Childrenthe journal of the Association for Library Service to Children & LibrariesVolume 4 Number 3 Winter 2006 ISSN 1542-9806
ALSC's First Geisel Award Librarians in NOLA • Digital Storytimes • Evaluating Picture Books
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Contents● ofVolume 4, Number 3 Winter 2006 Notes and Letters 35 ¡Celebración! The Tenth Anniversary Celebration Editor’s Note of the Pura Belpré Award 2 Sandra Ríos Balderrama Sharon Verbeten 2 Executive Director’s Note 38 The Scoop on Diane Foote Children’s Magazines Children’s Magazines and 3 Letters to the Editor Collection Development Susan Patron
Features Why I Love Children’s Magazines Lou Waryncia 4 Award Acceptance Speeches Batchelder Award Anatomy of a Magazine Janna Morishima Carolyn P. Yoder
Geisel Award 45 Children’s Library Services Cynthia Rylant and Suçie Stevenson in Sweden 8 The Digital and Traditional A Study Visit to the Solna Library Storytimes Research Project Heather Norquist Using Digitized Picture Books for Preschool Group Storytimes Lauren Collen Departments 19 Asperger’s Syndrome Research and Development Column How the Public Library Can Address 49 These Special Needs Graphic Novels for Children Holly Halvorson ALSC Research and Development Committee
28 New Orleans: Rebuild It . . . 51 Index to Advertisers and They Will Come 52 New Books ALA Annual Conference 2006 Photo Gallery Making the Match Junko Yokota and Kathryn Miller 31 InFORMed Reading Evaluating and Using Picture 55 ALSC News Books, Beginning Reader Books, Index to Volume 4 and Illustrated Books 60 Megan Lambert 64 The Last Word Marilyn Sobotincic Cover illustration copyright 2005 by Suçie Stevenson, from Henry and Mudge and the Great Grandpas by Cynthia Rylant. Used with permission of Simon and Schuster Books for Young Readers, an imprint of Simon and Schuster Children’s Division.
CAL_4n3_3p.indd 1 11/28/2006 9:54:11 AM Editor’s Note Oh, the Places You’ll Go! Sharon Verbeten
’ve never been much of a Editor traveler. But working for Sharon Verbeten, De Pere, Wis. ALSC has led me to cities I Editorial Advisory Committee I may never have otherwise Rosanne Cerny, Chair, Jamaica, N.Y. seen—New Orleans, Boston, Miriam Lang Budin, Chappaqua, N.Y. Linnea Christensen, Plymouth, Minn. and next year, Washington, Barbara Immroth, Austin, Tex. D.C. and Seattle. I’m eagerly Ellen Loughran, Brooklyn, N.Y. CAL Editor Sharon Verbeten was thrilled Jill S. Ratzan, Highland Park, N.J. awaiting both destinations. Michelle Sirk, New Haven, Ind. to have Ian Falconer sign a copy of Kathleen T. Horning, ALSC President, Ex Officio, Madison, Wis. Olivia for her new baby, Holland. Sharon Verbeten, Editor, Ex Officio, De Pere, Wis. Even if I don’t get to see much Executive Director of the city, I get a broader appreciation for the cultures and people Diane Foote of the convention cities. That’s exactly what happened in New Division Coordinator Orleans. I talked with cab drivers, hotel employees, and restau- Laura Schulte-Cooper rant workers who all profusely thanked my colleagues and me for Web Site coming to the city just months after Hurricane Katrina. And even www.ala.org/alsc though I didn’t make it into the ravaged areas, it was gratifying to Circulation see people working so hard to rebuild their city. Children and Libraries (ISSN 1542-9806) is published three times per year by the American Library Association (ALA), 50 E. Huron St., Chicago, IL 60611. It is the official publication of the Association for Library Service to Children (ALSC), a division of ALA. Subscription price: members I encourage all conventioneers—if you have the time—to venture of ALSC, $20 per year, included in membership dues; nonmembers, $40 per year in the U.S.; $50 outside the walls of meetings and seminars to learn a little about in Canada, Mexico, and other countries. Back issues within one year of current issue, $12 each. POSTMASTER: Send address changes to Children and Libraries, 50 E. Huron St., Chicago, IL the cities and their people. For me, those memories provide the 60611. Members send mailing labels or facsimile to Member Services, 50 E. Huron St., Chicago, IL 60611. Nonmember subscribers: Subscriptions, orders, changes of address, and inquiries should best souvenirs. be sent to Children and Libraries, Customer Service—Subscriptions, 50 E. Huron St., Chicago, IL 60611; 1-800-545-2433, press 5; fax: (312) 944-2641; e-mail: [email protected]. I look forward to seeing and meeting more of you in Seattle. I don’t Statement of Purpose drink coffee and I don’t especially like rain, but those are just two Children and Libraries is the official journal of ALSC, a division of the American Library of the Northwest’s clichés I’m hoping to experience out there! & Association. The journal primarily serves as a vehicle for continuing education of librarians working with children, which showcases current scholarly research and practice in library ser- vice to children and spotlights significant activities and programs of the Association. (From the Executive Director’s Note journal’s “Policies and Procedures” document adopted by the ALSC board, April 2004.) Production A Year to Celebrate ALA Production Services—Troy D. Linker and Angela Hanshaw; Angela Gwizdala, Christopher Keech, Stephanie Kuenn, and Christine Velez, Production Editors. Diane Foote Advertising t’s hard to believe I am about to celebrate Benson, Coffee and Associates, 1411 Peterson Ave., Park Ridge, IL 60068; (847) 692-4695; fax: (847) 692-3877; e-mail: [email protected]. The journal accepts advertising for goods or services one full year in this seat! “Celebrate” is the of interest to the library profession and librarians in service to youth in particular. It encourages advertising that informs readers and provides clear communication between vendor and buyer. right word: this year we commemorated ten The journal adheres to ethical and commonly accepted advertising practices and reserves I the right to reject any advertisement not suited to the above purposes or not consistent with years of El día de los niños/El día de los libros the aims and policies of ALA. Acceptance of advertising in the journal does not imply official (Children’s Day/Book Day) and the Pura Belpré Awards, presented endorsement by ALA of the products or services advertised. the first Geisel Awards, and launched our shiny new Kids! @ your Manuscripts ® library Campaign, all worthy of fanfare. Manuscripts and letters pertaining to editorial content should be sent to Sharon Verbeten, editor, 820 Spooner Ct., De Pere, WI 54115; (920) 339-2740; e-mail: [email protected]. Manuscripts will be sent out for review according to the journal’s established referee proce- Not least of our celebration is the share we had in ALA’s big- dures. See the Spring issue or www.ala.org/alsc, “Publications & Products” for author guide- gest success story: keeping our commitment to the City of New lines. If you are interested in serving as a volunteer referee for manuscripts submitted to CAL, contact Editor Sharon Verbeten at [email protected]. More information about the referee Orleans by holding the Annual Conference there as planned. process is available on the Web at the above address. Nearly 1,000 revelers attended the Newbery-Caldecott Banquet, Indexing, Abstracting, and Microfilm and ALSC members raised $2,050 in the silent auction of original Children and Libraries is indexed in Library and Information Science Abstracts and in Library art from this year’s award winners to donate to the ALA Hurricane Literature and Information Science. Children and Libraries is indexed, abstracted, and available in full text through EBSCOhost. Katrina Library Relief Fund. For more information, contact EBSCO at 1-800-653-2726. Children and Libraries is also available from ProQuest Information and Learning in one or more Relive the conference again with the Annual Conference 2006 of the following ways: online, via the ProQuest information service; microform; CD-Rom; and via database licensing. For more information, call 1-800-521-0600, ext. 2888 or online at www photo gallery in this issue, along with the Batchelder and Geisel .il.proquest.com. acceptance speeches and a piece on the Belpré Awards’ tenth The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI anniversary. We hope you’ll also enjoy coverage of research Z39.48-1992. on digital storytimes, how to best serve young patrons with Copyright © 2006 American Library Association Asperger’s Syndrome, picture book evaluation, children’s maga- All materials in this journal subject to copyright by the American Library Association may be photocopied for the noncommercial purpose of scientific or educational advancement granted zines, children’s library services in Sweden, and more. We’ll see by Sections 107 and 108 of the Copyright Revision Act of 1976. For other photocopying, reprint- ing, or translating, address requests to the ALA Office of Rights and Permissions. you soon in Seattle! & 2 Winter 2006 • Children and Libraries
CAL_4n3_3p.indd 2 11/28/2006 9:54:18 AM Letters to the Editor
Letters Guidelines
Children and Libraries welcomes readers to submit letters to the editor on topics of general interest to the profession or as comments on topics covered in our pages.
Letters should be no longer than 350 words and must be signed. The editor reserves the right to edit letters for clarity and space. Send letters to Editor Sharon Verbeten at [email protected] or via mail to 820 Spooner Ct., De Pere, WI 54115.
If you are inspired to do similar pro- The 1996 title selected by the 1997 Thanks for Coming to N’awlins grams, don’t make our mistake! Research Caldecott Committee was Golem by Thank you to everyone who attended when your audience can come. Things David Wisniewski. In all other respects, and supported the New Orleans Annual have changed indeed, and this audience I enjoyed Heather’s intriguing and well- Conference. Everywhere I went through- is very grateful and responsive to cop- researched point of view.—Carol Ann out the city, I heard shop owners, restau- ing skills programs about child care and Wilson, retired, Westfield (N.J.) Memorial rant workers, and people on the street school issues, but they’re still very busy Library saying how wonderful it was to have people.—Rosanne Cerny, Coordinator librarians leading other conventions of Children’s Services, Queens Library, back to New Orleans. I personally had Jamaica, New York Subject Guide Available a great time meeting so many people by Our public library found that our excel- e-mail and in person. I am proud to be lent collection of picture books for older a member of ALA and of ALSC! —Pabby Caldecott Clarification readers was not being used. Our staff—in Arnold, head of children’s services, East I just finished reading Heather Lane’s arti- collaboration with our school district— Baton Rouge (La.) Parish Library cle (“Don’t Judge the Art by Its Medium,” developed a subject guide to the whole Children and Libraries, Spring 2006) on collection and distributed it to each of our computer-generated illustrations and area’s seven elementary schools. Once Make Sure Program Times would like to correct one small error. teachers had a tool to incorporate these Target Audience books into their curriculum, they began As a member of the 1996 Caldecott to come and borrow them for their class- I really enjoyed the articles on grandpar- Committee that selected Officer Buckle rooms. If anyone is interested, I would be enting programs (“Old Is New Again,” and Gloria, I need to point out that we happy to provide a copy of this annotated Children and Libraries, Spring 2006) considered books with a 1995 copyright, bibliography, which we call “Connecting but wanted to pass on one hard-earned so Bright and Early Thursday Evening With the Curriculum: A Subject Guide piece of wisdom to readers. would not have been eligible. to Picture Books For Older Readers.” —Barbara Buckley, Head of Children’s Several years ago, children’s services at Services, Oceanside (N.Y.) Library the Queens Library had a small grant to present programming for custodial grandparents in some of our branches. Goble Wins Regina Award We scheduled our programs during the school day, when we thought the audi- Chicago reader Peggy Sullivan recently read a speech by prolific children’s ence would be available. There was a book author Paul Goble in Catholic Library World (CLW) 76, no. 4. Goble won good response to the flyers we sent out, the 2006 Catholic Library Association’s annual Regina Award for continued, but almost no one came! distinguished contributions to children’s literature. Sullivan found it of great interest and suggested we seek to reprint it in Children and Libraries. CLW, When we checked back with the branches however, does not grant reprint permission. and with the seniors’ groups, we found out that most custodial grandparents were in Readers interested in reading his acceptance speech—which Goble their fifties or early sixties and were still in commented was the first he has done since his Caldecott Medal speech the workforce and therefore not available in 1979 for The Girl Who Loved Wild Horses—can find CLW on EBSCO to come to daytime programs. Like most subscription databases, or back issues of the magazine are available for $15 working parents, they were only available plus postage. Visit the Web site at www.cathla.org for more information. on Saturdays and evenings.
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CAL_4n3_3p.indd 3 11/28/2006 9:54:19 AM Within a few pages, I was immersed in empathy. Holub was born in 1926 in the a very different world—rural Württem- Bohemian Forest, an ethnic German in berg, Germany, late in the year 1811. A what was soon notoriously known as young farmhand is wrenched from sleep the Sudetenland in Czechoslovakia. He and hustled into town, where his master was only thirteen years old when World drops him in front of a military conscrip- War II broke out. He was seventeen Batchelder tion committee. Just like that, Adam is when Germany conscripted him into suddenly a soldier in Napoleon’s army. the Wehrmacht. Like Adam, he fought Award Not just any army, but the Grande Armée against tenacious Russian soldiers in that is preparing to march on impe- unfamiliar territory. He too had a sadistic rial Russia, an almost unimaginable staff sergeant about whom, he told me, Acceptance distance away. he still has the occasional nightmare. And like Adam, he wanted desperately to Speech I read this just after the United States escape the army, but he was trapped. invaded Iraq. Thus, the story of a young Finding the Value in and naive soldier in a strange land More than five decades after World War had particular resonance. The sadistic II ended and young Josef Holub started Learning German Sergeant Krauter, the deadly heat and a new life in West Germany, he published dust on the march through the western the novel you are honoring with the reaches of Russia, the disappearance Batchelder prize. (An inspiring side note Janna Morishima of the supply train, the horror and awe for any would-be writers: Holub pub- as the old city of Moscow goes up in lished his very first novel when he was flames—all this had me mesmerized. sixty-seven years old, and An Innocent When the colonel of Adam’s division Soldier was his fifth book. He is living announces, “Gentlemen! Unless we set proof that it is never too late to try some- off for home immediately, we are lost. thing new.) He told me how happy he is y family moved to Baden- It may be too late as it is,” I looked up that we are making this book available for Württemberg in Germany from the book and realized that not American readers, and he was overjoyed Mwhen I was in early elemen- only had I passed my stop in down- when I told him that An Innocent Soldier tary school. When we moved back to the town Manhattan, but I was no longer received the Batchelder Award. I know United States, my father pushed me to in Manhattan altogether—I was some- he wishes he could be here to thank you take German classes and keep up the where in Brooklyn. It was at this moment in person, and I wish you could meet language. By the time I graduated from that I thought, “We should publish this him—the memory of his warmth, his college, I could read German literature book.” Arthur agreed. smile, his enthusiasm for bringing great fluently, and I remember thinking irrita- and thought-provoking stories to young bly, “What a useless skill.” It is no coincidence that Josef Holub chose people has stayed with me ever since my to tell the tale of this poor Napoleonic brief meeting with him. Little did I know how useful it would soldier. Two years ago, I went to visit prove to be. When I first started working Holub in the tiny hamlet where he lives in Finally, on behalf of myself, Arthur, the in publishing four years ago, my dream southwest Germany, not far from where I translator Michael Hofmann, and the rest was to become an editor, but I some- spent my childhood. In fact, though this of the team at Arthur A. Levine Books, I how landed in the art department. I village is not named in the book, it is the want to emphasize how proud we are began looking for ways I could ingratiate place where An Innocent Soldier begins. to receive the Batchelder Award and myself with the editorial directors and Holub has been the mayor of this town how deeply we appreciate your efforts soon learned that one thing I could do for some time, and he told me that one to raise the profile of children’s books in was to write reader reports on German of his first decisions as mayor was to translation in the United States. & books for Arthur Levine. I took to this organize the village archives. As he sorted task with great enthusiasm. through the crumbling records, he came across a certificate mentioning a young Janna Morishima is editor-at-large One day, I found a new pile of books man who miraculously returned to the of Scholastic. She accepted the that Arthur had received from Germany village alive from Napoleon’s campaign in Batchelder Award on behalf in my inbox. At the top of the pile was a Russia. Although he knew nothing more of Arthur A. Levine Books/ little red novel with no accompanying than the man’s name and a few details Scholastic for An Innocent Soldier sell sheet or reviews. I liked the moody about his life thereafter, Holub couldn’t by Josef Holub. Her accep- cover image of two soldiers riding on quench his curiosity, so he decided to tance speech was delivered at the horseback through a barren landscape, write a book about him. American Library Association Annual though, so I took the book home with me Conference in New Orleans on June and opened it the next day on my way to I am fairly certain that it wasn’t just 26, 2006. work on the subway. curiosity driving Holub; it was also
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CAL_4n3_3p.indd 4 11/28/2006 9:54:20 AM ear good friends in children’s When I write these books, I find my best books and libraries, how lovely self. I am so very blessed to spend time Dit is to be a part of the maiden in a world so loving and nurturing as voyage of this significant award, even the world of Henry and Mudge. I always Geisel from a distance of many miles. I am feel less alone when I am with them sorry not to be with you here in body and I smile as I write their stories, and today, but with all of you, for many years, I breathe deeply with warm satisfaction Author I have shared the same spirit you carry, the spirit that loves the innocence and Henry and Mudge have Award beauty of young children as well as the gracefulness of language and story. been a part of my own Acceptance I learned to write for beginning readers heart for more than from Arnold Lobel, so I must first honor Speech him as I receive this award and say hello twenty years now. I did to my old friends Frog and Toad. They all taught me how to just say it, but say it not know much about Cynthia Rylant with feeling, with a certain drollness and life when I began their humility, and to leave the reader with love and hope in his heart. stories, and I know a lot more today. We have all three grown together over the days and months and years.
when I add the last line, which has often been “Mudge wagged and wagged and wagged.” Mudge has a lot to wag about.
I want to thank each of you for what you do for children, which I know is often unseen by others and perhaps even unnoticed by the children themselves. I know that you bring love and concern into your small corners of the library every day, and I know how deeply you care about the integrity of the books you hand to children who will learn about the world, about life, about the human heart in those books. I know you do not take lightly this responsibility, and it has enormous influence that lasts, well, I guess forever. Anything that nourishes Henry and Mudge have been a part of our souls lasts forever. my own heart for more than twenty years now. I did not know much about life I wish for all of you good stories, stead- Cynthia Rylant is the recipient of when I began their stories, and I know a fast friends, and purpose. I wish for the ALSC’s first Theodor Seuss Geisel lot more today. We have all three grown children with whom you share my books Award for beginner books for her together over the days and months and some real faith in life and a belief that book Henry and Mudge and the years, and we have all three decided we they are each necessary in this world Great Grandpas (Simon and Schuster, love the same things: a constant and and cherished. 2005). Her acceptance speech was reliable person (or dog) who is our best read at the ALA Annual Conference friend; the excitement of small things Thank you again. & in New Orleans on June 26, 2006. like kittens or old shoes or gingersnaps; and a desire for tomorrow.
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CAL_4n3_3p.indd 6 11/28/2006 9:54:22 AM Geisel Illustrator Award Acceptance Speech
Suçie Stevenson
wenty-five years ago, I was a shell I’d like to thank the American Library fisherman on Cape Cod. I was Association, the Association for Library Tscratching up mud and clams Service to Children, my publisher Simon with my rake, icy seawater overflowing and Schuster, my editor Alyssa Eisner, my into my rubber boots. I thought, “I need agent Liza Voges at Kirchoff/Wohlberg, another job.” I never thought that some- and all the children who are fans of day I would be standing here before you, Henry and Mudge. I’d especially like to nice and dry and warm and honored. thank Cynthia Rylant for her beautiful Now I have the best job in the world, and inspiring writing. Henry and Mudge writing and illustrating children’s books! are living characters to me by now. If Mudge were here, drooling on my foot, I am thrilled with this award. The very I’d give him all the crackers he could eat first Theodor Seuss Geisel Award is so on this happy day. exciting. Of course, Dr. Seuss’s action- packed drawings influenced me as a I’d like to say to librarians and children child. His funny fish always made me everywhere: thank you all for your love laugh. I tend to draw my characters in of Henry and Mudge. & motion, too, particularly Mudge’s wag- ging tail, and my aim is always to make Suçie Stevenson is the recipient of children laugh. ALSC’s first Theodor Seuss Geisel Award for beginner books for Drawing Henry and Mudge and the Great illustrating Cynthia Rylant’s Henry and Grandpas was fun. I loved drawing all Mudge and the Great Grandpas. Her the grandpas in their “skivvies.” My own acceptance speech was delivered grandpa wore funny striped boxer shorts at the American Library Association himself. And I loved Mudge being a “live Annual Conference in New Orleans raft” for all the exhausted swimmers. on June 26, 2006.
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CAL_4n3_3p.indd 7 11/28/2006 9:54:22 AM icture books for children are now languages.2 The ultimate goal of ICDL is available in digitized format, and to host a collection of 10,000 digitized Pquestions arise as to how, when, children’s books in 100 languages, a vir- and by whom these digital books will tual Alexandria created just for children. be used. Librarians, who already evalu- ate print, audio, and video materials for Picture books are used every day in pre- children, will need to begin evaluating schools and libraries during group story- the use of digitized books in program- time read-alouds for three- to five-year ming for young children. olds. Now, in addition to the traditional tools of early childhood—toys, games, Questions to consider include whether and books––children have computers. this new computer-based technology can For those of us who work with young become an accepted educational tool; children, some of the important ques- The what, if any, differences might occur tions we face are how to best deploy when using a digital book versus a tradi- technology and, in particular for young tional book; and whether a new type of children, how best to use computers and Digital and group storytime can be created—a digital digital technology to increase learning storytime—and how that can be con- and literacy during the preschool years. Traditional ducted in a library or preschool setting. Research that looks at using books in new The Digital and Traditional Storytimes formats or in new media is in its infancy. Storytimes Research Project attempts to provide Picture books as e-books (or books on some answers to these questions and is CD-ROM) have interactive components Research a first look at the differences or similari- that allow children to deviate from the ties that occur when preschool children story sequence by clicking on hyperlinks listen to and view digital picture books or hotlinks that activate games, music, Project from the International Children’s Digital or other interactive features. The results Library (ICDL) versus a print copy of of one recent research project suggest Using Digitized the same picture book during group that when picture books are either ret- storytime.1 rofitted as interactive e-books or are Picture Books for “born digital”—coming into existence On November 20, 2002, ICDL launched as interactive electronic books—they are Preschool Group a Web site that made hundreds of chil- less supportive of learning about story dren’s books available online, full-text, content than traditional picture books.3 Storytimes for free. This digital library is a five- However, the results of another recent year research project of the University research project suggest there is no dif- Lauren Collen of Maryland and the Internet Archive, ference in story memory between the funded through grants from the National interactive and noninteractive versions Science Foundation and the Institute of the same picture book.4 of Museum and Library Services. It is located online at www.icdlbooks.org or The books in ICDL are neither born www.childrensbooks.org. digital nor are they interactive—all of the books on ICDL were first created as To date, ICDL has collected children’s traditional, hardcopy books. The only books from around the world and cur- added features on the ICDL Web site rently houses 1,562 books in 37 different are part of the enhanced version of the site, where the pictures can zoom in and out (from smaller to larger format); Lauren Collen has a bachelor of fine arts degree in painting a “whooshing” sound activates as the
from Wayne State University and a master’s degree in library zooming occurs. However, there are and information science from Dominican University; in 2005 she no interactive or audio functions that was awarded the C. Berger Entrepreneurial Promise Award. She accompany the actual presentation of is a youth services librarian at the Niles (Ill.) Public Library District books on the ICDL Web site. The books outside of Chicago, where she does storytelling, creates and on ICDL have been reproduced in digi- conducts programs for babies, preschoolers, and school-age tal form exactly as they exist in hardcopy children, and does graphic design and mural displays as the form. There is no voice on the ICDL artist for the youth services department. She is at work on her site that reads the book for the viewer, first picture book. there is no automatic page-turner that advances the book independent of the
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CAL_4n3_3p.indd 8 11/28/2006 9:54:24 AM The Digital and Traditional Storytimes Research Project viewer, and there is no alteration in any same books were obtained from a library Axle the Freeway Cat. On day two, The form to the books as they exist for the in hardcopy, print format. The two books Hunterman and the Crocodile was read viewer in the nondigital world. were Axle the Freeway Cat (Harper and to the children. There were three teach- Row, 1981) and The Hunterman and ers present during each of the storytimes Thus far, it appears that no one has the Crocodile: A West African Folktale on both days; however, the teachers were looked at the learning potential for using (Scholastic, 1997). According to the pre- observers and not participants. digitized books, such as those available school teachers, these books were not on ICDL, with young children during previously known to the children. On each of the storytime days, I first con- group storytimes. The existing storytime ducted the digital storytime, and all of research on traditional books supports Axle is a realistic fantasy about a cat that the technical equipment was set up and the proposition that how a storytime is makes a new friend. Axle and his friend, in place when the children entered the conducted affects learning. In a recent Little Cat, are the only characters in the preschool’s library. Once I completed the article, early literacy specialist William book, and the plot is a simple one—with digital storytime, I removed the projec- Teale stated that Axle fixing Little Cat’s car when it breaks tion screen, laptop, and projector from and causes a traffic jam. After Axle fixes the reading area, and I conducted the both new technologies and new the car, the two of them take a ride in traditional storytimes without any of the applications of existing technologies Little Cat’s fancy red car; they share din- technology from the digital storytimes in are providing fresh opportunities ner in Axle’s home (a broken-down car); view of the children. All storytimes were for introducing read-alouds into and they play some music together. videotaped with two video cameras in early childhood classrooms and are inviting innovative research efforts that will help us understand That children in the traditional storytimes asked no how those practices affect young picture-based questions and children in both digital children and their teachers.5 storytimes did ask picture-based questions suggests Because digital storytimes are new for teachers, librarians, children, and that the larger-format presentation of the stories’ researchers, ICDL chose a qualitative model for this study to extract as much pictorial components in the digital storytimes may information as possible about the tech- have resulted in an enhanced understanding of the nology and storytimes. Therefore, the purpose of this study was to observe the story, based on an enhanced visual experience. patterns, themes, and issues that emerge when using digitized books for group storytimes in a library or preschool set- On the other hand, Hunterman is far a fixed position. For the traditional sto- ting; future research may begin to quan- more complex and originates from a rytimes, one video camera was behind tify these similarities and differences. West African folktale. There are seven me (conducting the storytime) and fixed main characters, one secondary charac- to record the children; the other video ter, and one implied character—the hun- camera was behind the children and was The Research Project terman’s wife—who is never seen in the fixed to record me. For the digital story- pictures. Some of the main characters times, both video cameras were fixed on A private school in suburban Chicago travel from one location to another, and either side of the group to record both agreed to allow its four-year-old pre- the end of the story presents a complete the children and me. school classes to participate in this plot twist and introduces the implied research (written parental consent was character. Hunterman is full of assump- For the traditional storytimes, the chil- obtained for all participating children, tions and concerns that each character dren sat in a semicircle on the floor of the as well as verbal assent from the children has about others (whom you can trust preschool’s library, and I sat in a chair at just before the storytime sessions). The and why), and any understanding of the the front of the semicircle, held the pic- 32 children who participated in this study story arises from paying attention to the ture book with my left hand, and turned were randomly placed into 2 groups, cre- reciprocal help and hindrances that each the pages with my right hand. I briefly ating groups of equal size (16 children character gives the others. introduced myself, asked the children in each). The children who participated whether they were ready to hear a story, in the study ranged in age from 49 to 62 The group storytimes were conducted and introduced the book. I also told the months. The mean age of the first group at the preschool in October 2004 on two children that they would have time after was 57.18 months; the mean age for the separate days in the preschool’s library. the story to ask questions and talk about second group was 56.87 months. On each day, both groups of students the book. heard one story, presented either in a Two age-appropriate picture books from digital or traditional format. The first day During the storytime, I faced the chil- ICDL were chosen for this study; the of the study consisted of two readings of dren; the picture book was open to each
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CAL_4n3_3p.indd 9 11/28/2006 9:54:24 AM The Digital and Traditional Storytimes Research Project page as I read the story, and each page navigation icons that advance the pages, story, and explained the computer tech- spread remained open and faced the change page spreads from double to nology in the following way: children during the entire reading so single, change the background color, all the children could see the pictures. and enlarge or close the page. For the Today, I’m going to read you a book I showed the children, in the following digital storytimes conducted as a part but it’s inside my computer. It’s a order, every component of the complete of this study, both Axle and Hunterman real book, but I have it inside the hardcopy book: front cover, front jacket appeared within the ICDL navigation computer, and we’re going to look at flap, endpapers, front matter, the story, frames (see figure 2). it on the screen. You’re going to start back matter, end papers, endflap, and to see the book, and I’m going to back cover. For each of the traditional Before the digital storytimes began, I use this [showed handheld wireless storytimes, I read expressively and did briefly introduced myself, asked the chil- mouse]. It’s a special clicker I can not stop the reading to talk about the dren whether they were ready to hear a use to make the pages change. story. After I finished, the children and I discussed the story in detail.
For the digital storytimes, the children sat on the floor of the preschool’s library facing a four-by-four-foot projection screen. On a table at the back of the room (approximately twelve feet from the screen) were a laptop computer and a projector. Even though the books on ICDL can be used “live” off the Web site for digital storytimes, ICDL gener- ously made a digital file available to me for each of the books, so that potential telecommunication line problems or ISP interruptions would not interfere with the research. The digital books on ICDL include every component of the hard- copy book; the children in the digital groups were shown the front cover, front jacket flap, endpapers, front matter, the Figure 1. The comic book reader format story, back matter, end papers, endflap, and back cover.
There are three different “book read- ers” available on ICDL: standard, comic book, and spiral. For the study, I used the comic book reader, which initially displays all pages for the picture book in sequential order, similar to a comic strip. When you click on a page in this format, the book is displayed as double-page spreads in exactly the same format as the hardcopy books (see figure 1).
The comic book reader format on ICDL has a zoomable interface, and as I “turned the pages” at the end of each comic strip, the pages did, momentarily, zoom in and out. The “whooshing” sound of the zoomable interface was not activated for the digital storytimes.
Every page of each picture book appears within a “picture” frame that is part of the ICDL interface. These frames, whose predominant color is green, contain the Figure 2. Double-page spread with ICDL navigation icons or ”Picture Frame”
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CAL_4n3_3p.indd 10 11/28/2006 9:54:25 AM The Digital and Traditional Storytimes Research Project When the digital storytimes began, I fell into two distinct categories: they discussion of the technology used to tell sat on the floor with the children, fac- were either text-based questions or pic- the story, including showing the children ing the screen and used the handheld ture-based questions, and the coding the wireless digital mouse that would be wireless digital mouse to advance each (CQSH/T and CQSH/P) reflects this dis- used to advance the pages. frame of the digital file to turn the pages tinction. of the digital books. During the digital As can be seen in table 2, the actual storytimes, I did not face the children or reading time of the digital stories was have eye contact with them while read- The Time Factor consistently slightly longer than for the ing the story. Because I used the wireless traditional stories; this slight difference digital mouse, I could sit with the chil- For the digital storytimes, Hunterman did not appear to have any effect on the dren—and be a part of the audience for took three seconds longer to tell than the attentiveness or distractedness of the the story along with them—and I read traditional version, and Axle took thirty- children during the storytimes. the text of the story off the screen while four seconds longer than the traditional advancing the pages. version. In addition, the prestory discus- sions for the digital storytimes were lon- Listener Attentiveness and Movement For each of the digital storytimes, I read ger than their traditional counterparts expressively and did not stop the read- (by approximately one minute in each Both times I read Axle, the total move- ing to talk about the story. I did not use instance) because the introduction to ment of the children during the two types the hardcopy of the book during the the digital storytime included a short of storytimes differed. There was more digital storytime nor did I refer to any other written supplemental text. After Table 1. Codes for interpreting data the storytimes finished, the children and I discussed the story in detail. Code Description CQS Child question-story related CQSH/T Child question-story related-higher level/text-based CQSH/P Child question-story related-higher level/picture-based What Happened CQNS Child question-not related to story CSS Child statement-story related After I conducted the storytimes, I CSSH Child statement-story related-higher level reviewed the videotapes and made tran- CSNS Child statement-not related to story scripts that corresponded to the dialogue CMID Child movement-looking at investigator/wireless mouse during “page turn” and behavior of the children during the CMB Child movement-looking away from book during traditional reading storytimes. I evaluated and coded the CMS Child movement-looking away from screen during digital reading transcripts, looking for movement by the (but not at investigator) children during the storytimes; talk by CMF Child movement-laying down on floor during story reading the children before, during, and after the CMC Child movement-interaction w/another child/children during story reading storytimes; external noise that occurred CMPL Child movement-looking at projector/laptop during discussion during the storytimes; teacher com- IQS Investigator question-story related IQSH Investigator question-story related higher level ments, if any, during the storytimes; my IQNS Investigator question-not related to story questions and comments before, dur- ISS Investigator statement-story related ing, and after the storytimes; and the ISSH Investigator statement-story related higher level children’s questions before, during, and ISNS Investigator statement not related to story after the storytimes. Table 1 contains the EXTN External noise-hallway codes used for analyzing the movement TSN Teacher statement-not related to story and talk during these storytimes. TSS Teacher statement-story related
Questions and statements from both the Table 2. Length of storytime sessions children and me fell into two differ- ent categories: those directly related to Axle the Freeway Cat the story content that relied completely Digital Storytime Group I Traditional Storytime Group II on information contained in either the Prestory 1:47.88 57:57 pictures or the text; and those related to Story 5:01.86 5:35.24 the story that addressed content or ideas Poststory 9:11.65 9:01.95 Total Time 16:01.39 15:34.76 outside of the literal text and pictures, requiring some element of inference or The Hunterman and the Crocodile speculative reasoning. This second type Digital Storytime Group II Traditional Storytime Group I of questions and statements, whether Prestory 1:25.25 23.82 7:27.33 7:22.65 by me or by the children, was coded as Story Poststory 4:28.89 9:09.13 higher-level questions and statements. Total Time 13:23.47 16:55.60 Additionally, the higher-level questions
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CAL_4n3_3p.indd 11 11/28/2006 9:54:26 AM The Digital and Traditional Storytimes Research Project total movement during the digital sto- than in front of them. The traditional assess whether they had a basic under- rytime versus the traditional storytime. position of storyreader in front of the standing of the story and its elements. However, I observed two different types children required that I turn my eyes However, the poststory discussions were of movement during the digital story- away from the children to actually read not intended as formal tests of story times—one type of movement occurred the text on the pages of the storybook; memory and thus not a quantitative when the children looked away from during the digital storytimes, I faced the measure of it. I also asked questions the screen and toward me when the screen along with the children and never designed to probe specific textual or digital wireless mouse was used to turn had to avert my eyes completely away pictorial components of the stories. Each the pages. This looking away, which was from them—although I was looking at set of my questions grew out of the actual momentary, did not occur while the story the backs of their heads, I could see that discussion with each group of children; was being read but when I finished read- they were attentive to the story. This new therefore, I asked different questions and ing the text on each page and was in the position of storyreader sitting with the a different number of questions with process of advancing to a new page on children did not interfere with the story each group. the screen. While I turned pages, there experience for the children, and the chil- was no story reading going on. dren actually appeared to be more atten- tive—and far less fidgety––during the Axle the Freeway Cat The other type of movement I observed— digital storytimes. what I would call “fidgety preschooler” During the Axle digital storytime, the movement—included looking away from children sat quietly and attentively for the screen or the page during the actual Story Understanding the entire story—there was only one reading. There was far more of this type comment made while the story was in of movement during the traditional sto- The poststory discussion for each book progress. After I finished reading the Axle rytime than there was during the digital was intended to encourage the children story, I closed it on the computer and storytime. In fact, as illustrated in figure to ask questions that allowed me to asked the children whether they liked 3, the movement looking away from the 60 book versus looking away from the screen during the reading of Axle is more than 50 double during the traditional storytime.
I observed exactly the same difference 40 in attentiveness to the reading during the two Hunterman storytimes—when 30 otal Movements
subtracting the momentary glance at T me as the digital pages were turned, 20 there was much more movement dur- ing the traditional storytime. This move- 10 ment and attention difference during the Hunterman storytimes is illustrated 0 BOOK SCREEN in figure 4. Figure 3. Axle the Freeway Cat, looking away from book and screen during storytimes Except for the momentary glance at me
as I turned the digital pages, the chil- 90 dren in both of the digital storytimes glanced away from the screen during the 80 actual reading far less frequently (fewer 70 than half the number of times) than the children in both of the traditional 60 storytimes. This suggests that, overall, the children in both of the digital groups 50
demonstrated more attentive story- 40 otal Movements
listening behavior. T 30
20 Location of the Reader 10 In the traditional storytimes, I sat in 0 front of the children in the usual manner BOOK SCREEN for read-aloud storytimes. In the digital Figure 4. The Hunterman and the Crocodile, looking away from book and screen during storytimes storytimes, I sat with the children, rather
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CAL_4n3_3p.indd 12 11/28/2006 9:54:27 AM The Digital and Traditional Storytimes Research Project
the story (there was a chorus of “yeses” In answering my questions, the children ■ What was the best piece of trash Axle to this question, with one child asking for in the digital storytime, as a group, were had found? another story), and I then asked whether able to respond with accurate answers. they had any questions about the story. In answering my questions, the children The children generated four distinct When the children in the traditional Axle in the traditional storytime, as a group, questions about the story, and talk about group entered the preschool library for were able to give accurate answers to the these questions threaded its way through their storytime, they asked why there questions. the entire poststory discussion. The chil- were video cameras. I explained that dren asked no questions and made no the cameras were being used so I could The Hunterman and the Crocodile statements about the navigational picture remember everything about the story- frame that is part of the ICDL interface. time when I went home, then I intro- During the Hunterman digital story- duced the book. One child said, “I don’t time, there were many comments and I coded four questions asked by the even know what the story is.” When the moments of spontaneous laughter made children as higher-level—none of them storytime began, most of the children by the children during the storytime could be definitively answered by look- sat quietly and attentively, but one child session. At the end of the storytime, I ing at the literal text or pictures. Of the interrupted my reading once the story closed the ICDL book reader on the com- four questions, three of them addressed began, first stating, “Excuse me, excuse puter, shut down the projector, asked pictorial elements of the story. me,” and then asking “Why, why does the children whether they liked the story it not be fixed?”—a question related to (many “yeahs”), and asked whether they The children asked: the fact that Axle lives in a broken-down had any questions about the story. The car that, according to the text, cannot be children asked no questions and made ■ How did this story have a cat that fixed. This question—about Axle’s car— no statements about the navigational stood on two legs, when most cats are persisted throughout the discussion of picture frame. small and square on four legs? this book. Further along in the storytime, the children made multiple spontaneous The children in this group generated three ■ Where did Axle keep his food? utterances. higher-level questions about the story; two of the questions were text-based. ■ How did Axle make his food? After the story was completed, I closed the book and, even before I could ask ■ Why did the bunny come? One question addressed a text-based the children whether they liked the story, element of the story. the child who asked the question about ■ Are they going to eat the crocodiles? Axle’s broken car, immediately asked ■ Why didn’t Axle use brakes to stop this question again. This was one of One question (Why did the bird come?) Little Cat’s car from crashing? two child-initiated, higher-level ques- was based on a completely pictorial tions that continued throughout the component of the story—a bird that is I did not attempt to provide direct, spe- poststory discussion. Both of the ques- never mentioned in the story, but that cific answers to the children’s questions; tions generated by the children were appears in the pictures on nine of the rather, I encouraged the children to textual in nature; neither question double-page spreads. speculate on the answers to the ques- addressed purely pictorial issues. tions, and a lively discussion among the The Hunterman and the Crocodile is a complex story, and the children in children ensued. The children speculated about many this group needed my help to speculate possibilities for the answer to the first about the answers to their questions. I asked the children seven questions question about Axle’s car; there were The children were confused about the about the story. thirteen separate ideas generated by the ultimate outcome of the story, thinking children as to what happened to Axle’s ■ What was Axle’s job? that the hunterman did in fact eat the car and why it couldn’t be fixed. The crocodiles, even though the crocodiles second higher-level question concerned ■ What was Axle’s “best” piece of trash? were not eaten in the end. why Axle helped Little Cat. The children had three speculative answers to this ■ What instrument did Little Cat play? I asked three questions: question.
■ Did Little Cat have a name? ■ Does anybody know what the word I asked four questions. “clever” means? ■ Does Axle have a kitchen? ■ What was Axle’s job? ■ How many crocodiles were in ■ Why did Axle have a harmonica? the story? ■ Did Axle have a kitchen? ■ Do you think Little Cat likes ■ Were there pictures of other animals music, too? ■ How did he fix his breakfast? that you noticed?
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CAL_4n3_3p.indd 13 11/28/2006 9:54:27 AM The Digital and Traditional Storytimes Research Project The children in the digital storytime, as cartoons and books are not real, but the digital and traditional storytimes. a group, gave accurate answers to my they, but there are things like that, The children in both groups engaged questions. there are trees, there’s everything in in a lively discussion about the stories, the books and cartoons. generated high-level questions about For the traditional Hunterman storytime, Ms. Collen: So what happens in the the stories, and generally answered my the children came into the preschool’s story when there’s a talking tree? questions about the stories. While there library and asked about the video cam- Who has an idea? What’s your idea? was a misunderstanding about the end- eras; I explained that the cameras were Child 2: Because they writed it in ing of the Hunterman story, the children recording so I could remember every- the story. in both the digital and traditional story- thing about the storytime when I went Ms. Collen: They wrote it in the times had the same misunderstanding, home. As the storytime began, and I was story. suggesting that the story itself—and not paging through the front matter of the Child 2: And they’re pretend! the format of the storytime—caused the story, one child commented, “That looks Ms. Collen: They’re pretend. Do misunderstanding. scary.” One teacher commented, “Oh, you think that if you went to the nice picture,” and a child responded, “Of riverbank a tree would talk to you? the crocodile.” During the actual reading Children: No! (many voices) of the story, the children only made one Child 2: It’s just make believe! Impact of Size of Pictures spontaneous comment. There were no Ms. Collen: It’s just make believe. on Story Understanding other comments and no spontaneous Child 1: I know that it’s not . . . laughter during this storytime. I know that it’s fiction. The size of the picture books when pro- Ms. Collen: It’s fiction! What a great jected on the screen during the digital At the end of this story, I asked the chil- word to describe make believe! storytimes was almost triple the size of dren whether they liked the story, and Child 2: What’s fiction? their hardcopy counterparts (see table 3). there was a chorus of “yeahs!” When Ms. Collen: Fiction is when it’s asked whether they had any questions what? In the questions generated by the chil- about the story, the children responded Child 1: Pretend. dren in the poststory discussions, there with five separate high-level questions, Ms. Collen: Pretend. And nonfiction was a distinct difference between the all of which were text-based questions is what? types of questions the children asked, (no questions based on purely pictorial Child 1: Real! depending on whether they attended the elements of the story were generated). Child 2: Not fiction! digital or traditional storytime. After both Ms. Collen: Real. That’s right. That’s of the digital storytimes, the children in The children asked: such a good thing to notice. Such a both groups asked questions that raised good thing to notice. both text-based and picture-based issues ■ How could Donso balance the croco- Child #1: It’s not real, they just about the stories; in the traditional story- diles on his head? wrote it. times, children in both groups asked only text-based questions. Table 4 sets forth ■ Why did the crocodiles eat the man? I asked three questions during the the number and types of poststory ques- poststory discussion. tions asked by the children. ■ Why didn’t the animals take Donso out of the river? ■ How many crocodiles did the hunter- One element—the size of the picture- man have on his head? book illustrations when projected on ■ Why do people like to eat crocodiles? the screen—may be the reason that the ■ Did you see any other animals? children in both digital groups generated ■ How can a talking tree be a questions that addressed completely talking tree? ■ Do you think the crocodiles and the visual components of the books; none hunterman were friends at the end of of the questions asked by the children The children themselves speculated on the story? in the traditional storytimes addressed many answers to these questions. The visual components of the stories. final question of the storytime discus- In answering my questions, the children sion—how can a talking tree be a talking in the traditional storytime, as a group, That children in the traditional story- tree?—produced not only a discussion gave accurate answers to the story- times asked no picture-based questions about a textual element of the story, but related questions. However, this group and children in both digital storytimes also a high-level discussion about the dif- was also confused about what happened did ask picture-based questions sug- ference between fiction and nonfiction. with the crocodiles and the man at the gests that the larger-format presentation end of the story. of the stories’ pictorial components in Child 1: How can a talking tree be a the digital storytimes may have resulted talking tree? Based on the poststory discussions for all in an enhanced understanding of the Children: Yeah! (many voices) groups, there did not appear to be a dif- story, based on an enhanced visual Child 2: My dad said nothing on ference in story understanding between experience.
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CAL_4n3_3p.indd 14 11/28/2006 9:54:28 AM The Digital and Traditional Storytimes Research Project to the children, and they appeared com- books, particularly with those books Effect of Interface Icons pletely comfortable with it. where the illustrations carry a signifi- on Picture Book Experience cant portion of the meaning of the story. “[T]he essence of the picture book is the In both of the digital storytimes, the pre- way the text and the illustrations relate dominantly green-colored ICDL icons The Importance of Digital Storytimes to each other; this relationship between and navigational frame surrounded the The digital storytime is a new tool, one the two kinds of text—the verbal and the illustrations when they were projected. that can easily be incorporated into the visual texts—is complicated and subtle.”7 For both, there was not a single mention early childhood learning environment by any child of any element of the inter- with technology that is readily available; Eliza Dresang, a noted scholar in the face icons or navigational tools before, it is estimated that in the United States, field of children’s literature, says, during, or after the digital storytimes. there are computers in nearly every 6 preschool. ‘Reading’ no longer means The children appeared to understand interacting with words on a page that the ICDL interface icons and green- This study suggests that using digital alone. In an increasingly graphic colored navigational frame were not a books for group preschool storytime environment, words and pictures part of the picture book stories, nor did provides an authentic story experience, are merging. . . . The importance the icons appear to influence or affect one where the children are engaged by of words is not questioned, but the children in their experience of the the storytelling, are enthralled and visu- the significance of a combined story during the digital storytimes. ally stimulated by the illustrations, and presentation using both words are able to discuss and deconstruct the and pictures is heightened in the Technology story afterward. digital age.8 Still, some may ask why use a digitized Using a digital book and projecting its When the children entered the pre- book rather than an actual hardcopy pages on a screen that is almost three school’s library for the Axle digital sto- book for preschool storytimes? There are times the size of the original book, with- rytime, they were very interested in the at least four answers to this important out losing pictorial clarity, can give every computer and projector and made such question. child attending the storytime an equal comments as, “Your computer’s my ability to view the pictures and text and computer” and “My dad has one just like First, digital storytimes can be used to can enhance the pictorial experience of yours.” When the opening screen shot of incorporate computer technology into the storytime and the children’s under- the comic book reader of Axle appeared the early childhood learning environ- standing of the stories. “Since picture on the screen, the children responded ment in a developmentally appropriate storybooks that use interdependent sto- with ooohs and aahs. manner. This will benefit preschoolers, rytelling force the reader to consider by introducing them to learning tools— both the texts and the illustrations, When the children in the Hunterman dig- digital books and computers—that can these works are powerful cultivators of ital group entered the preschool library be accessed in creative ways. imaginative, creative, and critical think- for their storytime, they also immedi- ing skills.”9 ately began to make statements about Second, using digital books for pre- the computer. One child identified the school storytimes with children may also The contemporary picture book exploits digital, wireless remote as looking like a enhance their understanding of picture the power of pictures in storytelling. television remote. As I opened the ICDL book reader on the computer, another child said, “I click, I click, I always click Table 3. Size comparison: hard copy versus digital image the ‘x’ and then it goes away.” When the opening screen shot of the comic book Axle the Freeway Cat Screen Image Hard Copy of Book reader finally appeared on the screen, Double-page Spread Size 3 x 4” 9 x 16” there were many “wow” comments by the children, and one child said, “There’s a hundred stories.” The Hunterman and the Crocodile Screen Image Hard Copy of Book Double-page Spread Size 3 x 4” 10 x 20” The only children who commented on the video cameras were those in the tra- ditional storytime groups. No children Table 4. Picture- and text-based questions in digital versus traditional storytimes in the digital groups commented on the presence of the cameras; the cameras Picture-based Questions Text-based Questions 3 1 blended in completely with the other Axle-Digital Axle-Traditional 0 2 technology components and were “invisi- Hunterman-Digital 1 2 ble” to the children in both digital groups. Hunterman-Traditional 0 5 The computer technology was familiar
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CAL_4n3_3p.indd 15 11/28/2006 9:54:28 AM The Digital and Traditional Storytimes Research Project Picture books are a synergy of words and English as a Second Language and bilin- retains the important quality of drama pictures, and projecting digital books gual) in this country and abroad; they when the digital pages are turned. during group storytimes may be able to can provide children from throughout enhance what one scientist has referred the world with access to books and sto- In his milestone work on using computers to as our “powerful genetic biases . . . ries in many different languages. as learning tools with children, Seymour for visually presented information,” thus Papert recalled the initial military use of deepening understanding of the totality Digital books, such as those on ICDL, are computers and their subsequent evolu- of the story—both words and pictures.10 available to all children, anywhere there tion as learning tools; he acknowledges is a preschool or library with access to that “[t]ime and the growth of ideas are Third, using digital books for children the Internet, and this worldwide access usually needed before the idea of using may have special importance for chil- provides an opportunity. “We need to a new technology to do something that dren with learning disabilities and special start thinking about how and why we can had never been done before can even be needs. “Digital versions of books are much strive to lead poor and isolated children conceived.”15 better for students with disabilities than toward literacy through technology.”13 books offered in a single mode—print Similarly, the picture book group story- on paper.”11 The large-size format of the While the issue of providing technol- time—now conducted in conjunction screen of a digital storytime can enhance ogy access to children living in poverty with the computer—has evolved into the experience of group storytimes, and around the world is beyond the scope of something that could not have been create more opportunities to use picture this research, there are initiatives, such conceived of previously. In work with books with children who have limited as One Laptop per Child (OLPC), that children, librarians should take every visual acuity or other disabilities. attempt to bridge the technology access advantage of the collections of a digital gap (www.laptop.org). Should access library like ICDL. In using digitized books Digital storytimes may be one of those such as that envisioned by OLPC become to enhance preschool storytimes, we can technologies that allow children with a reality, then digital books, similar to “combine the best features of digital special needs access to materials other- those used in this study from ICDL, may communication with the best features of wise inaccessible to them. “Technology be more readily available to children liv- paper-and-print books.”16 This research can be a powerful compensatory tool; ing in poverty, everywhere in the world. suggests that digital picture book story- with adapted materials, young children times can enhance story understanding, with disabilities no longer have to be Picture books are amazing things and, especially that which depends on “read- excluded from activities.”12 A digital sto- when used by a children’s librarian or ing” the illustrations in a picture book rytime, such as those presented in this preschool teacher, can be an important during group storytimes. research study, is precisely the type of component of literacy learning and liter- adaptive material that can enhance the acy enjoyment during group storytimes In the library or preschool, librarians and early childhood educational experiences in the early years. In her paean to the teachers use hardcopy picture books, of preschoolers with disabilities in either art, craft, and history of the picture- “big books,” storytelling, puppets, a school or a library setting. book form, children’s literature specialist flannel-board stories, and draw-and-tell Barbara Bader said, stories every day in their work with the Finally, schools and libraries that provide children they serve. Now they can add preschool storytimes for children have A picture book is text, illustrations, the computer, projector, and wireless limited collections of hardcopy books. total design; an item of manufacture mouse to their bag of tricks, to con- Digital storytimes can provide expanded and a commercial product; a social, duct digital storytimes that will engage, access to materials—bringing books that cultural, historical document; and, inform, and enhance children’s early lit- are out-of-print back into use; bringing foremost, an experience for a child. eracy experiences. Digital storytimes can rare, antiquarian books back into the As an art form, it hinges on the be conducted in preschools and libraries world of reading for twenty-first–century interdependence of pictures and everywhere, because digitized books are children; and bringing books from every words, on the simultaneous display now available online, full-text, for free, to part of the world to every and any class- of two facing pages, and on the children throughout the world. & room or library, expanding not only what drama of the turning of the page. can be offered as part of a program or On its own terms, its possibilities curriculum, but also what can be learned are limitless.14 Acknowledgments about the experiences of other children around the world. Those limitless possibilities are not This project would not have been pos- diluted or diffused when picture books sible without the mentorship and guid- Because so many of the books on ICDL are presented in a digitized format for ance of Karen Brown of the School of are either bilingual or in languages other group storytimes. Digitization is a valid Library and Information Science at than English, digital storytimes can and useful tool for presenting preschool Dominican University. Additionally, Ann be used to enhance the group story- picture book storytimes. From what I Carlson Weeks, director for Collection time experience for children in English observed in the behavior of the preschool Research and Use of the ICDL at the Language Learning programs (both children in this study, is a new tool that Human-Computer Interaction Lab and
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The Digital and Traditional StorytimesStorytelling Research 101 Project ———.professorThree-Minute of the Stories: practice 100 in Stories the College to Readof or Information Tell When Time Studies Is Short at the. Little University Rock, ofArk.: Maryland August House,provided 2004. significant insight, feedback, and encouragement. Special ———.thanksTwenty are Tellable extended Tales to. New Ann York: Rose, who H. W. Wilson,designs 1986. and manages the database that holds the books in the ICDL collec- Nic Leodas,tion, forSorche. her expertHeather and and timely Broom: techni- Tales ofcal the support. Scottish Finally,Highlands this. New project York: would Holt, 1960.never have happened without the sup- port and inspiration of Allison Druin, Parent,project Michael. directorOf Kings of ICDLand Fools: at the Human- StoriesComputer from The FrenchInteraction Tradition Lab andin assistant North professorAmerica. Little in the Rock, College Ark.: of August Information House,Studies 1996. at the University of Maryland.
Sandburg, Carl. Rootabaga Stories. New York: Harcourt, 1974. References and Notes Singer, Isaac Bashevis. Stories for 1. The Digital and Traditional Children. New York: Farrar, 1984. Storytimes Research Project was created by the author as an Walker, Barbara. A Treasury of Turkish Independent Study project in fall Tales for Children. North Haven, Conn.: 2004, while in her final semester as Linnet Books 1988. a student in the Graduate School of Library and Information Science at Windham, Kathryn Tucker. 13 Georgia Dominican University, River Forest, Ghosts and Jeffrey. Tuscaloosa, Ala.: Univ. Illinois. of Alabama Pr., 1987. 2. These numbers are current as of Sept. 24, 2006. Wolkstein, Diane. The Magic Orange Tree 3. Maria T. DeJong and Adriana G. and Other Haitian Folktales. New York: Bus, “Quality of Book-Reading Knopf, 1978. Matters for Emergent Readers: An Experiment with the Same Book Yashinsky, Dan. Ghostwise: A Book of in a Regular or Electronic Format,” Midnight Stories. Toronto: Ragweed Journal of Educational Psychology Press, 1997 & 94, no. 1 (2002): 145–55. 4. Christine M. Ricci and Carole R. Beal, “The Effect of Interactive Media on Children’s Story Memory,” Journal of Educational Psychology 94, no. 1 (2002): 138–44. 5. William H. Teale, “Reading Aloud to Young Children As a Classroom Instructional Activity: Insights from Research and Practice,” in On Reading Books to Children: Parents and Teachers, Anne van Kleek, Steven A. Stahl, and Eurydice B. Bauer, eds. (Mahwah, N.J.: Lawrence Erlbaum, 2003), 133. 6. Douglas H. Clements and Sudha Swaminanthan, “Technology and School Change: New Lamps for Old?” Childhood Education 71, no. 5 (1995): 275–81. 7. Lawrence R. Sipe, “How Picture Books Work: A Semiotically
16 Winter 2006 • Children and Libraries Spring 2005Winter • Children 2006 • Children and Libraries and Libraries 39 17
CAL_4n3_3p.indd 17 11/28/2006 9:54:29 AM The Digital and Traditional Storytimes Research Project Framed Theory of Text-Picture Elementary and Early Childhood Lewis, David. Reading Contemporary Relationships,” Children’s Literature Education, ED 376991, 1994. Picturebooks: Picturing Text. London: in Education 29, no. 2 (1998): 97. ———. “Integrating Technology into the Routledge Falmer, 2001. Early Childhood Classroom: The Case Nikolajeva, Maria, and Carole Scott. How 8. Eliza T. Dresang, Radical Change of Literacy Learning. Information Picturebooks Work. New York: Garland (New York: H. W. Wilson, 1999), 65. Technology in Childhood Education Publ., 2000. 9. Denise E. Agosto, “One and Annual (1999): 221–54. Nodelman, Perry. Words about Pictures: The Inseparable: Interdependent DeJong, Maria T., and Adriana G. Bus. “How Narrative Art of Children’s Picture Books. Well Suited Are Electronic Books to Athens, Ga.: Univ. of Georgia Pr., 1988. Storytelling in Picture Storybooks,” Supporting Literacy?” Journal of Early Reuter, Kara, and Allison Druin. “Bringing Children’s Literature in Education Childhood Literacy 3, no. 2 (2003): 147–64. Together Children and Books: An Initial 30, no. 4 (1999): 277. Diakité, Baba Wague. The Hunterman and Descriptive Study of Children’s Book 10. Bruce Perry, “Bruce Perry Discusses the Crocodile: A West African Folktale. Searching and Selection Behavior in a the Effects of Technology on the New York: Scholastic, 1997, contributed to Digital Library.” Proceedings of the 67th ICDL by Scholastic. Annual Meeting of the American Society Brain,” Scholastic Early Education Dickinson, David K. “Book Reading in for Information Science and Technology. Today 13, no. 6 (1999): 37. Preschool Classrooms: Is Recommended Medford, N.J.: Information Today, 2004, 11. June Behrmann, “Digital Learning Practice Common?” In Beginning Literacy 339–48. Materials Are Better than Books with Language. David K. Dickinson and Schwarcz, Joseph. Ways of the Illustrator: Printed on Paper: Electronic Patton O. Tabors, eds. Baltimore: Paul H. Visual Communication in Children’s Materials Can Be Important Brookes Pub., 2001, 175–203. Literature. Chicago: ALA, 1982. Dickinson, David K., and Miriam W. Smith. Schwarcz, Joseph, and Chava Schwarcz. The for Students with Disabilities,” “Long-Term Effects of Preschool Teachers’ Picture Book Comes of Age: Looking at Teaching Exceptional Children 34, Book Readings on Low-Income Children’s Childhood through the Art of Illustration. no. 2 (2001): 87. Vocabulary and Story Comprehension.” Chicago: ALA, 1991. 12. National Association for the Reading Research Quarterly 29, no. 2 Simpson, Alyson. “What Happens When (1994): 105–22. a Book Gets Judged by Its Cover? The Education of Young Children Dresang, Eliza T., and Kathryn McClelland. Importance of a Critical Understanding (NAEYC), Technology and “Radical Change: Digital Age Literature of Images in Children’s Picture Books.” Young Children—Ages 3–8, a and Learning.” Theory into Practice 38, Bookbird 42, no. 3 (2004): 24. position statement of the NAEYC no. 3 (1999): 160–67. Smardo, Frances A. A Comparison of the (Washington, D.C.: NAEYC, 1996), 3. Hiebert, Elfrieda, and P. David Pearson. Effectiveness of Three Types of Public 13. Gloria Skurzynski, “It’s a Wired “Building on the Past, Bridging to the Library Story Hour Programs in Improving Future: A Research Agenda for the Center the Receptive Language of Children Three, World after All: Children, Books, and for the Improvement of Early Reading Four, and Five Years of Age. Denton, the Internet,” Theory into Practice Achievement.” Journal of Educational Tex.: North Tex. State Univ., 1982. Eric 38, no. 3 (1999): 183. Research 93, no. 3 (2000): 133–44. Document Reproduction Service ED 224 14. Barbara Bader, American Picture Hurd, Thacher. Axle the Freeway Cat. New 503. Books from Noah’s Ark to the Beast York: Harper & Row, 1981, contributed to Teale, William H. “Questions about Early ICDL by Thacher Hurd. Literacy Learning and Teaching That Within (New York: Macmillan, International Reading Association and Need Asking––and Some That Don’t.” In 1976), frontispiece. NAEYC. “Learning to Read and Write: Literacy and Young Children: Research- 15. Seymour Papert, The Children’s Developmentally Appropriate Practices based Practices. Diane M. Barone and Machine (New York: Basic Bks., for Young Children.” The Reading Teacher Lesley Mandel Morrow, eds. New York: 1993), 185. 52, no. 2 (1998): 193–215. Guilford Pr., 2003, 23–44. Leung, Wai Man. “The Shift from a Wartella, Ellen, and Nancy Jennings. 16. Skurzynski, “It’s a Wired World after Traditional to a Digital Classroom.” “Children and Computers: New All,” 183. Childhood Education 80, no. 1 (2003): Technology—Old Concerns.” Children 12–17. and Computer Technology 10, no. 2 (2000): 31–43. Additional Resources
Bang, Molly. Picture This: How Pictures Work. New York: SeaStar Bks., 1991. Colorado Library Raises $69,000 Bowman, Barbara T., and Elizabeth Beyer. “Thoughts on Technology The Friends of the Jefferson County (Colo.) Public Library raised more than and Early Childhood Education.” In $69,000 at its annual Whale of a Used Book Sale. At the event, 86,000 books Young Children: Active Learners in a and other materials were sold. Money raised supports library programs, Technological Age. June L. Wright and including the free summer reading clubs for children and teens, the Daniel D. Shade, eds. Washington, D.C.: Traveling Children’s Library and the Knott’s Kids—Discovering the Possibilities National Association for the Education of Young Children (NAEYC), 1994. program. Davidson, Jane, and June L. Wright. “The Potential of the Microcomputer in The sale also benefits other community nonprofit organizations, which may the Early Childhood Classroom.” In pick up unsold books at no charge for their own fundraising efforts. This year, Young Children. Wright and Shade, eds. six nonprofit agencies received more than eleven hundred free books. Washington, D.C.: NAEYC, 1994. Davis, Bernadette, and Daniel D. Shade. Integrate, Don’t Isolate! Computers For more information, call the Jefferson County Library Foundation at (303) in the Early Childhood Curriculum. 275-2240. Eric Digest—Eric Clearinghouse on
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CAL_4n3_3p.indd 18 11/28/2006 9:54:29 AM Asperger’s Syndrome How the Public Library Can Address These Special Needs Holly Halvorson
Children are being diagnosed with Asperger’s Syndrome (AS), an to be developing normally until they begin school. They have autism spectrum disorder, at a rapidly increasing rate. Some of average to above-average intelligence and may have advanced the characteristics of children with this disorder—difficulty con- vocabularies, but they have difficulty understanding speech in trolling emotions, monotone speech combined with verbosity, social contexts; furthermore, they have trouble reading nonver- problems with interpreting social cues—may be subtle enough to bal cues such as gestures and facial expressions, so their social make them appear simply odd or ill-mannered. With increased behavior is often inappropriate. awareness of this disorder, librarians can learn to recognize signs that a child may have AS and to adjust their interactions with Many children with AS tend to experience strong, even painful these young patrons. Knowledgeable librarians can also offer reactions to sensory stimuli that others may not even notice invaluable reference service to parents who need help finding (for example, a light touch, smells, ambient sounds, and so reliable, authoritative information about AS. on). They have trouble with transitions and change (especially trivial changes) and may be obsessed with a particular subject. In many ways, a library is the ideal place for children with AS, People with AS display odd behavior because their neurologi- many of whom love to escape the demands of the social world cal experience of the world is very different from those without through books and computers. The children’s department can the disorder.3 also provide an informal play setting for young children with AS to interact with typically developing children who model Only in the past few years have parents and professionals appropriate social and communication skills. A librarian who become familiar with AS. Although the disorder is getting understands the dilemmas faced by children with AS and by more attention, it remains challenging for everyone who lives their parents, especially in public places, can take steps to make or works with these children. Because it is a new diagnostic the library a sanctuary for these families. category, there is little empirical data documenting effective interventions.4 With so little hard evidence of what works with veryone knows something about autism, even if it is only AS children, why would public librarians bother to reach out to associate the term with Dustin Hoffman’s character in specifically to them and their families? There are several rea- ERain Man. But many in the general public—including sons we need to be better prepared to serve children diagnosed many librarians—are unaware of AS. Although Hans Asperger with AS: first described this disorder in children in 1944 (he called it “autistic psychopathy”), AS was not recognized by the American 1. The number of children diagnosed with AS is rapidly increas- Psychological Association until 1994.1 ing, and there is already an avalanche of information about it on the Internet. Parents and teachers need help separating the wheat from the chaff. What is AS?
Some have referred to the disorder as “high-functioning autism,” but others believe these are actually two different Holly Halvorson is a children’s librarian at 2 disorders with different treatment indications. People with the Carmel Clay (Ind.) Public Library. From autism have significant impairment in three areas: language 1991 to 2002, she was a school psychologist and communication, social skills, and stereotypical behaviors. working with children of all ages and Characteristics of autism are usually apparent within the first abilities. three years of life. By contrast, children with AS may appear
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CAL_4n3_3p.indd 19 11/28/2006 9:54:30 AM Asperger’s Syndrome 2. The library is the perfect place for subjects (that is, obsessions); they can sonal experiences.12 If nothing else, staff children with AS in many ways: practice their social skills in a safe should be provided with basic informa- environment; and they can use com- tion about how children with AS may ■ Two things that often preoccupy puters, CD-ROMs, and DVDs to help present themselves. them are books and computers. them learn, since they tend to think Luke Jackson, an adolescent with visually.10 Not all children who forget their man- AS, says, “Books are my doorways ners at the reference desk have AS, of into other worlds. They cheer me course (just as not all AS children display when I am upset; they make me Welcome to the Children’s Department this behavior), but we can look for some laugh, cry and quake with fright.”5 clues, such as lack of eye contact, stiff Computers may be considered Many libraries are a bit noisier than and one-sided speaking style, and motor preferable to people, since they are they were a generation ago, offering play clumsiness. Moreover, our profession “logical, consistent, and not prone areas, toys, and computer labs. Still, requires us to serve all patrons, not just to moods.”6 patrons are expected to follow some the conventional and polite ones. basic social proprieties in a library. Some ■ For younger children who have of the behaviors typical of many children Similarly, staff should never assume, been diagnosed with (or are with AS make them seem out of place in based on their personal observations, suspected of having) AS, the library a library setting. These include verbosity, that a child has AS, but some parents may offers an informal play setting. The an inability to read social cues, problems apologize to the librarian for their child’s more exposure young children have in regulating voice volume, failure to behavior, explaining, “He’s autistic” or to typically developing children, comply with fundamental social stan- “He has Asperger’s.” This presents an the more opportunities they have dards, and special interests that result in opportunity to assure the parent that her to gain social and communication topical obsessions.11 child is as welcome as any other and to skills.7 ask if there is any way you can help them Accordingly, librarians who know noth- enjoy their library visits more. In some ■ Many children with AS are ing of the characteristics of AS may find instances, this will lead to suggestions for homeschooled at some point, themselves annoyed or alarmed when a additional services or materials, or the especially if the social difficulties child stands too close, avoids eye con- parent may eventually feel comfortable become intolerable. The public tact, and says “Harry Potter and the enough to ask for an accommodation library is a valuable resource for Half-Blood Prince” repeatedly instead for her child. This can be as simple as homeschooling parents. of directly asking them to look up the requesting that staff use certain key words book. The interaction can become even and phrases, employed in the home and 3. Parents of children with AS frequently more unpleasant if the librarian looks up school setting, that can act as cues. dread going anywhere in public.8 the book only to find that Harry Potter Their children may fly into a rage at and the Half-Blood Prince has been Remember that parents know what the slightest provocation—an out-of- checked out. works with their children better than order automatic door, for example— anyone else, and it is in everyone’s best and then they face the disapproving Some children with AS cannot accept interest to be flexible whenever pos- stares of strangers. Thus, many fami- this, perhaps because the expression sible. (An example of a simple accom- lies of children with AS become iso- “checked out” does not make sense to modation from the author’s personal lated to avoid such judgment, which them. Perhaps the child cannot cope experience: The father of a boy with AS, further limits the child’s opportu- with the disappointment of not getting who often played computer games at nities for social interaction. When to read the book when he expected to. the library, regularly asked a librarian library employees show compassion This frustrated child may yell or cry or to tell the son his time was up after he for these families and invite them to throw a tantrum. Because he appears had been there for thirty minutes. Many participate fully in all the library has quite old enough to have learned better staff members refused to do so, saying to offer, they are modeling inclusive- manners than to demand a book without that this was the parent’s responsibility. ness for the entire community. saying “please” and to understand why it However, an interview with the boy’s may not be available, the librarian may mother—once she became comfortable 4. Children with AS are at high risk for conclude that he is rude and his sheep- speaking to a librarian about her son’s depression and suicide due to social ish mother is a bad parent. disability—revealed that the only way to isolation when they get older.9 With ensure that the boy would not throw a proper staff training, the library is in Obviously, some staff awareness train- tantrum was to have an employee, rather a unique position to become a haven ing is in order. This can include in-ser- than his father, interrupt him. The librar- to these children—it is a place where vice training or consultation with local ians may not understand this peculiarity, they can escape the confusing out- special education teachers and school but it has made a big difference to this side world with a book or a computer media specialists who work regularly family, knowing that the staff will accom- game; they can find out everything with children with AS, or even speak- modate them. It means one less battle there is to know about their “pet” ers with AS who could share their per- between father and son.)
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CAL_4n3_3p.indd 20 11/28/2006 9:54:31 AM Asperger’s Syndrome
Once librarians are aware that a child has ■ Listen with your full attention. with AS may take more time than for AS, they may be able to modify their own other patrons, but some may learn their approach to the child according to the ■ Don’t jump to conclusions. way around quickly if given maps and situation. Again, the parent is the expert informational brochures.18 on what works best with the child. The ■ Acknowledge and accept the child’s following are rules of thumb for interact- feelings. ing with a child with AS: The Reference Interview ■ Respect the child’s viewpoint. (For 1. Say exactly what you mean because children with AS, this is very differ- Children with AS are similar to others in children with AS tend to understand ent from the typical child’s viewpoint; that they have information needs related things literally. Avoid idioms, sarcasm, some staff education is necessary to to schoolwork. In addition, they may and (usually) humor. understand how a child with AS may seek out a librarian’s assistance more perceive the environment and social often to find materials related to their 2. Misconduct, even a tantrum, can interactions.) favorite subjects (for example, trains, often be averted if a librarian mat- dinosaurs, flags, and so on). Children ter-of-factly states that such behavior ■ Take the child’s level of language with AS who have strong language abili- is against the rules—that the library, development into account. ties may approach the reference desk to just like school, is a place with rules. ask for help quite appropriately when As Alan Sohn, a school psychologist ■ Take the child’s cognitive level into they are not stressed. However, accord- who works with children with AS, account. ing to Laurent and Rubin, even very explains, “In the Asperger world, a verbal children may revert to using rule is a rule.”13 ■ Take the child’s experiential level into immature emotional displays instead of account. appropriate language when angry, fear- 3. Do not insist on eye contact. Luke Jackson says that when he tries to look someone in the eye, he gets a “horrible The very permanence and stability of the library in burning into [his] soul feeling.”14 the community can be a useful aspect of the patron’s 4. Watch out for signs of emotional dis- tress. Children with AS often revert socialization and education. If a child experiences to immature behaviors when mildly acceptance, happiness, and success there, it can be anxious (for example, chewing on clothes, carrying around unusual a haven for the rest of his life. objects, walking on tiptoe, finger- flicking). Staff should learn to see these reactions as the child’s own “strate- ■ Describe what you see, hear, and feel. ful, or frustrated.19 They may close their gies for self-regulation,” not problem (Don’t forget to use precise, literal eyes, run away, or knock things off the behavior, so they should neither draw terms here.) desk, for example. attention to the behavior nor ignore the child if the child approaches the ■ Be aware of your tone of voice and Librarians should be aware that the librarian.15 body language. (When interacting after-school hours, during which time with children with AS, be calm and they are most busy at the reference desk, 5. Sometimes, in a big library, a child can low-key.) are often times of high stress for children lose track of his parents or another with AS—they are exhausted from their family member. If a child with AS is ■ Don’t make the child lose face or feel hours in the socially demanding school agitated as he looks for his mother, disgraced. environment.20 Librarians should try to avoid touching him (for example, pat- avoid showing any irritation or resent- ting him on the back or taking his ■ Don’t be too quick to offer an opinion ment, which sets a negative example for hand), as he may perceive this as a or advice. 17 others nearby, and should strive to listen threat.16 patiently in order to determine what the It may be advisable to offer individual- child needs. Of course, this is extremely The best preparation for interacting with ized library orientation to the family of a hard for staff members who may be a child with AS is to revisit the guidelines child with AS who is unfamiliar with the feeling stressed themselves; again, the for interacting with all children: building, to help decrease the anxiety importance of staff training in serving associated with a new experience. This patrons with AS and other disabilities ■ Be prepared to spend extra time. should include introducing the child to cannot be overstated. the librarians and to other staff mem- ■ Get the child’s attention, and give bers who may come in contact with the Children with AS often learn best through yours. child. Library orientations for people visual modes.21 When responding to a
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CAL_4n3_3p.indd 21 11/28/2006 9:54:31 AM Asperger’s Syndrome child’s reference question, think beyond obsession. As time passed, however, he In some cases it may benefit both the the usual resources recommended for was led to other interests through related child with AS and the befuddled adult to homework assistance. Offer illustrated topics: his teacher used flags to intro- ask for the child’s help with technology nonfiction books on the subject, then duce him to heraldry, from heraldry to problems. Becoming the resident “tech suggest videos, CD-ROMs, and rel- castles, and from castles to knights. In expert” gives the child another opportu- evant Web sites as well. Szatmari rec- this way, Frankie learned quite a bit nity to practice his social skills in a famil- ommends the use of computer-assisted about medieval history.25 iar environment, and that role can go a instruction for reading, math, and long way toward increasing acceptance other academic skills, since it holds the Bashe and Kirby suggest that for children among peers.28 Finally, with guidance child’s attention longer and uses the with good reading comprehension skills, from parents and other adults, children strengths inherent in AS to facilitate rote parents and teachers can use a variety may eventually turn an obsession with learning.22 of children’s books to generate discus- computers into a useful career.29 sions about thoughts, feelings, and expe- When children with AS need more in- riences. They recommend such favorites One final note about the computer lab— depth help with research, remember as Yertl the Turtle, the Encyclopedia unless it is closely supervised by staff, the that simply telling them may not suf- Brown series, and books by Judy Blume, presence of many game-playing children fice—use visual aids to guide them and among others, but note that “any well- can create an arcade-like atmosphere, provide written instructions as appropri- told story can be explored in terms of which may, in turn, create opportunities ate. In addition, group instruction may perspective taking and point of view, for bullying. Librarians must be alert to be too distracting, since there are more the relationship between what charac- this possibility, in the lab and elsewhere. social implications in such settings.23 ters mean and what they say, what they Children with AS are particularly vulner- For example, librarians in Indiana often think and what they do, and so on” (see able to bullying because of their odd teach groups of children how to access appendix for children’s books featuring behavior. The following are suggestions INSPIRE databases for research. When characters who have AS).26 from a child with AS who has often been teaching a child with AS how to do this, a victim of bullying: it may be necessary to provide direc- tions individually, using small, logical, The Computer Lab ■ Children with AS may not recognize and methodic steps. After going through bullying for what it is, so ask about the procedure in this way, it is helpful to When school is not in session, the com- specific behaviors. Most likely, bul- give the child a flowchart illustrating the puter lab at the public library is usually lying in the library will be verbal (for steps taken. Similarly, librarians offering full of children; some of them are work- example, threats and taunts) rather reference help can often use the oppor- ing on homework, but many are often than physical. If you suspect children tunity to share study skills that may be there to play games. One child with AS are being bullied, ask exactly what helpful for children with AS, such as the theorizes that others like him may love words were said to them. use of Venn diagrams or mind maps. computer games so much because the player actually controls the characters. Readers’ advisory is another function of In his words, “Life often seems so out of ■ If children are brave enough to the public librarian at the reference desk. control, probably for most people, so it approach you to say they are being Of course, not all children with AS like is good to retreat into a part of life that bullied, take them seriously. to read, and many who love books do you can control. . . . It is all very predict- not comprehend the content but sim- able, but not so predictable that it gets ■ Be discreet when talking to children ply love the process of decoding words boring.”27 Librarians sometimes lament accused of bullying; do not reprimand (or studying the illustrations). Stephen the proliferation of computer games in them loudly in front of others, as this Krashen has asserted that the most effec- our libraries. However, thinking about will embarrass the bullied child and tive means of improving reading motiva- the games from this viewpoint can help may lead to more harassment when tion, skill, and comprehension is through us see the value of them, especially for adults are not present. FVR—free, voluntary reading.24 children with AS, for recreation and even stress relief. ■ Look for hidden nooks around the Librarians can apply the principle of library where bullying may take place, FVR by giving children with AS books For children with AS, there may be other not just the computer lab. Visit these and magazines that they are most likely long-term benefits of spending time in the places regularly. to read voluntarily: those on the subject computer lab. Computers often become of their obsessions. They may then be one of the child’s obsessive interests, and gradually led to other interests that are this makes the computer an ideal tool ■ Make sure your library has a board- somehow related to the favorite subject. for learning all sorts of academic sub- approved list of rules of conduct and Szatmari offers the example of Frankie, jects. In addition, as so many teachers post it prominently. Refer to this list who was obsessed with flags, to the con- and librarians can attest, children often whenever bullying occurs and do not sternation of his parents and teachers. know more than they themselves do hesitate to apply the consequences They tried without success to limit this about computer hardware and software. specified for such behavior. 30
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CAL_4n3_3p.indd 22 11/28/2006 9:54:31 AM Asperger’s Syndrome schedules used in many classrooms.35 related to themes, such as models or Programming For example, a picture of a musical note realia, are desirable for promoting con- For all children, storytimes and other can signal that the group is about to sing crete experiences and can help all chil- library programs are valued for their a song, and a picture of a TV screen can dren focus, especially those with AS.38 educational and recreational benefits, indicate that a video will be shown. for promoting a love of reading, and for For younger children, being involved in socializing opportunities. It happens that After children with AS attend a program, games like “London Bridge” or “Ring these are frequently listed as priorities by if they seem anxious or there are behav- Around the Rosy” can teach them to parents of children with AS.31 However, ior problems, the librarian may discuss enjoy being close to other children because of the concerns many AS par- concerns with the parents. Often, the instead of avoiding them.39 In addition, ents have about their children’s behavior parents can explain how to cue their picture books can be paired with social in public settings, they do not always children when necessary in a manner stories to support social and behavioral take advantage of library programming. consistent with home or school situa- goals. A social story is a short story that Librarians can take steps to help chil- tions, using specific words or gestures. “describes social situations in terms of dren with AS have positive experiences It may be that their children are not yet relevant cues and . . . defines appropriate in these programs. ready for that program, or it may simply responses for children diagnosed with be a poor match for their interests and autism.”40 Many social stories for com- Many library programs are offered for temperament. mon situations can be found in pub- specific age groups, and these age lim- its are often strictly enforced. But rig- idly adhering to age restrictions can be One child with AS theorizes that others similar to counterproductive when dealing with children with AS. As already noted, these him may love computer games so much because children often display uneven develop- the player actually controls the characters. In his ment—for instance, immature social skills combined with advanced language words, “Life often seems so out of control, probably 32 skills and intellectual development. for most people, so it is good to retreat into a For this reason, librarians should provide parents with thorough descriptions of part of life that you can control. . . . It is all very the programs offered and perhaps even predictable, but not so predictable that it invite interested but wary parents to attend one of the programs to help them gets boring.” decide whether it seems developmen- tally appropriate for their child. With the understanding that some chil- lished collections, or teachers or parents In creating programs for younger chil- dren with AS will never enjoy any group can write them based on a child’s unique dren, it is common to follow the same library programs, Safran, Safran, and circumstances. Akin and MacKinney routine every week. Young children love Ellis suggest that there are some activi- illustrate how this can be applied in a routine, and it is a comfort to them to ties that can increase their appeal to public library storytime program, using know that they will begin and end each such children. Social groups that revolve the example of Maisy Drives the Bus, a program with a song (maybe the same around the child’s special interest (for picture book, combined with a social “welcome” and “goodbye” song every example, trains, computers, chess) can story about riding the bus.41 week), and to anticipate the basic struc- help motivate them and provide a safe ture (for example, welcome, story, song, and supported environment for learning When library storytimes are designed story, song, game, goodbye). to interact with their peers. They may with the best interests of children with benefit from videos or reader’s theater AS in mind, the resulting programs can For children with AS, structuring the pro- activities.36 be even more appealing to all children. gram with clear beginnings and endings Of course, an additional benefit for and providing a predictable sequence to With elementary-aged children with everyone is that typical children then the activities is even more important.33 AS, drawing and singing are often effec- have the opportunity to learn empathy Indeed, Akin and MacKinney suggest tive. Music can be used in many ways to and caring by participating in activities that the same themed program, includ- strengthen typically weak areas for these with children with special needs.42 ing the same books, be repeated several children: songs that stress movement or times in a row with children who have physical activity can improve coordina- To promote high attendance at these a disorder on the autism spectrum.34 To tion; songs that require passing an object carefully crafted storytimes, ask the pub- help the child prepare for the next activ- to another child can strengthen social lic and private schools in the area to ity, the librarian may use simple pictures skills; and songs can provide a predict- publicize children’s programs and ser- or flannelboard pieces, similar to activity able cue for transitions.37 Tangible objects vices. Note on all publicity that programs
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CAL_4n3_3p.indd 23 11/28/2006 9:54:32 AM Asperger’s Syndrome are available to all, and ask for advance Asperger Syndrome Information and agencies that serve children with AS. notice if special accommodations are Support [OASIS], ASA) include links to To facilitate this, establish and regularly needed.43 parent resources. MedlinePlus has an update a directory or database with con- Asperger Syndrome Web page with many tact information for doctors’ offices, First resources for parents.48 Steps programs, administrators of spe- Meeting the Needs of cial education, support groups, private Parents and Professionals The amount of money available for AS- schools, tutors, recreational programs, related materials will determine the and other service providers with ties to According to Szatmari, all parents of scope of the collection. Besides books, the AS community. Some of these orga- children diagnosed with an autism spec- libraries should consider providing nizations may supply the library with trum disorder ask three questions: What vertical file materials, periodicals, and pamphlets that can be put in a display caused the disorder, what can we expect audiovisual materials. An early interven- rack, a “wonderfully inexpensive way of for the future, and what can we do to tion family resource kit is highly recom- making the library the connecting point” help?44 The results of a survey conducted mended to distribute to parents who between the family and the resources in 2003 showed that mothers of children suspect or who have been told that their they may not otherwise find.53 with AS see the education of themselves young child has a developmental dis- and of teachers as a central priority, and ability. This is especially important for they want access to educational, medi- young children with AS, as the early signs The Library As Meeting Place cal, and community resources for their of the disability are often discounted by children when they are very young.45 family doctors.49 The public library can be a logical place The public library can and should meet for hosting AS support groups and infor- many of these informational needs. The Portway and Johnson emphasize the mational programs about AS. In addition, library can start by offering information importance of early recognition to Feinberg et al. suggest several ways that to help parents understand AS—a disor- improve the outcomes of children with service providers may use the library: der unheard of by many until their child AS, noting that “the problems of people was diagnosed—which leads to hope who have AS and the associated risks 1. consider as an alternative site for pro- and a sense of control.46 cannot be completely ameliorated by vision of services; appropriate educational interventions Many libraries have a collection of books . . . , but can be greatly exacerbated by 2. bring children with AS to a library 50 for parents or teachers located in or near their absence.” Feinberg et al. offer storytime; the children’s room. Books and other suggestions for materials to include materials about disabilities, includ- with early intervention family resource 3. assist library staff in designing an ing AS, are an important part of this kits, such as brochures and flyers on adaptation within the library setting; collection. Parents of children with AS early intervention services and the (or any disabilities) generally seek two family’s legal rights, a developmental 4. visit the library with the family of a basic types of information: a thorough milestones checklist, a state resource child with AS and help them access its description of the disability, including list from the National Dissemination resources; and typical behaviors and characteristics, Center for Children with Disabilities and treatment options.47 Parents of chil- (known as NICHCY), bibliographies of 5. offer outreach training to library dren with AS will likely hear all sorts of library materials for parents of children staff to improve service to children theories about the disorder and cures for with special needs, and a list of parent- with AS.54 it, especially considering the amount of ing and early childhood programs and “junk science” that can be found on the resources available at the library.51 In Internet and elsewhere. addition, information can be printed from the Center for Disease Control’s Volunteer Opportunities To help guide parents to reliable infor- Web site related to their Learn the Signs, for AS Children mation, librarians must carefully select Act Early campaign, aimed at increasing material about AS with guidance from parents’ knowledge of children’s develop- Once library visits have become part of those knowledgeable about it. At the ment. The campaign offers suggestions the routine for older children and ado- Carmel Clay (Ind.) Public Library, poten- to help parents pursue their concerns lescents with AS, some of them may be tial local contacts for recommending even when others discount them.52 happy to serve the library as volunteers. materials include Indiana Resource Strengths that are sometimes present in Center for Autism, AS support groups, children with AS include stamina, well- the central Indiana chapter of Autism The Library As Referral Source developed fine motor skills, enjoyment Society of America (ASA), special edu- of chores and keeping busy, good long- cation cooperatives, and Riley Hospital In addition to carefully selecting mate- term memory, creativity, performing for Children. The Web sites of many rial for a Parent Resource Center, librar- accurate work once the task is learned, national organizations advocating for ians need to be aware of and have readily enjoyment of reading, and some rote those with AS (for example, Online available referral information for local skills in math.55
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CAL_4n3_3p.indd 24 11/28/2006 9:54:32 AM Asperger’s Syndrome These strengths lend themselves well adults, especially Gene Kemp’s Seriously Understanding Children with to volunteer opportunities available in Weird for those who “want to begin to Autism and Asperger Syndrome many libraries, such as shelving books, understand the frustrations of living with (New York: Guilford, 2004). checking that the books on the shelf are an Asperger child.”57 (See appendix for 8. Bashe and Kirby, The OASIS Guide in correct Dewey Decimal order, putting additional reading recommendations.) to Asperger Syndrome. DVDs in cases, folding flyers and stuffing 9. Ibid. envelopes, assisting other children in AS is a strange, confusing, difficult, and 10. Attwood, Asperger’s Syndrome. the computer lab, and so on. Such work fascinating disorder—some people with 11. Safran, Safran, and Ellis, can provide children with a sense of AS see it as a gift.58 But research tells us “Intervention ABCs for Children accomplishment and valuable practice that children and adolescents with AS with Asperger Syndrome.” with following directions and working are at risk for a life of isolation, depres- 12. Linda Lucas Walling and Marilyn H. cooperatively. sion, and dependence. Parents are cer- Karrenbrock, Disabilities, Children, tainly the most important advocates for and Libraries: Mainstreaming The library staff that supervises these getting the best treatment for their child, Services in Public Libraries and volunteers should receive awareness and schools are often a primary route School Library Media Centers training about AS before working with to help children with AS learn the skills (Englewood, Colo.: Libraries them. Supervisors must understand that they need while they are still young. But Unlimited, 1993); Courtney Deines- children with AS need to have all expec- after the child grows up, finishes school, Jones and Connie Van Fleet, tations very clearly explained, in specific and moves away from his parents, the Preparing Staff to Serve Patrons detail.56 Both written and verbal instruc- public library will still be there to meet with Disabilities (New York: Neal- tions should be provided, and visual aids many of his needs. McNeil and Johnson Schuman, 1995). may be advisable in some situations. declare that “the very permanence and 13. Alan Sohn and Cathy Grayson, As suggested with other library activi- stability of the library in the community Parenting Your Asperger Child: ties, adults working with children with can be a useful aspect of the patron’s Individualized Solutions for AS should consult with the children’s socialization and education.”59 If a child Teaching Your Child Practical Skills parents to learn what instructional tech- experiences acceptance, happiness, and (New York: Perigee, 2005), 64. niques and cues are familiar to them at success there, it can be a haven for the 14. Jackson, Freaks, Geeks and Asperger home and at school, so that these can be rest of his life. & Syndrome, 71. used the same way in the library setting. 15. Amy C. Laurent and Emily References Rubin, “Challenges in Emotional Regulation in Asperger Syndrome Sensitizing Staff and Community 1. Stephen P. Safran, Joan S. Safran, and High-Functioning Autism,” and Kathleen Ellis, “Intervention Topics in Language Disorders 24, Along with meeting the informational, ABCs for Children with Asperger no. 4 (2004): 292. recreational, and educational needs of Syndrome,” Topics in Language 16. Ibid, 294. children with AS and their families, the Disorders 23, no. 2 (2003): 154. 17. Walling and Karrenbrock, public library has a role to play in pro- 2. Emily Rubin and Laurie Disabilities, Children, and Libraries. moting awareness of AS among children Lennon, “Challenges in Social 18. Beth McNeil and Denise J. Johnson, and adults in the general population. Communication in Asperger Patron Behavior in Libraries: A One way to do this is by owning and dis- Syndrome and High-Functioning Handbook of Positive Approaches in playing novels featuring characters with Autism,” Topics in Language Negative Situations (Chicago: ALA, AS. The recent adult bestseller by Mark Disorders 24, no. 4 (2004): 272. 1996). Haddon, The Curious Incident of the Dog 3. Patricia Romanowski Bashe and 19. Laurent and Rubin, “Challenges in in the Night-Time (Vintage, 2004), has Barbara L. Kirby, The OASIS Guide to Emotional Regulation in Asperger provided many people with their first Asperger Syndrome: Advice, Support, Syndrome and High-Functioning glimpse into the mind of a young man Insight, and Inspiration, 1st rev. ed. Autism.” with AS. (New York: Crown, 2005). 20. Safran, Safran, and Ellis, 4. Safran, Safran, and Ellis, “Intervention ABCs for Children This title was chosen in 2006 for the “Intervention ABCs for Children with Asperger Syndrome.” Carmel Clay Reads communitywide with Asperger Syndrome.” 21. Sohn and Grayson, Parenting Your reading program, promoted through 5. Luke Jackson, Freaks, Geeks and Asperger Child. press releases, reading group guides, col- Asperger Syndrome: A User Guide 22. Szatmari, A Mind Apart. laboration with the local high school, to Adolescence (London: Kingsley, 23. Safran, Safran, and Ellis, and library book discussions. Several 2002), 118. “Intervention ABCs for Children other lesser-known novels featuring 6. Tony Attwood, Asperger’s with Asperger Syndrome.” characters with AS have been published Syndrome: A Guide for Parents and 24. Stephen D. Krashen, The Power of since the disorder was first recognized Professionals (London: Kingsley, Reading: Insights from the Research in 1994. Greenwell recommends sev- 1998), 94. (Westport, Conn.: Libraries eral such books for children and young 7. Peter Szatmari, A Mind Apart: Unlimited, 2004).
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CAL_4n3_3p.indd 25 11/28/2006 9:54:32 AM Asperger’s Syndrome 25. Szatmari, A Mind Apart. 44. Szatmari, A Mind Apart. 59. McNeil and Johnson, Patron 26. Bashe and Kirby, The OASIS Guide 45. Little, “Maternal Perceptions of the Behavior in Libraries, 71. to Asperger Syndrome, 368. Importance of Needs and Resources 27. Jackson, Freaks, Geeks and Asperger for Children with Asperger Appendix. For Further Reading Syndrome, 48–49. Syndrome and Nonverbal Learning 28. Attwood, Asperger’s Syndrome. Disorders.” The following are recommended books 29. Marion O’Brien and Julie A. 46. Szatmari, A Mind Apart. about or featuring characters and people Daggett, Beyond the Autism 47. Ibid. with Asperger’s Syndrome. Diagnosis: A Professional’s Guide to 48. U.S. National Library of Medicine Helping Families (Baltimore, Md.: and the National Institutes of For Parents, Teachers, and Adults Paul H. Brookes, 2006). Health, Medline Plus: Asperger’s 30. Jackson, Freaks, Geeks and Asperger Syndrome, April 2006, www Attwood, Tony. Complete Guide to Syndrome. .nlm.nih.gov/medlineplus/ Asperger’s Syndrome. London: Kingsley, 31. Liza Little, “Maternal Perceptions aspergerssyndrome.html (accessed forthcoming. of the Importance of Needs and Aug. 3, 2006); Central Indiana Resources for Children with Chapter of the Autism Society ———. Why Does Chris Do That? Some Asperger Syndrome and Nonverbal of America Web site, www Suggestions Regarding the Cause and Learning Disorders,” Focus on .centralindianaautism.netfirms Management of the Unusual Behavior Autism and Other Developmental .com (accessed Aug. 3, 2006); Barb of Children and Adults with Autism and Disabilities 18, no. 4 (2003): 257–66. Kirby, Online Asperger Syndrome Asperger Syndrome. Rev. ed. Shawnee 32. Pamela J. Wolfberg, Play and Information and Support Web site, Mission, Kans.: Autism Asperger Pub. Imagination in Children with www.udel.edu/bkirby/asperger Co., 2003. Autism (New York: Teachers College (accessed Aug. 3, 2006). Bashe, Patricia Romanowski and Barbara Pr., Columbia Univ., 1999). 49. Safran, Safran, and Ellis, L. Kirby. The OASIS Guide to Asperger 33. Emily Rubin and Amy C. Laurent, “Intervention ABCs for Children Syndrome: Advice, Support, Insight, and “Implementing a Curriculum-Based with Asperger’s Syndrome.” Inspiration. 1st rev. ed. New York: Crown, Assessment to Prioritize Learning 50. Suzannah M. Portway and Barbara 2005. Objectives in Asperger Syndrome Johnson, “Do You Know I Have and High-Functioning Autism,” Asperger’s Syndrome? Risks of a Birch, Jen. Congratulations! It’s Asperger Topics in Language Disorders 24, no. Non-Obvious Disability,” Health, Syndrome. London: Kingsley, 2003. 4 (2004): 298–315. Risk & Society 7, no. 1 (2005): 82. 34. Lynn Akin and Donna MacKinney, 51. Sandra Feinberg et al., Including Bolick, Teresa. Asperger Syndrome and “Autism, Literacy, and Libraries,” Families of Children with Special Adolescence: Helping Preteens and Teens Children and Libraries 2, no. 2 Needs (New York: Neal-Schuman, Get Ready for the Real World. Gloucester, (2004): 35–43. 1999). Mass.: Fair Winds Pr., 2001. 35. Mairi Ellen Quodomine, “Letters 52. National Center on Birth Defects to the Editor: Special Thanks for and Developmental Disabilities, Bruey, Carolyn Thorwarth. Demystifying Special Needs,” Children and Learn the Signs. Act Early, www Autism Spectrum Disorders: A Guide to Libraries 2, no. 3 (2004): 3. .cdc.gov/ncbddd/autism/ActEarly/ Diagnosis for Parents and Professionals. 36. Safran, Safran, and Ellis, default.htm (accessed Aug. 3, 2006). Bethesda, Md.: Woodbine House, 2004. “Intervention ABCs for Children 53. Feinberg et al., Including Families of with Asperger Syndrome.” Children with Special Needs, 160. Fling, Echo R. Eating an Artichoke: 37. Akin and MacKinney, “Autism, 54. Ibid. A Mother’s Perspective on Asperger Literacy, and Libraries.” 55. M. A. B. Gotera, C. Johnson, and Syndrome. London: Kingsley, 2000. 38. Walling and Karrenbrock, G. T. Plew, Introduction to Autism: Disabilities, Children, and Libraries. A Self-Instructional Module Holland, Olga. Teaching at Home: A New 39. Szatmari, A Mind Apart. (Bloomington, Ind.: Indiana Approach to Tutoring Children with 40. L. Adams et al., “Social Story Univ. Institute for the Study of Autism and Asperger Syndrome. London: Intervention: Improving Developmental Disabilities, 1987). Kingsley, 2005. Communication Skills in a Child 56. Portway and Johnson, “Do You with an Autism Spectrum Disorder,” Know I Have Asperger’s Syndrome?” Howlin, Patricia, Simon Baron-Cohen, Focus on Autism and Other 57. Bill Greenwell, “The Curious and Julie Hadwin. Teaching Children with Developmental Disabilities 19, Incidence of Novels about Asperger’s Autism to Mind-Read: A Practical Guide no. 2 (2004): 87. Syndrome,” Children’s Literature in for Teachers and Parents. Chichester, 41. Akin and MacKinney, “Autism, Education 35, no. 3 (2004): 283. N.Y.: J. Wiley & Sons, 1999. Literacy, and Libraries.” 58. Peter Myers, Simon Baron-Cohen, 42. Szatmari, A Mind Apart. and Sally Wheelwright, An Exact LaSalle, Barbara. Finding Ben: A Mother’s 43. Walling and Karrenbrock, Mind: An Artist with Asperger Journey through the Maze of Asperger’s. Disabilities, Children, and Libraries. Syndrome (London: Kingsley, 2004). New York: McGraw-Hill, 2003.
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CAL_4n3_3p.indd 26 11/28/2006 9:54:33 AM Asperger’s Syndrome Leventhal-Belfer, Laurie and Cassandra Reynolds, Marjorie. The Civil Wars of ———. Lisa and the Lacemaker: An Coe. Asperger’s Syndrome in Young Jonah Moran: A Novel. New York: Morrow, Asperger Adventure. London: Kingsley, Children: A Developmental Guide for 1999. 2002. Parents and Professionals. London: Kingsley, 2004. Schneider, Edgar. Discovering My Autism: ———. Of Mice and Aliens: An Asperger Apologia Pro Vita Sua (with Apologies Adventure. London: Kingsley, 2001. Lovecky, Deirdre V. Different Minds: to Cardinal Newman).London: Kingsley, Gifted Children with AD/HD, Asperger 1999. Ogaz, Nancy. Buster and the Amazing Syndrome, and Other Learning Deficits. Daisy: Adventures with Asperger London: Kingsley, 2004. Sohn, Alan and Cathy Grayson. Parenting Syndrome. London: Kingsley, 2002. Your Asperger Child: Individualized McAfee, Jeanette L. Navigating the Social Solutions for Teaching Your Child Patneaude, David. Colder Than Ice. World: A Curriculum for Individuals with Practical Skills. New York: Perigee, 2005. Morton Grove, Ill.: Whitman, 2003. Asperger’s Syndrome, High Functioning Autism and Related Disorders. Arlington, Szatmari, Peter. A Mind Apart: Victor, Pamela. Baj and the Word Tex.: Future Horizons, 2001. Understanding Children with Autism and Launcher: Space Age Asperger Adventures Asperger Syndrome. New York: Guilford in Communication. London: Kingsley, McCabe, Patrick, Estelle McCabe, and Pr., 2004. 2006. Jared McCabe. Living and Loving with Asperger Syndrome: Family Viewpoints. Waltz, Mitzi. Autistic Spectrum Dis- Welton, Jude. Adam’s Alternative Sports London: Kingsley, 2003. orders: Understanding the Diagnosis Day: An Asperger Story. London: Kingsley, and Getting Help. Beijing: O’Reilly, 2002. 2005. Myles, Brenda Smith and Jack Southwick. Asperger Syndrome and Willey, Liane Holliday. Pretending to be Nonfiction for Children and Teens Difficult Moments: Practical Solutions for Normal: Living with Asperger’s Syndrome. Tantrums, Rage and Meltdowns. 2nd ed., London: Kingsley, 1999. Elder, Jennifer. Different Like Me: My rev. and expanded. Shawnee Mission, Book of Autism Heroes. London: Kingsley, Kans.: Autism Asperger Pub. Co., 2005. Wing, Lorna. The Autistic Spectrum: A 2005. Parents’ Guide to Understanding and Notbohm, Ellen and Veronica Zysk. 1001 Helping Your Child. Berkeley, Calif.: Gagnon, Elisa and Brenda Smith Myles. Great Ideas for Teaching and Raising Ulysses Pr., 2001. This is Asperger Syndrome. Shawnee Children with Autism Spectrum Disorders. Mission, Kans.: Autism Asperger Pub. Arlington, Tex.: Future Horizons, 2004. Fiction for Children Co., 1999.
O’Brien, Marion and Julie A. Daggett. Burns, Laura J. and Melinda Metz. The Jackson, Luke. Freaks, Geeks and Asperger Beyond the Autism Diagnosis: A Wright and Wong Mystery series. The Syndrome: A User Guide to Adolescence. Professional’s Guide to Helping Families. Case of the Prank that Stank; The Case of London: Kingsley, 2002. Baltimore, Md.: Paul H. Brookes, 2006. the Nana-Napper; The Case of the Trail Mix-Up; and The Case of the Slippery Korin, Ellen S. Heller. Asperger Syndrome: Ozonoff, Sally, Geraldine Dawson, Soap Star. All New York: Razorbill, 2005. An Owner’s Manual: What You, Your and James McPartland. A Parent’s Parents and Your Teachers Need to Know: Guide to Asperger Syndrome and High- Clark, Joan. Jackson Whole Wyoming. An Interactive Guide and Workbook. Functioning Autism: How to Meet the Shawnee Mission, Kans.: Autism Asperger Shawnee Mission, Kans.: Autism Asperger Challenges and Help Your Child Thrive. Pub. Co., 2005. Pub. Co., 2006. New York: Guilford Pr., 2002. Eden, Alexandra. To Oz and Back: A Bones Rosaler, Maxine. Coping with Asperger Paradiz, Valerie. Elijah’s Cup: A Family’s and the Duchess Mystery. Santa Barbara, Syndrome. New York: Rosen, 2004. Journey into the Community and Calif.: Knoll, 2002. Culture of High-functioning Autism and Schnurr, Rosina. Asperger’s Huh?: A Asperger’s Syndrome. New York: Free Pr., Etlinger, Rebecca. To Be Me: Child’s Perspective. Ottawa, Canada: 2002. Understanding What It’s Like to Have Anisor Publishing, 1999. Asperger’s Syndrome. Los Angeles: WPS Pratt, Cathy L. Early Intervention for Young Creative Therapy Store, 2005. Welton, Jude. Can I Tell You About Children with Autism Spectrum Disorders: Asperger Syndrome? A Guide for Friends Recommendations for Designing Effective Hoopmann, Kathy. Blue Bottle Mystery: and Family. London: Kingsley, 2004. Programs. Bloomington, Ind.: Indiana An Asperger Adventure. London: Kingsley, Resource Center for Autism, Indiana 2001. Institute on Disability and Community, Indiana Univ., 2001.
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CAL_4n3_3p.indd 27 11/28/2006 9:54:33 AM New Orleans: Rebuild It . . . and They Will Come ALA Annual Conference 2006 All photos by Sharon Verbeten unless otherwise noted. Thoughts on New Orleans from Annual Conference Attendees
s I arrived at the New Or- leans Public Library Chil- A dren’s Resource Center with about eighty other yellow-shirted volunteers, I found a woman adding the finishing touches to a lovely, vertical mural on the walls between the windows. I took a few quick photos and noticed that the characters in the mural looked a lot like the Chato cats created by children’s book illustrator Susan Guevara. Turns out, it was Guevara hand- painting these two murals herself. She said she had spent two whole days creating these panels, and the results are amazing. What a generous gift for this special neighborhood.—Sylvia M. Vardell, Texas Woman’s University, School of Library & Information Studies
Children’s book illustrator Susan Guevara paints a mural at the New Orleans Public Library Children’s Resource Center. Photo courtesy of Sylvia Vardell.
he welcome from everyone in New Orleans was amazing. The taxi driver apologized for our wait for a cab, noting that they were short of help in T many areas because workers had no housing. A former student of my husband’s drove in fifty miles from his FEMA trailer in Mississippi to show us his house, amid many others being worked on. The destruction (outside the main part of town where we were) is no longer as bad as what was shown on TV, but what is amazing is how widespread it is, going on for miles, and how capricious both the destruction and renovation are. The convention area and downtown were in pretty good shape compared to previous visits, with only some boarded- up shops. But the number of people was certainly down. Whether New Orleans will ever be what it was seems still to be a question.—Sylvia Marantz, retired Then-ALSC President Ellen Fader, left, school librarian, now volunteering at Arlington High School library near beams as she greets Newbery-winning author Lynne Rae Perkins. Columbus, Ohio
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CAL_4n3_3p.indd 28 11/28/2006 9:54:34 AM New Orleans: Rebuild It . . . and They Will Come
very local person that I shared conversation with Eexpressed their gratitude for the librarians coming to New Orleans. Although I was very busy with meetings, I’m so happy I volunteered on my last day. After riding the bus to the Children’s Resource Center, we moved the entire contents of library mate- rials from a school gym behind the center to the newly renovated Carnegie building. We placed boxes of books on large carts and wheeled them through Acclaimed author Russell Freedman appears at the Clarion Books/Houghton Mifflin the school building and across booth with his editor, Dinah Stevenson. the lawn to the front steps of the library, where a chain of librarians passed boxes from one to another up the steps and into the build- ing. There, a team of other librar- ians unloaded the boxes and filled signed up to help with the Habitat project, but due to a clerical error, I was the shelves. I felt right at home as not on the list. Instead, I spent that day with a friend, a roofing contractor, I switched from hefting boxes to who lives in New Orleans. He and his family have moved seven times since I placing beloved picture books on the hurricane, his business has gone belly-up, he’s smoking nonstop, and he is the new blue shelves. experiencing symptoms of post-traumatic stress syndrome. He told me it was a relief to spend time with someone who doesn’t want something from him. At It was early afternoon when I spot- the end of the day, I realized that my presence in his life—even for a day—was ted a young man with a National another way of rebuilding the city.—April Halprin Wayland, poet and novelist, Public Radio (NPR) hat on, and Manhattan Beach, California to my surprise, he walked over to me and asked if I could share my Ed. Note: Wayland also wrote and sang the following song at a poetry panel held thoughts about ALA and this expe- during the convention. rience. I think I was bubbling over with happiness because the library The City of New Orleans was looking just beautiful, and it with apologies to Steve Goodman was great to share this enthusiasm with him. Speaking in the city of New Orleans, ALA Conference, Sunday, Morial— After every book was in place, our Caffeine fuels these four bright-eyed writers— team attended the reopening cer- One poet wishes she were arboreal . . . emony. I was most delighted to Where the Star Magnolia branches sway observe a row of about seven chil- She wears a writer’s French beret dren from a local camp march up And thinks about what poem to write for you— the steps of the brand-new library. And when she’s stumped (the rhyme’s all wrong) When they came out, they were all She finds this city is her song smiling. Big Easy words cooked in a spicy shrimp stew. I feel sure that the residents will love their new library, and I will CHORUS: love to think about that for a long Good morning ALA, how are you? time.—Jan Watkins, head of youth Don’t you hear it?—That’s a slide trombone. services, Skokie (Ill.) Public Library Lucky us—we’re in the city of New Orleans, Where I know you’ll find a poem or two of your own.
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CAL_4n3_3p.indd 29 11/28/2006 9:54:35 AM New Orleans: Rebuild It . . . and They Will Come
cannot write about the con- vention without first writing Iabout New Orleans, a city I’d known before as a tourist and con- vention-attendee—a place I know now as so sad, so harrowing, so disturbing, and so full of the most remarkable and courageous peo- ple I’ve ever met. People like Pat Austin of the University of New Orleans who spent three days after Katrina in a Baton Rouge motel parking lot in a tiny Toyota with her sister and 11 cats. She lost her house to a levee breach, but she is totally and utterly and passionately com- mitted to her home. Wanting me to bear witness, Pat toured me through New Orleans in that same Toyota. The unsettled feeling I had Author and illustrator Mo Willems ponders a pigeon puppet after an evening presen- tation about humor in children’s books. around the convention center and the French Quarter (with so many places still closed and boarded up) was nothing compared to the feel- ing I had on that tour. She pointed out miles and miles of destroyed cars under the high- way—a dreadful Katrina automo- bile graveyard. She next took me through the Ninth Ward, where she had taught years ago. The only anal- ogy I could come up with was being at Nazi concentration camps—the vastness of the devastation really hits home when you are physically seeing it rather than experiencing it in photos or film or in words. Worst of all was the horrible eeriness of emptiness—the sense of the thou- sands who lived there, the ghosts of a vibrant and busy community, Children’s author and illustrator Lane Smith, left, and author Jon Scieszka ham it up of people who had worked to buy during a book signing. these homes, now uninhabitable. Remembering New Orleans before, it was hard for me not to notice the difference and so walking from place to place, to event or recep- tion, it was difficult to forget what had happened there only months before. But what I’m coming home with and still processing clearly is not the ALA convention, but New Orleans. I sure hope they can come The city was ready and willing to greet back; I really do. —Monica Edinger, convention goers. Photo courtesy of A toppled Coast Guard tower. Photo The Dalton School, New York City April Halprin Wayland. courtesy of April Halprin Wayland.
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CAL_4n3_3p.indd 30 11/28/2006 9:54:38 AM InFORMed Reading Evaluating and Using Picture Books, Beginning Reader Books, and Illustrated Books Megan Lambert
hen The Horn Book Magazine asked celebrated author Avi to select the book he’d most like to see W in the hands of a twenty-second–century child, he chose The Cat in the Hat as a “Future Classic.” “Since I am pri- marily a novelist, one might suppose I would choose from the veritable galaxy of star-bright twentieth-century novels to place into the hand of the 2101 child. Truly, there are many of them. But surely our future child will not be reading those novels unless he or she has already become a reader.”1
Indeed, Dr. Seuss’s name is synonymous with learning to read, largely due to the big splash made by that certain hatted feline; before The Cat in the Hat, beginning reader books were not-so- much-Fun with Dick and Jane, leading John Hersey to comment in a 1954 Life magazine article that such titles were populated by “abnormally courteous and unnaturally clean boys and girls. Why should [children] not have pictures that widen rather than narrow the associative richness the children give to the world they illustrate—drawings like those wonderfully imaginative geniuses among children’s illustrators—Tenniel, Howard Pyle, Dr. Seuss . . .”2 Dr. Seuss took up this challenge with The Cat in the Hat, and the rest is history.
In recognition of the good doctor’s key role in the emergence of the beginning reader book as a new category of children’s book, in 2004 the American Library Association (ALA) established the Theodor Seuss Geisel Award,
given annually beginning in 2006 to the author(s) and illustrator(s) of the most distinguished contribution to the Cover image from The Cat in the Hat by Dr. Seuss (Random body of American children’s literature known as beginning House, 1957) reader books published in the United States during the preceding year. The award is to recognize the author(s) and illustrator(s) of a beginning reader book who demonstrate Megan Lambert is instructor of Children’s Literature Programs great creativity and imagination in his/her/their literary and at the Eric Carle Museum of Picture Book Art in Amherst, artistic achievements to engage children in reading. Massachusetts. A freelance writer and reviewer for several children’s literature journals, she has also served as guest “A person’s a person no matter how small,” Theodor Geisel, lecturer and adjunct instructor of children’s literature at a.k.a. Dr. Seuss, would say. “Children want the same things colleges and universities throughout New England, and we want: to laugh, to be challenged, to be entertained and she oversees the museum’s libraries and book-centered delighted.” Brilliant, playful and always respectful of children, programming for children and adults. You can reach her at Dr. Seuss charmed his way into the consciousness of four [email protected] or through the museum’s Web generations of youngsters and parents. In the process, he site at www.picturebookart.org. helped them to read.3
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CAL_4n3_3p.indd 31 11/28/2006 9:54:40 AM InFORMed Reading Creating an award for a different cat- picture to do so creates a different inter- In her book From Cover to Cover, Kath- egory of book begs the question, what action between word and image—they leen Horning identifies some of the hall- makes this category different? This ques- are not simultaneous partners in making marks of the beginning reader book as: tion leads me, and other people who meaning as words and images are in the read, use, and write about children’s lit- picture book experience.5 ■ the use of sight words and compound erature to yet more questions includ- words; ing: Can a picture book be a beginning This is not to say that children can’t reader book? How is a beginning reader get value out of reading picture books ■ the large size of typeface (eighteen different from an illustrated book? What independently (when they are able), or points is standard); distinguishes a picture book from an that a beginning reader book could not illustrated book? also occupy the triangular relationship. ■ short sentence length (five words or Furthermore, a picture book with con- so are standard); These questions are important not only trolled text and attention to page open- for those serving on award committees ing composition and typography can ■ short line length in which longer sen- but also for adults engaging children function as a beginning reader. Indeed, tences are broken up into more than with books as we consider collection one line; and management and organization, reading instruction, storytime programming, ■ the frequent use of patterned lan- and supporting patrons’ book selection. guage including the use of allitera- We can best address these questions by tion, assonance, and rhyming.7 analyzing the three categories of books already identified (picture, beginning These hallmarks indicate the controls that reader, and illustrated) in terms of their are placed on the language of a beginning different forms and standards of use. reader book—all in the service of the intended audience of emergent and newly Leaving aside the illustrated book for independent readers. Such controls in a a moment, one way to think about the picture book text, while possible, are not differences between picture books and a necessary limitation of the picture book beginning reader books is to think of the form. That is, limiting the sophistication standard picture book reading experi- of a picture book text is unnecessary due ence including three parties—the pic- to the presence of the reader (presumably ture book, the reader, and the listener an adult or an independent child reader) and viewer—and the standard begin- in the triangular relationship previously ning reader book experience as a reading outlined. One reading of William Steig’s transaction between the book and the Cover image from A Splendid Friend, sublime picture book texts contrasted emergent or newly independent reader. Indeed by Suzanne Bloom (Boyds Mills with the equally sublime and yet con- Press, 2005) trolled language of Arnold Lobel’s Frog The picture book includes words and and Toad books will demonstrate this. pictures that are interdependent: words leave spaces for the pictures to step in one of the first Geisel Honor Books was a Horning also notes that the placement of or vice versa. Therefore, in the triangular picture book: A Splendid Friend, Indeed illustrations on the page of the beginning relationship noted in the previous para- by Suzanne Bloom. reader book as well as the presence of graph, the reader reads the words out loud ample white space on all page openings and the listener and viewer hears these But by identifying the standard use of are key to the successful design of this words while looking at the corresponding these different forms we can better eval- form. White space allows emergent or images. This creates what British scholar uate their merits and better make use newly independent readers to rest their Jane Doonan calls “the composite text”— of their different potentials. So now let’s eyes, and careful placement of the illus- the merging of the visual and the verbal to turn to an exploration of form. T. S. Eliot trations in relationship to the text allows create a joint meaning in the mind of the writes, “When forced to work within a for a back-and-forth reference between listener and viewer.4 strict framework, the imagination is taxed the words and the corresponding image to its utmost and will produce its richest as the picture supports the decoding and This is contrasted with the beginning ideas, given total freedom, the work is the comprehension of the text. reader book experience, in which an likely to sprawl.”6 In other words, limi- emergent or new reader independently tations inspire creativity. Regarding the While the design of page openings in decodes text with the support of cor- beginning reader book and the picture picture books is crucial to a book’s suc- responding images. The focus here is on book as controlled forms allows us to cess or failure, the same restrictions of the words and on pictures supporting evaluate how writers and authors work form in the beginning reader book do not words; the fact that the reader is decod- within the forms or work against them, apply to the picture book. To explore this ing text and must look away from the and so we must first identify the controls. idea, compare Maurice Sendak’s illustra-
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CAL_4n3_3p.indd 32 11/28/2006 9:54:41 AM InFORMed Reading tions in the Little Bear series, written by ers of picture books in the triangular of the picture book experience from one Elsa Minarik, to his pictures in Where the relationship a particular challenge. The of reading to children to one of read- Wild Things Are. The former are begin- reader is text-focused, after all, showing ing with children, and to make use of ning reader books, and the illustrations the pictures to a child or a group while the interruptions as evidence of engage- that Sendak created for them are care- reading the words out loud. In a group, ment instead of asking children to wait fully placed on the pages with ample it is doubtful that the reader can see the until the end of the verbal narrative to white space. These illustrations support images as she reads, and with one child share their comments, ideas, and ques- the text. The latter title is a picture book, she cannot look at the image and read the tions. This is a prime focus of my work and the pictures do not support the text words simultaneously; the reader there- at the Eric Carle Museum of Picture in this book, they (to borrow Sendak’s fore might be tempted to succumb to the Book Art in storytime, outreach pro- own word) “quicken” it, and some art quick pull of the text from page to page. grams, and professional development bleeds off the page, while other images Meanwhile, the child or group listening trainings. It centers on the idea that are contained by air frames, all in sup- to her words is simultaneously viewing picture book experiences can move from port of the visual narrative.8 the art and merging the visual and the being performances, presentations, or verbal to create the composite texts in storytelling and into the realm of facili- Perhaps the most quoted, succinct tated discussion about the interaction of stab at defining a picture book comes words, images, and design in the picture from Barbara Bader’s classic work of book form. This means that reading The children’s literature criticism, American Very Hungry Caterpillar can take twenty Picture Books from Noah’s Ark to the minutes instead of five, but the level of Beast Within: “the aesthetic success of engagement is astounding as children the picture book hinges on the inter- are invited to make meaning of verbal dependence of pictures and words, on and visual narratives. the simultaneous display of two facing pages, and on the drama of the turning The museum refers to this interactive of the page.”9 method of evaluating and sharing pic- ture books as the Whole Book Approach, It’s hard to top that in the muddy task of which draws upon Abigail Housen defining what exactly the picture book and Philip Yenawine’s Visual Thinking is and what it isn’t, and for the purposes Strategies and the child-focused dis- of this piece, I will focus on Bader’s first covery methods of the Reggio Emilia criterion about the picture book form— approach to early childhood education.11 unless the picture book is wordless (a Its emphasis on a collaborative interpre- topic for a different article addressing tive process of art and text as opposed the narrative potential of sequential Illustration from The Seven Silly Eaters by to a top-down reading from reader to illustration) the picture book is a dance Mary Ann Hoberman, illustration copyright listener-viewer can be applied to the pic- 1997 by Marla Frazee, reproduced by per- between pictures and words, wherein mission of Harcourt. ture book experience between a single each is an equal partner. adult and a single child as well. A librarian participating in a Whole Book Approach This is a hard sell in some circles, where their minds. In other words, they are workshop at the museum once sheep- the word reigns supreme. Illustrator reading pictures as they also attend to ishly commented, “I can’t count how Marla Frazee once told me about a review the oral reading of the text. This is a more many times I’ve said to my three-year- of her book with Mary Ann Hoberman, complex, and therefore, a slower process old ‘just let me read the book’ when she is The Seven Silly Eaters, which, although of constructing meaning. I am convinced flipping backwards through the pages or positive, failed to recognize the narrative that this is the root of many “interrup- interrupting the words to say something contributions of the art. Hoberman’s text tions” during classroom and library cir- about the picture.”12 This mother, librar- never mentions the father in the story, cle times and storytimes, or even during ian, book-lover, and avid reader was try- he is solely the creation of Frazee’s art, readings between an adult and one or ing to give her daughter the pleasure and the story never identifies the pro- just a few children, as children seek to of a sustained verbal narrative, but she tagonist Mrs. Peters as a cellist, though comment on or make sense of what they was doing so with the picture book form Frazee’s pictures cast her in this role; and are seeing and hearing. “Wait! Wait!” “Go in which the verbal component is only yet, the review in question chalked these back! Go back!” “Read it again!” We’ve all half of the story. Ultimately, the Whole significant narrative contributions up to heard these lines as often as we’ve said Book Approach suggests that there is a Hoberman’s writing. “The pictures are “Once upon a time” and “The end.” big difference between reading a picture telling the story too,” Frazee said.10 And book and finishing a picture book—the indeed they are. This tension between the word-focused former includes reading of the images, reader and the composite text-focused text, design, and their interplay, and the This dance between pictures and words listener-viewer presents the reader with later is focused primarily on completing in the picture book form offers read- an opportunity to change the dynamic a sustained oral reading of text.
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CAL_4n3_3p.indd 33 11/28/2006 9:54:43 AM InFORMed Reading On the other hand, the text of an illus- This isn’t to say that illustrated books who is listening to the text to become a trated book, as in a beginning reader cannot or should not be used as read- partner in the reading of the image as he book, takes center stage; however, in this aloud material. Indeed, none of the ideas or she constructs the composite text. form the text is not subject to the controls I present here are offered in a prescrip- demanded by an emergent or newly inde- tive spirit. Instead, this discussion of Picture books are often identified as pendent reader and can therefore take on form and corresponding standard uses the books that teach children to read. the verbal sophistication of a picture book seeks to offer up ideas for evaluation and Certainly, some picture books can serve text. Furthermore, an illustrated book’s practice in the reading of diverse forms this function of the beginning reader text usually does not leave the same of children’s literature. book with controlled text and other amount of space for narrative images devices to make decoding and compre- that a picture book demands. Such texts After all, the goal of all this thinking hension accessible to new readers. But are therefore more descriptive and less about children’s literature is, in the end, I think that the primary function of the dependent upon pictorial “quickening,” to connect children with literature. picture book is to teach children to love resulting in pictures for illustrated books Children’s literature demands a certain books. This may sound a little hokey, but that are relegated to a more decorative or awkward remove from its intended audi- the picture book is the entry point to illuminating role. They offer visual entrée ence: adults write, illustrate, publish, and the world of books in general, while the to the words as asides or as moments of often buy the books that children read, beginning reader is the entry to indepen- pause to reflect upon the verbal narrative; and adults often read books out loud for dent book experiences. The “I Can Read to make a musical metaphor: they don’t children to hear. This is a tremendous It Myself” logo featuring the Cat in the act as equal partners in a duet—instead power, and it’s one that we adults should Hat, which is placed on the upper-right- they are backup singers. be eager to give up by encouraging the hand corner of one beginning reader child’s emergent life as an independent book imprint, is a marketing device wor- The standard reading experience of an reader. As outlined in the discussion thy of attention. illustrated book is one of two parties (the about the Whole Book Approach and book and the reader), along the lines of reading picture books with children Meanwhile, picture books needn’t be the second book experience outlined instead of reading them to children, this left behind as the independent reader previously between the book and the can happen within the triangular picture moves on to longer sustained verbal emergent or newly independent reader. book experience by allowing the child narrative—their potential as an art form can extend the picture book’s place in a reader’s life indefinitely. Nor should we throw up ours arms and vow to never read an illustrated book, a nonillustrated book, or a beginning reader book out loud again. We should simply be mindful of evaluating the merits of all the pos- sible book experiences as we evaluate the books themselves in all their differ- ent forms. &
Portions of this paper were included in the keynote address presented by Megan Lambert at the 2006 Integrated Arts Conference at Plymouth State University titled “Silly, Subversive, Serious Stuff: The Work of Dr. Seuss” and in workshop ses- sions at the same conference titled, “The Dr. Is In: Dr. Seuss in the Classroom.”
References and Notes
1. Avi, “Future Classics,” The Horn Book Magazine 76, no. 6 (Nov. /Dec. 2000): 647. 2. Kathleen T. Horning, From Cover to Cover: Evaluating and Reviewing Children’s Books (New York: HarperCollins, 1997), 122. continued on page 54
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CAL_4n3_3p.indd 34 11/28/2006 9:54:50 AM This presentation was written and pre- Today there is no “what if?” There is you, sented by Sandra Ríos Balderrama in and you, and you. ¡Presente! Present. honor of Oralia Garza de Cortés, Toni Bissessar, and Linda Perkins, on June The if is here . . . this moment. 25, 2006, at the ALA Annual Conference in New Orleans, Louisiana. It will be Again, a warm welcome to each of you published, in part, in REFORMA’s Winter here this day—this day that is a dream 2006 newsletter. come true. And welcome to the great grandmother that is leaning against your et the circle be unbroken. Let the right arm. And welcome to the great circle get bigger and sway this grandfather whose hat is blocking your L way and that, and when the circle view. And welcome to the library chil- gets smaller as it sometimes does, let the dren—not yet born—that are giggling ¡Celebración! new generations join it, take it, tug it . . . and cross-legged to the side of you. And where they must. welcome to the aunties, the uncles, the The Tenth mentors, the good friends who are here A heartfelt welcome to each of you—I and to our special guest—Pura Belpré. Anniversary say heartfelt because the founding of this award was the work of the heart. Please A welcome to the spirit of Pura Belpré! Celebration allow me to introduce the four coura- geous hearts—Oralia Garza de Cortés, She is sitting just behind you, just in of the Toni Bissessar, Linda Perkins, and myself. front of you, just behind me. Do you feel Pura Belpré Please stand and take a bow. Yes! her? Do you see her? These hearts are very courageous and She is east, west, north, south. She is at Award muy vivos—very much alive and beating, our center. Pura is here now. Pura was and these hearts, they did not take no there then. for an answer, and these hearts, they did Sandra Ríos Balderrama not take no for an alternative, and when Pura—a puertorriqueña of mestiza they were asked “Why should we do it?” heritage—an Africana Latina, Latina they asked back “How will we do it?” And Africana, a woman, a librarian, a story- when they were asked “How will we do teller, a folklorist, a puppeteer who never it?” they said “Yes is how we will do it!” forgot her roots, her island Borinquen, her people, her children. When they were asked if this would set a precedent for other groups want- And her name, which means “pure,” ing their own award, they paused, and reminds us of: then answered, “Well then, yes. Open the gates!” ■ the purity of clear water purpose; When they were asked “How we will find the money?” they answered, “We will ■ the purity of unclouded intent; start by passing the hat.” ■ the purity when sweet justice is And when someone said “but,” they said served; “and,” and when someone asked “What if?” they said, “Yes. Yes. Yes . . . ah, yes.” ■ the purity of joy when a child is affirmed, validated, and in- What if? . . . What if? . . . What if?” cluded; and
What if there was a book that was writ- ■ the purity of spirit, spirit of service. ten by a Latina that told her story, her view, her memory? Our story, our view, Because this award—the Pura Belpré our memory? Award—was not born out of competition Sandra Ríos Balderrama is a con- and not so much even for a place at the sultant to libraries and freelance writer What if there was a book that was illus- table. It was born out of service ¡Servicio! in Arizona. She cofounded the Pura trated by a Latino that painted his pic- It was born out of a love for the commu- Belpré Award. She can be contacted ture? Sculpted his memory? Put into nities we are part of, that we come from at [email protected]. collage his view? Our picture, our mem- . . . be it Texas, be it California, be it New ory, our view? York, the Midwest, the Heartland, the
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CAL_4n3_3p.indd 35 11/28/2006 9:54:50 AM ¡Celebración! South, the Northwest, city, country, field, ■ with a flashlight; could not open the window until our or concrete sidewalk. books were written and illustrated by ■ in her backpack, in his back you. We needed you to paint our stories. It was born because in Austin, Texas, pocket; and We needed you to tell our pictures. Oralia was being asked by mothers in her community for books that reflected ■ with the child, with the child, always You tell our life. You speak our life. You their children, their language, their . . . yes! give our lives expression, meaning, experiences. and color. You are interdependent upon me, and I It was born because I needed children’s upon you. I want to thank you for this And the dreamers—Oralia, Toni, Linda, picture books that reflected the Latino interdependency, for how we interweave and myself—we bear witness today of children and Latino families who were our roles and our callings—up to this how a dream blends into real life. coming to preschool, bilingual, and eve- day—the day that we celebrate ten years ning story hours at the South Berkeley of the Pura Belpré Award. Authors and illustrators, you are the branch of the Berkeley Public Library in dream visitors and dream messengers. California. Coretta Scott King Award leaders, jury Please stand up and take a bow. members past and present, and found- Yes, we have our oral tradition, but ers—and I see Ms. Henrietta Smith. Publishers, distributors, and vendors, where? Where were the written stories Although Oralia, Toni, Linda, and I were like the little red hen that worked so that would affirm our children’s exis- asked about setting a precedent, we did hard, Oralia, Toni, Linda, and I asked one tence? Where were the illustrations that not set the first. Oh no, no, no. It was you. another, “Who will write the books? Who would feast our children’s eyes? And without your model in our forefront, will illustrate the books and then who where would we be? will publish and market the books? Who We are a visual people. We are an oral will give the new illustrators and authors people, and we are a literate people, and Our cultures are interconnected, and the a chance?” our hands enjoy the feel, the touch, the African heritage is a part of who Latinos texture of the page, of the paper, of a are. Let no one tell you any different. Some of you needed us to convince you book, of books. . . . Thank you for paving a path! of the demand. Some of you needed us to tell you about the market. And some Ah . . . ah. . . . Yes. Yes. Yes. What if? Thank you for providing books with of you did not need proof. You went on illustrations that had shades of brown the knowledge that cannot be quantified Inclusion creates a circle, and there is and black. but only seen and felt—when you walk power in a circle. the streets, when you go to the laundro- Thank you for your support, encourage- mat, when you buy your fruit at the local The moon, the sun, the globe, the nest of ment, mentoring, and for simply walk- mercado. And you did it. . . . Here you are, a bird, the shell of a turtle. ing this road on behalf of your cultura. and here you have been for the last ten Please stand up and take a bow. years, and I know you will continue to do If you are sitting in this audience, then what is right. you are in a circle and interdependent To the authors and illustrators of the upon one another to see that Latino chil- Pura Belpré Award and Honor Books, You are the blood that circulates the dren’s literature written by Latino authors dear authors, dear illustrators. Did you books here, there, and around the globe. and painted by Latino illustrators gets know that each of you is a dream come Please stand up and take a bow. into the hands of the global child: true? Yes, you are! Yes, you are. Librarians! Ah, librarians. Your part in ■ in the library; You are the tickle and trickle and ferocity the grand circle is sacred beyond words. of star dust. You are the beam of a full ■ in the classroom; moon upon sleeping, dreaming eyes that You bring equity of access to life. You were dreaming books, books, and more give diversity meaning. You are the noble ■ in the field; books . . . written by Latino authors, profession, the culture keepers and dis- illustrated by Latino illustrators . . . books seminators. You are inclusive. You are ■ on the sidewalk; that take a place in the world as a story nonjudgmental. told by one’s “own.” ■ on the porch; You care not if a child who enters the Yes! We are a global people! library is a citizen or not. You care not if ■ on the playground; a child who enters the library is “legal” Yes! We are a multicultural people! or not. There is no border—only an open ■ under a tree; door. You want quality books, and you Yes! We want our imaginations and cre- know quality literature. You respect what ■ under moonlight; ativity to fly unfettered; however, we you might not understand. You share
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CAL_4n3_3p.indd 36 11/28/2006 9:54:51 AM ¡Celebración! the books, display the books, use the The Cesar Chavez Award? The Vivan first REFORMA National Conference. In books, all year long and all year ’round Los Niños Award? The Dolores Huerta 1998, the first Celebración occurred in because we are not a holiday, we are an Award? Washington D.C. “everyday!” We wanted an all-inclusive name that In 1999–2000, Toni, then president of And you, more than anyone, under- would represent a wide array of cultures National REFORMA, and Carolyn Ward, stand this. You are the culture keepers. within a culture. After many more names president of ALSC, sought to create and Dreamkeepers. were scribbled on a cocktail napkin, after fund a medal for the award. Yolanda our creativity began to wane, Toni asked, Bonitch sought photos of Pura Belpré. Please stand and take a bow. “Oralita, Sandrita, have you ever heard of Beckie Brazell suggested Emanuel Pura Belpré? Martinez, a sculptor in Colorado who In 1987, I met Oralia at an EMIERT pro- specialized in bronze. Martinez created gram in San Francisco. She and Louise Well mujeres, let me tell you who she was. and cast the medal of Pura Belpré. Zwick presented the program Children’s She was a librarian, the first Latina librar- Materials and Programs Which Work: ian of the New York Public Library, a pup- In 2000, the first Pura Belpré medal was Hispanic and Asian-American Experiences. peteer, she was Borinqueña, a folklorist, a given to the winning author and win- I was so excited, enchanted, and mesmer- writer, and she believed in library services ning illustrator. Past winners from 1996 ized that I went up to Oralia and intro- duced myself to her. We discovered that we were both members of REFORMA The moon shone brighter. The breezes stopped. Our and ALSC and that we were both chil- dren’s librarians, both Latinas, living in hearts paused. We found the path that Pura started two different parts of the country. on in the 1920s, and we began walking. In 1989, Oralia and I met at ALA Annual Conference in Dallas to begin to move from conversation to planning. We began to Latino children. I got a chance to know and 1998 were also presented with the to speak seriously about establishing an her myself and work with her.” medals. award that would affirm Latino chil- dren by encouraging Latino authors and The moon shone brighter. The breezes On June 25, 2006, here we are in New Latino illustrators to publish. It seemed stopped. Our hearts paused. We found Orleans, where the award was named. to us that REFORMA and ALSC might the path that Pura started on in the 1920s, Today, we celebrate ten years of the Pura be natural partners with different but and we began walking. When we notified Belpré Award. complementary expertise. Linda, she smiled knowingly—for she knew of Pura’s books—and thought the From 1987 to 2006, there is a road. Do In 1990, I met with Linda, the newly proposed name was an excellent and you see it? It is lined with people, and it elected ALSC president-elect and coor- wonderful idea. travels around this room. The road trav- dinator of Children’s Services at the els out those two doors behind you and Berkeley Public Library. We met for In 1994, Oralia and I worked hard into back to the year 1920 when Pura Belpré lunch in a Mexican-American diner in the night at ALA Midwinter Meeting in arrived in New York City. South Berkeley. I asked Linda how she Los Angeles typing out the very first thought ALSC might receive the idea of drafts of the criteria for the selection It is a road of time travel and connection. being a partner with REFORMA in order process, the award process, and for the And today we stop on the road to replen- to establish an award that promoted award itself—$1,000 each, a plaque, a ish, to nourish ourselves, to offer grati- and affirmed the diversity of Latino cul- medal, and a Celebración program to tude to one another, to remember the ture in children’s literature. With Linda’s accompany the awards. Linda, by then word “service,” and to remember Pura encouragement and knowledge of ALSC president of ALSC, made “herstory” by Belpré. Pura Belpré. Pura, Pura, Pura. and ALA protocols, the feasibility com- appearing before the REFORMA board mittees began. of directors. Mario Gonzalez was the president of National REFORMA. Oralia No. No. No. There is no need for you to In 1993, Toni, Oralia, and I sat on a sec- and I made appearances before the take a bow. Our! Beloved! Querida! Doña! ond-floor balcony at a restaurant right ALSC board. Pura Belpré. here in New Orleans and as the moon rose in the night sky, we began a list of In 1996, the first selection jury met. The It is we who humbly bow to you. & possible names for this proposed award: first award was given in Austin at the
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CAL_4n3_3p.indd 37 11/28/2006 9:54:51 AM The Scoop on Children’s Magazines
The following views on children’s magazines are based on a presentation at the ALA Annual Conference in New Orleans on June 24, 2006.
CAL_4n3_3p.indd 38 11/28/2006 9:54:57 AM Children’s Magazines and Collection Development
Susan Patron
agazines for kids pose one of the great conundrums Examples of publications covered in Primary Search include: in juvenile collection development in public librar- Appleseeds, Boys’ Life, Cobblestone, Cricket, Highlights for Mies. Of all the material we provide, magazines are Children, Hopscotch, Jack & Jill, Ladybug, Ranger Rick, Science probably the most ephemeral, expensive, flimsy, difficult to World, Spider, SuperScience, Time for Kids, and Turtle. Kids shelve, attractive to steal, and inviting to mark up. We could just InfoBits (Gale) is a database developed for beginning researchers ignore these magazines, but with an estimated readership of in kindergarten through fifth grade. It features a developmen- sixty million, we do so at our peril. As with adults, kids enjoy the tally appropriate, visually graphic interface. The curriculum- browsability, informality, topic-focused approach, and glossy related, age-appropriate, full-text content covers geography, look of magazines. A broad collection tells young patrons that current events, the arts, science, health, people, government, the library is responsive to them. history, sports, and more.
Magazines can be key to converting a blasé reader into an avid How to select magazines kids will flock to the library to read? one. For passions ranging from scouting to archeology, from My survey, “Miles of Magazines,” (School Library Journal 50, no. oceanography to fashion, and from crafts to pets, there is a kid- 3 [Mar. 2004]: 52–57) provides an annotated list of more than friendly magazine (and companion Web site) devoted to the fifty English-language magazines for toddlers through eleven- topic, with a noncurricular look and approach. These are fun to year-olds. read, they fuel readers’ interests, and they don’t have the stigma of textbooks. That said, some of the best magazines for kids The list is based on the magazine collection of the children’s also bolster the school curriculum and provide timely, acces- literature department of the Los Angeles Public Library. This sible, and current information on an ever-changing world. much-used collection varies widely in themes, from health issues to advice columns, from creative writing and art to aca- Search engines and databases such as Primary Search and Kids demic subjects. InfoBits, designed for both elementary school libraries and public libraries, provide access to the rich contents of many Nearly all these publications offer interactivity in the form of children’s magazines. Primary Search (EBSCO), for example, puzzles and teasers, and they entice readers to visit wholesome offers full text for more than sixty popular magazines as well as Web sites. indexing and abstracts for nearly one hundred magazines. In examining current issues, I found all the signs of repeated handling: pulpy, worn pages; turned-down corners; subscrip- Susan Patron is Senior Librarian and Juvenile Materials tion cards removed; earnest endeavors in pencil and pen to Collection Development Manager at Los Angeles Public solve puzzles and conquer mazes. For a powerful tool that Library and author of The Higher Power of Lucky (Atheneum/ Richard Jackson Books/Simon & Schuster, 2006) continued on page 44
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CAL_4n3_3p.indd 39 11/28/2006 9:54:57 AM The Scoop on Children’s Magazines
Why I Love Children’s Magazines
Lou Waryncia
love magazines. I can’t remember a time when I didn’t Considering the competition from television, radio, the love magazines. I loved magazines so much that I began Internet, and books—and everything else in our increasingly Ipublishing my own when I was in the seventh grade. I busy lives—the growth in magazines is amazing. Twenty years wrote, edited, and produced the magazine monthly throughout ago, naysayers predicted the death of magazines. Today, the high school. numbers prove them wrong. And the reason they were wrong is because the magazine industry used what it does best to It would have been so much easier with a computer. But I succeed. It diversified. And that diversity fuels our love of started out with carbon paper and a pencil. My grandfather was magazines. so impressed with my work that he bought me a mimeograph machine, and I went into mass production. I had a high circula- There is more variety in magazines for kids today than tion of thirty-five; it killed me to cease publication when I went ever before, and the category is growing. Twenty years off to college. ago, my company published only two magazines as sep- arate companies. Today, we publish fourteen as a com- Those “magazines” were just part of the love affair that I con- bined entity. I will give you a rundown of these magazines tinue to enjoy today. I studied and worked on magazines in and why we publish them—and why you should have college (I even worked in the periodical department of my col- them in your collection and encourage your customers to lege library for four years) and have spent the majority of my read them. professional life hopefully perfecting my skills as a magazine editor. Today I’m fortunate enough to guide my “six children,” the magazines I oversee for Cobblestone Publishing. I guess The Cobblestone-Cricket Connection you could call me a magazine junkie. In 2000, Cobblestone Publishing and the Cricket Magazine Group joined forces as Carus Publishing. Our similar philoso- I believe we all love magazines. And I’m here to convince you phies and variety of fiction and nonfiction magazines made us to love magazines more than ever before. Why? Because even a perfect match. Our mission? To provide young people with the people who don’t like to read love magazines. highest quality reading material and make it enjoyable, too. There are many reasons, probably as many as there are maga- Cobblestone Publishing has produced magazines for young zines. And that’s a good place to start. We love magazines people since 1980. Our philosophy is that nonfiction, whether because there is probably one written and designed for just it deals with history, culture, archeology, or science, should about any interest or taste. be a combination of fascinating pleasure reading and factual resource material that educates, enlightens, and entertains. According to the Magazine Publisher’s Association, there are Cobblestone’s magazines let young people experience the plea- currently more than 17,000 magazines published in the United sure of reading through an accurate, fascinating, and authori- States alone. Twenty years ago, that number was only 2,000. tative resource that’s appropriate for the classroom, the home, That’s almost a 900 percent increase. and ever more so, the library.
Lou Waryncia is Editorial Director at The Cricket Magazine Group jumped onto the scene Cobblestone Publishing, a division of in 1973 with Cricket magazine and its emphasis on high- Carus Publishing, publisher of Cobblestone, quality literature. The commitment of the magazine’s founder, Cricket, Babybug, and eleven other Marianne Carus, was to create a children’s magazine that would children’s magazines. instill a love of reading in children by presenting lively, witty, cheerful material, always with a sense of humor. That mis-
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CAL_4n3_3p.indd 40 11/28/2006 9:54:58 AM The Scoop on Children’s Magazines sion continues today, more than thirty ages nine through fourteen). Once again, magazines. You can also use the search years later. the magazines follow a step approach so function as an index to our content. And you can keep on enjoying as you grow. starting this fall, we will begin adding the Seven years later in 1980, and a little material from the Cricket division to this farther east in New Hampshire, a road The Cobblestone line of magazines database. symbolizing the pathway to read- went through similar growing pains. ing and understanding brought forth Expanding its scope on history, we What makes all of our company’s maga- Cobblestone, the history magazine for added Calliope and Faces magazines to zines attractive is their unbiased and young people. Two teachers who were our family. Calliope’s world history focus accurate content. Our magazines get looking for a way to promote reading delves into what life was like for earlier produced through the efforts of very and history to kids developed the idea. peoples and how those lives are relevant dedicated staff members and hundreds For more than twenty-five years, the today. Faces brings the world of today of the best writers, illustrators, and edi- magazine has explored all aspects of the into view by investigating places and tors. We look for quality first. We establish American experience, but in more detail people from around the globe and how quality and credibility by looking for the than you’ll find in most books, and in a their lives affect us. Both magazines give best. We work with consulting editors, much more creative and fun way. readers a clear understanding of other writers, historians, professors, museum cultures and foster an appreciation for curators, teachers, and others who are Through the years, Cobblestone other times and places. noted authorities in their particular field has covered everything from the of study. This quality-focused approach obvious—Abraham Lincoln and Learning about how science affects has earned our magazines praise Gettysburg—to the unheralded and our daily lives is the mission behind and awards from the Parents’ Choice underappreciated—Harlem Renaissance Odyssey. Odyssey reveals secrets of the Foundation, the Freedoms Foundation, and Transcendentalism. We like to world around us through a fascinat- and the Educational Press Association of say that Cobblestone isn’t just about ing blend of information, hands-on America. Three of our magazines have American history, but it is American his- activities, interviews, monthly star won the Golden Lamp Award from the tory. (Carolyn Yoder, now at Highlights, charts, and Stargazing with Jack Educational Press Association, naming skillfully guided the magazine for thir- Horkheimer, an innovative learning them outstanding young adult publica- teen years.) cartoon based on the award-winning tion of the year. PBS television program. Through the years, both divisions of We also like to partner with people and our company started to expand. In 1998, Cobblestone Publishing decided places to create innovative issues for our Ladybug came to life in 1990 for two- to it was time that even younger kids got to readers. We work with the Smithsonian six-year-olds based on a character in experience our content, and we launched Institute monthly to create Muse, Ask, Cricket, followed by Spider for six- to AppleSeeds for children ages seven to and Click. We’ve also partnered with the nine-year-olds in 1994. Both employ the ten. AppleSeeds utilizes the theme-based White House Historical Association, the same high-quality literature and illustra- approach similar to all Cobblestone pub- Getty Center, the Metropolitan Museum tions as Cricket, but for young readers. lications but is more multidisciplinary, of Art, Historic Jamestown, Williamsburg, They were joined by Babybug, a look- covering history, science, and the arts. the Peace Corps, and Doctors without ing and listening magazine to read to AppleSeeds grabs readers’ interest by Borders (to name only a few) to create the very youngest children, and Cicada, employing just the right combination issues. Altogether, our magazines offer which follows the Cricket formula but for of visuals, text, and curiosity. Its mission excellent resources for general reading, older kids, ages fourteen and up. is to instill in younger children the love research, or projects, or simply to enhance of reading about real things that will be a young person’s overall knowledge. Today, these magazines are affection- carried on through adulthood. ately known as the “bug” books. And you can spend your entire childhood In 2000, we expanded again by acquir- So, why should you as librarians encour- enjoying their contents, because they ing Dig magazine. Originally published age young people to seek out magazines? are designed as stepping stones to read- by Archaeology, Dig deals with all things Well, once again, because people—espe- ing enjoyment from birth to young related to archeology, which means all cially kids—love magazines. Magazines adulthood. things about the human experience can entice kids in ways that books often throughout history. We feel the maga- can’t—through graphics, a variety of Marianne Carus wanted to broaden her zine lets kids explore history, science, topics, and less intimidating content in literary reach and later teamed up with and the world all with a little dirt, and length and subject matter. Magazines the Smithsonian Institution on three don’t we all like to play in the dirt? are colorful, accessible, and inviting to magazines that mix fiction with nonfic- readers. tion on everything about exploration All of the Cobblestone magazines’ con- and discovery. These magazines include tent is also available online at www ■ They provide young people with new Click (for ages three to seven), Ask (for .cobblestoneonline.net. You can search, and interesting reading material on a ages seven through ten), and Muse (for read, and print any article from the regular basis.
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CAL_4n3_3p.indd 41 11/28/2006 9:54:58 AM The Scoop on Children’s Magazines ■ They are cutting edge. The most up- they want—or what editors want the cornerstone for resources, scholarship, to-date information about just about reader to want. Magazines, in the pur- and reading. Magazines should be an any topic is found in magazines. ist sense, are meant to be predictable. important part of the library and should Readers enjoy and want the same things be considered an equal to books because ■ They motivate kids to read for infor- issue after issue. But in reality, maga- they encourage reading. mation often without notice. zines are often innovators in the pub- lishing field. They are a reflection of our Magazines also give us comfort. They society and often zero in on the changes fill a need. They are truly like members ■ They encourage a regular monthly reading habit through visual imagery that are just around the corner months of our family. They visit us on a regular and topical appeal. and years ahead of other media. In fact, basis, we get upset if they don’t arrive— TV, books, and even the Internet have or arrive hurt or damaged, and they pro- borrowed heavily from the creative and vide us with an outlet for our fantasies ■ They encourage kids to become active, lifelong readers. visual structures of magazines. and creativity.
On a practical level, there are other rea- Earlier, I referred to the magazines I work ■ Most of all, magazines make reading sons why we love magazines. Magazines on as my “children.” I know I look after (and learning) fun. have the opportunity to offer more than and guide my publications as I would a child. I live and die by the material Magazines give us comfort. They fill a need. They we publish. I’m crushed when a reader dislikes something we do. I think readers are truly like members of our family. They visit look at magazines somewhat the same.
us on a regular basis, we get upset if they don’t Noted editor Barry Golson, who launched and edited many magazines, said in arrive—or arrive hurt or damaged, and they one of his editor’s notes that magazines provide us with an outlet for our fantasies should treat readers the same way you treat a buddy. I like that sentiment a lot. and creativity. I think readers would respond to that in almost every case.
As an editor, I have a lot of editor friends. one voice, the perspective of many dif- Magazines are often overlooked for I asked several of them why we love ferent authors, yet in reality each maga- the “glory of the book.” But magazines magazines. One said, “Magazines often zine generally has one voice—that is, the offer so many more avenues for read- become like a family member. We look to overall formula or tone or mission of the ers. There’s a diversity of material that them for advice, inspiration, validation, magazine. It’s this variety, yet sameness, keeps readers motivated, entertained, and for companionship. They’re a built- that keeps us going back month after and always learning, all on a regular in friend, that ‘voice’ we have almost month to our favorite magazines. basis. With so many different types of everything in common with.” magazines, there’s something for every Magazines are also inexpensive, practi- reader out there. Magazines give you Another added: cal, compact, and easy to carry. The cost more options. of most books today equals or surpasses Magazines allow you to feed your the cost of a single magazine subscrip- Magazines can be high class, low class, interest in a particular area. People tion. Generally you get twelve issues of simply crass, or about crabgrass. They’re have come to value the voice of magazine for the same cost as one book. a reflection of who we are in our ever- a magazine like never before. It’s changing, diverse society. And they let primarily because publishers have The combination of information and readers explore every idea under the targeted their audiences like never entertainment also plays into our enjoy- sun. And that’s not a bad place to be before. My goal as an editor is to ment of magazines. They are one of the as a reader or someone who just wants make the reader anxious for the next best ways to keep up on what’s going on to kick back with a friend—otherwise issue, to make him or her excited in the world, or learn or enhance a hobby known as the magazine. about picking up the magazine. It’s or interest, or to pass time and relax. important to get that “I can’t wait Thank you for your time. I hope you’ll till the next issue arrives” response Magazines and libraries have always come to love magazines as much from your reader. had a love-hate relationship. But today as I do. & libraries are becoming increasingly more Editors do that by giving readers what important to all readers. The library is a
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CAL_4n3_3p.indd 42 11/28/2006 9:54:58 AM The Scoop on Children’s Magazines
Anatomy of a Magazine
Carolyn P. Yoder
ost people associate Highlights with the dentist The contents page not only lists the contents of the magazine or doctor office, but I’m here to emphasize how but also breaks down the magazine into three segments—things MHighlights is equally at home in a library. My mis- that are fun to read, things that are fun to do, and fun things to sion is to reveal to you what lies between its covers. This year, read and see from the readers themselves. Highlights celebrates its sixtieth anniversary with more than one billion copies printed. The contents page also designates reading levels—preread- ing, easy, and advanced. (The target audience of Highlights At sixty, Highlights is sometimes seen as a symbol of our coun- is six- to nine-year-olds and has something for two- to try’s past, but the magazine combines the past and the present twelve-year-olds.) It also points out items that stress creative and celebrates the future—kids! thinking, moral values, and if there is an interactive version at www.highlightskids.com. Highlights was founded in 1946 by Garry Cleveland Myers, a child psychologist, and his wife, Caroline Clark Myers, an edu- cator who researched literacy and child development. Familiar Faces
The magazine’s mission is found in every issue. This magazine As children turn the pages, they’ll meet all kinds of people, of wholesome fun is dedicated to helping children grow in basic places, and things. Some are familiar. How can we talk about skills and knowledge, in creativeness, in ability to think and rea- Highlights without talking about Goofus and Gallant? They’ve son, in sensitivity to others, in high ideals, and in worthy ways been updated throughout the years. The duo contrasts thought- of living—for children are the world’s most important people. ful, kind, safe, honest behavior with its opposite. Without being Its motto is still the same—fun with a purpose. told “should,” kids can see which behavior is preferable.
The journey through Highlights begins in Honesdale, The Timbertoes is a feature for beginning readers with short, Pennsylvania, where the editorial offices are. Here’s how an simple sentences with illustrations that help make meanings average issue breaks down—forty-three pages in all; every page clear. The stories emphasize family fun, cooperation, humor, is put to good use and has no advertising. and imagination. The Thinking Page introduces a situation and an accompanying illustration and asks questions, for the most The inside cover highlights the month of the issue and points part open-ended ones. Mixed Pages include short activities, to things within the magazine. The inside back cover usually is jokes, and exercises. And rebus pages are designed for preread- a picture puzzle. The editor of this page said, “This is the page ers and beginning readers. A rebus tells a short, satisfying story, where we can do several activities within one—one illustration often with a humorous conclusion. Concrete nouns, numbers, for a number of activities.” and pictures are illustrated and repeated throughout the story so that prereaders can help read the story, learning left-to-right and top-to-bottom progression. The rebus also builds word recognition by showing the word next to the picture. For a bilin- Carolyn P. Yoder is Senior Editor of history gual rebus the sentence structure is almost the same in each and world cultures at Highlights for Children language, allowing the child to figure out the meaning. The very magazine. This article is based on a familiar Hidden Pictures page—perhaps the most recognized PowerPoint presentation prepared for the part of the magazine—is usually the most popular. When I tell ALA Annual Conference in New Orleans. people I work on Highlights, most people respond, “I love the hidden pictures!”
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CAL_4n3_3p.indd 43 11/28/2006 9:54:59 AM The Scoop on Children’s Magazines Editor Chris Clark greets every reader Arizona usually shares a story about a ❏ Sports. and makes a strong personal connection time when she was in a similar situa- to them. She usually talks about some- tion, then gives advice based on what ❏ Adventure. The magazine looks thing in her life—past and present—and she’s learned from the experiences. for articles that go beyond the how it relates to something in the issue. family vacation—articles that have ■ Nonfiction articles on many topics a strong focus, not “we went here The first segment is devoted to fun things including: and did this” but something that to read. reveals the meaning behind travel ❏ Science. The science editor said, or the reason for the adventure. ■ Poetry, which increases apprecia- “We put a high value on articles tion for the beauty and playfulness that show science as a process, ❏ Crafts and activities. of language, shares thoughtful and articles that follow a scientist or surprising ways to look at the world, a group of scientists as they try to The third segment of the magazine and inspires kids to try their hand at solve one of nature’s mysteries. We is devoted to fun things—contribu- poetry. also like to publish science articles tions from child readers. For example, about animals.” An article might Highlights might ask kids to write or draw ■ Stories, short and long, for young follow researchers who study such their “dream” vehicles and also might ask and old. animals. The article may tell the them to think about the dreams they had adventures of only one day, but that made them laugh out loud. And we ■ Fiction for younger and advanced information about the animals and always include a page devoted to their readers. Myers said, “A good story the research will arise naturally in writings and artwork. captures the interest of the listener the course of the action, so our or the reader right away. It makes readers will learn something about The magazine also includes letters— him listen or read almost breathlessly both. All articles are reviewed by general and science-oriented—and their to the end. It has plot, purpose, and experts. answers. These are answered by Jack suspense.” Myers, the eldest son of the founders ❏ The arts. and a scientist at the University of Texas ■ Ask Arizona is a popular story series in Austin. He receives about thirty letters in which fictitious kids write to a ❏ History. per month. & character named Arizona and ask her for advice. In answering their letters, ❏ The world: peoples and customs.
CHILDREN’s MAGAZINES AND COLLECTION DEVELOPMENT, continued from page 39
enhances literacy and increases library CousteauKids. The Cousteau Society. interest, science, culture, history, and usage, invest in magazines! Cousteau expeditions, sea creatures, so on. (monthly, $26.04; www.highlights and so on. (bimonthly, $20; www .com) If I had to choose only a dozen titles .cousteaukids.org/dolphinlog/main for preschoolers through fifth grade, .html) Kahani: A South Asian Literary Magazine assuming the collection would be for for Children. Kahani. Stories, science, a branch library in a diverse city such as Creative Kids: The National Voice for and so on. (4 issues, $20; www.kahani Los Angeles, I would include: Kids. Prufrock Pr. Stories and artwork .com) by and for kids. (4 issues, $19.95; www Ask. Carus/Cricket Magazine Group. .prufrock.com) National Geographic Kids. National How the world works and how discov- Geographic Society. Nature themes. (10 eries are made. (9 issues, $32.97; www Cricket. Cricket Magazine Group. Folk issues, $15; www.nationalgeographic .cricketmag.com) tales, fiction, poetry, and so on. (monthly, .com/ngkids) $35.97; www.cricketmag.com) Calliope: Exploring World History. Carus/ Ranger Rick. National Wildlife Feder- Cobblestone (9 issues, $29.95; www Crinkles. Libraries Unlimited. People, ation. Nature themes. (monthly, $19.95; .cobblestonepub.com) places, and things. (bimonthly, $30; www.nwf.org) www.crinkles.com) ChickaDEE. Bayard. Animals, peoples, Zootles. Wildlife Education Ltd. and places. (10 issues, $33.99; www Highlights for Children: Fun with a Animals. (bimonthly, $19.95; www .owlkids.com) Purpose. Highlights for Children. Human .zoobooks.com) &
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CAL_4n3_3p.indd 44 11/28/2006 9:54:59 AM Children’s Library Services in Sweden A Study Visit to the Solna Library Heather Norquist
n September 2005, I received a grant from the Swedish Institute and the Consulate General of Sweden to study Ilibrary services to children in Sweden. I was interested in comparing library collections, services, and programming to what we provide where I work in Santa Cruz, California.
I chose the Solna, Sweden, library for my research project through a friend, Gunilla Nilsson, who works there as a chil- dren’s librarian. Nilsson was kind enough to offer to share her apartment with me for a week, so I was able to get a feeling for what it’s like to live and work as a youth services librarian in Sweden.
Children’s Literature Celebrated
Throughout my two weeks overseas, I was repeatedly impressed by the status children’s literature has in Sweden. A picture of The view of the library from the mall. author Selma Lagerlöf and an illustration from The Wonderful Adventures of Nils ( Doubleday, 1907–1911) illustrate the coun- On a Monday morning, I met with Nilsson at the Solna try’s 20 krona bill. A Pippi Longstocking ballet was being Stadsbibliotek (Public Library).2 Solna, a ten-minute subway performed at the Royal Opera House in celebration of the six- ride north of Stockholm, is a town of 60,000. tieth anniversary of the book’s publication, and author Astrid Lindgren’s name came up in conversation more often than The Solna Library is not a branch of the Stockholm Library but that of the king. High-quality films based on Swedish children’s its own entity. Solna has one main library and one branch in the books are on television in the evenings, and newborns are pre- Bergshamra district. The main library is three stories of public sented with the gift of a book on their first visit to the pediatri- space with one floor of staff offices at the top. Swedish archi- cian. tect Per Åstradsson designed the library, and it features typical Swedish décor, including light wood and white walls. One wall In their article on children’s culture published by the Swedish is all glass, providing plenty of natural light. Institute, Pia Huss and Katta Nordenfalk state, “Many local councilors responsible for the arts consider fairy-tales, nursery Built in 1964 and remodeled in 1998, the main library adjoins rhymes and children’s song so crucial to a child’s linguistic a large shopping mall, Solna Centrum. Its holdings include a development that they rank access to literature as a human collection of 250,000 books, an extensive music CD collection, right to be offered all children, regardless of whether their par- and fifteen Internet terminals for public use. There are also art ents are interested in culture or not.”1 display spaces in adjoining rooms throughout the library.3
Heather Norquist is Youth Services Librarian From the Mall to the Stacks at Santa Cruz (Calif.) Public Libraries. The children’s department on the third floor is accessible via the mall, and there are self-checkout machines at the circula- tion desk near the entrance. Both children and adults seemed
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CAL_4n3_3p.indd 45 11/28/2006 9:55:00 AM Children’s Library Services in Sweden to be very self-sufficient in using the self- teachers give information to librarians, can sit and read with their children. The checkout machines, but staff was there and the teachers get the children’s cards. walls have been decorated by a local art- to help when needed and to assist with The circulation period is four weeks. ist using images from popular children’s CD checkout. books painted on three-dimensional The children’s reference librarian’s desk wood relief. Library cards can be issued to children is located in the center of the room. at any age, but parents are responsible There is a meeting room where children’s Near the reference desk are two display for fines until children reach eighteen. programming takes place, and a separate areas: one with Astrid Lindgren books When kids start school at age seven, room for picture books with a circular, and one of En Bok för Alla (A Book for there is an organized process in which soft, comfy seating area where parents All) books that can be purchased at the circulation desk.
En Bok för Alla is a government- sponsored program that publishes books and makes them available in hardcover for one-third the normal price. A com- mittee of librarians, teachers, and pub- lishers selects the titles, and the author must agree to make the book available at a reduced price.
The shelving is by subject, with areas for picture books (arranged by first let- ter of the author’s last name only), fan- tasy, detective stories, foreign language books, nonfiction subject areas, audio books, and CDs. The shelving system is the Sveriges Allmänna Biblioteksförening (SAB) Classification system, which is similar to the Dewey Decimal System. Swedish libraries are beginning to con- vert to a new universal classification sys- tem based on plain language that’s more intuitive to borrowers and designed to The children’s reference desk. help them find books on the shelf more easily. Swedish librarians expect this sys- tem will be in place by 2007.
Online Resources
The children’s OPAC (Barnkatalogen) is obviously designed with children’s best interests in mind.4 The initial page displays a group of iconic images rep- resenting different genres of children’s literature: a cat that changes to a dog for “Animals,” a princess who turns into a toad for “Adventure,” and a bouncing ball for “Sport.” When users click on one of these icons, they see a list of twenty- five fiction and nonfiction titles along with a cover image and summary for each book and an age recommendation. Clicking on an individual title brings readers to the library OPAC and holdings information. There is also a clickable alphabet at the top of the screen, which A wall of windows lets in plenty of light. leads to a list of subject terms beginning
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CAL_4n3_3p.indd 46 11/28/2006 9:55:02 AM Children’s Library Services in Sweden with that letter. This seems like a won- Sweden has a growing immigrant popu- She did a library internship at univer- derful tool for new readers who may be lation, including political refugees from sity and proposed the position that she unsure of spelling. many different countries. Government currently holds. She spends forty hours programs assist immigrants in the pro- per week organizing and presenting pro- The children’s OPAC also links to a page cess of becoming integrated, including grams and has no other library duties. where readers can submit reviews, read learning Swedish and gaining job skills. other reviews, and access best lists. This I was impressed by the number of books Nykvist is responsible for library pro- page also contains links to children’s in many different languages I saw on gramming for children ages two literature Web sites, the online version the shelves in the children’s department. through ten. She presents two pro- of Kamratposten (a popular children’s Checking the OPAC, I found 7 children’s grams every day at different locations magazine), and a link to the children’s titles in Amharik, 12 in Farsi, 24 in Arabic, in Solna and Stockholm. Nykvist brings ombudsman, the agency responsible for 88 in Serbian, 429 in English, and 477 in together books, storytelling, art, mov- monitoring the interests and rights of Finnish, compared to 5,878 children’s ies, and nature. Programs are limited by young people.5 titles in Swedish. age group.
Children’s books are selected by a com- mittee of librarians, and purchased from a centralized private book distributor, Bibliotekstjänst AB (BTJ), which provides reviews and catalogs for selectors. They also process and catalog materials and maintain the catalog database used by the public libraries. BTJ’s owners are Svensk Biblioteksförening (the Swedish Library Association) and KF Media. Their mission is “to actively contribute to a process of learning and reading in society, by way of helping the users to achieve experiences and knowledge, regardless of media or form and inde- pendent of time and place.”6 Books are purchased with a rebound, reinforced binding whenever possible.
The youth audio book collection includes 420 titles in several formats. Book and cassette sets—mostly picture books— are shelved together and packaged in a A display at the library. red binder portfolio. The youth collec- tion also includes a selection of Digital Accessible Information System (DAISY) Two full-time youth librarians and two An example of a typical program is Books. These are actually computer pro- part-time assistants staff the children’s Nykvist’s tree walk program. Children grams that allow the user to navigate the area. Librarians also work at the refer- ages five through ten meet her at a local talking book by paragraph, page, chapter, ence desk and provide instruction on park where they study the trees, learn or heading. The user can also slow down researching special topics for class visits about the life of a tree, listen to tree tales, or increase the speed of the speaker when arranged two weeks in advance. and learn how to research more about and repeat and review sentences. This Groups of teachers can “check out a trees at the library. format is especially useful for dyslexic librarian” by appointment to learn about students and children with other visual the latest children’s books, get advice on Nykvist also performs outreach at pre- impairments.7 what books to use with their classes, and schools. The Solna Library received a discuss research strategies for their class grant to visit all of the preschools, give The juvenile video collection includes projects. a storytime, and leave a bag of books three hundred titles in VHS and DVD for- for the center to keep. Some preschools mat. There is a large selection of Swedish The Solna Library also has a unique posi- had no books before this program. The children’s films, as well as Disney and tion not found in most other libraries, a library also presents a weekly film series other American movies. Patrons must Kulturpedagog (library educator). Nina for young children. pay a fee (15 krona, about $2 in the Nykvist is Solna Library’s Kulturpedagog.8 United States) to check out a video for She trained as a preschool teacher and Preschool storytimes at the Solna Library one week. has a strong background in storytelling. are presented by staff from the Solna
46 Winter 2006 • Children and Libraries Winter 2006 • Children and Libraries 47
CAL_4n3_3p.indd 47 11/28/2006 9:55:04 AM Children’s Library Services in Sweden Kulturskola (cultural school), who come bursed for attending meetings at the to the library. The cultural school pro- library during work hours. They meet an vides free classes to preschool children author and a literary educator. to learn Did You Know? in such areas as dancing, and also pro- about the linguistic development their Solna is known for being the home vides after-school art, music, and theater child is experiencing and what books are of Sweden’s national soccer sta- classes for children ages seven to eleven suitable for different age groups. Fathers dium as well as the world’s first who have paid a small fee. leave the library with a selection of books national city park, Ekopark. It was for their child to keep, as well as a book also home to the Swedish film Cultural school staff consult with librar- for themselves.10 industry when Ingmar Bergman ians in selecting appropriate books was making films in the 1940s for story time. On a Thursday morn- I left Solna with a new perspective and through 1960s. ing, I visited the weekly preschool story many new ideas on providing library ser- time, presented by a trained musician vices to children. I would especially like and storyteller who works for the cul- to pursue the idea of involving fathers biblioteket,” www.solna.se/ tural school.9 Storytimes take place on in early literacy, taking storytime out on templates/Page_solna_big Thursdays at 10:15, and children must be location, and making the OPAC more .aspx?id=2151 (accessed Oct. at least three years old to attend. user-friendly to younger children. 26, 2005). 4. The Solna Library Barnkatalogen On this Thursday, there were fifty-seven I was also impressed by how similar my can be seen at opac.solna.se/app/ people (including ten adults). Because job is to that of Nilsson. Although the transform/servlets/transform 85 percent of Swedish women return to social systems we work within are quite .servlets.Transform.children?unit work after staying home with their child different, it was interesting to note how _code=unit1 (accessed Oct. 26, for one year, most of the children came similar our goals, problems, and issues 2005). to the library with their daycare center. are. We both have dealt with issues of low 5. Office of the Children’s pay compared to required education, Ombudsman, “About the Children’s The Solna children’s room has a separate staff cutbacks due to budget changes, Ombudsman,” www.bo.se/Adfinity storytime room. As in all Swedish houses, and the perception of children’s librar- .aspx?pageid=85 (accessed Oct. 26, children remove their shoes when they ians as having a lower status than adult 2005). enter the library. The room was dark- services librarians. 6. Kristin Olofsson, “Bibliotek.se,” ened, with a blue curtain behind the Scandinavian Public Library storyteller. When it was time to start, We also shared a love of children’s litera- Quarterly 35, no. 1 (2002): 11. she asked the children “What do we do ture, a commitment to literacy, and love Trans. by Jonathan Pearman, www when we start the story time?” One child of our jobs. My research trip confirmed .splq.info/issues/vol35_1/05.htm answered, “Light a candle.” my love of being a children’s librarian (accessed Oct. 29, 2005). and the belief that I would not want 7. DAISY Consortium, “Introduction The candle added a nice sense of ritual to do anything else . . . unless it was in to DAISY,” www.daisy.org/about while the darkened room with light on the Sweden. & _us/brochure.asp.(accessed Oct. 31, storyteller seemed to help the children to 2005). focus. She ended the storytime by giving 8. Nina Nykvist, interview with author the candle to a child to blow out. References and Notes at Solna Stadsbibliotek, Sweden, Sept. 5, 2005. 1. Pia Huss and Katta Nordenfalk, 9. Catarina Abelli, Barnkulturcentrum, Library Branches Out “Children’s Culture.” Fact Sheet: Solna Kulturskola, interview with Children’s Culture (Stockholm: author at Solna Stadsbibliotek, As I was researching library services Swedish Institute, 2005), www Sweden, Sept. 14 , 2005. to children in Sweden, I came across .sweden.se/templates/cs/ 10. Tua Stenström, “Keen-to-read another activity supported by the En Bok FactSheet____12021.aspx Dads Get Keen-to-read Kids,” för Alla enterprise in conjunction with ?PageNr=1, (accessed Oct. 26, 2005). Scandinavian Public Library two trade unions. The Read Me a Story, 2. Gunilla Nilsson, interview with Quarterly 37, no. 1 (January 2004): Dad program is offered in ten districts author at Solna Stadsbibliotek, 6. Trans. by Jonathan Pearman. throughout Sweden but not yet in Solna. Sweden, Sept. 5, 2005. Through this program, fathers are reim- 3. Solna Stadsbibliotek, “Aktuellt på
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CAL_4n3_3p.indd 48 11/28/2006 9:55:04 AM REsearch And Development
Graphic Novels for Children Should They Be Considered Literature? ALSC Research and Development Committee
hat would your first response be if a children’s edi- tion of a work by William Shakespeare arrived in W your library . . . as a graphic novel? Would you con- sider it another example of poor reading material or an innova- tive way to expose children to great literature?
Graphic novels are presented in the same style as comics—with art, dialogue, and narrative captions. The term “graphic novel” refers to a format, not a genre, and although the name sug- gests fiction, the content is sometimes nonfiction. Young adult librarians have been talking about graphic novels for years, but what about younger readers? Is reading a graphic novel a true reading experience? Should children’s librarians encourage their use?
What Do We Know?
Graphic novels are growing in popularity, with phenomenal circulation rates.1 Sales are up, and publishers are creating new graphic novel imprints just for children.2 Boys show more interest in comics than girls, but this could change with the introduction of graphic novels targeted at girls.3
The 2006–2007 Association for Library Service to Children (ALSC) Research and Development Committee includes Chair Eliza T. Dresang, Crystal Faris, Gaye Hinchliff, Bowie Kotrla, Ya-Ling Lu, Rita J. Smith, and Barbara Silverman, with the Sardine in Outer Space 2 by Emmanuel Guibert, illustrated by assistance of Ruth Clark. Joann Sfar (FirstSecond Books, 2006).
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CAL_4n3_3p.indd 49 11/28/2006 9:55:06 AM REsearch And Development New Media tiple meanings of words to twenty-three images combine into a cohesive whole, students, ages eight to ten, with language involving not only traditional reading The comic format has been compared and learning disabilities. These students skills, but also a new literacy skill that is with the media format of television and learned multiple-meaning words better “vital in interacting with and succeeding computers. One Washington Post writer when comics were used.13 in our multimedia world.”22 Very young called the graphic novel “a movie in children “read” comic books through the graphics.”4 Stephen Krashen considers Many school librarians and teachers visual cues, and even preschoolers are both graphic novels and movies “new support the use of graphic novels for learning the literacy of comics’ visual media.”5 Allyson Lyga calls today’s stu- English-language learners because the elements.23 dents “Generation Visual,” who find pictures aid in comprehension of words 6 14 plain text boring. This might be true and grammar. Children enjoy comic Enhancement, Not Replacement One educator argues that the graphic novel is Reading a graphic novel is not easy, yet children are drawn to them, including not only an alternative to other visual media, reluctant readers.24 Art Spiegelman con- siders the comic book a “self-teaching but also it is essential for a literate democracy machine.”25 Although “comic book read- because it allows for real diversity by presenting ing is at least as beneficial as other read- ing,” we know graphic novels are not alternative views. here to replace text-based book reading but rather, to enhance it.26 Comic book readers often move on to more seri- for reluctant readers, but for readers books, and struggling readers are more ous reading and have positive attitudes who enjoy new media, evidence shows likely to read them for pleasure than toward reading.27 they read more books and read higher- text-only books.15 quality books.7 In one junior high school, library use Pleasure reading is effective in improving overall dramatically increased, includ- Additionally, a review of several media vocabulary, spelling, and comprehen- ing circulation of noncomic materials, comparison studies led two researchers sion for students learning a second lan- upon the introduction of comics. When to conclude that the comic book may guage.16 Colleen MacDonell, a librarian children choose books they like, they be more similar to television in the way serving international students, agrees read more. When they read more, their it positively affects children’s cognitive that pleasure reading is essential for vocabulary improves, and they compre- growth.8 Yet, they “doubt that the comic second-language proficiency and more hend, write, and spell better. In fact, just book is a less valuable medium than the effective in increasing a student’s vocab- one book capturing the interest of an book.”9 ulary than memorizing words.17 While elementary school child can develop a graphic novels have less text than prose child’s love of reading.28 Because of their books, they do contain more rare words popularity, a graphic novel could likely than conversation.18 Essential Alternative? be the material that motivates a student to want to read. One educator argues that the graphic novel is not only an alternative to other Fun, Not Easy visual media, it is essential for a lit- erate democracy because it allows for Stories share common attributes, includ- What Can We Do about It? real diversity by presenting alternative ing characters, setting, plot, theme, and There are several ways we can support views.10 Another suggests that by teach- others. Studying a novel involves the children in learning to love reading: ing the visual literacy of graphic novels, same methods, whether the book is in 19 we can provide children with critical graphic format or text format. A recent ■ Foster a child’s joy in reading with skills needed to filter manipulative, mul- article by Hollis Rudiger in The Horn support for graphic novels. When a timedia messages.11 Book Magazine shows how analyzing parent or teacher says “That’s not the pictures reveals the story’s attri- real reading,” know how to respond. Introducing comic books into middle butes.20 Robin Brenner, creator of the Several recent books and numerous school classrooms can provide new Web site Sidekicks, said, “Graphic novels journal articles discuss the value and perspectives in engaging ways, particu- don’t work exactly the same way that uses of graphic novels. larly for students who have difficulties traditional novels do, but they can be as with text. One study of disabled stu- demanding, creative, intelligent, com- ■ Let go of the idea that comics and dents in Indiana showed their test scores pelling, and full of story as any book.”21 graphic novels are junk reading. and their motivation to read improved Desmond Tutu said, “Comics fed my after reading graphic novels.12 Another To understand the story, the reader must love for English and my love for read- researcher used comics to teach mul- figure out how both the text and the ing.”29 Comics were certainly not a
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CAL_4n3_3p.indd 50 11/28/2006 9:55:06 AM REsearch And Development poor reading choice for him! Jeff Smith 7. Krashen, “The ‘Decline’ of Reading Class and Chapter I Middle School reminds us that comic books are lit- in America, Poverty and Access to Students.” erature. They are read left to right, Books, and the Use of Comics in 19. Steve Miller, Developing and top to bottom; they have consistent Encouraging Reading.” Promoting Graphic Novel symbols and language, yet the pic- 8. Cees M. Koolstra and Tom H. A. Collections (New York: Neal- tures are arranged in panels much Van Der Voort, “Longitudinal Schuman, 2005). like film shots, and they replace most Effects of Television on Children’s 20. Hollis Margaret Rudiger, “Graphic of the prose.30 The graphic novel is Leisure-Time Reading: A Test of Novels 101: Reading Lessons,” “true reading” and another way we can Three Explanatory Models,” Human The Horn Book Magazine 82, no. 2 encourage a child’s love of reading. & Communication Research 23, no.1 (Mar./Apr. 2006): 126–35. (Sept. 1996): 4–35. 21. Robin Brenner, “Graphic Novels For more examination of the graphic 9. Ibid., 5. 101: FAQ,” The Horn Book Magazine novels for children phenomenon, watch 10. Gretchen E. Schwarz, “Graphic 82, no. 2 (Mar./Apr. 2006): 125. for additional coverage in the Spring 2007 Novels for Multiple Literacies,” Sidekicks is a Web site reviewing issue of Children and Libraries. Journal of Adolescent & Adult graphic novels for kids, www Literacy 46, no. 3 (Nov. 2002): .noflyingnotights.com/sidekicks/ 262–65. index.html (accessed Jul. 13, 2006). References and Notes 11. Keith McPherson, “Graphic 22. Ibid., 125. 1. Allyson A. W. Lyga with Barry Literacy,” Teacher Librarian 33, no. 4 23. Angela Yannicopoulou, “Visual Lyga, Graphic Novels in Your (Apr. 2006): 67–70. Aspects of Written Texts: Media Center: A Definitive Guide 12. SLIS Faculty News, “Using Graphic Preschoolers View Comics,” (Westport, Conn.: Libraries Novels to Improve Reading Skills,” L1–Educational Studies in Language Unlimited, 2004). Mar. 8, 2006, www.slis.indiana and Literature 4, no. 2–3 (Jan. 2004): 2. Cecelia Goodnow, “Comics Go .edu/news/story.php?story 169–81. Legit; Graphic Novels Are Drawing _id=1163#novels (accessed 24. Gretchen E. Schwarz, “Graphic in Kids, with Positive Results in Jul. 13, 2006). Books for Diverse Needs: Engaging More Ways than One,” Seattle Post- 13. Robin Carin Stall, “Using Comics to Reluctant and Curious Readers,” Intelligencer, Oct. 3, 2005, Section Teach Multiple Meaning of Words,” ALAN Review 30, no. 1 (Fall 2002): E1, Final edition. Ph.D. diss. (Univ. of Nevada, Las 54–57. 3. Joanne Ujiie and Stephen D. Vegas, 2000). 25. Calvin Reid, “Art Spiegelman and Krashen, “Comic Book Reading, 14. Philip Charles Crawford, “A Novel Françoise Mouly: The Literature of Reading Enjoyment, and Pleasure Approach: Using Graphic Novels to Comics,” Publishers Weekly 247, no. Reading among Middle Class and Attract Reluctant Readers,” Library 2 (Oct. 16, 2000): 45. Chapter I Middle School Students,” Media Connection 22, no. 5 (Feb. 26. Krashen, The Power of Reading, 101. Reading Improvement 33 (Spring 2004): 26–28. 27. Ujiie and Krashen, “Comic Book 1996): 51–54. 15. Allyson A. W. Lyga, “Graphic Novels Reading, Reading Enjoyment, and 4. Stephen Hunter, “Every Picture for (Really) Young Readers,” School Pleasure Reading among Middle Impels the Story,” Washington Post, Library Journal 52, no. 3 (Mar. Class and Chapter I Middle School July 21, 2002, page G1, final edition. 2006): 56–61. Students.” 5. Stephen Krashen, “The ‘Decline’ of 16. Stephen D. Krashen, The Power of 28. Krashen, The Power of Reading. Reading in America, Poverty and Reading: Insights from the Research, 29. Krashen, “The ‘Decline’ of Reading Access to Books, and the Use of 2nd ed. (Westport, Conn.: Libraries in America, Poverty and Access to Comics in Encouraging Reading,” Unlimited, 2004). Books, and the Use of Comics in Teachers College Record 107, no. 3 17. Colleen MacDonell, “Making the Encouraging Reading.” (Feb. 2005): 1, www.sdkrashen.com/ Case for Pleasure Reading,” Teacher 30. Michele Gorman, Getting Graphic! articles/decline_of_reading/01.html Librarian 31, no. 4 (Apr. 2004): Using Graphic Novels to Promote (accessed Jul. 13, 2006). 30–32. Literacy with Preteens and Teens 6. Lyga, Graphic Novels in Your Media 18. Ujiie and Krashen, “Comic Book (Worthington, Ohio: Linworth Center, 8. Reading, Reading Enjoyment, and Publ., 2003). Pleasure Reading among Middle
Index to Advertisers
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CAL_4n3_3p.indd 51 11/28/2006 9:55:06 AM New Books
Gebel, Doris, ed. Crossing Boundaries with Children’s Books Knowles, Liz and Martha Smith. Character Builders: Books and Activities for Character Education Marks, Diana F. Children’s Book Award Handbook McElmeel, Sharron L. Children’s Authors and Illustrators Too Good to Miss: Biographical Sketches and Bibliographies Thomas, Rebecca L., and Catherine Barr. Popular Series Fiction for Middle School and Teen Readers Treviño, R. Z, ed. The Pura Belpré Awards: Celebrating Latino Authors and Illustrators
The books reviewed in this issue are orga- Stephen Roxburgh, Jeffrey Garrett, and Making the Match nized around such topics as increasing Simon Broughton. The book is organized Readers and Books global awareness, developing character by world regions and subdivided by through education, finding the “best of countries. Nearly seven hundred books Junko Yokota and Kathryn Miller the best” that win awards, and learning from seventy-three different countries about authors and illustrators who create are annotated, all published between inding just the right book for each the wonderful books we recommend. But 2000 and 2004. Most of the annotated patron is both one of the biggest we must also keep in mind that popular- books originate outside the United Fchallenges and greatest joys of ity matters when it comes to meeting the States, but a few are selected from U.S. being a librarian. The smile on a child’s needs of series readers. A new edition of publications as well. face while asking, “Where did you find a read-aloud reference classic reminds us this book?” lets us know we are escort- that there are specific criteria for maxi- The third edition includes Author ing that child toward a lifetime of read- mizing the too-short time available for Spotlights, featuring authors with nota- ing, with he or she unable to imagine a engaging children in rich read-aloud ble accomplishments. Four translator life without the joys of reading as a experiences. As the popular saying goes, features voice the issues translators face central part. “Too many books, not enough time . . .” as they help books transcend from one These books will help point all of us to culture to another. Related information Yet what we do is not merely responding making better selections for our children. such as organizations, institutions, and to the requests of our patrons, particu- Web sites are noted at the point of refer- larly when the patrons are young. There Gebel, Doris, ed. Crossing Boundaries ence. The third section of the book lists is a responsibility in matching readers with Children’s Books. Lanham, Md.: awards, organizations, publishers, and to the right materials, which means ask- Scarecrow Pr., 2006. 448 pp. $40 resources. ing the right questions, eliciting more (ISBN 0-8108-5203-9). specific information, and refining the Knowles, Liz and Martha Smith. search. As professionals who work with This book, third in a series sponsored Character Builders: Books and children, there is the added responsibil- by the United States Board on Books for Activities for Character Education. ity of nurturing the reading of our young Young People, is an updated companion Westport, Conn.: Libraries Un- patrons. In doing so, we share our own volume to Carl Tomlinson’s Children’s limited, 2006. 156 pp. $40. (ISBN 1- values and beliefs about what we hope Books from Other Countries (Scarecrow 59158-370-5). children will read. Pr., 1998) and Susan Stan’s The World Through Children’s Books (Scarecrow What the world needs now is more peo- Junko Yokota is a professor of Pr., 2002). Similar to its predecessors, ple with good character. The authors education at National-Louis University. Crossing Boundaries’ goal is to introduce make the case for character education Kathryn Miller is a librarian at National- books that focus on the world’s countries by listing professional readings that Louis University. Both are interested in and their cultures. informed and developed their thinking issues related to the roles of school and then suggesting guidelines for how librarians in how to best match readers The book opens with three thought- teachers (and librarians) might want to with books. provoking essays on reading, translating, incorporate character building into lit- and publishing international books by erature circles or book clubs.
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CAL_4n3_3p.indd 52 11/28/2006 9:55:07 AM New Books The authors explain how they ultimately and classroom use. It includes lists of with biographies that include hobbies, chose twelve virtues: empathy, respect, easy-to-do activities for each award and a picture of the author, a personalized courage, humor, responsibility, persever- classroom handouts that can be used letter from each, a list of book con- ance, loyalty, honesty, cooperation, toler- immediately. The handouts are attrac- nections that tie the author’s life (and ance, citizenship, and forgiveness. For tively illustrated by Susanne Frey. aims to tie the reader’s interest) into the each of these virtues, the authors list author’s books, and a list related virtues, a definition, what the vir- This handbook is well orga- of the author or illustra- tue looks like in action, people who dem- nized and presents a fresh tor’s books. onstrate that virtue, organizations, related approach for teachers and topics for further exploration, discus- librarians to incorporate Organized alphabetically sion questions, and annotated booklists. award-winning books into by last name, McElmeel Salient quotes are sprinkled throughout their curriculum. Just as identified authors and each chapter. The book is divided primar- learning about an author illustrators for this ily into age levels, with a separate section leads a reader to want to Libraries Unlimited on picture books and another on nonfic- read more of his or her Popular Authors Series tion; it also includes Web resources. work, learning about an book as “up-and-coming award is sure to increase the authors and illustrators— Although many of the discussion reader’s interest in reading the authors and illustra- questions are worded for a one-word award-winning and honor tors that are too good to response, they can be followed up with books. The overall goal and miss” (McElmeel, xiii). probing questions that engage readers result of this handbook is to They are the award-win- to be more explicit and complete in their make readers want to read. ners not only of today, but also the stars responses. of tomorrow. If you are using one of McElmeel, Sharron L. Children’s McElmeel’s authors in a learning unit or Marks, Diana F. Children’s Book Award Authors and Illustrators Too Good are searching for a great author to intro- Handbook. Illustrations by Susanne to Miss: Biographical Sketches and duce in your classroom or library, this is Frey. Westport, Conn.: Libraries Bibliographies. Popular Authors a great book. Unlimited, 2006. 424 pp. $40. (ISBN Series. Westport, Conn.: Libraries 1-59158-304-7) Unlimited, 2004. 264 pp. $48. (ISBN: Thomas, Rebecca L., and Catherine Barr. 1-59158-027-7) Popular Series Fiction for Middle Newbery, Caldecott, and Keats are rec- School and Teen Readers. Westport, ognizable award “brand” names to many Have you noticed how kids follow a Conn.: Libraries Unlimited, 2005. library users and readers. But who was favorite rock band? They know the words 528 pp. $50. (ISBN 1-59158-202-4). Newbery, and why is a of many songs, study the significant award named band’s music for mean- Teens and ’tweens often seem to speak after him? ing, and anxiously await a language of their own. The authors the release of the next created this guide to help young Diana Marks, a teacher album. Readers of chil- adult librarians and teachers navigate of gifted elementary stu- dren’s literature can, and what’s available in series reading for dents in Bucks County, often, follow authors and middle school and teen readers. Pennsylvania, for more illustrators in the same than twenty-five years, way. This guide will help librarians identify answers the “who” ques- new authors, titles, and trends. The tion in the Children’s Book McElmeel, winner of authors scoured professional litera- Award Handbook. Not only the State of Iowa’s 1987 ture, publisher catalogs, and Web sites does Marks answer “who,” Reading Teacher of the for new series and additional titles in but also “why” an award Year Award, uses the already well-known series. Each series was created in this person’s honor. philosophy that when young read- entry contains bibliographic informa- ers learn more about authors and their tion on the series, suggested grade levels, Marks includes a chapter in her hand- lives, the readers develop a loyalty to an annotation, and whether Accelerated book for twenty-one of the best-known those authors and their books. This Reader resources are available. children’s literature awards and their loyalty allows the young reader to not namesakes. Each chapter includes an only develop a love of reading, but also The book contains both an author and a overview of the award, a biography of delve into deeper levels of reading com- title index, which makes for swift access the award’s namesake, the history and prehension. to series information at a young adult ref- criteria for the award, and of course, a erence desk. This guide will help match list of books that have earned the award. In Children’s Authors and Illustrators Too what’s available in young adult series This informational tool also works as a Good to Miss, McElmeel brings a select reading with what young adult readers direct resource for teachers, librarians, forty-five authors and illustrators to life want to read and will serve as a col-
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CAL_4n3_3p.indd 53 11/28/2006 9:55:09 AM New Books lection guide for librarians and teach- New Edition Now Available ers looking Freeman, Judy. Books Kids Will Sit Still for 3: A Read-Aloud Guide. Westport, to purchase Conn: Libraries Unlimited, 2006. 936 pp. $70. (ISBN 1-59158-164-8). This new books or pre- edition includes seventeen hundred books published since 1995 and many pare a path- new sections. finder.
This solid resource can ebrates the many wonderful books hon- Part II is very practical; it offers book- be used for ored since the award’s inception in 1996. talk texts followed by suggested activi- several years Named in honor of New York Public ties for each book. These activities range as a base of Library’s Puerto Rican–born children’s from artistic to musical, to other areas of fiction series reading for young adults and librarian, this award honors her life work curriculum. The suggested activities are the authors conclude the guide with a list of helping highlight important Latino- appropriate in various contexts—most of developing series, which, of course, themed books and helping children find can be used in classrooms, school librar- can be researched further using online their way to them. ies, public libraries, as well as virtually research skills. any place where children gather. Web The book begins with a brief biography resources are also listed at the end of Treviño, R. Z., ed. The Pura Belpré of Belpré, describing the award’s devel- the book. A twelve-minute DVD is an Awards: Celebrating Latino Authors opment and giving an overview of the added bonus. It also includes interviews and Illustrators. Chicago: ALA, 2006. logistics of the award’s administration. with the award’s founders and winners. 96pp. $35. (ISBN 0-8389-3562-1). Part I has year-by-year annotated listings Photographs from Pura Belpré’s life of all award winners by author and illus- and career make the name a reality for Coinciding with the tenth anniversary trator categories, followed by biographi- viewers. & of the Pura Belpré awards, this book cel- cal sketches of winners.
INFORMED READING, continued from page 34
3. ALA, “Theodor Seuss Geisel Award.” resource for further thinking about Books from Noah’s Ark to The Beast www.ala.org/Template.cfm?Section the ideas raised in this piece. Within (New York: MacMillan, =bookmediaawards, under Geisel 6. As quoted in Robert McKee, Story: 1976), 1. (accessed July 31, 2006). Substance, Structure, Style, and the 10. Unpublished notes from a private 4. Jane Doonan, Looking at Pictures Principles of Screenwriting (New conversation with illustrator Marla in Picture Books (Gloucestershire, York: HarperCollins, 1997), 133. Frazee, February 2005. U.K.: Thimble Pr., 1993), 183. 7. Chapter 6 of Horning’s From Cover 11. Visit www.vue.org for more 5. These observations are grounded to Cover examines the beginning information about this innovative in my own practice of using picture reader book. approach to viewing and learning books with young children and 8. In his essay “The Shape of Music,” through art. my experience reviewing many Sendak writes, “To quicken means, 12. Unpublished notes from a different kinds of children’s books for the illustrator, the task of first participant’s comment during a for various journals. Betty Carter’s comprehending the nature of November 2005 workshop led by article “Privacy Please,” The Horn the text and then of giving life to Instructor of Children’s Literature Book Magazine 81, no. 5 (Sept./Oct. that comprehension in his own Programs Megan Lambert, “From 2005): 525–34, adapted from her medium, the picture,” included in Cover to Cover: The Whole Book 2003 lecture “Form, Function, and his collection of essays, Caldecott Approach to Exploring and Using Formats in Children’s Literature,” and Company: Notes on Books and the Picture Book As an Art Form” has also provided fodder for Pictures (New York: Farrar, 1988), 3. held at the Eric Carle Museum of my thinking and is an excellent 9. Barbara Bader, American Picture Picture Book Art, Amherst, Mass.
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CAL_4n3_3p.indd 54 11/28/2006 9:55:10 AM ALSC News
of UW-Madison’s Cooperative Children’s 2007 Preconference to Focus on Alumni Association Book Center. Horning is the author of Service to the Underserved Honors Horning the highly regarded text, From Cover to Cover: Evaluating and Reviewing The ALSC/Association of Specialized To mark the one Children’s Books and chaired the 1995 and Cooperative Library Agencies Joint hundredth anni- Newbery Award Selection committee. Preconference, “The Underserved 20 versary of the She has mentored numerous librarians Percent: Children, Teens, and Adults school of library who have gone on to work in public, with Disabilities,” will be held on Friday, and information academic, school, and special libraries June 22, 2007, during Annual Conference studies (SLIS) at across Wisconsin. Horning was honored in Washington, D.C. Harriet McBryde the University at an alumni association luncheon held Johnson, disabilities rights activist, law- of Wisconsin– on September 20. yer, and author of Too Late to Die Young Madison, the SLIS and Accidents of Nature, is the featured alumni association bestowed Centennial keynote speaker. A resource fair and Alumnus of the Year awards upon eight Nací para Leer panel discussions on community aware- distinguished graduates who have made ness, staff training, and more will help a profound impact on the library com- An updated version of the Spanish-lan- arm attendees with the information they munity. Among the honorees was ALSC guage Born to Read: How to Raise a need to better serve the underserved in President Kathleen T. Horning, a 1982 Reader brochure is available. Nací para their community. SLIS graduate and the current director Leer: Cómo Criar un Lector features a rec-
VOTED, to add the following to the description of the Board Major Actions Maureen Hayes Award Committee:
The following actions were voted on by the board on the Function statement: To select annually the recipient of the ALSCBoard electronic discussion list. The month and year of Maureen Hayes Award, given to an ALSC member library to the vote is in parentheses after each action. fund a visit from an author and/or illustrator who will speak to children who have never before had the opportunity to VOTED, to cosponsor in name only the Public Library hear a nationally known author or illustrator. To prepare Assocation (PLA)/Audio Publishers Association (APA) Tea and disseminate to the membership information about in Washington, D.C., June 23, 2007, and to provide input on the award and about the recipient. Membership: Chair + 4 the speaker list for this event. For the record: Several board Term: Spring, 2 year (August 2006) members expressed concern that the event is ticketed with a fee to attend. Additionally, some board members have VOTED, to change the Maureen Hayes Award ad hoc commit- asked for an exploration into whether ALSC needs a policy tee to a standing committee effective at the end of Midwinter regarding cosponsorship (in name only) of programs for Meeting 2008. (August 2006) which the partner organization is charging a registration fee. (August 2006) VOTED, to cosponsor with PLA “ALPH: The Digital Book as a Social Stage,” at Annual Conference 2007. (July 2006)
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CAL_4n3_3p.indd 55 11/28/2006 9:55:10 AM ALSC News ommended book list of titles available Mary Fellows, Upper Hudson Library in Spanish, current early literacy infor- 2007 Slate of Candidates System, Albany, N.Y. mation, and tips for parents on sharing Vice-President/President-Elect books with babies. The brochure is avail- Pat Scales, Greenville, S.C. Caldecott Chair, 2009 able in packets of 50 for $22. The ISBN Randall Enos, Ramapo Catskill Library Nell Colburn, Multnomah County is 0-8389-8334-0. To order, contact ALA System, Middletown, N.Y. Library, Portland, Ore. Order Fulfillment at 1-866-746-7252. Ronald Jobe, Dept. of Language Board of Directors Education, Univ. of British Columbia, Born to Read is an ALSC program design- JoAnn Jonas, Chula Vista (Calif.) Public Vancouver ed to help our members encourage Library parents to read to their baby everyday, Tim Wadham, Maricopa County Library Newbery Chair, 2009 beginning at birth. It also is intended to District, Phoenix, Ariz. Rose Treviño, Houston Public Library promote greater public awareness of par- Annisha Jeffries, Cleveland Public Leslie Molnar, Cuyahoga County Public enting resources available in libraries. Library Library, Parma, Ohio
Bechtel Fellowship Committee* 2007 ALSC Midwinter Schedule Sunday, January 21, 1:30–3:30 p.m. (as of November 3, 2006) Belpré Award Committee (2008) Saturday, January 20, 1:30–5 p.m. AASL/ALSC/YALSA Jt. Exec. Committee Sunday, January 21, 1:30–5 p.m. Thursday, January 18, 4:30–6 p.m.
Board of Directors AASL/ALSC/YALSA Jt. Intellectual Freedom Committee Saturday, January 20, 2–5:30 p.m. Sunday, January 21, 4–6 p.m. Monday, January 22, 2–5:30 p.m. Tuesday, January 23, 2–5:30 p.m. AASL/ALSC/YALSA Jt. Membership Reception Monday, January 22, 6–7:30 p.m. Budget Committee Sunday, January 21, 4–6 p.m. AASL/ALSC/YALSA Jt. Youth Council Caucus Tuesday, January 23, 10:30 a.m.–12:30 p.m. Monday, January 22, 7–10 a.m.
Caldecott Award Committee (2007)* ALA Youth Media Awards Press Conference Friday, January 19, 8 a.m.–12:30 p.m. and 8–10 p.m. Monday, January 22, 8–9 a.m. Saturday, January 20, 8 a.m.–12:30 p.m. and 8–10 p.m. Sunday, January 21, 8 a.m.–12:30 p.m. All Committee Meeting Sunday, January 21, 8–11:30 a.m. Caldecott Award Committee (2008) Saturday, January 20, 4–6 p.m. All Discussion Group Meeting Sunday, January 21, 4–6 p.m. Carnegie Award Committee* Saturday, January 20, 9:30 a.m.–12:30 p.m. and 2–5:30 p.m. ALSC/ASCLA Jt. Preconference Planning Committee Sunday, January 21, 9 a.m.–12 p.m. Monday, January 22, 1:30–3:30 p.m.
Distinguished Service Award Committee* ALSC/BWI Summer Reading Program Grant Committee* Saturday, January 20, 10:30 a.m.–3:30 p.m. Saturday, January 20, 1:30–3:30 p.m. Sunday, January 21, 8–11:30 a.m. Division Leadership Saturday, January 20, 9 a.m.–12:30 p.m. Arbuthnot Honor Lecture (2008)* Saturday, January 20, 1:30–3:30 p.m. Executive Committee Thursday, January 18, 1:30–3:30 p.m. Batchelder Award Committee (2007)* Friday, January 19, 2–5:30 p.m. Geisel Award Committee (2007)* Saturday, January 20, 2–6 p.m. and 8–10 p.m. Friday, January 19, 2–4 p.m. Sunday, January 21, 8–10:30 a.m. Saturday, January 20, 9–11 a.m.; 2–6 p.m.; and 8–10 p.m. Sunday, January 21, 9 a.m.–12 p.m. Batchelder Award Committee (2008) Sunday, January 21, 1:30–3:30 p.m.
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CAL_4n3_3p.indd 56 11/28/2006 9:55:10 AM ALSC News Sibert Chair, 2009 Lisa Von Drasek, Bank Street College of Patricia Foster, Riverton (Utah) Public Education, New York Library Carol Phillips, East Brunswick (N.J.) Katie Baxter, Noble and Greenough Yolanda Valentin, Birmingham (Ala.) Public Library School, Dedham, Mass. Public Library Cyndi Giorgis, Univ. of Nevada, Las Edward Spicer, Allegan (Mich.) Public Nancy Johnson, Western Washington Vegas Library Univ., Bellingham, Wash. Cecily Pilzer, Georgetown Day School, Georgene DeFilippo, Carnegie Library of Caldecott Committee, 2009 Washington, D.C. Pittsburgh Mary Schrader, Oakland (Calif.) Public Terrence Young, West Jefferson High Library School, Harvey, La. Newbery Committee, 2009 Rachel Payne, Brooklyn (N.Y.) Public Jamie Campbell Naidoo, Davis College, Susan Stan, Central Michigan Univ. Library Univ. of South Carolina, Columbia, S.C. Library, Mount Pleasant Susan Erickson, San Bernardino County Stephanie Bange, Dayton (Ohio) Metro Carolyn Angus, George Stone Center (Calif.) Library Library for Children’s Books, Claremont (Calif.) Graduate Univ.
Geisel Award Committee (2008) Organization & Bylaws Committee Saturday, January 20, 4–5:30 p.m. Saturday, January 20, 1:30–3:30 p.m.
Great Web Sites for Kids Committee Past Presidents’ Breakfast Sunday, January 21, 8 a.m.–12:30 p.m. Saturday, January 20, 7:30–9 a.m.
Hayes Award Committee* Penguin Young Readers Group Award Committee* Sunday, January 21, 8–10 a.m. Sunday, January 21, 8–10 a.m.
Newbery Award Committee (2007)* Priority Group Consultants Meeting Friday, January 19, 8 a.m.–12:30 p.m. and 8–10 p.m. Saturday, January 20, 8–9 a.m. Saturday, January 20, 8 a.m.–12:30 p.m. and 8–10 p.m. Sunday, January 21, 8 a.m.–12:30 p.m. Sagebrush Education Resources Literature Program Grant Committee* Newbery Award Committee (2008) Saturday, January 20, 1:30–4:30 p.m. Saturday, January 20, 1:30–3:30 p.m. Sunday, January 21, 1:30–4:30 p.m.
Nominating Committee* Sibert Award Committee (2007)* Sunday, January 21, 8 a.m.–12:30 p.m. Friday, January 19, 8 a.m.–12 p.m.; 1–6 p.m.; and 8–10 p.m. Saturday, January 20, 8 a.m.–12 p.m.; 1–6 p.m.; Notable Children’s Books Committee and 8 p.m.–midnight Friday, January 19, 2–5:30 p.m. Sunday, January 21, 8 a.m.–12 p.m. Saturday, January 20, 2–5:30 p.m. Sunday, January 21, 2–5:30 p.m. Sibert Award Committee (2008) Monday, January 22, 2–5:30 p.m. Sunday, January 21, 1:30–3:30 p.m. Tuesday, January 23, 8 a.m.–12:30 p.m. Storytelling Discussion Group Notable Children’s Recordings Committee Monday, January 22, 8–10 p.m. Friday, January 19, 2–5:30 p.m. and 8–10 p.m. Saturday, January 20, 8 a.m.–12:30 p.m. and 1:30–3:30 p.m. Wilder Award Committee* Sunday, January 21, 9 a.m.–5:30 p.m. Friday, January 19, 1:30–5:30 p.m. Monday, January 22, 10:30 a.m.–1:30 p.m. Saturday, January 20, 8:30 a.m.–12 p.m. and 1:30–3:30 p.m. Sunday, January 21, 8:30 a.m.–12 p.m. Notable Children’s Videos Committee Friday, January 19, 2–5:30 p.m. and 7–10 p.m. For an up-to-date list of ALSC meetings, visit the ALSC Saturday, January 20, 9 a.m.–12:30 p.m. and 2–6:30 p.m. Web site at www.ala.org/alsc and click on “Events Sunday, January 21, 8:30 a.m.–5 p.m. & Conferences.” Always consult your Conference Program Book and Supplement onsite for any last minute Notable Computer Software for Children Committee changes. Saturday, January 20, 1–5 p.m. Sunday, January 21, 9 a.m.–5:30 p.m. *Denotes closed meeting. Monday, January 22, 10:30 a.m.–1:30 p.m.
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CAL_4n3_3p.indd 57 11/28/2006 9:55:11 AM ALSC News Michael Sullivan, Weeks Public Library, and families, incorporates music from Greenland, N.H. Harley Records Campaign PSA Harley’s song “@ your library.” Libraries Rose Brock, Coppell (Tex.) Middle School are encouraged to download the free PSA West Singer-storyteller Bill Harley has and share it with local radio stations and Richie Partington, Sebastopol, Calif. recorded a media-ready Public Service schools for public address announce- Michael O. Tunnell, Brigham Young Announcement (PSA) for ALSC’s Kids! @ ments. The PSA and full-length song are Univ., Provo, Utah your library® campaign. The PSA, which at www.ala.org/kids, click on “Campaign Janice Passo, Las Vegas–Clark County promotes use of the library by children Theme Song.” & (Nev.) Library Ellen Ruffin, de Grummond Children’s Literature Collection, McCain Library and Archives, Univ. of Southern Mississippi, Hattiesburg Susannah Richards, Storrs, Conn. Caitlin Dixon, Schoenbar Junior High School Library, Ketchikan, Alaska Nancee Dahms-Stinson, Missouri State Library, Jefferson City Julie Tomlianovich, South Central Kansas Library System, South Hutchinson Nick Glass, TeachingBooks.net, Madison, Wis. Sharon Senser, Oakland (Calif.) Public Library Sibert Committee, 2009 Jamie Watson, Harford County Public Library, Belcamp, Md. John Stewig, Carthage College, Kenosha, Wis. Sylvia Vardell, Texas Woman’s Univ., Denton Steve Zampino, Ferguson Library, Stamford, Conn. Terri Schmitz, The Children’s Book Shop, Brookline, Mass. Debra Gold, Cuyahoga County Public Library, Parma Heights, Ohio Allison Angell, Benicia (Calif.) Public Library Julie Bartel, Judge Memorial Catholic High School, Salt Lake City, Utah Books for the Holidays
ALSC’s Quicklists Consulting Committee recently compiled a list of new books recommended for holiday gift giving, as well as for reading about holidays them- selves. The guide features titles suitable for readers from preschool age through eighth grade and includes picture books, novels, fiction, and nonfiction. The full list of titles with brief annotations is at www.ala.org/alsc, click on “Resources” Booklist Online Sales Department and “Book Lists.” Mary Frances Wilkens American Library Association (312) 280-5715 50 East Huron St. www.BooklistOnline.com [email protected] Chicago, IL 60611 58 Winter 2006 • Children and Libraries
CAL_4n3_3p.indd 58 11/28/2006 9:55:24 AM 0,! "/, PCINDD 0- Children and Libraries Library Can Address These Special Fundamentals of Children’s Services Needs, W06:19–27 (Sullivan), Sp06:48 Index to Volume 4 AUTHOR GUIDELINES Going Places with Youth Outreach Get Your Name in Print, Sp06:63 (Pfeil), Sp06:48 Prepared by Janet Russell Popular Series Fiction for Middle B School and Teen Readers (Thomas Sp06=No. 1 Spring 2006 Balderrama, Sandra Ríos and Barr), W06:53–54 Su06=No. 2 Summer/Fall 2006 ¡Celebración! The Tenth Anniversary The Pura Belpré Awards (Treviño), W06:54 W06=No. 3 Winter 2006 Celebration of the Pura Belpré Award, W06:35–37 A Taste of Latino Cultures (Kunzel), BATCHELDER AWARD Su06:56–57 A 2006 Batchelder Award, Sp06:52 Teaching Library Media Skills in AFRICA Batchelder Award Acceptance Grades K-6 (Garner), Sp06:47 Books as Passports: How Books Can Speech (Morishima), W06:4 BRODIE, CAROLYN S. Aid Global Understanding, Sp06:33–36 BECHTEL FELLOWSHIP Brodie Honored at KSU, Sp06:57 ALA ANNUAL CONFERENCE, NEW Two Librarians Receive Bechtel, BROWN (JAMES V.) LIBRARY ORLEANS, 2006 Sp06:56–57 (Williamsport, Pa.) Thoughts on New Orleans from Becnel, Kim What Libraries Are Doing Annual Conference Attendees, Picture Books and Pancakes: [Grandparents Raising W06:28–30 Breakfast Book Club Gets Tweens into Grandchildren], Sp06:14 ALSC BOARD OF DIRECTORS AND Reading, Sp06:26–27 OFFICERS BELPRÉ AWARD C Board Major Actions: ALA Annual Belpré Author Award Acceptance Cairo, Chris. see Lehnen, Robert Conference 2006, Su06:60 Speech (Canales), Su06:16–17 CALDECOTT AWARD Board Major Actions: Electronic, Belpré Illustrator Award Acceptance Caldecott Medal Acceptance W06:55 Speech (Colón), Su06:18 Speech (Raschka) Su06:12–15, 17 Board Major Actions: Electronic and ¡Celebración! The Tenth Anniversary Don’t Judge the Art by Its Medium: Midwinter, Sp06:49–50 Celebration of the Pura Belpré Award, Should Computer-Generated Roster, Su06:63 W06:35–37 Illustrations Be Caldecott-Worthy?, ALSC/BWI SUMMER READING Raúl Colón, Viola Canales Win Belpré, Sp06:28–29; letters Su06:3, W06:3 PROGRAM GRANT, 2006, Sp06:57 Sp06:51 Perkins, Raschka Win Newbery, ALSC DISTINGUISHED SERVICE AWARD BIBLIOGRAPHIES Caldecott, Sp06:50–51 Kayden Receives DSA, Sp06:55–56 Books as Passports: How Books Can Canales, Viola ALSC International Relations Aid Global Understanding, Sp06:33–38 [about] Raúl Colón, Viola Canales Committee A Place for Poetry: Celebrating the Win Belpré, Sp06:51 Books as Passports: How Books Can Library in Poetry, Su06:35–41 Belpré Author Award Acceptance Aid Global Understanding, Sp06:33–38 Birdsall, Annette Speech, Su06:16–17 ALSC News, Sp06:49–60, Su06:59–63, Is There a Reader in the House? CANYON, CHRISTOPHER AND W06:55–58 Raising a Reading Family, Su06:42–43 JEANETTE ALSC Research and Development BOOK REVIEWS, Sp06:47–48, Su06:56– The Grand Canyons: Artists Committee 57, Su06:62, W06:52–54 Christopher and Jeanette Canyon Graphic Novels for Children: Should ¡Bienvenidos! ¡Welcome! (Byrd), Share Their Inspiration, Su06:44–47 They Be Considered Literature?, Su06:56 CARNEGIE MEDAL, 2006, Sp06:52 W06:49–51 Brain Friendly School Libraries (Sykes), Charniak, Adrian Mary Journals for Professional Sp06:48 Chaos Turns to Activism Development, Su06:54–55 A Broken Flute (Seale and Slapin) (Grandparents Raising See the Movie, Read the Book: Do Su06:57, 62 Grandchildren) Sp06:19–20 Book-based Films Increase Reading?, Character Builders (Knowles and CHOCOLATE Sp06:45–46 Smith), W06:52–53 Chocolate and Children: What AMERICAS Children’s Authors and Illustrators Too Do We Know? What Can We Do?, Books as Passports: How Books Can Good to Miss (McElmeel), W06:53 W05:45–46; letters Sp06:3,11 Aid Global Understanding, Sp06:36–38 Children’s Book Award Handbook COLLECTION DEVELOPMENT ANDERSON, MARY JANE (Marks), W06:53 Children’s Magazines and Collection Anderson Remembered, Su06:62 Crossing Boundaries with Children’s Development W06:39, 44 ARBUTHNOT HONOR LECTURE Books (Gebel), W06:52 Collen, Lauren Henkes to Deliver 2007 Arbuthnot Cultural Programming for Libraries The Digital and Traditional Storytimes Lecture, Sp06:52 (Robertson), Su06:57 Research Project: Using Digitized May Hill Arbuthnot Honor Lecture Developing an Information LIteracy Picture Books for Preschool Group (Freedman), Su06:21–28 Program K-12 (Langhorne), Sp06: Storytimes, W06:8–18 ARTHUR A. LEVINE BOOKS/ 47–48 Colón, Raúl SCHOLASTIC Drawing Stories from Around the [about] Raúl Colón, Viola Canales 2006 Batchelder Award, Sp06:52 World (Pellowski), Su06:57 Win Belpré, Sp06:51 ASPERGER’S SYNDROME Elementary Battle of the Books (Cook Belpré Illustrator Award Acceptance Asperger’s Syndrome: How the Public et al.), Sp06:47 Speech, Su06:18
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CAL_4n3_3p.indd 60 11/28/2006 9:55:28 AM Index to Volume 4 CONTINUING EDUCATION The Growing Task Facing a New L Journals for Professional Generation, Sp06:12–14; letters W06:3 Lai, Elizabeth Development, Su06:54–55 Groups for Grandparents Raising The Buddy System: Teens and COSHOCTON (Ohio) PUBLIC LIBRARY Grandchildren, Sp06:17–18 Children Share the Joy of Reading, What Libraries Are Doing Taking It All In, Sp06:15–16 Sp06:21–24 [Grandparents Raising GRAPHIC NOVELS Lambert, Megan Grandchildren], Sp06:14 Graphic Novels for Children: Should InFORMed Reading: Evaluating and They Be Considered Literature?, Using Picture Books, Beginning Reader D W06:49–51 Books, and Illustrated Books, DELAWARE COUNTY (Pa.) LIBRARY W06:31–34, 54 SYSTEM H Lane, Heather What Libraries Are Doing Halvorson, Holly Don’t Judge the Art by Its Medium: [Grandparents Raising Asperger’s Syndrome: How the Public Should Computer-Generated Grandchildren], Sp06:14 Library Can Address These Special Illustrations Be Caldecott-Worthy?, Diamant-Cohen, Betsy Needs, W06:19–27 Sp06:28–29; letters Su06:3, W06:3 Life Is a Fairy Tale: Festival Snares Six HARLEY, BILL Last Word (column) Thousand, Sp06:41 Singing the Praises of Libraries, Sp06:5 Even on Floor, Librarian Influences DIGITIZED BOOKS HAYES (MAUREEN) AWARD Readers, Sp06:64 The Digital and Traditional Storytimes First Hayes Winner Announced, Sp06:56 Management 101: Lessons from Hazel Research Project: Using Digitized HENKES, KEVIN Rabbit, Su06:64 Picture Books for Preschool Group Henkes to Deliver 2007 Arbuthnot Oh, the Joy of Reference Questions!, Storytimes, W06:8–18 Lecture, Sp06:52 W06:64 DISABILITIES Horning, Kathleen T. Lehnen, Robert and Chris Cairo Asperger’s Syndrome: How the Public [about] Alumni Association Honors Serving Summer Reading Needs, Library Can Address These Special Horning, W06:55 Su06:29–34 Needs, W06:19–27 Incoming President’s Message, LIBRARIANSHIP Su06:6, 11 Change and Continuity in Professional Community: The PUBYAC E Electronic Discussion List in Historical ELECTRONIC DISCUSSION LISTS I Context, Sp06:6–10 Change and Continuity in ILLNESS Even on Floor, Librarian Influences LIBRARY HISTORY Professional Community: The PUBYAC Patron Saint of Libraries? Historic Readers (Last Word), Sp06:64 Electronic Discussion List in Historical Wisconsin Librarian Made Waves, ILLUSTRATED BOOKS Context, Sp06:6–10 Sp06:30–31 ENOCH PRATT FREE LIBRARY Don’t Judge the Art by Its Medium: (Baltimore, Md.) Should Computer-Generated Life Is a Fairy Tale: Festival Snares Six Illustrations Be Caldecott-Worthy?, M Thousand, Sp06:41 Sp06:28–29; letters Su06:3, W06:3 Madden, Lee InFORMed Reading: Evaluating and Taking It All In (Grandparents Raising F Using Picture Books, Beginning Reader Grandchildren), Sp06:15–16 Books, and Illustrated Books, MAGAZINES Fader, Ellen Anatomy of a Magazine [Highlights Outgoing President’s Message, W06:31–34, 54 for Children], W06:43–44 Su06:4–5 INDIANAPOLIS-MARION COUNTY Children’s Magazines and Collection Faurot, Kimberly K. (Ind.) PUBLIC LIBRARY Development, W06:39, 44 Management 101: Lessons from Hazel Serving Summer Reading Needs, 29–34 Journals for Professional Rabbit (Last Word), Su06:64 Su06: Development, Su06:54–55 FOOTE, DIANE Why I Love Children’s Magazines, ALSC Director Hired, Sp06:49 J W06:40–42 Freedman, Russell Jackson, Richard MANAGEMENT May Hill Arbuthnot Honor Lecture, May Hill Arbuthnot Honor Lecture, W05:4–19, 38; letter Sp06:3 Library Management (New Books), Su06:21–28 Sp06:47–48 Management 101: Lessons from Hazel G K Rabbit (Last Word), Su06:64 GAGNE, PAUL R. KAYDEN, MIMI MARSHALL, MARY G. 2006 Carnegie Award, Sp06:52 Kayden Receives DSA, Sp06:55–56 Two Librarians Receive Bechtel, GEISEL (THEODOR SEUSS) AWARD Kerby, Mona Sp06:56–57 Geisel Author Award Acceptance Even on Floor, Librarian Influences MCDONALD, MEGAN Speech (Rylant), W06:6 Readers (Last Word), Sp06:64 From Bossy Girls to Bug Eaters: Megan Geisel Illustrator Award Acceptance KIDS! @ YOUR LIBRARY® CAMPAIGN McDonald Draws Inspiration from Speech (Stevenson), W06:7 Introducing Kids! @ your library®, Childhood, Sp06:39–40 Rylant, Stevenson Win Geisel Award, Sp06:4–5 McDowell, Kate Sp06:51–52 Kladder, Jeri Change and Continuity in GRANDPARENTS Get Floored! Creating Inexpensive Professional Community: The PUBYAC Chaos Turns to Activism, Sp06:19–20 Fun Using Your Floor ... and Your Electronic Discussion List in Historical Grandparents Raising Grandchildren: Imagination, Sp06:42–43 Context, Sp06:6–10
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CAL_4n3_3p.indd 61 11/28/2006 9:55:28 AM Index to Volume 4 MENTORING Newbery Medal Acceptance READING ENCOURAGEMENT Change and Continuity in Speech, Su06:8–11 See the Movie, Read the Book: Do Professional Community: The PUBYAC PICTURE BOOKS Book-based Films Increase Reading?, Electronic Discussion List in Historical InFORMed Reading: Evaluating and Sp06:45–46 Context, Sp06:6–10 Using Picture Books, Beginning Reader REFERENCE SERVICES Miller, Kathryn. see Yokota, Junko Books, and Illustrated Books, Oh, the Joy of Reference Questions! Morishima, Janna W06:31–34, 54 (Last Word), W06:64 Batchelder Award Acceptance POETRY REILLY, MELISSA Speech, W06:4 A Place for Poetry: Celebrating the 2006 Carnegie Award, Sp06:52 Morris, Carla Library in Poetry, Su06:35–41 Research And Development Where Did You Get Those Guys? PRESCHOOLERS (column). see ALSC Research and How to Hire Storytellers that Sparkle, The Digital and Traditional Storytimes Development Committee Su06:48–51 Research Project: Using Digitized ROGERS, JACQUELYN S. MOVIES Picture Books for Preschool Group Two Librarians Receive Bechtel, See the Movie, Read the Book: Do Storytimes, W06:8–18 Sp06:56–57 Book-based Films Increase Reading?, President’s Message (column) Rylant, Cynthia Sp06:45–46 Incoming President’s Message [about] Rylant, Stevenson Win Geisel (Horning), Su06:6,11 Award, Sp06:51–52 N Outgoing President’s Message Geisel Author Award Acceptance Neal, Betty Jean (Fader), Su06:4–5 Speech, W06:6 Move over, Shrek! Dragon, Castle PROGRAMMING Tower in Topeka for Summer Reading Get Floored! Creating Inexpensive Program, Sp06:44 Fun Using Your Floor ... and Your S NEW BOOKS, see Book Reviews Imagination, Sp06:42–43 SIBERT AWARD NEWBERY AWARD Life Is a Fairy Tale: Festival Snares Six Sally M. Walker Wins Sibert, Sp06:51 Newbery Medal Acceptance Thousand, Sp06:41 Sibert Medal Acceptance Speech Speech (Perkins), Su06:8–11 WGBH Offers Free Outreach (Walker), Su06:19–20 Perkins, Raschka Win Newbery, Resources to Libraries, Sp06:43 SMITH, JENNIFER Caldecott, Sp06:50–51 Where Did You Get Those Guys? First Hayes Winner Announced, Norquist, Heather How to Hire Storytellers that Sparkle, Sp06:56 Children’s Library Services in Sweden: Su06:48–51 Sobotincic, Marilyn A Study Visit to the Solna Library, see also SUMMER READING Oh, the Joy of Reference Questions! W06:45–48 PROGRAMS (Last Word), W06:64 NOTABLE CHILDREN’S BOOKS, 2006, PROVO (Utah) CITY LIBRARY Spencer, Roxanne Myers Sp06:53–55 Where Did You Get Those Guys? The Grand Canyons: Artists NOTABLE CHILDREN’S RECORDINGS, How to Hire Storytellers that Sparkle, Christopher and Jeanette Canyon 2006, Sp06:54 Su06:48–51 Share Their Inspiration, Su06:44–47 NOTABLE CHILDREN’S VIDEOS, 2006, PUBLIC RELATIONS ® SPORN, MICHAEL Sp06:55 Introducing Kids! @ your library , 2006 Carnegie Award, Sp06:52 NOTABLE COMPUTER SOFTWARE AND Sp06:4–5 ST. TAMMANY PARISH (La.) LIBRARY ONLINE SUBSCRIPTION SERVICES, Picture Books and Pancakes: Sp06:53 Breakfast Book Club Gets Tweens into R Reading, Sp06:26–27 O Raschka, Chris STEARNS, LUTIE OUACHITA PARISH (La.) PUBLIC [about] Perkins, Raschka Win Patron Saint of Libraries? Historic LIBRARY Newbery, Caldecott, Sp06:50–51 Wisconsin Librarian Made Waves, BWI Grant Winner Named, Sp06:57 Caldecott Medal Acceptance Sp06:30–31 Speech, Su06:12–15, 17 Stevenson, Suçie P Ratzan, Jill S. [about] Rylant, Stevenson Win Geisel PARENTS AND CHILDREN “You Are Not the Boss of My Words”: Award, Sp06:51–52 Is There a Reader in the House? Junie B. Jones, Language, and Geisel Illustrator Award Acceptance Raising a Reading Family, Su06:42–43 Linguistics, W05:31–38; letter Su06:3 Speech, W06:7 Park, Barbara Ratzan, Jill S. and Lee Ratzan STORYTIMES “You Are Not the Boss of My Words”: Möbius Strips, Klein Bottles, and The Digital and Traditional Storytimes Junie B. Jones, Language, and Dedications: The Mathematics of A Research Project: Using Digitized Linguistics, W05:31–38; letter Su06:3 Series of Unfortunate Events, Picture Books for Preschool Group Patron, Susan Sp05:32–36; letter Sp06:3 Storytimes, W06:8–18 Children’s Magazines and Collection READERS’ ADVISORY Where Did You Get Those Guys? Development, W06:39, 44 Making the Match: Readers and How to Hire Storytellers that Sparkle, PENGUIN YOUNG READERS GROUP Books (New Books), W06:52–54 Su06:48–51 AWARD, 2006, Sp06:56 READING BUDDIES PROGRAMS Stotts, Stuart Perkins, Lynne Rae The Buddy System: Teens and Patron Saint of Libraries? Historic [about] Perkins, Raschka Win Children Share the Joy of Reading, Wisconsin Librarian Made Waves, Newbery, Caldecott, Sp06:50–51 Sp06:21–24 Sp06:30–31
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CAL_4n3_3p.indd 62 11/28/2006 9:55:29 AM Index to Volume 4 SUMMER READING PROGRAMS V Watkins, Jan Move over, Shrek! Dragon, Castle Vardell, Sylvia M. Grandparents Raising Grandchildren: Tower in Topeka for Summer Reading A Place for Poetry: Celebrating the The Growing Task Facing a New Generation, Sp06:12–14 Program, Sp06:44 Library in Poetry, Su06:35–41 Waycie, Linda Serving Summer Reading Needs: Verbeten, Sharon Korbeck Groups for Grandparents Raising Twenty Years at the Indianapolis- From Bossy Girls to Bug Eaters: Megan Grandchildren [Grandparents Raising Marion County Public Library, McDonald Draws Inspiration from Grandchildren], Sp06:17–18 Su06:29–34 Childhood, Sp06:39–40 SWEDEN VOLUNTEERS Children’s Library Services in Sweden: The Buddy System: Teens and A Study Visit to the Solna Library, Y Children Share the Joy of Reading, Yoder, Carolyn P. W06:45–48 Sp06:21–24 Anatomy of a Magazine [Highlights for Children], W06:43–44 T W Yokota, Junko TOOTLE Walker, Sally M. Cultural Relevance in the Library Tootle at Sixty: Staying on the Rails No [about] Sally M. Walker Wins Sibert, (New Books), Su06:56–57, 62 Matter What, Su06:52–53 Sp06:51 Yokota, Junko and Kathryn Miller TOPEKA AND SHAWNEE COUNTY Sibert Medal Acceptance Speech, Library Management (New Books), Sp06:47–48 (Kans.) PUBLIC LIBRARY Su06:19–20 Making the Match: Readers and Move over, Shrek! Dragon, Castle Waryncia, Lou Books (New Books), W06:52–54 Tower in Topeka for Summer Reading Why I Love Children’s Magazines, YOUNG ADULT PROGRAMS Program, Sp06:44 40–42 W06: The Buddy System: Teens and TORONTO PUBLIC LIBRARY WASHINGTON-CENTERVILLE (Ohio) Children Share the Joy of Reading, The Buddy System: Teens and PUBLIC LIBRARY Sp06:21–24 Children Share the Joy of Reading, What Libraries Are Doing Sp06:21–24 [Grandparents Raising TWEENS Grandchildren], Sp06:14 Z Picture Books and Pancakes: WATERSHIP DOWN Zalben, Jane Breskin Breakfast Book Club Gets Tweens into Management 101: Lessons from Hazel Tootle at Sixty: Staying on the Rails No Reading, Sp06:26–27 Rabbit (Last Word), Su06:64 Matter What, Su06:52–53
Four Americans Nominated for Lindgren Award American authors Peter Sís, Russell Hoban, Maira Kalman, and Gary Soto have been nominated for the Astrid Lindgren Memorial Award 2007.
One hundred thirty-three candidates from fifty-two countries have been nominated.
The Swedish government founded this international prize in the Pippi Longstocking author’s name to honor her memory and promote children’s literature. The award, of five million Swedish crowns, is the largest for children’s literature and the second-largest literature prize in the world.
Proposals were submitted by ninety-four nominating bodies, including the American Library Association, the Children’s Book Council, the Library of Congress, and the United States Section of the International Board on Books for Young People among others.
The winner will be announced in March 2007. For more information about the award, visit www.alma.se.
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CAL_4n3_3p.indd 63 11/28/2006 9:55:29 AM Oh, the Joy of Reference Questions! Marilyn Sobotincic
fter working as a children’s librar- The patron goes on, “It could be about a ian for the past sixteen years, cow or a boy or perhaps a cowboy.” A I’ve compiled some categories of patrons based on the wild, wacky, and “I see . . . want to pick door number one, wonderfully whimsical questions they ask. two, or three?” I feel like the host of a I’m sure you could add a few examples of game show. your own. Of course we’ve all had the “one volume I’ll start with the nostalgia category. The short of a full set” category. It goes like question goes something like this, “Miss, this. “The title of the book I’m looking I’m looking for a book that I read when I for is My Mom Makes Great Spaghetti.” I was a little girl.” respond, “Do you mean Daddy Makes the Best Spaghetti by any chance?” My mind races back to titles of the 1970s, or maybe the 1960s. “Right!” Score another for the librarian.
She goes on, “It’s a cute little book about Up next: the messenger category. “My wife a puppy.” I interject—minus the eye roll, “Could it be The Poky sent me in to pick up a book on china.” Little Puppy?” Not a problem, I pipe up. “The country or the type of dish?” “That’s it!” Score one for the librarian. He replies blankly, “I have no clue.” There also seems to be the “I just don’t get it” category. The patron will say, “I’m doing a theme this week for three-year-olds Without further adieu, I ask for his phone number so I can speak on birds of Ohio.” (How interesting, I think. Do they all have to his wife to continue the patron interview. feathers and wings?) Finally, the most unforgettable category is the “this doesn’t deserve an answer” category. A diligent mother asks with a The next question puts them squarely into this category. “Are all straight face, “My son has to do a book report. Can you find him the picture books about birds in the same place?” a book? And by the way, he doesn’t like to read.”
“Not really, we like to put our books in alphabetical order by the “Certainly.” Then I race to the shelf for Little Women. author,” I reply. But here’s the one inquiry I’ll never forget. A teenager asked, Score none for the librarian. “Could you find me a book that has most inspired me? I need to write an essay for my college application about it.” Next, the clueless category. Need I say more when a person comes to your desk and says, “I don’t know the author or the As my head bounced off the desk, I can only wonder why we title, and I’m not sure what the book is about.” think no child should be left behind. &
(All righty now, could you give me a little more information, Marilyn Sobotincic is librarian at the Medina County (Ohio) District perhaps the price of the book?) Library.
Got a great, lighthearted essay? A funny story about children and libraries? Books and babies? Pets and picture books?
64 A not-so-serious look at the world of children’s librarianship? Send your Last Word to Sharon Verbeten at [email protected]. Winter 2005 • Children and Libraries
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