Sunday, November 3, 2013

Assault on the Librarian High Holy Days

If you are at all attached to the library world, you know that we celebrated Banned Books Week about a month ago--and the word really is celebrated.  It’s no exaggeration to say that the seven days at the end of September are the high holy days of the desk set, a time when we are positively aquiver with the energy of intellectual freedom and democratic values.  My rhetoric here may be verging on the parodic, but as a new librarian of less than a year I can tell you that I’m being completely sincere.  Banned Books Week is the time when the librarian’s public duty comes into crystal focus, and when we are able--encouraged, even!--to shout it out to the world, rather than toil in obscurity, as is our usual habit.

I was surprised, then, while perusing my usual online literary haunts and their enthusiastic Banned Books coverage, to find a disturbing undercurrent of suspicion and resentment towards librarians in the comments sections.

One level of this opposition to our message I can kind of understand--it amounts to a matter of branding.  We call it “Banned Books Week” but much of what we talk about at the end of September every year is actually book challenges.  Of course we cover the bans as well, and in great detail, but the week is about pushing back against all forms of and attempts at censorship, and “Banned Books Week” is quite a bit pithier than “Banned and Challenged Books Week.”  Frankly it’s surprising that librarians, as  a usually persnickety-with-accuracy body, hasn’t insisted on renaming it “Banned and Challenged Media Week,” since we certainly don’t limit ourselves to concern only with the censorship of books.

I think the persistence of the Banned Books name is a testament to the historical importance of drawing attention to the anti-intellectual, anti-democratic process of book banning, often manifested in earlier decades by that most egregious of acts, the book burning. Fact of note: well-known enemy of intellectual freedom Anthony Comstock, usually citing a prohibitively broad definition of ‘lewdness,’ is responsible for the burning of some 15 tons of books.  (http://en.wikipedia.org/wiki/Book_burning)  Think about how many that must be, and under what loose strictures they were allowed to be snatched from public use in actions sanctioned under federal law.  There’s no more effective way to ban a book than destroying it.

This is the cultural and social context librarians are drawing from when we set aside a Banned Books Week. The intensity of the rhetoric is commensurate with the importance of the cause.

Just because one form of book banning is more destructive than another is not to say that degrees of censorship must be recognized, but that is a notion that seems to inspire another thread of protest among the uninitiated.  In a comment to an article recalling a Canadian school’s ban of Hitchhiker’s Guide to the Galaxy, some readers took issue with the idea of glorifying a struggle against a seemingly minor instance of censorship.  One said, “Being taken off a library shelf, or out of a school, really doesn't count as 'banning'. Can't we reserve Banned Books week for works that suffered actual and serious censorship?”  And another: “I have to agree with @4 and @6 about the meaning of banned books. The kids at the school which decided not to carry H2G2 still had legal and easy access to the book through their city/county library and through bookstores. It may be that looking at books that were ‘banned’ on a large scale in North America does not turn up sufficent [sic] candidates? In which case, we can celebrate the freedom of expression we have instead of trying to invent cases of censorship.”

These, then, are criticisms based on scale--the appearance that anecdotal instances of book banning and challenging do not warrant the attention librarians lavish on the issue; the idea that these piddling cases of intellectual violence just prove how well our democratic access to information is proceeding, giving us cause to celebrate rather than to despair and militate.  

While seemingly reasonable at first blush, I have to push back against this.  As the author of the piece, Alex Brown, wrote in response to these critics, “I don't think you can argue that one book is ‘more banned’ than another. If it's banned, it's banned, no matter the scale. The refusal to allow access to material, regardless of the size or perceived level of importance of the library, is what's key here.”  Exactly.  There’s no such thing as “major” and “minor” censorship.  The damage that could be caused by the removal of a single book from a single free, publically accessible source is incalculable because it is unknowable.  Critics speak in the same article response thread of the option of finding a school-removed book over at the public library or the bookstore and possibly (though unmentioned by these folks) online--but we must not make assumptions about the bereft student’s ability to travel to a different library, or to pay for a commercially-available copy, or to search for a digital copy.  Many of us are lucky that these considerations are not prohibitive to us, but it’s a failure of basic human decency to assume the guy next door has the same capacity as we do.  This is to say nothing of the fact that a book removed is a book torn from the universe of browsable, serendipitously-discovered material.  A reader is obviously not going to seek an alternate means of access to a material he did not know he was looking for in the first place.

All of this is to say, in short, that yes, a single book removed from a single institution is a big deal in ways we cannot truly quantify.  All assaults on the intellectual freedom represented by access to materials, whether in a single library, a library system, or across a nation, are equally destructive.

Even more frustrating to me are those sly commenters who insinuate that librarians have some sort of anti-religious, and specifically anti-Christian, vendetta afoot which we prosecute via manufactured outrage over book bans and challenges.  As if all the challenges made on moral grounds are somehow our fault and we only publicize them in order to--what, pull the veil off religious zealots’ attempts to ban books under the radar of public attention?  Sorry, I find it funny and ridiculous to be blamed for documenting actual phenomena by the perpetrators of said phenomena, but I digress. I’ve lost track of the comment that leveled this charge--maybe it got deleted?--but there was more than a whiff of self-righteous indignation to it.

Anyway, I feel like this is a case of methinking thou art protesting too vociferously--revealing more about yourself than the group you’re feeling persecuted by.  ALA doesn’t keep tabs on the religions of the people lodging complaints about books--I’m quite sure most librarians in the wild don’t ask--so you really needn’t worry about one librarian-blogger’s (very perceptive and I’m sure anecdotally correct) offhanded observation about the moral motivations of a not-insignificant number of library challenges.

Maybe instead of worrying about witch-hunts at the hands of the dreaded librarians, you might chat with your co-congregationalists about how better to handle the palpitations caused by the third-hand discovery that Neil Gaiman used the word “whore” in a YA novel that one time.

Sunday, October 6, 2013

Viva Librarianism Newsflashes!

Welcome back to the blog!   Since I’ve been negligent again lately, this post is actually three in one.  You’ve been warned!

ITEM. Nerd Rage!

I’m a big comic geek from way back, so I’ve been watching Marvel’s Agents of SHIELD on ABC with great interest.  It’s nice to see Agent Coulson--speculate on whether he’s a Life Model Decoy now, and wonder what really happened with Tahiti--as well as to get to know the other new agents.

But I am concerned.  We’re two episodes in, so there’s still plenty of room for me to be proven wrong, but so far there is very little of the Marvel Universe in this Joss Whedon-scripted show.  And, sadly, I don’t really have time for another basically generic sci-fi/adventure show, not if it’s merely draped in the imprimatur of a beloved institution without even working to build on the cinematic beachhead the Marvel Cinematic Universe has established.

So, even though no one asked me (come on, Joss), here is a list of characters that Agents of SHIELD could employ that I’m fairly certain fall into the stable now owned by Disney (not even counting Yoda and Darth Vader). This list is hardly exhaustive, but it is diverse and includes characters who would be light on the budget and high on the dramatic potential.

  • Cloak & Dagger
  • Night Thrasher and most of the New Warriors
  • She-Hulk
  • Monica Rambeau/Photon
  • Batroc the Leaper
  • Taskmaster
  • The Black Knight
  • Hercules and the Olympians
  • Starfox, Sersi and the Eternals
  • Wonder Man and the Grim Reaper
  • Radioactive Man (already left on the Avengers cutting room floor)
  • Absorbing Man and Titania
  • The Skrulls
  • The Kree
  • AIM
  • The Serpent Society
  • The Secret Empire
  • Hellcat
  • Hank Pym and the Wasp (obviously), and Scott Lang, sure
  • Luke Cage (since our hopes for episode one were dashed)
  • Fin Fang Foom (pretty please?)
  • The Great Lakes Avengers (just kidding)
  • Zemo, Moonstone, Goliath (III), Fixer, Beetle, and Screaming Mimi (to begin setting up for a Thunderbolts arc/movie a few years down the line, of course--I would also accept another lineup with the same concept)
  • Graviton
  • The Maggia
  • The Crimson Cowl
  • Klaw
  • Triathlon

...and so on.

I’ll even give you a great storyline idea, Joss.  (Feel free, dear readers, to skip the next paragraph if you can only handle geekery up to a certain point.)

SHIELD calls in prickly lawyer Jennifer Walters to consult on issues of superhuman rights.  (If the movies are planning to go in a Civil War route, it might be a good idea to float this topic years in advance on the TeeVee.)  Walters is frankly confused by SHIELD’s interest in her opinions, as she has no particular professional connection to the topic, but she has her unspoken suspicions.  Just as the interpersonal clashes reach a head, the team is attacked (by HYDRA, by AIM, by the Serpent Society, the Secret Empire, anyone real, please!), and Walters is grievously wounded.  All hope of finding a match for her unique blood type seems lost, until a courier arrives with a donation from a mysterious source.  Walters is saved, but with unexpected consequences--she transforms into the savage She-Hulk!  She rampages for an episode before her body and mind get in sync with the changes from being imbued with Gamma-irradiated blood, and She-Hulk recovers her normal personality, though she is noticeably sunnier of disposition.  Her cousin, it turns out, is Bruce Banner, the Hulk himself, and he risked revealing his currently vague location to save her; he was the reason for SHIELD bringing Jennifer into the fold, hoping she would shed light on the personality and potential liabilities of Banner.  The agents wonder at Jennifer’s ability to maintain a human personality in Hulk-form, while Banner is prey to animal-like rages.  Walters speculates that the Gamma transformation somehow magnifies the emotions at the core of a person’s psyche, and that while Banner’s is all torment and anger, her own is essentially happiness--happiness built up through her normal childhood with a loving family, her fulfilling career, and so on.  Bruce, she remembers, was full of sadness and anger even as a child, when they would occasionally get together during the summers.  It seems Bruce remembers his cousin fondly and was not willing to stand by and let her die.  Knowing he must be in pain having caused this transformation, Jennifer publically thanks her cousin for giving her this new life, asserting that she’s happy being “big, green and beautiful.”  She agrees to remain as a consultant for Coulson’s team (and a recurring character!).  [Oh and obviously the paramilitary attackers will play into the plot somehow, handwave timey-wimey season long arc.]

So how about it, Joss?  I’ll accept a co-writing credit and a reasonable honorarium…

ITEM. NYLA 2013

I attended the NYLA conference in Niagara Falls this year, since it was relatively local.  I got to see some old LIS world friends, at the conference itself and at the reception hosted by my former department, which was definitely a highlight (as was getting to meet the new chair).

The conference, though, left me somewhat underwhelmed.  For one thing, Niagara Falls is pretty dead, which I think casts a pall over all such proceedings.  For another, the early start time of sessions was prohibitive to my getting in to see much of what I would have liked to, traveling all the way from Fredonia as I was.  And finally, the vendor hall seemed somewhat scanty, and packed up and shipped out Friday night.  I guess I’m unfairly comparing the NYLA experience to the ALA conference, but I expected slightly more from the Empire State.

What I had no reservations about were the two sessions I was able to attend.  First was an eye-opening discussion of the plight and status of refugees in our country, with a case study of the efforts of agencies in Utica to support them and integrate them into our society while also maintaining their cultural differences that makes the United States so excellent.  (Uticans sound like very lucky people to have such a melting pot of a community.)  Obviously the library has an important role to play in this, offering welcoming services, translations of important documents, educational opportunities, and a place to build a sense of community within and beyond the refugee population.

Next was a session on makerspaces.  This was mostly given over to various librarians discussing what they’ve done and how they did it, but that in itself was inspiring; in addition, I gleaned two important takeaways: 1) a library makerspace need not be the sparkling, high-tech robot-filming-3D-podcast money pit that the term usually immediately conjures--though those are good if you can do it--but can just as easily be comprised of knitting circles, cooking classes, or any skills the members of your community want to share; and 2) a makerspace is possible if you have a tiny bit of space for it and the will to make it work.  Don’t mind if I do!

ITEM. Leaf-Peeping and Library-Looking in New England

Went on a little excursion with my aunt this past week to Massachusetts, New Hampshire and Vermont.  Beautiful scenery and very tasty, strangely old fashioned foods in Derry, NH, Manchester, VT, and Stockbridge, MA.  But you’re only interested in the libraries, huh?

I didn’t do an exhaustive study on this trip, but Derry has a very approachable, contemporary public library with a dandy graphic novel collection (superhero titles shelved with the teen section) and copies of David Eddings’ and Tad Williams’ fantasy novels for me to peruse.  Stockbridge, MA, meanwhile, has a much more old-fashioned feeling library, in a charming brick colonial building that would probably drive me crazy to work in, but which was lovely to visit.  The basement is home to a very comprehensive historical society that has pleasantly cluttered, researched-in feel (and hey compact shelving!  Nice to see you again).

I’ve been fall-crazy this year so it was a nice excursion, and it’s always good to get into new libraries.  As the season continues, maybe I’ll share some of my ghoulish thoughts on how libraries ought to serve as centers of paranormal investigation!  Yes, we all have fun here.

Sunday, September 15, 2013

Diary of an Underemployed Librarian

I feel bad for my long absence from my blog!  Believe me, I have not let this project fall by the wayside for good; I've just been very busy the past few weeks, making progress on some other efforts I've been making lately.  That's always a good thing!  For lack of energy to come up with some deep insights this week, I'll just give you a few brief updates on My Librarian Life.  (Because I'm sure you are all clamoring to know how a mostly-unemployed librarian keeps himself feeling sharp!)

First, of course, I am still "mostly unemployed."  I continue my work archiving the papers and documents of the Urban Design Project at UB, but lately I've only been able to get up there one day a week, so it doesn't really feel like a job of any sort.  Compounding that sense is the fact that I haven't gotten paid in a month due to some internal issues in the Architecture department.  Sigh.  Not the most encouraging part of life right now.

Other things are better though!  For one, I've been following along with a MOOC (that's a Massive Online Open Course, folks) all about metadata, which has been offered by the University of North Carolina at Chapel Hill.  Now I already had a pretty good grasp on metadata from my studies at UB (thanks in particular to Dr. Valerie Nesset and Dr. Brenda Battleson!), but I found the first week of the course a good review, and the second week drilled down into the history and function of the Dublin Core schema, which is always appreciated.  And next week we get into something I've never heard of.  Boldly going!

(I have fallen behind on the numerous webinars I tend to sign up for, but the archived recording s have been piling up in my inbox, so I will get to them.)

Volunteering at the local Dunkirk Free Library continues to keep me feeling connected to the public work I hope to make my career doing.  Recently got the greenlight to work on drafting an Internet and social media policy for the library, and I'm helping out with Library Card Month and Banned Books Week activities.

I've been cataloging my comic book collection.  It feels like really simple copy cataloging, so it's only tenuously beneficial to my life as an information professional, but getting myself organized and generating a searchable database of my comics makes me feel a little more respectable.  If any of you have a collection of comics you'd like to corral, I highly recommend Comic Book Database, which allows you to build a personalized collection from the titles you own!

Last and somewhat least, and as a followup to my previous post (my perhaps over-intense review of/rant about Patrick Rothfuss' The Name of the Wind), I read the second volume in "The Kingkiller Chronicles," The Wise Man's Fear.  It was a better experience than book 1.  Kvothe is still insufferably competent, but this one shows a few cracks in his veneer.  Seems a bit like a lot of wheel-spinning, though; I probably would have made some structural changes to the end of book one and the beginning of this one.  Not sure how Rothfuss plans to wrap it all up in one more installment.  Now I'm almost done with Redshirts by John Scalzi, another book with a lot of hype that I find over-inflated.  Perhaps more on that later.

That's all for now.  I'll try to be back with a more substantial post sometime this week!

Wednesday, August 28, 2013

Get Over Yourself, You Overgrown Damaged Adolescent: A Non-Spoiler Review of Patrick Rothfuss' The Name of the Wind

Bonus post!  I just wrote this over at Goodreads and thought I'd share my salty mood with you all today.  And okay, sure, there is maybe one very mild spoiler, but it doesn't really reveal anything.  Read on!

There's nothing worse than a good story poorly told, unless it's a mostly good story mostly poorly told.  I'm not sure which this book is, but either way it's bad news.

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Image taken from www.goodreads.com

I've seen Rothfuss and his work ballyhooed for some years now and was really looking forward to the chance to get into the first book of "The Kingkiller Chronicles."  By all accounts, it seemed to be a genre-mover, an epochal work that moves the boundaries of fantasy forward while paying homage to the best of what came before.  I was intrigued by the promise of a frame narrative, of a famous man mysteriously brought low, and of a creeping, misunderstood, demonic threat.  There seemed to be echoes of my loves, "The Wheel of Time" and "A Song of Ice and Fire" in the promised themes of real-world events turning to legend and myth before our eyes and of the meaning made by stories determined by the skewed perspectives of the individuals through whose eyes the stories are experienced.  It all sounds so good!

Sadly the book does not deliver.  Or it only delivers up to a point, which makes it supremely frustrating rather than just bad.

First of all, Rothfuss' work needs to come with a trigger warning for grammar-lovers.  Seriously, how did this book get past first draft like this?  Who is this guy's editor?  He or she should be canned immediately.  Small but noticeable problems abound, the most frequent being an inconsistent and maddening lack of facility with the conventions of dialogue and tags.  "'I think,' he said. 'That you are pretty.'"--that is NEVER RIGHT.  (Okay, it's right if your character hesitates and makes the statement into two sentences.  But if that's the case you should let us know that that is happening.  And I know, Patrick Rothfuss, that you were just doing it wrong, because you did it 50-75% of the time.)

Sorry.  I feel strongly that writers should know how to write.

The next big problem: the main character, Kvothe, is a baaaad example of whatever the male equivalent of a Mary Sue would be called.  Let's say a Marvin Sue.  (Oh, I guess some people say 'Gary Stu.'  I like mine better.)  The point is.  Kvothe is perfect perfect perfect, he was better at everything as an 8 year old than you will ever be at your one passion in life at age 30, he runs rings around the authorities, and everything bad in his life is inflicted upon him by his enemies and/or his cruel destiny, boo-hoo for Kvothe, but wait, thanks to his daring and cunning, he always gets his way in the end!  This human being is SO. DAMN.  FRUSTRATING.  And yes, he's charming, and occasionally shows some sensitivity, just enough to get you to want to follow his story and feel bad for him.  But his entire personality is so much revenge porn for the downtrodden nerdlings of the real world, and, speaking as one of them, I feel like we deserve better than that kind of pandering in our fiction.

(To say nothing of Kvothe's supposedly rapier-sharp wit.  Seriously, he talks like the picked-on kid in the schoolyard who hasn't yet come up with any better coping mechanisms.  But Kvothe is rewarded with gales of laughter at every turn.  Sigh.)

Then there's this authorial tendency throughout the text to seem tragically holier-than-thou compared to all that *snooty voice* run of the mill fantasy.  We're constantly reminded how real life isn't like the stories and Kvothe has to work so much harder than the heroes of his world's folklore and mythology because god damn it there is no God or Narrator who's just going to hand us a win.  Rothfuss makes such a point of it that it's obvious we're supposed to perceive Kvothe's story as this somehow rarefied, uber-realistic version of fantasy that, aside from magical metaphysics, abides by real-world laws of cause & effect and rationality and whatnot.  At one point, he says something very much like, "I wasn't going to find their plans written out on an accidentally-discarded piece of paper!"

A few pages later, enter the convenient plot swineherd.  He only travels this remote area once in a while, but he happens to be here at the same time as Our Hero, with not only the info Kvothe's looking for but also additional intelligence to propel the plot forward.

Look, I'm all for dissecting fantasy tropes and realism now and then.  But don't preach about it and then substitute the deus ex machina you just had your character basically decry as lazy writing with another one that you hope your audience won't notice (or perhaps that you, yourself, did not notice).

The sanctimonious attitude gets old, and it extends to Kvothe's rhapsodizing about music, about how non-musicians just can't understand beauty and love and perfection.  Oh, God's body, get over yourself, Patrick Rothfuss, you overgrown damaged adolescent.

And yeah, now I'm reading book 2.  That's the most frustrating part.  I almost feel as though Rothfuss structured his story as cynically as possible, knowing that no matter how disagreeable readers find the first volume, they will want the full story on all the hints and clues and intriguing bits seeded throughout.  I feel manipulated, and I'm 7% in and grinding my teeth at the same old usage errors, but I'm not stopping.

And yet this book is as highly-rated as I've seen anywhere.  I don't get it.  I honestly don't.  I'm usually fine letting people have their taste and enjoy their enjoyment ("I don't want to yuck your yum"), but this book violates the various laws and maxims and pet peeves that I've seen cited by numerous readers complain about OTHER books.  (Poorly written--check.  Mary Sue--check.  Sanctimonious underpinnings--check.  Manipulative--check.)  And everyone is eating it up.  I am saddened.

Maybe this will convince you to trash this book: Rothfuss writes "make do" as "make due."  Twice.

*cheery smile*  I hate what you've done to us, Patrick Rothfuss.

Sunday, August 25, 2013

Westward Ho!

Welcome back to my blog, y’all!  I had a great time in the mountains the past couple weeks, exploring Denver and that playground of the rich, Aspen.  I also visited some relatively more rustic and rugged locales in and around Pitkin and Eagle counties, hiking, eating, and taking way too many low-quality pictures.


If I’m traveling, it means I’m visiting libraries, for my edification and for yours!  And I explored some great ones out in Colorado.  The three that I was able to spend time in felt like they had a lot in common: they provided clean, peaceful environments for research and study, a variety of innovative programs, and each seemed suspiciously like they had been built or remodeled in the past couple of decades.  I thought this especially interesting since the three libraries served different population sizes and types of communities: one was the vast Denver Central Library, the next the modest, rural Basalt Public Library, and the third the Pitkin County Library, a hub of posh Aspen itself.  To me this speaks of a unity of mission of libraries in the state as well as an encouraging unity of support from the community.  Granted, three libraries does not a thorough investigation of a state make, and all three are in the orbit of some of the most monied people in America (at least for part of the year), but I thought that the consistency of excellence across these three distinct libraries must be indicative of a supportive environment.


(My theories of a unified environment are further borne out by Colorado Libraries Collaborate, a statewide resource sharing initiative sparked by libraries volunteering to pool their materials for the good of the people of the Centennial State.  That’s my kind of ethos!)


I won’t bore you with the details of my trips through each library, but I did want to call out a few of the coolest features I noted!




Located just down the street from my hostel and at the confluence of downtown and a somewhat less affluent area, this central library seems perfectly situated to serve the needs of a big city’s diverse population.  The building itself, completed in the mid-90s, is beautiful, constructed in a style I have come to recognize as de rigueur in classy mountain design--stained hardwood, rustic touches, clean lines.  It’s a very inviting edifice.





The coolest thing about the long central entry hall is the automated conveyor belt book return.  So neat!  Thrill to the sight of librarians scurrying about behind glass like ants in a charming childhood memory.  Seriously, though, opening up this ‘behind the scenes’ business of the library is a great bit of outreach.



Off in one corner was another interesting touch: power check meters available for patrons to check out.  Perhaps not unexpected in a crunchy city like Denver, but I thought this was really cool.  Seems like the kind of thing a lot of well-intentioned people might think about getting around to doing someday, but never do it because--well, where do you start to figure out how to check your power usage?  The library takes the question away and hands you the tool to do it.  Fo’ free.



Obviously, me being me, I had to check out the graphic novel collection.  It was pretty sizable and seemed focused on adult, literary titles, including some I’d never encountered before.  They’re also arranged on a series upright racks with mostly outward-facing shelving, making browsing a breeze.  No chance here of that old problem of freezing in the face of an over-stuffed shelf full of wee little spines.  





I was probably most excited about visiting this little rural library, since it hosts one of my favorite innovative services--a seed library!


But first, again, the building itself is lovely.  Possibly the loveliest I’ve encountered, all earthy greens and browns and surrounded by bright mountain flowers that just invite you to roll around in them like an oxygen-starved puppy.



This library struck me as a true gathering-place and central community repository for a spread-out area, its bulletin boards overflowing with notices for events near and far.  And it’s just comfy, with big windows letting in plenty of mountain light over a fireplace-equipped sitting area.  One section of the library was given over as a ‘business center’ with staplers, paper cutters, and so forth, a feature that neither I nor my fellow librarian companion had ever seen before.  And in a sop to my Pagan heart, a Lunar phases poster was tacked to one wall!



The star of the show is the seed library, though, which ended up being a slightly unassuming-looking area right in the front of the building.  Unassuming, but brilliant and, by all accounts, effective.  For the uninitiated, a seed library is just what it sounds like: a way for folks to share seeds and grow their own food, “borrowing” the seeds from the library that they then “return” in the form of the seeds from their harvest.  The library here offers delicious-sounding seasonal veggies and some flowers, with one stated goal being the adaptation, from generation to generation, of these plants to the local environment.  And again, this is a service that might provide on-the-fence patrons with the means, and thus the excuse, to finally get started on a long-considered project.  Library as to-do list trimmer FTW!






What I liked about this one was the veritable explosion of adult and teen programming available.  All over the boards and their digital video screen were notices of upcoming events in the library and the community: adult story time, a tattoo talk, teen read-alikes.  They are all presented very professionally--someone on staff is good with design--and cover an interestingly broad range of topics.  Very nicely done.



The graphic novel section is much more super hero-y here, which I certainly enjoy, though the all-ages items are tucked away in the teen section.  I might make a different decision there, but perhaps space is a concern.


The extensive music collection downstairs offers not only popular and classical musical recordings, but a very impressive spread of music-related books.  Biographies on Brahms rub shoulders here with Beatles songbooks.  Aspen is, after all, the home of the Aspen Music School and Festival, an annual masterclass that brings upcoming talent together with some of the greatest names in contemporary classical performance, and a town where you can often find fresh-faced young musicians shredding away at their violins and cellos on street corners, giving you a taste of impromptu selections of Sibelius and classic rock and contemporary pop in between your pit-stops at Rocky Mountain Chocolates.  (Mmmm, chocolate-covered oreo…)  Appropriately enough, the library has a complete collection of Aspen Music Festival recordings available for your historical listening pleasure--though access is, reasonably enough, restricted.  (And, music students, please mind the signs posted and addressed to you on all major exits: return library materials before leaving for the summer!)


Thus ended my exploration of Colorado public libraries.  I’m quite impressed by what I’ve seen, and if the whole state is filled with such vital, responsive institutions, I’m jealous indeed of all you Coloradans out there--rivers of hail notwithstanding.  (What is up with that, anyway?)

Sunday, August 4, 2013

B.Y.O.B.G.

Just a quick post today as I prepare (mostly mentally) to fly to Aspen and see my boyfriend at his summer gig as an orchestra librarian at the Aspen Music Festival...

If you’ve read through most of my dozen or so blog posts so far, you may have noticed that I have a thing for ‘modern’ board games.  Unlike most of the gamers of this type out there, I am a relatively recent convert, so I’ve dived in headlong and am trying to learn about the medium on several levels at once--its fundamentals, its pedagogical value, its library value, etc--while simultaneously trying to sample as much of it as I can.  

I just wanted to write briefly about another aspect of the whole thing I’m pretty jazzed about--not merely consuming board games, but producing them.

It’s a really cool, rigorous mental exercise, and it’s fun too.  You can make a board game out of anything--go ahead, pick your favorite novel and try it.  The puzzle is in how to express the source material or domain’s flavor thematically, what game mechanisms to use that will be fun and play into the chosen theme, the ever-confounding matter of game balance, the object of the game, scoring, and how to trigger the end--it’s really hours and hours of the most fun labor you’ll have.

I’m currently working on my own little board game based on one of my favorite fantasy literature properties, the Wheel of Time by Robert Jordan and Brandon Sanderson.  Okay, so it’s huge and sprawling and will probably take 20 hours to play (once I decide HOW to win the game, anyway, rather than my current play-into-infinity model--which is actually kinda thematically appropriate...).  

That’s the thing--in the world of modern board games, epic is okay.  And in this case, I didn’t want to ape the tendency other amateur designers have had to make a Wheel of Time territory control game (think “Risk” or my previously-reviewed “Game of Thrones: The Board Game.”)  Yeah, armies marching and nations falling are very important in these books, but there’s a human and interpersonal element that trumps all that.  The modern board game is a great medium to explore these more literary concerns, and actually put living human beings in the position of enacting them--getting them to think more deeply about the events of a book, and the conventions of a genre, as they do so.

But I’ve just had a ball deciding such things as whom, exactly, each player is playing; how to represent the world’s unique magic system, which is described like a kind of metaphysical weaving of five different materials into beautiful and destructive patterns; and just as important, how to represent the books’ pervasive theme of mistrust and intrigue and hidden danger alongside the rewards of all-too-infrequent collaboration.

I guess you could say it’s sort of like “Guess Who?” meets “Battleship” with, yes, a hint of “Risk” in there.  It’ll all take place on a giant map, after all.

Board game design would make an awesome library program, one that I intend to experiment with as soon as some nice library decides to hire me.  The games that our patrons create needn’t be as complex as the one  I describe and the ones that board game enthusiasts love to dig into; but of course, they needn’t not be, either.  Who knows what our patrons might come up with when we let them loose with some knowledge of game design?

To make a program even more library-relevant, if a little less free-wheeling, make it a challenge for participants to design a board game based on a classic work of literature that they choose.  Deciding how to represent Wuthering Heights on a piece of cardboard with a plastic “Sorry!” pawn representing Heathcliff might teach young adults more about the novel than any SparkNote could.

(And thank you, Wikipedia gods, for informing me that there actually is a Wuthering Heights role-playing game, which I did not know when I wrote that paragraph.  But--point proved!)

I would like to base my next game design venture on another topic very near and dear to me: librarianship.  Dear readers, what do you think some critical elements of a good library board game would be?