Picture Librarian Reflections

Professional Development reflections INF505

May 29

Final reflections or It’s all about access, representation and inclusion

by Julia S

As I reflect on my learnings from INF505 Library Services for Children and Young Adults the one thought that continues to plague me is the level of responsibility that children and young people’s library services have to their communities and particularly the children within them. A key part of that responsibility, in my view, is to promote access, representation and inclusion through the provision different types of resources, programs and support.

When selecting library materials it is vitally important avoid materials that stereotype cultures, or people from diverse groups (i.e. Indigenous Australians, LGBTQIA+) and rather select materials that emphasize people as unique individuals (Atkins, 2013, para. 28). Young readers should be able to find others and themselves in the stories so that they feel validated and their experiences are not so strange as to never be spoken, understood or experienced by others (Tschida et al., 2014, p. 29).

These types of library services should not only seek to promote reading, literacy development lifelong learning (Paganelli, 2016. p. 10). and building new communities of library users with a love of books and reading (Djonov et al., 2018, p. 42), but to meet communities where they are and involving them with their libraries. Whilst working on my first assessment about a Storytime program for migrant children I emphasized that wherever possible input into library services should be sought from the communities they seek to serve.

Something I had not previously considered was the positive and negative impacts library policy can have on access, representation and inclusion issues. I found multiple references that showed having a Collection Development policy that supported the acquisition and retention of diverse materials supported libraries acquiring and keeping diverse resources. Some public libraries had specific policies that state that resources representing different viewpoints on controversial issues will be acquired or made available, including those that may have unpopular or unorthodox positions (Oltmann, 2016, p. 27), these policies do give library both a remit to include diverse materials in their collections and some protections from outside agencies interference.

The responsibility of access, representation and inclusion can be disrupted by acts of censorship such as those described Steele’s (2021) exploration of the events of the legal case of Sund v. City of Wichita Falls, Texas. Where a book is located in the library directly impacts its level of access and a change to that location (such as moving a book from the children’s area to the adult’s) is an act of censorship. This act of censorship is defined by the American Library Association as a change in the access status of materials (including exclusion, restriction, removal or age level changes), based on the materials content and made by a governing authority or its representatives (2016).

When reflecting on my own work with digital images, I wonder how the labelling of images of people impacts their accessibility. As an example, should an image of two women sharing dinner be labelled ‘friends’ or ‘couple’? Also when considering the ‘location’ of this image should it appear in an album titled ‘Romance’ or ‘Girl’s Weekend’. I do not have a definitive answer to these questions, but it is something I will consider in future as I seek to apply some of my learning from this subject to my professional future.


References

Atkins, L. (2013). What’s the story? Issues of diversity and children’s publishing in the U.K. E-rea. 11(1). https://doi.org/10.4000/erea.3537

American Library Association. (2016). Challenge Support. http://www.ala.org.ezproxy.csu.edu.au/tools/challengesupport.

Djonov, E., Torr, J., & Stenglin, M. (2018b). Early language and literacy: Review of research with implications for early literacy programs at NSW public libraries. Department of Educational Studies, Macquarie University. https://www.sl.nsw.gov.au/sites/default/files/early_literacy_literature_review_feb2018.pdf

Oltmann, S. M. (2016). Public Librarians’ Views on Collection Development and Censorship. Collection Management, 41:1, 23-44. https//doi.org/10.1080/01462679.2015.1117998

Paganelli, A. (2016). Storytime IN A DIGITAL WORLD: Making a case for thinking outside the book. Knowledge Quest, 44(3), 8-17.

Steele, J. E. (2021) Cases of Censorship in Public Libraries: Wichita Falls, TX. Public Library Quarterly, 40(2), 108-124. https//doi.org/10.1080/01616846.2019.1692324

Tschida, C. M., Ryan, C. L., Ticknor, A. S., (2014). Building on windows and mirrors: encouraging the disruption of “single stories” through children’s literature. Journal of Children’s Literature, 40(1) 28-39.

Professional Development

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May 29

Watch a video – Diversity

by Julia S

Activity Description

To explore the issue of diversity and its relationship to Library Services for children and young people I watched the TedX talk The Windows and Mirrors of Your Child’s Bookshelf (2016) featuring Grace Lin, a children’s book author/illustrator whose book, “Where the Mountain Meets the Moon,” received the 2010 Newbery Honor Award. Lin discusses her experiences as growing up as one of the few Asian people in her community.

What did you learn?

Lin speaks about the types of books she read when she was a child and how they largely featured non-Asian characters. The only books with Asian characters available to her featured caricatures and invoked a feeling of shame in her. She also enjoyed writing, but stories she wrote as a child also featured non- Asian heroines.

After realising she knew very little about her heritage, she began to write the books she wished she had when she was a child. She realised that children need books to be windows, not just mirrors, so that they can see things from other viewpoints.

She challenges the audience. Look at your child’s bookshelf are all books mirrors (about their world experience) or are they windows (about other world experiences)? You need both, Lin states, as a path for the development of empathy.

Her view is supported by Bishop who sees literature telling children who and what their society values, what kind of behaviours are acceptable and appropriate, and what it means to be a decent human being. If children cannot find themselves and people like them in the books around them, the message they receive is that their society does not value them (1990, p. 561).

How was the activity relevant to your professional practice?

Whilst Lin was talking about representations of culturally and linguistically diverse (CALD) communities diversity in children’s books, and their importance in building a strong sense of self as well as empathy and understanding of others, I also found myself reflecting about how this would extend to other types of diverse books, those that are by and show LGBTQIA+ people, people with disabilities or Indigenous people. My feeling is that the principles of the windows and mirrors remains largely the same, as the concept of a book acting as a mirror implies that readers a part of themselves and their lives reflected back to them. When readers are able to find themselves in a story, they are validated; their experiences are not so strange as to never be spoken, understood or experienced by others (Tschida et al., 2014, p. 29).

I do often reflect of the types of people show in the imagery I maintain for my workplace, a tourism marketing organisation. I take care to include images that show racially diverse, who are LGBTQIA+ and people with disabilities as both tourists and tourism operators. Where I am able to influence the makeup of people involved in our photoshoots I do.


Knowledge gaps?

My first thought when considering the importance of diverse books in children’s library collections was – how do school / public libraries actually do this? Community analysis, collection review and community engagement are ideas that immediately leapt to my mind. I found an interesting pilot project mentioned in (Adam et al., 2020) run by the State Library of Western Australia that helps create books with families about their everyday experiences, representing the families’ culture and language. Projects like these could also address the issue of lack of access to literature written about particular cultural communities or in particular languages.

I would like to deepen my understanding about innovative ways libraries address diversity in their collections, which I would do by reviewing collection development policies, keeping up with the international literature on the topic, and looking for newly published books with diverse themes.

And finally I am going to look at the windows and mirrors on my own bookshelf.

References

Adam, H. J., Barratt-Pugh, C., Jackson- Barratt, L., & Somerville, R. S. (2020, July 9). Children’s books must be diverse, or kids will grow up believing white is superior. The Conversation. https://theconversation.com/childrens-books-must-be-diverse-or-kids-will-grow-up-believing-white-is-superior-140736

Bishop, R. (1990). Walk tall in the world: African American literature for today’s children. The Journal of Negro Education, 59(4), 556-565. https//doi.org/10.2307/2295312

TEDx Talks (2016, March 19) Windows and mirrors of your child’s bookshelf: Grace Lin – TEDxNatick [Video]. Youtube. https://youtu.be/_wQ8wiV3FVo

Tschida, C. M., Ryan, C. L., Ticknor, A. S., (2014). Building on windows and mirrors: encouraging the disruption of “single stories” through children’s literature. Journal of Children’s Literature, 40(1) 28-39.

Diversity Professional Development

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May 23

Find and analyse a peer reviewed article – Censorship

by Julia S

Activity Description

How does censorship impact on access to children’s literature? To explore this question, I found and analysed a recent peer reviewed article by Jennifer Steele ‘Cases of Censorship in Public Libraries: Wichita Falls, TX’ (2021). The article explores the legal case of Sund v. City of Wichita Falls, Texas involving two children’s books, Heather Has Two Mommies (Newman, 1989) and Daddy’s Roommate (Willhoite, 1990) – which depict children with same-sex parents, whose inclusion in the children’s collection was challenged by local church members (Steele, 2021, p. 108). Through a case study approach Steele sought to address the question of ‘What factors allowed librarians to engage in censorship activities in the federal court case of Sund v. City of Wichita Falls, Texas?” (2021, p. 109).

What did you learn?

At one point in the article the Wichita Falls Library Administrator Linda Hughes moves the two books from the Children’s fiction section to the Youth Nonfiction section of the library, against the recommendation of the Library’s boards (Steele, 2021, pp. 111-112). The local City Council then passed a resolution that if the Library received a petition with at least 300 signatures, they were forced to remove the books from the children’s section (Steele, 2021, p. 112). As the Library received a petition with 300 signatures the two books were then places in the adult section, limiting children’s access to them (Steele, 2021, p. 112). It was at this stage group local took the City Manager and the Library Administrator to court. The District Court ruled that the city’s resolution permitting the removal of the two books improperly delegated governmental authority regarding selection decisions of books carried in the library and prohibited the city from enforcing it (American Library Association, 2006).

By moving the two books to less accessible areas to children this was censorship as defined by the American Library Association as it was a change in the access status of books (including exclusion, restriction, removal or age/grade level changes), based on their content and made by a governing authority or its representatives (American Library Association, 2016).

How was the activity relevant to your professional practice?

I had not previously considering Librarians acting as censors, and how this might be directly influenced by external entities like local governments. I also noted the multiple references to having a Collection Development policy that supported the acquisition and retention of diverse materials. As Oltmann found in her case study some public libraries had a ‘specific policy that states: Resources representing different viewpoints on controversial issues will be acquired or made available, including those that may have unpopular or unorthodox positions’ (2016, p. 27), but this was not widespread.

The selection of material in my photographic collection is largely based on identified needs by members of the organisation and when I work with talent (people appearing in photos) I do try to ensure that diverse ethnic backgrounds and same-sex couples are represented in the imagery. I do not have a written collection policy and so I have no documentation that informs these choices, and I intend to explore whether a written policy might make more transparent the decisions made around our collection.

Knowledge gaps?

Much of my reading was around censorship and collection development is U.S. based libraries, I need to explore issues encountered in Australian libraries to gain a better understanding of the constraints that they operate under.

I also had not previously considered the location of items in the Library collection being a form of censorship, that having something like a children’s book in an adult collection would be an act of censorship. I would like to explore literature and policies around this issue to expand my knowledge, especially in the Australian context.

References

American Library Association. (2006). Notable First Amendment Court Cases. http://www.ala.org/advocacy/intfreedom/censorship/courtcases

American Library Association. (2016). Challenge Support. http://www.ala.org.ezproxy.csu.edu.au/tools/challengesupport.

Steele, J. E. (2018). Censorship of Library Collections: An Analysis Using Gatekeeping Theory. Collection Management, 43(4), 229-248. https//doi.org/10.1080/01462679.2018.1512917

Steele, J. E. (2021) Cases of Censorship in Public Libraries: Wichita Falls, TX. Public Library Quarterly, 40(2), 108-124. https//doi.org/10.1080/01616846.2019.1692324

Oltmann, S. M. (2016). Public Librarians’ Views on Collection Development and Censorship. Collection Management, 41:1, 23-44. https//doi.org/10.1080/01462679.2015.1117998

Newman, L. (1989). Heather has two mommies. (D. Souza, Illus.). Alyson Books.

Willhoite, M. (1990). Daddy’s Roommate: Alyson Books.

Censorship Professional Development

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May 23

Write a Book Review – Young People’s Book Awards

by Julia S

Activity Description

I read and then I wrote a short review of the 2015 Winner of The Children’s Book Council of Australia (CBCA) – Picture Book of the Year award My Two Blankets written by Irena Kobald and illustrated by Freya Blackwood and published it on Goodreads.

I focussed on reading the story aloud to better understand the experience of the story by younger readers.

Open story book 'My two blankets' with dog in background

Flicka the Greyhound being read ‘My Two Blankets’

What did you learn?

In my review I found it hard to describe the story without giving away key plot points (Plaja, n.d.) and had to rewrite this section many times.

As I highlighted in my review this type of book, although aimed at younger readers, would benefit from adult intervention around the story’s ideas and theme, and would prompt deeper understanding of the concepts of the discomfort of new experiences, language learning and the impacts of conflicts on children. One of the most supportive thing adults can do to help young readers, even more than selecting high-quality books, is to have meaningful conversations with them during story reading (Strouse et al., 2018, p. 12).

How was the activity relevant to your professional practice?

As a librarian who primarily works with imagery, I am keenly aware of the impact of imagery to convey messages or ideas. Freya Blackwood’s illustrations are deceptively simple in their conveyance of the ideas of the old, familiar and comforting, and the new, unfamiliar and frightening. The use of the two-colour palette and the colours coming together in the illustrations and the associated text on the final pages clearly shows Cartwheel’s growing level of comfort in her new country whilst still retaining her own identity.


Knowledge gaps?

I realised I had very little knowledge about how a book is selected as a CBCA winner. The CBCA has an extensive website and presence on social media platform which provides more information about the awards (Children’s Book Council of Australia, n.d.). My home state of Tasmania also has a state organisation which provide information about events at the state-based level as well as a blog (Children’s Book Council of Australia – Tasmanian Branch, n.d.). I also had not noticed the prominence of award labels on children’s books and how this impact’s their marketing once they are published. Almost every description I found of this story online referenced the CBCA and Kate Greenway Medal, I also struggled find any online criticism of the book.
I also found myself reflecting on the generalised nature of the story. The non-identified original and new countries, the ambiguous nature of Cartwheel’s name (not tied to anyone language and/or culture) and the non-specific naming of other characters (Auntie and the girl in the park) might be stereotyping Cartwheel as only a refugee from Africa that struggles to speak English rather than an unique individual from a particular country and culture (Atkins, 2013, para. 28). There some is tension here around how cultures are represented by authors not from them. I am also interested in whether this book would be seen as an award-winning representation of diversity in 2021 and beyond? I am interested in seeing future winners in this CBCA category, and whether their authors and illustrations come from diverse cultural backgrounds.

My Two BlanketsMy Two Blankets by Irena Kobald
My rating: 5 of 5 stars

My Two Blankets is written by Irena Kobald and illustrated by Freya Blackwood and was the 2015 Winner of The Children’s Book Council of Australia (CBCA) – Picture Book of the Year award. Freya Blackwood is a previous CBCA winner and is also the winner of the 2010 Kate Greenway medal – the UK’s most prestigious award for children’s illustration

My Two Blankets tells the story of Cartwheel, a young girl who moves from an unidentified country (most likely in Africa by the illustrations) to a new country ‘to be safe’. She finds her new country strange and everything unfamiliar. She especially finds the language of her new country unfamiliar, and she does not feel like herself and so retreats to the ‘old blanket’ of her first language where she feels safe. Through the course of the story she makes new connections in her new country and creates a new blanket through her learning of a new language. Over time no matter what blanket Cartwheel uses she feels comfortable and like herself.

The safety of her first home and language is represented in illustrations in warm tones of reds and oranges and the new unfamiliar country and language are represented by cool tones of blues and greens.

The text of My Two Blankets is written simply and is aimed at 3-6 year olds. Adults would be able to assist in understanding the theme of the book and help children relate Cartwheel’s experiences to their own lives. Although it is implied that Cartwheel has come from a country experiencing war and may have lost parents the descriptions are sensitive and appropriate to the age group. The use of a blanket as the metaphor for language and safety is a concept that would be easily understood by readers.

Overall My Two Blankets is a beautiful, gently told story whose illustrations really raise it to a higher level. Highly recommended.

View all my reviews


References
Atkins, L. (2013). What’s the story? Issues of diversity and children’s publishing in the U.K. E-rea. 11(1). https://doi.org/10.4000/erea.3537

Children’s Book Council of Australia. (n.d.). About the CBCA Book of the Year awards. https://cbca.org.au/about-the-awards

Children’s Book Council of Australia – Tasmanian Branch. (n.d.). About us. https://www.cbcatas.org/about-us/

Plaja, L. (n.d.). How to write a book review. BookTrust. https://www.booktrust.org.uk/books-and-reading/tips-and-advice/writing-tips/writing-tips-for-teens/how-to-write-a-book-review/

Strouse, G., Nyhout, A. & Ganea, P., (2018). The role of book features in young children’s transfer of information from picture books to real-world contexts. Frontiers in Psychology. 9(50), 1-12.
https://doi.org/10.3389/fpsyg.2018.00050

Professional Development Young People’s Book Awards

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May 16

Analyse and evaluate a website designed for children – Digital Materials/Resources and Emerging Technologies

by Julia S

Activity Description
I explored the website Story Box Library which presents Australian children’s books in video form read by Australian storytellers. Access to the website is provided to library card holders of my local library, the State Library of Tasmania, and forms part of their e-collection. Titles can be searched for from within the Story Box website or the library catalogue.

I viewed four stories whilst navigating the site, some I discovered by scrolling down and seeing what was available in the themed lists on the homepage, some were suggested in the ‘More Videos’ section of already viewed stories and found through direct searching. There is also the option to filter searching by a range of ways including by age, story length and theme.

Each story has a page that explains what the story is about and its credit details. It is clear from the language used on the page that Story Box Library is geared toward adults using the site with children, rather than children navigating the site independently.

As the story is read music or sound effects are heard, but none of the text is visible. As the text is not seen there is less emphasis on the development of print conventions and awareness, and letter knowledge (Ghoting & Martin-Díaz, 2013, p. 30).

Story page – Littlelight (Story Box Library, n.d. a)

screenshot of Story Box Library website page showing the book 'Littlelight'

How was the activity relevant to your professional practice?

I currently manage a photographic library for a Tourism marketing organisation and so I have not professionally encountered products like Story Box before. I found the layout and design of the site to be consistent and visually pleasing. I would recommend the site to friends with children as a supplementary reading activity but would hesitate to say it replaces being read to and actually seeing the book.

Each story has an activity related to it, allowing listeners to reflect on and understand the themes of the story better. As the website explains ‘Activity Time is designed for use by families to help them and their children connect with the themes and characters of each story’ (Story Box Library, n.d. b). The activities I looked at were appropriate to the target age range of the story and had clear written or video instructions. I also found reviewing these activities useful to generate my own Storytime activity ideas for my first Assignment for this subject where I designed a Storytime program for migrant preschool children.

What did you learn?

The use of this website would require adult guidance, especially for the completion of the associated activities. There is a function where playlists can be set up, so once that is done children would be able to use the site relatively independently.

Knowledge gaps
Overall I found the website easy to use and had a good range of titles for different age groups. I was pleased to find a story read in multiple languages, but I did not find a way to search for stories in languages other than English. Hopefully this search filter is added in future.

I feel Story Box Library would be good as an alternative to television screen time, but it does not replace in person storytime. As Davidson et al. comments the need for an adult reader and mediation through questions about the text cannot be overlooked in relation to children’s language and literacy development (2020, p. 2).

I am unsure why the animated illustrations are shown and not any of the text. I do wonder if the site purposely does not want to replicate the physical book experience too much as each story has a link to the Booktopia listing to purchase the physical book.

References

Davidson, C., Danby, S., Ekberg, S., & Thorpe, K. (2020). The interactional achievement of reading aloud by young children and parents during digital technology use. Journal of Early Childhood, 0(0), 1-26. https://doi.org/10.1177/1468798419896040

Ghoting, S. N & Martin-Díaz, P. (2013). Storytimes for everyone!: developing young children’s language and literacy. American Library Association

Story Box Library. (n.d. a). Littlelight. https://storyboxlibrary.com.au/stories/littlelight

Story Box Library (n.d. b) What is Activity Time? https://storyboxlibrary.com.au/faqs/what-is-activity-time

 

Digital Materials/Resources and Emerging Technologies Professional Development

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