The captivating country of Cuba has welcomed readers, authors, publishers, and librarians to the Havana International Book Fair since 1982. Organized by the Ministry of Culture and the Cuban Book Institute, this standout cultural extravaganza, which originated as part of a government campaign to boost literacy on the island, celebrated its 26th anniversary this past February with a family-oriented festival dedicated to the pleasures of reading under the motto, “To read is to grow.”
The Institute of Museum and Library Services (IMLS) announced its 30 finalists for its National Medal for Museum and Library Service March 20, including 15 public, academic, and special libraries from Maine to Alaska. The depth and breadth of the work of the nominees demonstrate not only the worth of libraries to our social fabric, but also IMLS’s importance for aiding the vital missions of the libraries across the country: a timely reminder, considering that IMLS is one of multiple federal agencies that the current administration’s preliminary budget proposes to dismantle.
According to a 2012 Bowker study, “Understanding the Children’s Book Consumer in the Digital Age,” the majority of YA buyers, at 55 percent, are adult—and of those, 78 percent are buying for themselves.
Passionate historicals, fast-paced suspense, werewolves, Vikings, modern-day bikers, Navy SEALs, Amish families. The romance genre can give you all these things and a happy ending.
Welcome to the world of horror fiction, where monsters roam the streets, vampires attack at night, ghosts haunt every home, and mayhem is the norm.
Among librarians, both science fiction (sf) and fantasy can create feelings of fear and uncertainty about our ability to serve our readers’ needs. But that needn’t be the case: here are some ways to become more comfortable with sf and fantasy and better at connecting patrons with the genre.
There are few things more satisfying for a librarian than uniting a reader with a great book (or two or ten). But many library staffers experience anxiety when asked to recommend titles in genres they don’t read themselves and with which they are unfamiliar.
On March 2—which would have been Lou Reed’s 75th birthday—the New York Public Library for the Performing Arts (NYPLPA) announced its acquisition of the late musician’s complete archives. The press conference, held at NYPLPA’s Dorothy and Lewis B. Cullman Center, in Lincoln Center, touched off a two-week celebration showcasing Reed’s work, including displays of selected items from the archives at NYPLPA and the Stephen A. Schwarzman Building, as well as several public programs.
Literacy—and how libraries are reimagining services to address it for patrons of all ages—took center stage at the Northeast Dade–Aventura Branch, Miami Dade Public Library System (MDPLS), FL, March 9–10, at LJ and School Library Journal’s 2017 Public Library Think Tank. The event—targeting “Libraries and Literacies: Redefining Our Impact”—looked at multiple literacies, including digital, media/information, civic, reading, visual, multicultural, and health, and focused on strategic thinking through a literacy lens.
Delores Tucker is often remembered for her criticism of “gangsta rap,” but she can also be credited with prompting a new form of hip-hop scholarship. In 1997 the activist and politician used several Tupac Shakur lyrics to issue a multimillion-dollar lawsuit against the artist’s estate. Teresa Neely, then a doctoral student, heard the news and recognized the lyrics as being taken out of context. To her it was a sign that Shakur’s words needed to be studied as a whole to be understood.
November’s presidential election led to a surprising result for many. Even among those who voted for the current president-elect, a lot of people did not actually expect him to prevail over a former senator and secretary of state. And almost immediately, everyone from regular people to media pundits were chiming in on what the election will mean for the country.
The shift to digital delivery of serials content has had a profound effect on the information ecosystem. Powerful discovery and social networking tools expose users to an incredibly rich world of commercially produced and open access (OA) content. Most publishers have explored new ways of pricing their content—such as population served, FTE (full-time equivalent), tiered pricing based upon Carnegie classification, or other defining criteria—or the database model, which treats all content within an e-journal package as a database, eliminating the need for title by title reconciliation. However, in the end, the pricing conversation always seems to circle back to the revenue generated by the annual subscription model.