James Lee Burke

James Lee Burke (By the Book), New York Times Book Review, December 30, 2018, p.7.

What kind of reader were you as a child?I loved the bookmobile. My favorite books were the Hardy Boys. When I was growing up, people did not have a lot of discretionary income, and on Thursday afternoons the arrival of the bookmobile on our dead-end street sent kids running down to the cul-de-sac to be first in line for Nancy Drew and the Hardy Boys.  In many ways it was a grand time to be around. 

COMMENT

     The Hardy Boys is hardly great literature, but in the context of the miraculous bookmobile it became life-changing reading for Burke who grew up to become a mystery writer. It's hard to imagine the Internet having any kind of similar effect to foster a love of reading within a whole neighborhood of kids.

     Burke mentions that his family didn't have a lot of money to spend on books. One way that libraries can promote their service is by reminding people how much value their library card offers. Recently, the Salt Lake Public Library and other libraries have started to print receipts that estimate how much money you saved by borrowing library materials instead of buying them.  In 2018, my teenage daughter borrowed over $1000 worth, and I borrowed at least as much. My property taxes for the library are less than $100/year.  Offering a visible metric also has the psychological effect of making me want to borrow even more stuff so that I can feel virtuous for getting such a good bargain.

     Nonetheless, I have been at meetings with librarians who have pooh-poohed the importance of cost savings through shared resource use (these people tend to be administrators who earn about double the local median income). Their argument is that digital information has become so cheap that people will inevitably prefer the convenience of purchasing what they want over the inconvenience of using shared library resources.  Yet even among the rich, who would want all those Hardy Boys books cluttering ups their McMansions?  Kids (and adults, but especially kids) go through reading stages. There may be a few "keepers" but it's a feature, not a bug to be able to give books back once you have read them.  It also solves the problem of books you liked too well to simply toss but will probably never read again. 

   Another library solution to the problem of book clutter, of course, is to host periodic book collection and book sales events.  It's a mistake to think of book sales as simply library fund raising.  They are actually an essential public service for many library patrons.

No Good Alternative (Carbon Ideologies v. 2)

William T. Vollmann. No Good Alternative, (Carbon Ideologies v. II), Viking, 2018 p. 217.

     By 1980, world coal production totaled 71.2 quadrillion BTUs.  By 2011 it had more than doubled to 152.5 quads. It had to, to accomplish all the thermodynamic work we commanded. After all, given (as I keep repeating) that our power plants needed to burn three pounds of it in order to utilize one pound's energy, coal didn't stretch terribly far.  As the following table shows, keeping the lights on for a single hour in the reading room of one of those Western Virginia libraries that I frequented while writing Carbon Ideologies might take 20 pounds of that good old brownish-black stuff-- which meanwhile released 49 pounds of carbon dioxide....

COMMENT

     Vollmann was on the road investigating the worldview that defends burning fossil fuels despite the existential threat of climate change.  His book is framed as an apologia to people of the future, now living on a hot, miserable and resource depleted planet.  

     As he was writing, Vollmann used public libraries for temporary office space and  information research.  The availability of fast Internet, lighting, office furniture and research sources enables him to work remotely.  The network of libraries means that people can check in to work from remote locations.  It's especially great for writers who may need to do a little fact-checking. 

As he often does throughout the book, Vollmann  muses about the energy use of his ordinary life.  In this instance, though, he doesn't point out that the 49 pounds/hour of carbon are at least shared between many library users instead of squandered by a single individual. The table he cites is from American Electricians Handbook  (2002) --  "Cutting, inspecting, sewing dark colored cloth; Also: Library reading rooms" clocks in at 60 watts per square foot,  where 1 watt = 3.413 BTUs per hour when lit by incandescent filament lamps, so the library could also save energy by using energy-efficient fluorescent or LED bulbs,  or for that matter, lighting the reading room with sunlight from windows.

It's a Dog's World in the Lab

James Gorman. “It’s a Dog’s World in the Lab: When it Comes to Research, Scientists Favor Canines Over Cats by a Large Margin.” New York Times, December 30, 2018 p.F14 [Originally Published Feb. 26]

And now the numbers: A search of Pub Med, a database that include most biomedical journals, yielded 139,858 results for cats and 2,850,000 for dogs.  These are sample searches, of course, and don't say much about the kind of research that was undertaken. As for journalism, my searches on the news database Nexis for dogs and cats kept returning more than 3,000 hits, which my screen warned my would take a long time to retrieve.  So I settled for searches of “dog genome” and “cat genome.” The result, 20 for dogs, 6 for cats.  The dog genome was sequenced before the cat genome.      I would caution against concluding anything based on this haphazard browsing other than the results do back up the researchers’ sense that there’s more research on dogs. 

COMMENT

      Journal databases provide a quick and dirty estimate of the relative number of scientific studies.  The researcher used Pub Med for scholarly journals and Nexis for news, two databases that most librarians would be familiar with. One assumes that the author was a savvy enough searcher to realize that the letters "CAT" and "DOG" don't always mean felines and canines.

   The author does not actually say whether these databases were from a library or not.  Pub Med is a service of the National Library of Medicine, though, so it's technically a library regardless. Nexis is an expensive subscription so a library is the most likely point of access.

     When people search online databases they often miss the fact that they are a library service.  Scholars at universities sometimes claim that they never use the library because they can find all the articles they need online.  These researchers don't realize that the library has paid for their access or that convenient links to articles from Google Scholar are thanks to library software that integrates database subscriptions into the search.

A more formal version of this kind of citation analysis is frequently used in bibliometric studies to trace the development of scholarship-- say the use of the word "Sustainability" after the publication of the Brundtland Report, [1] or the rise of the word "Anthopocene" as a metaphor for human influence on the Earth. [2]
   
   [1] Schubert, András, and István Láng. "The literature aftermath of the Brundtland report ‘Our Common Future’. A scientometric study based on citations in science and social science journals." Environment, Development and Sustainability 7, no. 1 (2005): 1-8.

[2] Belli, Simone. "Mapping a Controversy of our Time: The Anthropocene." inquiry 30, no. 2 (2004): 225-248.

Brondizio, Eduardo S., Karen O’brien, Xuemei Bai, Frank Biermann, Will Steffen, Frans Berkhout, Christophe Cudennec et al. "Re-conceptualizing the Anthropocene: A call for collaboration." Global Environmental Change 39 (2016): 318-327.

Autism as Metaphor

Marie Myung-Ok-Lee, "Autism as Metaphor," New York Times Book Review, February 10, 2019, pp. 12-13.

     I ask myself why using autism the way these books do feels wrong. As a child who was disappointed to find the only Asian Characters in any book in the library to be the Japanese-American family in "Farewell to Manzaner," I am acutely aware of the importance of feeling represented in literature.  And yet, when it comes to autism appearing in literary fiction, I instinctively feel a need to protect my son from these portrayals.  He's not an Ojibwe curse, a savant or an alien.  Nor is he an emotionless cipher with no inner life.
     As a writer, I understand the absurdity of trying to place restrictions on what can and can't be written about. Keats defined negative capability as an artist's ability to transmute an experience or idea into art even if she hasn't experienced it herself; without it we'd have no historical fiction, no "Madame Bovary," no "Martian Chronicles."
     The crux of the issue is that with autism there is often, not metaphorically but literally, a lack of voice, which renders the person a tabula rasa on which a wrier can inscribe and project almost anything; Autism is a gift, a curse, super intelligence, mental retardation, mystical, repellent, morally edifying, a parent's worst nightmare.
   As a writer, I say go ahead and write what you want.  As a parent, I find this terrifying given the way neurotypical people project false motives and feelings onto the actions of others every day. 

COMMENT

    Borrowing a title from Susan Sontag's famous essay, Myung-Ok-Lee is distressed by the way fictional characters with autism become a fill-in-the-blank plot device, not people but a metaphorical illness.  She argues that this blank spot constitutes a form of erasure similar to the way that diversity blank spots in library collections render Asian people invisible.   

    For a more authentic view of people with autism, Myung-Ok-Lee suggests The Reason I Jump (2013)  by Naoki Higashida, a non-verbal Japanese man with autism whose mother assisted his writing.   Other autistic authors do have a voice to explain themselves such as scientist Temple Grandin (Thinking in Pictures, 1995; The Autistic Brain, 2013), or photographer Rosalie Winard (Wild Birds of the American Wetland, 2008).  As for fiction, there is a fully-realized autistic character  in The Overstory by Richard Powers (2018) (biologist Patricia Westerford) who seems to be modeled on someone like Grandin.  

   So the problem is not just a problem of diversity, but one of avoiding stereotypes.  The story of Asians in America is much broader than just Japanese internment camps; the story of Autism is not limited to the reaction of neurotypical people.   

     

     

     

     

The 'Rush' of a Poet Laureate

Alexandra Alter. "The 'Rush' of a Poet Laureate: Tracy K. Smith, Poet. " New York Times, January 27, 2019, p. BU4.

Monday
9:15 A.M. Get to Lewis Library on campus where the broadcast center is.  In a couple of hours, I'm scheduled to record a brief interview for an "on the Media" segment about my libretto for "A Marvelous Order." 

 COMMENT 

     It seems the life of a poet is not as relaxing as one might think!  As the poet laureate of the U.S., Smith is described as "an evangelist for her medium."  She is also a professor of creative writing at Princeton and on this particular day she is using a studio at the library to record a radio broadcast.

     These days, when a lot of poetry is often published on the Internet poets are often asked for a recording to go with the text version of a poem.  I've used the campus library for that purpose myself in order to get high-quality sound (For example, see: Can Opener by Amy Brunvand in Terrain.org)

    The library is a good place for a shared public recording studio because it's a neutral campus space, not controlled by a single department.  One department might use it to record educational podcasts, while another might use it to read poetry, and another for student projects.  Having the expertise and equipment in neutral library space means that the priorities can be set by users telling the library what they need.      

     

   

The Overstory

Richard Powers, The Overstory, WW Norton & Company, 2018.

NEELAY MEHTA

     He works for months on a role-playing space opera slated to be his greatest giveaway yet. The graphics are sixteen-bit high-res sprites, come to life in sixty-four glorious colors.  He heads out on a hunt for surreal bestiaries to populate his planets.  Late one spring evening he winds up in the Stanford main library, poring over the covers of golden age pulp sci-fi magazines and flipping through the pages of Dr. Seuss. The pictures resemble the mad vegetation in those cheap Vishnu and Krishna comics from his childhood. [108]

DOUGLAS PAVLICEK

     He's missed the complimentary continental breakfast by four hours.  But the clerk sells him an orange, a chocolate bar, and a cup of coffee, three priceless tree treasures that get him to the public library.  There he finds a librarian to help him research. The man pulls several volumes of policy and code off the shelf, and together they search. The answer isn't good.  Thing Two, that loud bastard, was right. Planting seedlings has done nothing but green-light more colossal clear-cuts. It's dinnertime when Douggie accepts this fact beyond all doubt.  He has eaten nothing all day since his three tree gifts. But the idea of eating again-- ever-- nauseates him. [187]

    He doesn't leave Portland right away.  He heads back to the public library, to read up on guerrilla forestry.  His old librarian friend there continues to be more than helpful.  The man seems to have a little thing for Douggie, despite his aroma. Or maybe because. Some people get off on the loam.  A news story of an action near the Salmon-Huckleberry Wilderness gets his attention-- an outfit training people how to blockade logging roads.  [206]

PATRICIA WESTERFORD

     Journal articles have always been hard enough.  Her years as an outcast come back to her each time she writes one, even when she's only one of a dozen coauthors. She feels even more anxiety when others are on board.  She'd sooner retire again than inflict on those beloved colleagues anything like what she once suffered. Yet even journal articles are a walk in the woods compared to writing for the public.  Scientific papers sit in archives, matters of indifference to almost everyone.  But this millstone book; She's sure to be mocked and misunderstood in the press.  And she'll never earn out what her publisher has already paid. [219]

ADAM APPICH

     He squeezed through a channel in the milling crowd, alongside the People's Library.  He can't help grazing the shelves and bins. There's Milgram's Obedience to Authority, marked up with a  million tiny marginal words. There's a collection of Tagore. Lots of Thoreau, and even more copies of You vs. Wall Street.  Free circulation, on the honor system.  Smells like democracy to him.
      Six thousand books, and out of all of them all, one small volume floats up to the surface of its heap like a fossil coughed out of a peat bog. The Golden Guide to Insects.  Bright yellow-- the only real edition that classic ever had.  In shock, Adam picks it up and opens to the title page, ready to see his own name gouged there in smudgy no.2 all-caps balloons.  But the name is someone else's, inked in Palmer Method cursive: Raymond B. [427]

DOROTHY CAZALY

     The knock gets faster and louder.  She crosses through the living room, reviewing in her head the defense of their property rights that Ray has helped her prepare.  She has spent days at the public library and the municipal building learning how to read local ordinances, legal precedent, and municipal code.  She has brought back copies to her husband for explanation, one stunted syllable at a time.  She has pored through books, compiling stats on just how criminal mowing, watering, and fertilizing are, just how much good a reforested area and a half can do. All the arguments of sanity and sense are on her side. [468]

COMMENT

      The nine main characters in this novel use libraries in various ways that turn out to be pivotal to their life stories. The Dr. Suess book used by Neelay, the computer game designer, is pretty clearly The Lorax; Two of the characters use the library for civic engagement to investigate laws and policies, leading to acts of civil disobedience in defense of trees; The small-town librarian is portrayed as helpful, and maybe even a bit  conspiratorial in support of environmental activism; At the Occupy Wall Street library, an explicit metaphor for Democracy, one character reconnects with his childhood innocence, which leads him to an act of noble self-sacrifice.

     In her evaluation of the academic library Patricia, a field biologist, describes the contrast between unreadable scientific information and the stories that people tell to actually make sense of the world understand (another character, a psychologist named Adam Appich,  makes the same point from a different perspective), and a third storyteller is not a library user but a mystic who hears the voice of the trees directly without the filter of  science or human interpretation.

     These libraries are not just incidental plot devices.   In the narrative they offer enlightenment. The the library is almost like an oracle, offering up a book or new article that shows the next step.  This book is not anti-science, but one of the themes is about information--  laws and policies can be wrongheaded and scientific prejudices can prevent people from connecting with the mysteries of the world around them.  Nonetheless, the truth is there for people who take time to do their library research.

      

An Effort to Save the Masterpieces of Modern Dance

Walter Terry, “An Effort to Save the Masterpieces of Modern Dance.” Smithsonian, Oct. 1980, p. 61-69.

     The procedure for mounting each of the historic dances in “early Years” varied.  Rehearsals went on in company studios or in the University of Utah’s old Kingsbury Hall. But coaching sessions and practice also took place wherever and whenever there was time; individuals sought out advice from from New York to Hollywood. They sat in screening rooms at the Dance Collection of the New York Public Library, the greatest dance archives in the world, or they huddled by screens at home to see movies, whole and fragmentary, of the dances they were preparing. They sprawled on studio floors while listening to reminiscences and they rehearsed and sweated on those floors as they strove to capture the past 

     On occasion, someone from he Dance Notation Bureau in New York City would come to them with the score of a dance recorded in Labanotation, a highly accurate and detailed system. (It is named after Rudolf von Laban, pioneer, along with Mary Wigman of Germany’s modern dance, and it can record the position of thumb and the flicker of an eyelid as well as vast patterns by a huge company.  After notation set the dances, “live” experts would come to place final touches because, says Chmelar, commenting on one weakness of the notation system, “the breath of life is missing.”

COMMNET

     Here's a truly amazing story of extreme library research. The Repertory Dance Theatre (RDT) re-constructed a program of early modern dance performances from the 1920s-50s from evidence left behind.  The problem is, of course, that dance happens in the moment.  The traces it leaves are in the memory of the people who did it or saw it.  Other than that, the movement has been translated into words or images.

     But what about movies?  What about the that Labanotation?  The problem is, says  Robin Chmelar who performed Isadora Duncan choreography in the show, "the breath of life is missing."

     Walter Terry, the dance critic who wrote the article, hated this project. “In theory, the multiple-source procedure used by the RDT to stage its fist program of historic dances was admirable.  But there were pitfalls," he wrote.  Terry believed that the movements of modern dance are inextricably connected to the original style of the original dances, and that the dances could only be properly transmitted by a teacher/guru who had learned the original.  Linda C. Smith, who was Executive/Artistic co-director of RDT felt differently.  If the dance had validity, she responded, then it had validity on her dancing body.    

       In library terms these two are arguing over preservation issues.  In Terry's view, the recorded traces in the archive are memory aids, but not living documents.  Smith, by contrast, views the archives as preserving a form of memory that can be re-activated in a meaningful way. 

     I actually saw this program back in the 1980s, and it made a big impression on me.  It was not merely danced, but was accompanied by a lecture on dance history.  The audience left knowing who the original artists were and why they were important.  Seeing these dancers with the "breath of life" was an entirely different experience from watching films or looking at still photos in books.  I think Terry was wrong to think that the reproductions were "tampering with history".  We recreate fictionalized history in all kind of ways with novels, movies, and plays and other art.  Why not  use what's in the  library archives to re-create an experience of seeing early modern dance?  As Linda C. Smith pointed out, she never claimed to impersonate Isadora Duncan.  Rather, she was dancing her own interpretation of dances that Duncan made, taking the inspiration of the dances into the future.