I'm perfectly happy with Patterson writing his reportedly schlocky suspense books and doing his advertising juggernaut, complete with dorky commercials. If people are buying what he's selling, more power to him. 

While I can't vouch for the quality, or lack thereof, of Patterson's work, I have enjoyed a lot of books by people whose work has been derided for its inelegance and commercial nature. I devoured Dan Brown's books when "The DaVinci Code" got popular, for example. I just don't think it's particularly healthy or helpful to diss the books that people enjoy reading. It reeks of snobbery, and I've never understood why it particularly matters to anyone what another person chooses to read. There's value to "low culture" - entertaining culture - as well as the more artistic high culture, and there's room in the world for both.

It's especially a problem when librarians fall into this trap. The beginning of the ALA's Library Bill of Rights states, "Books and other library resources should be provided for the interest, information, and enlightenment of all people of the community the library serves." That means that, if people want to devour every James Patterson book, we should help them achieve that. It doesn't even matter why they want to read the allegedly bad book - whether they find the books comforting, or silly, or distracting, or because they genuinely think they're good. These are all valid reasons for wanting to read a book, because every reason is valid.

One of the other big issues that people have is with Patterson's co-writing, but that just doesn't seem like a problem to me. He credits his co-authors pretty prominently on his books, if not always in his commercials and other advertising. But Patterson is a former advertising executive, and he understands the idea of "branding" and, for better or worse, his name is a potent brand. And other commercially popular writers also have co-authors - one of my favorites is Janet Evanovich, who has co-written several series with other writers. As long as the author is up-front about the co-writing and the co-author is being treated fairly according to the contract, I have no problem with it. Let the readers decide if they want to read it.

We can all probably thank Patterson for giving the publishing industry a boost, too. His books sell incredibly well and makes his publishers a ton of money, which allows them to continue to publish books, including the less popular "good" books. He is also a supporter of reading in general, and has tried to start a discussion about the future of books and how to help books and reading thrive. Yes, it's partially self-serving, since he's made his living from books, but to be a successful writer, I think you need to also be a reader, and I suspect that Patterson would be sad to see books go away in general.

Adult Readers Advisory: Week 6 Prompt

For this week's prompt, I would like you to think of an innovative way to promote romance, gentle reads or horror at your local library (pick one, just one!). What would be most effective? A catchy display? Some passive programming? In what ways could you incorporate integrated advisory? Pretend you're pitching an idea to your boss and write at least a paragraph in your prompt response. Hint, pinterest can come in handy, so can Facebook's ALA Think Tank. Have fun with this one!!

For this prompt, I am choosing Romance.

Our library has had some romance-specific promotion - most notably last summer's Steamy Summer Reads, which was a display and a blog post - but for this promotion, I would like to encourage readers to cross over into romance from other genres. I believe that an effective way to do this would be to bring in popular movies and television shows and connect them with romance novels. While some of the connections could certainly be with traditional romantic comedies - If you liked "27 Dresses," try "Bet Me" by Jennifer Crusie - and some could be straight connections between books and movies or television shows, like the "Outlander" television show and book, I would like many of them to be connections that may not be immediately obvious. Many movies that would count as romances, or at least have romantic elements, are accepted in the mainstream in a way that romance novels are not. This could include a diverse group of well-regarded, popular, and "classic" movies and TV shows, such as "Groundhog Day," "Silver Linings Playbook," "The Princess Bride," "Bridesmaids," "Amelie," "Edward Scissorhands," "Dirty Dancing," "Gone with the Wind," "The American President," "Giant," "Game of Thrones," "Downton Abbey," "Doctor Who," and more. These could chosen from some of the most popular movies and TV shows checked out from the library, as well as including recent award-winners and movies considered to be "classics."

After the movies/TV shows and corresponding books are chosen, there are several methods of promotion:

• A display can be created, with both the DVDs and books displayed together. (There should also be pictures of the DVD covers ready in case the DVDs are checked out.) 
• A series of blog entries can be created to promote the display. Each blog entry would show the DVD and talk about the movie, maybe even including a clip of a favorite or particularly popular scene if available, and have a list of books, with a short explanation of why the books were chosen. Blog entries will be promoted across library social media platforms. This blog entries can also be converted to Word documents and put into a binder for future Readers Advisory interactions.
• A short video can be made explaining the promotion and highlighting a few of the matches. 
• A press release can be written and sent to the local newspaper; this can be included in the weekly book review column published in the local daily newspapers.

Patrons who check out the books can also provide feedback on the book, and whether they thought it corresponded to the movie, via quarter-sheet feedback slips. This can help staff members tweak the lists created for this project. Patrons who return their feedback slips by a certain date can be put in a drawing for a small prize, such as a library-branded book bag. 

Adult Reader's Advisory: "Romancing The Duke" by Tessa Dare

Romancing the Duke
By Tessa Dare
Series: Castles Ever After #1

Synopsis: Izzy Goodnight, the penniless spinster daughter of a late author, receives a mouldering castle as a bequest from her godfather. The problem is, the tormented but handsome Ransom, Duke of Rothbury, still lives there, and he doesn't want to give up his home. The stubborn pair battle over the castle they both believe is theirs, unwilling to admit that love is beginning to take hold of their hearts.

Romance Elements: 

Pacing: "Romancing the Duke" is a quick read, and the book feels fast-paced. It could be read in an afternoon, or easily read in small pieces over a longer period of time without losing the plot.

Frame & Setting: This is a historical romance in the Regency era, but while it features some of the issues of the nobility, Izzy and Ransom are mostly alone and far from the ballrooms and parties of the ton. "Romancing the Duke" takes on a fairy-tale feel, both because of the castle setting and because of the background of Izzy's father's fairy tale-like stories.

Story Line: The relationship between Izzy and Ransom are at the core of the story, although their struggle to figure out who legally owns the castle is both interesting and adds tension to the proceedings. More tension between the pair, however, come from Ransom's emotional and physical state and Izzy's attempts to help him - no small feat, considering the trauma he's been through.

Characterization: Izzy is caring, extremely smart and very determined to make her way in the world. However, she has also given up on finding love, even if she believes that it exists. Ransom is a former rake who has recently been injured and humiliated, making him depressed and distant as he sits in his crumbling castle. Both characters must learn and grow from each other, and they both make each other better, happier people.

Tone & Mood: "Romancing the Duke" is a romantic comedy, with several laugh-out-loud parts and some particularly quirky side characters. However, there are darker moments as well, and both Izzy and Ransom have difficult, tragic backstories that keep the book from feeling too fluffy. The sex scenes are descriptive, but come fairly late in the book, after they have made an emotional connection, if not a declaration of love. There is, naturally, a happy ending.

Style & Language: "Romancing the Duke" is descriptive, especially of emotions. The style draws the reader into the story and helps them get emotionally invested. The characters have strong, unique voices and feel realistic. The prose is light and easy to read.

Read-Alikes: In addition to continuing the Castles Ever After series with "Say Yes to the Marquess," readers may also enjoy these historical romances with strong, smart heroines and tormented heroes from the nobility:

• "The Duke and I" (The Bridgertons Series #1) by Julia Quinn.
• "Wicked Intentions" (Maiden Lane Series #1) by Elizabeth Hoyt.
• "Married by Morning" (Hathaways Series #4) by Lisa Kleypas.
• "The Truth about Lord Stoneville" (Hellions of Halstead Hall Series #1) by Sabrina Jeffries. 
• "Dangerous in Diamonds" (Rarest Blooms #4) by Madeline Hunter.

Jenny's Take: "Romancing the Duke" is a delightful example of the Regency romance style. It's light and fun to read, with a perfect amount of humor mixed with some deeper drama. Izzy is a wonderful heroine, because she's smart and a little quirky. Ransom is a perfect hero; I love a hero with some kind of secret or problem that torments him, and the way that a great heroine can help a hero get over his issues and thrive, while also becoming a better person herself. I also loved the comedic touches, like the cosplaying fan club of Izzy's father's books. "Romancing the Duke" has all the things that makes me love the romance genre - good characters, a sense of humor, drama, love, and a happy ending!

Adult Readers Advisory: Kirkus-Style Review of "The Choice"

The Choice

By Nicholas Sparks

Pub Date: September 2007

Page Count: 272pp

ISBN: 978-0-446-57992-6

Publisher: Hachette

A woman must make a tough choice about which man she will spend her life with. Years later, the man she chooses must make an even more difficult decision.

Sparks continues his string of weepy love stories with this book, about next-door neighbors Travis Parker and Gabby Holland and the tough choices they must make through friendship, courtship, and marriage. Two-thirds of the book shows readers how Travis and Gabby fall in love during one long weekend when Gabby’s boyfriend is out of town. Their whirlwind courtship is described in excruciating detail; the book includes trite conversations about nothing in particular, paragraphs describing mundane things, and more than one discussion about Travis’ preference for eating chicken over red meat. Even an interesting, morally sticky, and much more consequential choice of the last section of the book is overshadowed by long-winded passages full of dull details as Travis reflects on his mostly unremarkable marriage to Gabby in their picture-perfect house with their two adorable children. The fact that Travis and Gabby are the worst sort of stock characters - the laid-back man who lives life to the fullest and the overly emotional woman afraid to truly live - only makes the book more tedious to read. Sparks also, as usual, pads the book with pages of description of the beauty of the South and the charms of small-town living in monotonous prose.

A lifeless love story that will, nonetheless, have Sparks fans reaching for their Kleenex.

Adult Readers Advisory Week Five Prompt: A Review of Reviews

You can read the prompt for this assignment by clicking here. 

Ah, book reviews. You can be so very helpful, but you're certainly not a collection development or readers advisory silver bullet.

First of all, I am not a fan of the idea of not publishing bad reviews. What constitutes a "good book" is highly subjective, and what one reader might hate, another may love. Plus, when a review is well-written, it's often easy to tell if you'll like the book (or movie, or TV show, or whatever) even if the reviewer didn't. I write movie reviews on the side for our local newspaper (you can read my reviews here), and I try to give people an overview of what the movie is like so they know if they'll like it even if I hated it. Even in my most scathing review in recent memory, my review of "The Best Of Me" (based on the Nicholas Sparks book), I tried to at least pay lip service to the fact that people who like Sparks' books and movies will probably enjoy the movie.

The lack of reviews of bad material also can make it harder to serve a library's patron base. Let's face it, there are a lot of people who like books that are considered by people doing reviews to be "bad books." Libraries have to walk that difficult line of making sure the library has the "good books" (award-winning, well-reviewed, literary) while still serving the needs of the patrons who are clamoring for "bad books" (like "Fifty Shades of Grey"). By at least getting the word out there that a "bad book" in a genre or subgenre that is like catnip for your patron base has been published, review publishers can help librarians have what patrons want.

The lack of reviews for books only published as e-books is also a difficult question. While the stigma is going away, I sometimes get the feeling that there is still an idea in most peoples' heads that books that are only published as e-books are books that just aren't good enough to be published as "real" books. That's not entirely true, though. Romance and, especially, erotic romance and erotica can thrive as e-books, and readers who are fans of those books flock to them. Again, it hinders librarians from selecting and collecting the books that their patrons want when these books aren't reviewed and may not be on the librarian's radar.

However, if a librarian is selecting books in a particular genre that is either often considered "bad" (or has a patron base that likes these "bad" books), doesn't get reviewed a lot, or has a lot of e-book only books (and is selecting e-books), then the librarian has to find different places to get their collection development information. I am the romance selector for my library, and while I read Kirkus and Library Journal, I get a lot more helpful information about what romance readers are reading from good review blogs like Smart Bitches, Trashy Books and Dear Author. It's especially helpful with all of the little subgenres that exist in romance that don't necessarily get covered in review journals very often but are popular with readers. It's hard for busy librarians to go to so many sites, though, and so the less covered genres and subgenres get missed, to the detriment of the library patron.

And that brings me to the discussion of the reviews that were posted. The e-book-only reviews (one from Amazon and one from a blog) of "The Billionaire's First Christmas" are not great. There are a few things that may be helpful to readers, like the fact that the book has a dual point-of-view, or that it's a "clean" book (which is probably code for "no explicit sex," which is good for romance readers to know), or that it's a quick, light read, but neither review really digs into the feel of the book, and neither reviewer really examines why they liked or disliked the book. The reviews also have fairly poor grammar and are written incredibly casually; they feel like a quick email I would dash off to my sister to tell her about a book I had just finished. They feel unprofessional, and it doesn't make me trust their opinions because it doesn't seem like they've given it much thought. They also have the feel of "just one person's opinion," without thinking about ways to help the people reading the reviews know if this book would be their cup of tea.

Also, I'm not sure that this is romantic suspense; it looks more like just a contemporary romance to me. There is a little bit of danger for the heroine, but it sounds too cozy to be a modern romantic suspense book. If it is a romantic suspense, the reviews really didn't do a good job describing it.

The professional reviews of "Angela's Ashes," on the other hand, give the reader a solid synopsis. We also get the feel of the book with examples. The Booklist review, for example, has this great line: "McCourt spares us no details: the stench of the one toilet shared by an entire street, the insults of the charity officers, the maurauding rats, the street fights, the infected eyes, the fleas in the mattress . . . Yet he found a way to love in that miserable Limerick, and it is love one remembers as the dominant flavor in this Irish stew." That is a great sentence that gives you the feel of the book. The reviews tell me that it's going to be an intense, tough, and heartbreaking read, but that there will be transcendent moments of joy and humor, too. I can then decide: Do I want to read this book? Do my patrons like books like this? The reviews are all so strong, and it sounds like the kind of interesting, uplifting book that many people at my library like to read; I would purchase it for the collection.

I don't want people to think that only professional reviews in journals are worthwhile, though. SBTB uses less formal, more "chatty" and snarky language on its blog and the reviews are longer, but they are also helpful to get the idea of a book even if the reviewer wasn't a fan of the book (unless they're categorized as a "Rant," and then not helpful but often really funny). A good example is the review of "Liar's Game" by Kait Gamble. The reviewer gives examples of what the world feels like, what the characters are like, and what she thinks works and doesn't work in the book.

"Shadowfever" by Karen Marie Moning

Shadowfever
By Karen Marie Moning
Series: Fever #5

Synopsis

Mackayla Lane's life has taken quite a turn since arriving in Dublin to search for her sister's killer. The walls between the human world and Faery have come down, wreaking havoc on the world. Now, Mac is dealing with grief, mysteries abound, and she's not even sure who - or what - she is. And yet, Mac must continue her quest to find the Sinsar Dubh, a magical book that can make and destroy worlds.

Appeal

Pacing: Pacing is quick, with twists and turns everywhere. Any reader who thinks they know what is going on is quickly disabused of that notion. The pacing feels almost frantic at times. Some readers may feel like Moning is spinning her wheels in a few spots, but others may be happy for a brief reprieve from the twists and turns.

Frame & Setting: Moning has set up a rich world in which to set the Fever series, and "Shadowfever" continues the building of the worlds she has created. The mythology is thick, and all but requires readers to have read the first four books in the series. The world is built up even more in "Shadowfever," though readers are still far from knowing all of the secrets.

Storyline: The plotting is thick in "Shadowfever"; there is a lot going on in this book. However complicated the story gets, though, the book mostly stays in Mac's point of view, with just a few asides from teenager Dani. This helps keep things a little bit simpler for the reader while deepening the mystery - the reader only knows what Mac knows.

Characterization: Mac is a strong, likable character, and the fact that the reader is in her head during the vast majority of the book means that, even when she makes bad decisions (which she certainly does!), the reader understands her way of thinking. Mac is well-written and complex, as are most of the other characters in the book. Fans of Moning's Highlander romance novel series will also be pleased to see some well-loved characters from those books.

Tone & Mood: The Fever series has a lot of dark elements, and "Shadowfever" is probably the darkest yet in the series. However, Mac's underlying positivity shines through when things seem darkest, and bits of humor pop up throughout. Moning reassured readers throughout the series, in notes at the conclusion of books, that the story is ultimately a positive one, and Moning does make good on that promise despite a lot of darkness.

Style & Language: Moning's writing style is easy to read and understand, though it is peppered with strange names and expressions due to its magical content. "Shadowfever" is a quick read, despite its bulk.

Read-Alikes

In addition to Moning's "Highlander" romance series (especially the later books, "The Dark Highlander," "The Immortal Highlander," and "Spell of the Highlander"), readers may also enjoy paranormal romance and urban fantasy by Sherrilyn Kenyon ("Dark Hunter" series); the Southern Vampire mysteries by Charlaine Harris (upon which the TV series "TrueBlood" is based); and Patricia Briggs' Mercy Thompson series.

Jenny's Take

The Fever series quickly became almost an addiction, and "Shadowfever," which brings to a satisfying-enough conclusion, if not an outright ending, the story that Moning has been weaving through the series. It's a fast-paced, exciting story with many elements of fantasy, mystery, and romance mixed together in a perfect way.

The things I enjoyed the most about "Shadowfever" were the characters and the setting. Mac does have some pretty dark periods throughout this book, but they are understandable - though I was glad when her positivity came back. She is a very cool, strong, and funny character who feels very real to me. The other characters in the book are also well-written and fleshed-out. I also felt like the characters were inhabiting a real world, and the book allowed me to spend time in that world, with those characters, too.

"Shadowfever" is an absorbing book. This is top-notch urban fantasy, and it will be especially popular with readers who enjoy romance or romantic elements in their books.