The Cry Closet

Marina Gomberg, "The Cry Closet: Behind Nemo Millers Viral Sensation," Continuum: The Magazine of the University of Utah, Fall, 2018, pp. 14-15.

     University of Utah art student Nemo Miller's life changed on April 24, 2018 when her final project for her woodshed class became international news.
     It took one tweet from a fellow U student and about 24 hours for word about Miller's work, The Cry Closet, to reach nearly every corner of the globe. The response was uniformly emphatic, but ranged drastically in sentiment.
     Some thought the three-foot-by three-foot wide "safe place" installed in the J. Willard Marriott Library during finals week was the perfect antidote for stressed students who needed to take a breath, regain composure, and get back in  the action. Others, many of whom didn't realize the installation was an art piece and not an intervention devised by the university, deemed it an unnecessary measure to comfort an already overcoddled generation.

COMMENT

     The author of this article doesn't quite capture the nature of the uproar over The Cry Closet, though she does mention that the work was installed in the library during the stress of finals week when emotions always run high. It's not that uncommon for distraught students to break down in tears. The librarians try to cope by hosting soothing activities like therapy dogs and yoga breaks.

     The course instructor, Professor Kelsey Harrison, said that the assignment was, "to design and fabricate an object that would solve a problem." The artist said, "I thought it would be funny to make a closet since I identify as a lesbian."  But whatever the artist intended,  The Cry Closet didn't seem like a very safe space to cry.  On one level, it seemed to endorse a kind of relational violence that first bullies people to the point of tears and then demands that they limit and conceal their distress.  Once it hit the Internet it really brought out the bullies.

     In the context of the library where surrounding tearful emotions were authentic The Cry Closet became a piece of site-specific performance art. In synergy with the location and the earnest efforts of librarians to offer stress relief for students it seemed like it could be real and it told us something about the way we treat each other that we didn't especially want to confront.  Learning is not always a safe space.  It can be extremely emotionally intense.  Despite claims that college provides a safe place to fail, actually failing often gets you attacked in various ways. Thanks to the display space in the library  The Cry Closet brought some of the unacknowledged cruelty of education out into the open and the artwork became deeply meaningful and actually shocking.

   

Between the World and Me

Ta-Nehisi Coates, Between the World and Me, Penguin Random House, 2015.

     I needed more books. At Howard University, one of the greatest collections of books could be found in the Moorland-Spingarn Research Center, where your grandfather once worked.  Moorland held archives, papers, collections and virtually any book ever written by or about black people. For the most significant portion of my time at The Mecca, I followed a simple ritual. I would walk into the Moorland reading room and fill out three call slips for three different works.  I would take a seat at one of these long tables. I would draw out my pen and one of my black-and-white composition books. I would open the books and read, while filling my composition books with notes on my reading, new vocabulary words, and sentences of my own invention.  I would arrive in the morning and request, three call slips at a time, the works of every writer I had heard spoken of in classrooms or out on the Yard: Larry Neal, Eric Williams, George Padmore, Sonia Sanchez, Stanley Crouch, Harold Cruse, Manning Marable, Addison Gayle, Carolyn Rodgers, Etheridge Knight, Sterling Brown. [p.46]
...

     The pursuit of knowing was freedom to me, their right to declare your own curiosities and follow them through all manner of books.  I was made for the library, not the classroom.  The classroom was a jail of other people's interests. The library was open, unending, free.  Slowly, I was discovering myself. [p.48]

COMMENT

     "The classroom was a jail of other people's interests. The library was open, unending, free. " It's a statement so beautiful I'd like to engrave it on the marble facade of a library, if libraries still had marble facades.

     Ta-Nehisi Coates was destined to grow up to be a bookish, well-read person. His father, W. Paul Coates, worked as African American Studies reference and acquisition librarian at Howard University’s Moorland-Spingarn Research Center; He also owned a bookstore and founded Black Classic Press.

     The "jail of other people's interests" is Coates fils' rationale for his idiosyncratic research method but it also gets to the core what libraries are all about. Education has done its job when students are able break free from lectures, classroom assignments and the pursuit of grades. All that schoolwork is a foundation, but the library is the place where students truly become independent thinkers and complete their transformation into scholars.

Oryx and Crake

Margaret Atwood. Oryx and Crake. Doubleday, 2003.

Jimmy had a couple of term papers to finish before the holidays. He could have bought them off the Net, of course-- Martha Graham was notoriously lax about scorekeeping, and plagiarism was a cottage industry there -- but he'd taken a position on that.  He'd write his own papers, eccentric though it seemed; a line that played well with the Martha Graham type of woman. They liked a dash of originality and risk-taking and intellectual rigor.
     For the same reason he’d taken to spending hours in the more obscure regions of the library stacks. Ferreting out arcane lore. Better libraries, at institutions with more money, had long ago burned their actual books and kept everything on CD-ROM, but Martha Graham was behind the times in that, as in everything. Wearing a nose-cone filter to protect against the mildew, Jimmy grazed among the shelves of mouldering paper, dipping in at random.
     Part of what impelled him was stubbornness; resentment even. The system had filed him among the rejects, and what he was studying was considered— at the decision-making levels, the levels of real power— an archaic waste of time.  Well then, he would pursue the superfluous as an end in itself. He would be its champion, its defender and preserver. Who was it who’d said that all art was completely useless? Jimmy couldn’t recall, but hooray for him, whoever he was. The more obsolete  book was, the more eagerly Jimmy would add it to his inner collection.  [p195]

COMMENT

     Margaret Atwood’s razor-sharp wit skewers the "library of the future."  On the very first page of the Maddaddam trilogy human civilization has managed to destroy itself. Among the few (fully human) survivors is Snowman-the-Jimmy, now living among genetically-engineered Crakers, hyper-sexual blue demi-humans designed by asocially maladapted young man. The joke is that Jimmy’s education (at Martha Graham Academy, a school named to honor interpretive dance) is worse than useless. He has no survival skills. The remnant library offers no help since everything of value was converted into digital formats that can't be read now that the grid no longer exists.

   In an utterly sadistic twist typical of Atwood’s fearless writing, the actual print books that remain in the Martha Graham library are not only literally toxic, but  come from that most useless of genres— self-help books. In the end,  the remnants of useful human knowledge are transmitted by Toby, a middle-aged woman with practical knowledge of gardening, beekeeping and herbal medicine that she acquired by living with preppers in a doomsday cult. 

     Atwood's satire takes a dig at a kind of library futurism that was especially in vogue around 2003.  Futurists, predicting the imminent  Death of Print, were in a rush to digitize everything. In the process they attacked core values of librarianship and libraries as outdated and useless. The futurists did a lot of damage.  They convinced politicians to reduce library funding, and convinced librarians to reject collection and preservation as important activities.  The pushed people out of libraries into online space. If only those digital-futurist librarians had read Oryx and Crake perhaps they might have felt a bit less hubris about imposing their flawed vision on the actual future.  

The Best American Poetry, 2018

David Lehman series ed., Dana Gioia, guest ed., The Best American Poetry, 2018, (Best American Poetry Series) Scribner Poetry, 2018.

     My editorial method was simple and unoriginal.  For twelve months (starting October 2016) I spent two or three hours each day reading new poetry. I read through every journal I could find as well as dozens of online journals. I bought piles of unfamiliar small magazines and subscribed to new journals. I read every issue of every literary magazine in my university's large periodical room.  When I traveled, I brought along a separate bag of journals to read on the plane or in the hotel room.  Meanwhile the series editor sent me weekly packets of poems that had caught his attention.  I initially wondered if David Lehman might want to press his suggestions. He is a persuasive advocate for the poetry he loves.  Lehman, however, gave me complete editorial autonomy.  I told no one outside my family that I had taken on the assignment. I didn't want to be lobbied by poet friends and acquaintances.
    I'm not sure how many thousands of poems I read. I surely broke the five-digit mark. Every time a poem grabbed my attention, I earmarked it or printed it out for rereading. My studio became a mountain range of periodicals, printouts, and photocopies. The most interesting part of the process was rereading and comparing the hundreds of poems that had made the first cut. Week after week I read and sorted the poems into three scientific categories -- Yes, No, Maybe.  After much agonizing, I made the final selections. 

COMMENT 

     This tale of extreme research raises a question: Why didn't the university library's large periodical room have more poetry journals? Actually, I can answer that one myself.  Many years ago during a budget shortfall the library where I worked slashed periodical subscriptions. The poetry journals were the first to go.  They weren't expensive -- we could have bought all of them for less than the cost of one science journal subscription.  But library use statistics indicated that almost nobody ever read them. 
     One problem was, most literary journals weren't listed in any of our indexes. Nowadays, Project Muse indexes a few of the well-known poetry journals (most of them represented in this book according to an appended "List of Magazines where the Poems were First Published"). But there are also zillions of small-press poetry journals. In order to submit to them, the poet sends in a few poems with a small fee that presumably keeps the journal going. After a while, this process of fee-based submission becomes deeply discouraging. It feels like everyone submits poems but nobody reads. 
     Yet libraries are nonetheless doing a disservice by ignoring poetry.  The mistake, I think, is trying to focus on  "important" poetry. There are a few poets who are famous enough so that their books are likely to circulate (I'd say Mary Oliver, Wendell Berry, Billy Collins, Maya Angelou, etc...  I doubt that Gioia particularly likes any of them).  However, I'd argue that the  most important poetry for librarians to collect is localized, written by the local community of writers (including at local institutions of higher education) but also (don't laugh) nature poetry. Gioia identifies an emerging trend of politically charged place-based poetics.  He writes, "The nature poem had become the major vehicle for political meditation and protest.  The bright innocence of Walt Whitman's American Eden has been overtaken by Robinson Jeffers's dark prophesy of spacious modern civilization."
    While librarians were busy cutting poetry from our collections, the poetic form has re-emerged as an particularly  important voice responding to the slow emergency of the Anthropocene. The Dark Mountain Project explicitly makes the Robinson Jeffers connection, and in Uncivilised Poetics (Dark Mounain10) the editors write "What's the point of poetry when the streets of Syria have been bombed beyond recognition? What's the point of poetry when the permafrost is melting?  But poetry matters because it offers an alternative reality --it refuses the logical, reductionist, materialist aspects of industrial cult; aslant, it invites us to feel our way in the dark." If libraries want to capture this important voice, they are going to have to rediscover poetry. 
    
   
    
    
     

Drumming at the Edge of Magic

 Mickey Hart, Jay Stevens, & Fredric Lieberman. Drumming at the Edge of Magic: A Journey Into the Spirit of Percussion,  HarperSanFrancisco, 1990.

     For a long time I thought I would walk into a bookstore and come out with a book explaining all of this.  I finally sought guidance from several of my more learned friends who suggested I try a good research library.  Have you ever been to a major research library, like Harvard’s Widener or Berkeley’s Doe? They’re imposing stone structures, every inch of which hammers home the message that this is a very serious building.  The first time I went into the library at Berkeley I felt as if I had entered a strange kind of church that was both very busy and very quiet – a kind of hushed, scurrying place.  Everywhere you looked, serious people were praying over piles of books.

      I couldn’t wait to get my pile.  I felt the same excitement that I remembered feeling when my grandfather took me to see the dinosaurs at the American Museum of Natural History – this was where the answers were kept.

     My guide was a brisk, no-nonsense type with a Ph.D. Astonished that I’d never been inside a big library before, she was enough of a teacher to be moved by my sudden and naïve eagerness for knowledge. Leading me over to a computer terminal, she punched in the topic – percussion—and scrolled quickly through the entries, jotting down numbers.  I was captivated by the process, particularly by the fact that inside this immense medieval stone building pulsed a heart of high technology.  In a minute we were trotting toward the stacks, zipping past aisles, checking numbers as we went.

     We made a right turn down between two of the stacks and halted in front of a squared-off section of maybe two dozen books.  The mother lode? I gazed at the titles.  Blades was there, of course, along with Curt Sachs’s History of Musical Instruments and John Chernoff’s African Rhythm and African Sensibility, but there were also a few volumes I had never seen before.  Eagerly I skimmed some of the tables of contents, my excitement fading as I went—there didn’t seem to be much here.

     Why were so many of the drum books so thin? And why, now that you mention it, were there so few? Why were there shelves full of books about the violin and walls full of books about the piano but only a dozen or so about drums, most of them monographs on obscurities like the gong in fourteenth-century Manchuria or gigantic tomes on narrow subjects like the mbira (the thumb piano in Zaire).

     I wheeled to question my guide, who nervously backed away murmuring something about there always being gaps in the scholarly record; if there weren’t gaps there’d be nothing for aspiring Ph.D.s to do.   [p. 29]

COMMENT

     This is my favorite library research story of all times.

     The drummer for the Grateful Dead walks into a library in Berkeley and... the librarian fails to recognize him. Then she gives him wrong advice.  Only in a moment of zen it turns out to be exactly the right advice.

     As things transpire, if you are Mickey Hart you have connections. Not long after this library incident, Hart's friends invited him to dinner with Joseph Campbell who literally wrote the book on The Power of Myth (1988). After chatting for a while about drums, Campbell (who like the librarian had also never heard of the Grateful Dead band, but knew the folktale)  offered the same advice  the librarian had given. He told Hart to write a book. 

   Micky Hart did what any respectable cult-band percussionist would do and hired a writer to help him write and a music professor to help with library research.  The book they wrote together is a marvel.

    It occurs to me that the reason that Hart failed to find books about shamanic drumming in the first place is because he was looking for indigenous knowledge.  The root problem is, most shamans don't write books.


 

Jill Lepore, Master of Microhistories, Tackles Endeavor of a Grander Scale

Jennifer Schuessler, “Jill Lepore, Master of Microhistories, Tackles Endeavor of a Grander Scale,” New York Times, Sept. 17, 2018, p. C1-2.

Even when filing an essay spurred by a group of books, Mr. Finder of the New Yorker said, Professor Lepore will send in detailed footnotes that sometimes include primary source documents that seem to have never been cited before.  

“Her gravitation towards dust, towards opening boxes that haven't seen light for decades, as clearly never faded, “ he said. 

… 

She also vacuumed up secondary literature.

     “I wrote strictly chronologically, and for every chapter I would check out a gazillion books,” she said.  “The security guard at the library would always ask, ‘What year are you on?”

COMMENT

It’s those “dusty” boxes again. 

Professor Lepore has written a well-reviewed new history of the U.S. [1] and her attraction to dust is the specific thing that  makes her a great historian. (When librarians say "dust" they usually mean unused materials that are a target for weeding).  Mr. Finder’s comment also carries an implication  that most historians copy from each other when they cite sources. This copying can also be a side effect of keyword search engines that highlight the most popular links. Finding new primary source documents means not using the same research strategy as everyone else. 

I notice that Professor Lepore works from the print collection. Writing a book is information-intensive.  Many researchers find that reading from print is a quicker way to scan through a lot of text, slowing down to give more attention to the interesting parts. It's also a way to find things expressed in non-keyword vocabulary-- especially important since language changes over time. Online reading enforces equivalent attention to each page in a way that I, personally, dislike.  In my own research, I find that I often use ebooks for keyword searching and almost never actually read them. 

     It's interesting to me that Lepore who is clearly a library super-user mentions a relationship with the security guard but not with any librarians. Library support staff are often the ones on the front lines interacting with patrons, while librarians, hidden in their offices, miss making connections like this. I wonder how many librarians at the Widener Library knew that professor Lepore was making such heavy use of the U.S. History Collection?  I wonder if any of them cared what year she was on?

[1] Jill Lepore, These Truths: A History of the United States, W.W.Norton (2018).

Go and See 'Jane and Emma' this Weekend

Holly Richardson. "Go and See 'Jane and Emma' this Weekend. Salt Lake Tribune, Oct. 13 2018. p.A11.

Tamu has shared her own painful experiences encountering painful experiences encountering racism in the church.  The first time she was called the N-word was at a church school.  Not surprisingly, it shocked her and then rocked her.  She needed to know if there really was a place for her in "God's choir." A teacher sent her to the college library to research black Mormon pioneers and that is where she "met" Jane and changed her life.

COMMENT

I've lived in Utah my whole life and I had no idea that Joseph Smith, the founder of the Church of Jesus Christ of Latter Day Saints (a.k.a. Mormons) was radically anti-racist. The contemporary LDS  church has yet to live up to Joseph Smith's vision, "All are alike unto God".  Up until 1978, black men were forbidden to hold the priesthood (women still can't).  I've often wondered how black people could be persuaded to convert to Mormonism.

Two  black Mormon women, Tamu Smith and Zandra Vranes collaborated on the script for the movie Jane and Emma (2018) (In Utah those names don't necessarily sound black, but they definitely sound Mormon).  At a point where she was feeling doubt, Tamu went searching for black Mormon history, where else? In the library.  There she found a history that indicated having a  black Mormon identity is not an impossible contradiction.

Later in the essay Richardson writes that she has a teenaged daughter adopted from Ethiopia.  After the family watched Jane and Emma they started a conversation about racism.  Richardson's daughter admitted, "That's happened to me." Someday Holly Richardson's daughter might go looking for black Mormon history in the library herself.  I like to think that when she does she'll find her very own mama bear standing up for radical inclusion. 

On Planes, in Bars, Around Phones, a Nation is Transfixed

Jack Healy and Farah Stockman. On Planes, in Bars, Around Phones, a Nation is Transfixed. New York Times. September 28, 2018. P. A1

     Travelers on airplanes cried as they watched it on their seatback televisions. College students holed up all day at library computers and streamed it on their phones, drowning out their lectures.  Friends sat together, stunned and still, on living room couches. Television screens at mall salons, sports bars and hotel lobbies were tuned to nothing else.
     All day on Thursday, though eight hours of tears, anger and exasperation, it seemed like the country could not look away.

COMMENT

     The article is about the testimony of Dr. Christine Blasey Ford at the Supreme Court hearing of judge Brett Kavenaugh whom she accused of attempted rape. Back before everybody had a computer in their pocket libraries used to wheel out televisions for big events. I can remember being at a library watching events like the explosion of the space shuttle Challenger (1986), the testimony of disgraced congresswoman Enid Green Waldholtz (1995)  and the 9/11 attack on the World Trade Center (2001). In each case the shared experience was important.

     In this account students are using library computers and cell phones at the library (I assume for fast wi-fi and streaming) but the library doesn’t seem to have set up any shared viewing space where students could watch together. Perhaps the newspaper reporters just didn’t notice it, or maybe librarians really are so detatched from current events that they didn't recognize the emotional power of the hearing and left it up to sports bars and hotel lobbies to provide community space.  If so, that’s too bad. Libraries claim a role in civic engagement, and this seems like a missed opportunity. 

     On that Thursday women especially were in a state of shock and emotional turmoil. Screens often isolate people, but in some cases (movie theaters, Super Bowl games, Sound of Music sing-alongs, etc...) they can also create a shared experience. It strikes me as sad that college professors and librarians tried to press on with business-as-usual instead of pausing for a day to let students participate in a shared  experience of civics and community grief. In the old days, librarians used to know better. 

Six Kinds of Rain

Kathleen Dean Moore and Erin E. Moore, “Six Kinds of Rain: Searching for a Place in the Academy,” in Placing the Academy: Essays on Landscape, Work and Identity, ed. By Jenifer Sinor and Rona Kaufamn, Utah State University Press, 2007, pp. 27-38.

“In this folded space, it’s hard to know where a university is. Maybe the university has become a paradox, a place with no particular place —  in a familiar geography of classrooms, restrooms, computer networks, and labs where uncomfortable table-chairs and library shelves are an iconography recognizable around the world. This global University has a common language, shared ethical codes, standardized measures of status, and ingrained methodologies, economic systems and taboos. What the University doesn’t have is a meaningful relationship to a particular place— its absence the final achievement of the goal implicit in the word university. [pp.31-32]

COMMENT

Let's sing along with Malvina Reynolds’ classic song!

And the people in the houses
All went to the university
Where they got put in boxes
And they came out all the same
There are doctors and lawyers
And business executives
And they’re all made out of ticky-tacky
And they all look just the same.

     In Becoming Native to this Place (1993) Wes Jackson asks, what if universities had a homecoming major? I would add, if they did have one, what would need to change in Academic libraries? 

     In the name of efficiency, academic collecting has been largely outsourced to approval plans and digital aggregators. That means libraries are spending a lot of money to buy very similar digital collections no matter where the institution is located. This in turn has led to proposals to replace academic libraries with huge regional book warehouses in order to “share” shelf space. [1] The book-warehouse idea presupposes that all campuses are interchangeable. All of this only makes sense if  you don’t truly think of your  university campus as a “community”

     Interestingly, even the people who most strongly advocate replacing libraries with book warehouses have realized that diversity (a.k.a. "unique print book manifestations") in academic library collections derives from collecting that reflects geography. Place is still important, no mater how much universities have been trying to ignore it.  If academic libraries start to pay attention to place it suggests a better way forward than replacing libraries with remote warehouses. 

     What if academic libraries decided to adopt a core mission of  fostering  resilient community? That would trigger a shift in library collection priorities away from globalized, generic knowledge towards specific local and hyperlocal knowledge.It would make regional Special Collections more prominent. But more importantly, it could help with the sustainability agenda to make the world a better place.

[1] OCLC Shared Print Management https://www.oclc.org/en/services/shared-print-management.html

Branching Out

Nalini Nadkarni. "Branching Out," in Nature Love Medicine: Essays on Wildness and Wellness. ed. by Thomas Lowe Fleischner, 2017, pp. 27-40.

                Although immense amounts of knowledge are contained in the science libraries around the world, rates of deforestation, climate change, species invasion, and over-consumption if tree-derived products are increasing.  Humans— especially those living in urban environments and working in windowless cubicles— are more and more separated from their connections to trees, soils and wind.  Midway into my academic career, I realized that communication of all my scientific findings to scientists — through my academic papers and talks at ecology conferences —did very little to fulfill my childhood dream of being a grownup who protected trees. [p. 31]

COMMENT

 The fact that so much academic writing has no market has misled some academic librarians into misunderstanding the motivation and interests of academic authors. Often, academic writing is an indirect path to the rewards of scholarly reputation, job promotion and successful grant applications, valued according to citation statistics. Some librarians therefore assume that scholars only care about reputation. However, in this case Nadkarni has a much larger goal. She wants her writing to create change in the world. This ambition places her squarely into an academic no-man’s-land between science and activism.

      There has long been an ongoing debate among scientists regarding the role of activism in the sciences and where to place appropriate limits. In his classic textbook, Fundamentals of Ecology (1953), Eugene Odum hoped that ecology would emerge as an  interdisciplinary bridge between science and society.  Instead what happened is the vocabulary shifted.  "Ecology" became more scientifically focused and integrated in Biology departments. The term “environmentalism” gained favor to imply ecological activism. In the academic environment, biological scientists criticized environmental studies as  being a “church of the environment” for idealistic students.  Eventually, the word “environmentalism” was deemed too narrow and after the Brundtland Report (1987) it was replaced by the word “sustainability." Sustainability was defined by a triple bottom line of ecology, economics and society, an attempt to deliberately pull science and society back together.  However, once again scientists balked at the fuzziness of social science and policy. The ideas of sustainable development, criticized as insufficiently evidence-based, spun off  “sustainability science” on the one hand and “resilience” on the other.  And so it goes.  As each new term becomes “tainted” by association with activism, scientists imagine that the next effort to save the planet will succeed due to rigorous standards of objectivity.

     In the end, Nadkarni was not able to create change within the context of pure science. Instead she engaged with humanities by inviting “forest novices” to help interpret what she was seeing —  artists, dancers, musicians, and indigenous people from the Arctic who have never seen a tree.  

 

     Academic librarians like to structure collections and organizations to mirror the structure of  academic departments at a university, but that means libraries are bound by the same limitations. Interdisciplinary ideas can end up marginalized, or caught in a tug-of-war of words and definitions. I wonder how many of the science libraries that have Nadkarni’s academic papers also have a video of the dance performance inspired by her work?