RA FOR ALL...THE ROAD SHOW!

I can come to your library, book club meeting, or conference to talk about how to help your readers find their next good read. Click here for more information including RA for All's EDI Statement and info about WHY I LOVE HORROR.

Monday, April 8, 2019

National Library Week Tough Love Reprise

We are now in the midst of National Library Week. I was all ready to have a fresh post this year to celebrate, but then I realized that last year's tough love post is still sorely needed [see how I talk about the RITAs-- sigh], so I will be reposting it below.

I am not one to allow you to rest on your laurels this week. This is the week more of the general public have the "Library" in the front of their thoughts than any other week. This is actually the week we should be working our hardest, not throwing parties. We need to show them how great we are. The ALA marking machine is telling them here, but if we don't live up to the best our libraries can be when people visit us [in person or online], then it will all be for naught. Actually, worse than that, we will do damage to all libraries.

Before I repost the Call to Action from last year, here are some things I need you all to do TODAY, the first weekday of the celebratory week:

  • Make sure all of the links on your websites work: We will have more visits and clicks this week as people will be reminded to visit their library because of the ALA marketing campaign. However, if people who are not regular users come to our websites and get frustrated, they won't come back.
  • Make sure you are promoting the whole library this week: Yes, most of my readers work in adult and popular materials collections, but we need to be selling the whole library experience from every desk. Consider putting a few materials form a different department on display at your desk this week. It will give you a chance to talk up other services, ones you don't normally get to talk about [which is reinvigorating for you]. This also "shows" the public that you are 1 Library working together, not just a collection of departments.
  • Finally, as I talk about below, put EDI at the forefront. Make sure your displays are filled with more than just books by white men. Take my post from Friday which was to get you ready for Game of Thrones mania [which kicks into high gear this week] as an example. Or this diverse list of Stephen King readalikes from the horror blog. Feel free to use them to make your own displays.
Now get out there and make us all look good. It is up to every single one of you this week. National Library Week should be where we work our hardest. You can rest next week.

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MONDAY, APRIL 9, 2018

National Library Week Tough Love-- Call to Action: Curating and Promoting Diverse Collections Is Non-Negotiable-- Period, End of Discussion


Let's get this out of the way....Happy National Library Week.

Okay done.

Unlike others, I am not going to spend this week posting about how wonderful we are for two reasons--
  1. My job is not to coddle you all. You read my posts and hire me to train your staff because I give it to you straight. I identify what we are doing wrong and I try to help you all fix it. My entire professional life is dedicated to serving patrons better-- all patrons at every public library. Make no mistakes, I may be smiling and positive when I present training programs, but the content of those programs is driven by the mistakes we all make every single day.
  2. We are falling very short on on most basic duty-- crafting collections that represent our communities AND the world at large. And, to make matters worse, many of you out there think that's just fine. [By the way, it is NOT.]
Let me back up a bit. This is a post about how crafting and promoting diverse collections is your duty as a public library worker. I have written about this before many times and you can use the diversity tagto see my previous rants. I wish I could stop writing about it. But ignoring this problem it not an option for me, and I am going to keep on you all for as long as it takes. 

Just when I think things were getting better, we had a week like last week. I am not going to recap the entire situation but the short version is that black authors finally stopped their silence when it came to their horrible treatment within the Romance Writers of America. Over the weekend, NPR ran this story summarizing it for those who need to catch up. 

The realization that the RITA awards have a huge diversity problem was surprising, but unfortunately not shocking. Now some of you may have been shocked, especially since last year, romance novels by  authors of color from Alisha Rai, Alyssa Cole, and Beverly Jenkins were among the most praised and critically acclaimed titles. But, me, unfortunately I am not shocked because well, people are racist-- even all of you who think you are not.

We are going to talk about all of you in a moment, but before you get mad at me, let me share a story of me confronting my own latent racism in the last few months and how good it felt to admit it and rise above it to make the right choice.

Last year I was asked to be on the Horror Writers Association's Life Time Achievement Awards Committee. I am not going to go through the entire process with you, but I will skip to the chase. The final ballot came down to two VERY deserving nominees. A "White Man" and a "Black Woman." As a group we voted to only give one award. Each of us [5 people] had an equal vote. I will tell you that I struggled with this choice. The old white male was very deserving. He was a name most people would recognize. His work is amazing. He deserved the award. But the black woman deserved it just as much. She is one of the best known and most award winning poets in speculative fiction, period. She had given back to the association and the community of all writers, but especially those of color. She was not as well known in the wider world, but in the world of HWA it would have been hard to argue she was not among the most deserving authors regardless of her race.

But, knowing her [heck, I was the one who threw her name in the ring] I still felt "wrong" voting for her over the best selling white man, at first. And then I asked myself why I felt this way. There is no denying that I am pre-programmed to think the white male deserves it more because, through no fault of his own, the publishing industry was behind him for years and year. Whereas, this woman grew up poor, fought to go to a top tier University [where she was a math major!] and went on to be one of the top voices of her generation of writers regardless of race. And she never stopped being positive and giving back.

If I was going to tell you all to consider diverse voices and come to terms with the fact that publishing is racist and we have to work to rise above it, how could I ignore the signs here. I knew that my vote would send a statement that authors of color are just as worthy, that despite the lack of institutional support they have been doing great work, and that if we don't start coming to terms with the latent racism inside all of us, we will never progress.

Voting to make Linda Addison the first African American winner of the HWA's Life Time Achievement Award was my proudest professional achievement. It required that I check myself and be true to my beliefs and not ruled by the status quo. I got to celebrate with Linda. I got to see the entire banquet praise her and honor her. I sat next to former LAA winner, Ramsey Campbell, an old white man, and I saw him silently, shed tears of joy watching her accept this honor, watching her join him in the "Pantheon" of genre greats.

But this is NOT enough. I am only one person. I am not telling you this story to praise myself. I am telling you this story because every single one of us needs to face the fact that institutional racism is a thing that touches all of us. Checking yourself is something we all have to do...All. The. Time. Even my POC friends have admitted to me that they often defer to white authors. All of us must confront this.

Last week, as the RWA stuff was blowing up and the conversation moved into the library world, I thought, finally, we can have an honest conversation about diversifying our collections, our displays, and our lists. But no. One of the most disappointing moments I had as a library worker trainer and advocate for diverse collections was to see librarians use this excuse---

"I try to add books by authors of color to my collections, but no one reads them, they don't circulate, etc... So I stopped."

I was following these threads on Twitter and literally holding myself back. I started writing this post last week because I was so angry, I knew I needed time to process this so that my post would be constructive and not reactionary.

So here is where I will begin. First, your duty as a public librarian is to have the widest possible collection for your patrons. The library is a place where people can explore the world through books, videos, databases, etc... No matter what the racial make up of your community is, you need a diverse collection. You are not only trying to have materials that reflect who lives in your community. The library has NEVER been about that. It has always been a place for people to learn and grow. We are a window to the world. We have always been this. Therefore, why would your leisure reading collections be any different?

Second, I will address the side argument/complaint that there isn't enough money to buy all the popular white people books and all of the good POC books. Nope, not having it with this argument. There isn't enough money to buy all the books in general. There never will be. It is our job as professionals to curate our collections. It is not easy. I know. I did it for 15 years. But it is what many of us are hired to do. You may have to look a little harder for more diverse titles, but if you are doing collection development, you are required to curate a collection that is as diverse as possible. Think you can't. I think you are unwilling to confront your own racism as I was forced to in my story above. Think about every purchase you make. It is easy to look at each choice in a vacuum, but you cannot. Each single choice is part for he larger collection you are building. If you cannot curate a collection that represents all voices so that your community can access the world through your collections, then I think you need another job.

And if your job doesn't involve selection, you are still not off the hook. You can be a thorn in the selector's side. Beat the drum for adding more diverse titles. Be a pain. Badger them. Badger their bosses, badger the administration. You are in the right here. Tell them I made you if you worried about getting in trouble. Be strong. They will eventually be forced to give in. If they don't let me know and I will publicly shame them. I'm not kidding. I have nothing to lose and only better libraries everywhere to gain. This is a hill I an willing to die on because I know in the end, I will be standing tall.

Third, there are plenty of books by white people that don't circulate. In fact, since your collection probably has way more white authors than not, I would bet actual money that there are way MORE books [in pure numbers] by white people that don't circulate than those by POC that don't. You gonna weed those too? This argument holds no weight. It is lazy, racist and dumb. Yes, I called some of you dumb. Feel free to stop reading my blog if you are offended.

Fourth, you need to put books by POC on display so people can find them. Some of you claim to have done this and that they still don't circulate. To this I ask, did you only put them on display as "diverse authors?" For example, was your display, "Black Authors To Try," "Voices from Around the World" or the like. Because this sucks. You need to promote all authors together. So in your "Fantasy" display of ALL fantasy titles worth a read you have titles representing all people and cultures. You should never have an ALL white displays about anything because the world is not all white. It never has been. Our displays need to reflect the WORLD as a whole. Again, the library's role has always been to educate and enlighten the public.

There are black authors who write about things other than slavery,native authors who write about more than life on the reservation, hispanic authors who write about more than illegal immigration. I have merely given you one choice with each of those links in the previous sentence, Authors of color write books about everything, just like white authors. Their books can be added to any display. This should not be shocking. Stopped being shocked by it. Stop making excuses. Just stop and start doing this. The books will be checked out if you promote them as the good reads they are. I promise.

A side argument here has always been, "But my white readers are confused by the ethic and racial differences in these stories." Again, this is dumb. Take me, a middle aged white lady, who was raised Jewish. Guess what, my whole life I grew up reading books where Christian allusions were implied in everything. I figured it out. Imagine what all the POC readers have had to do reading about white culture in most of the books we have offered for their whole lives. Did anyone question that they "didn't get it?" It's not that hard to read about people different than yourself. Sorry. it just isn't. I have done it my whole life and I make a living out of it now. In fact, it's fun.

Fifth, readalike lists for white authors should not only contain white people. But also, readalike lists for POC authors should not only contain POC people. I already wrote about this topic regarding Stephen King and Luis Alberto Urrea-- click on their names to see each post. This is one of the largest examples of how we fail in promoting as diverse a list of titles as possible. And it is the most ubiquitous racist thing we all do--- all the time.

I think this is enough for now. You get my point. It is our job and responsibility to offer diverse choices to all readers. We must make it easier for them to find good stories...period! We must check ourselves and our own racism-- you can call it checking our privilege but I think that hiding behind "privilege" does not make us account for our part in the problem. Calling it racism does because that is what it is.

I also want to be clear that I am calling out every single one of us, myself included. If you cannot see yourself and your negative actions in this post and you do not think you can do better, than I am telling you, look harder. Right now.

I promise not to be negative all week, but it would betray my professional self and my commitment to serving all of you if I did not take this opportunity to firmly, but kindly remind us all that we have to do better.

Thank you for your time and have a wonderful National Library Week.

For past Call to Action posts, click here.

Friday, April 5, 2019

Game of Thrones! Game of Thrones! Game of Thrones!

Is there anything else happening next weekend? Not in my brain. And actually, the Game of Thrones mania is just beginning. This is a topic that people will be interest in for weeks. So I am here to help you get ready.

Notice I didn't call this post Game of Thrones readalikes. I purposely just listed the title as an exclamation because this is how people feel about this show and series. They love it. And today, I wanted to talk about why it has such broad and enthusiastic appeal. Also, you don't need me to give you basic readalikes lists. There are many options available, but I hope to get you to be a little more creative and inclusive in your readalike suggestions with this post because fans of the series are coming at it from more angles than you might at first think.

Let's begin with the obvious epic fantasy aspect. We know that epic fantasy is popular with a good sized segment of the population and has been for a long time. Long series in the tradition of Tolkien's Lord of the Rings command much space on library shelves, but Game of Thrones is different. Both the books and the TV series since they have been embraced by people who don't consider themselves epic fantasy fans. So if you are only matching readers who like GoT with epic fantasy, you are doing them a disservice.

Also, many GoT readalike lists are focused on other epic fantasy titles driven by white characters and from a Western pov; however, I would argue that the very best epic fantasy these days is being written by people who of color use non-Western traditions to tell the epic fantasy stories people always been drawn to but from a different perspective. The diverse points of view have added energy and a renewed sense of wonder to an old genre.

Also, GoT, while being set in a fictional Europe, also breaks a lot of the old school rules of epic fantasy. As result, I often suggest non-Western pov fantasy series to GoT fans [and have had great results]. Here are some of my current favorites to recommend:


One of the biggest appeal factors in GoT are the characters. This is a character driven story, but unlike most epic fantasy, where we know who the hero is [and as a result can be assured by genre rules that they will live to complete their mission] and conversely, where we know who the villain is, with GoT they whole point is that we do not know who the hero is. Many characters are vying to be the King or Queen of the Iron Throne. And they are all potential heroes/heroines or antagonists. This is dizzying at times but also fantastically entertaining.

As a result, not only do main characters die, but everyone who remains is not all good or all bad. There is something redeeming in even the most despicable characters here. Martin has done this brilliantly. This is very unique for any book. This nuance and distinction is intriguing and engrossing. It draws people in, many who don't always enjoy the clear lines of "good" and "bad" in traditional epic fantasy.

There are so many "main" characters, which some readers and viewers find confusing, but others relish it because it means that so many of the characters are fleshed out in detail, a detail in so many different characters that you don't usually see in any series.

A secondary appeal as a result of the nuanced characters is that there is a lot of similar appeal here with today's unreliable narrators in psychological suspense. GoT in many ways is a historical psychological suspense. I have found many readers who tend to only read psychological suspense who love the GoT TV show. The books, they have found slow and too detailed [but that is a trademark of epic fantasy in print], but the TV show is perfectly paced for them. So please don't forget to think about some more detailed, character focused stories with unreliable narrators and a psychological suspense, atmospheric and tense tone like books by Tana French, Donna Tartt, or Kazuo Ishiguro.

Another appeal is a historical one. GoT is basically a fantasy retelling of the time of the War of the Roses. In fact, many fans have told me that the reason they like GoT and don't generally like other fantasy is that the fantasy elements are secondary to the historical elements [even though it is alternative history which is a whole other readalike area to branch off into, but this post is getting long]. So some historical titles from pre 1500 might also work. I have had success giving people who like this aspect of GoT books by Madeline Miller and the Ken Follett Kingsbridge Series.

Finally, these books are dark, and while they have a type of zombies in them, I wouldn't call them horror, but they do share a lot with other epic dystopian, post-apocalyptic stories that touch or even cross into the edges of horror like Station Eleven, Severance, and The Fireman. All those links go to my reviews of those books and lead to even more readalikes in this vein.

So yes, you can get GoT readalike lists by the hundreds on the Internet, but really all that is giving you is other epic fantasy titles and a not very diverse list of the best of the newest and most exciting ones at that. What I hope to have done here today is to help you better help the patron in front of you by understanding the unique appeal of this amazing series and broaden your thinking about where to take readers next.

Thursday, April 4, 2019

Must Read Article on Racism in Romance But As I Argue, It's Not Just About Romance

I had a different post planned for today, but I pulled it so that I could post this important article and give you some of my thoughts on it too.

First the article: "Fifty Shades of While: The Long Fight Against Racism," is a well researched, "long read" from The Guardian.

Please go read it. All of it. Really think about it- especially all of you who are white, which in our profession is over 80% of us, so....

There is a lot to digest here I know, but here's even more for you to chew on- if you are reading this as only about romance, you are missing the point. This article describes EVERYTHING in publishing and also libraries.

Let me explain by tackling a small part of this article which mentions black authors being put into "black romance" publishing lines [actually it is mentioned more than once]. This is no different than libraries who have had and still have "African American" sections. I know these are still common because I have library workers argue with me, in my training sessions, for these sections to exist so "those readers can find them!"

Yup, this is said to me a few times a year, like clockwork. To my face. And the people saying it are not bad people; they are misguided and wrong, but not bad. They all truly think that they are doing the right thing and helping readers find books. But as I hope you can see, this is not only racist-- othering all books not featuring white people-- but it also limits all readers from finding book they may enjoy.

"African American" is not a genre. Horror, Romance, Fantasy, etc... are genres. The race of the characters is not a genre. I am white and Jewish. I do not only read books featuring white, Jewish people [thank goodness because I'd run out of books quickly and be bored].  I, like most fiction readers, read to escape. For that reason I mostly read books about people who are NOT like me. It's one of the reasons I like horror so much.

Romance, as a genre, has a big issue with racism, yes. But all fiction does. Romancelandia happens to be going on the offensive and its members are all talking about it-- openly and with no holds barred.

Good for them. But don't read this and think that all the other books and genres are doing just fine. They are NOT; they are simply not addressing it in public.

So please read this article and use it to think about the way you present, display, and showcase titles. Make sure you are including all voices in your displays of all genres. We need to be deliberately inclusive because for so long we have been blindly discriminating.

Wednesday, April 3, 2019

Using Awards Lists As A RA Tool: 2019 Hugo Awards

Today the Hugo finalists were announced [I have included the list at the end of this post].

This is my semi regular reminder that for RA and Collection Development purposes, the lists of finalists for awards are more helpful to us than just worrying about the winners.

I outlined this argument for the first time in this post, but the quick version is that awards lists show us a snapshot of the very best in a specific category or genre as picked by those who love it. We can use it to update our collections and to make suggestions, especially in areas where we are less familiar ourselves. But again, click through and read this post about how to use any awards list in variety of ways as we work with readers.

The Hugos are particularly helpful because they cover speculative fiction which encompasses multiple genres. They also have categories for "Best Series" and "Best New Writer," the later of which is particualy helpful for collection development purposes.

Here is the list from the Hugo website to help you help readers, boost your collections, and increase your own genre knowledge.

2019 Hugo Award Finalists

The finalists for the 2019 Hugo Awards, Lodestar Award for Best Young Adult Book, and John W. Campbell Award for Best New Writer and for the 1944 Retrospective Hugo Awards were announced online today by Dublin 2019.
There were 1800 valid nominating ballots (1797 electronic and 3 paper) received and counted from the members of the 2018 and 2019 World Science Fiction Conventions for the 2019 Hugo Awards. For the 1944 Retro Hugo Awards, 217 valid nominating ballots (214 electronic and 3 paper) were received.

The finalists for the 2019 Hugo Awards, Lodestar Award for Best Young Adult Book, and John W. Campbell Award for Best New Writer are:
Best Novel
  • The Calculating Stars, by Mary Robinette Kowal (Tor)
  • Record of a Spaceborn Few, by Becky Chambers (Hodder & Stoughton / Harper Voyager)
  • Revenant Gun, by Yoon Ha Lee (Solaris)
  • Space Opera, by Catherynne M. Valente (Saga)
  • Spinning Silver, by Naomi Novik (Del Rey / Macmillan)
  • Trail of Lightning, by Rebecca Roanhorse (Saga)
Best Novella
  • Artificial Condition, by Martha Wells (Tor.com publishing)
  • Beneath the Sugar Sky, by Seanan McGuire (Tor.com publishing)
  • Binti: The Night Masquerade, by Nnedi Okorafor (Tor.com publishing)
  • The Black God’s Drums, by P. Djèlí Clark (Tor.com publishing)
  • Gods, Monsters, and the Lucky Peach, by Kelly Robson (Tor.com publishing)
  • The Tea Master and the Detective, by Aliette de Bodard (Subterranean Press / JABberwocky Literary Agency)
Best Novelette
  • “If at First You Don’t Succeed, Try, Try Again,” by Zen Cho (B&N Sci-Fi and Fantasy Blog, 29 November 2018)
  • “The Last Banquet of Temporal Confections,” by Tina Connolly (Tor.com, 11 July 2018)
  • “Nine Last Days on Planet Earth,” by Daryl Gregory (Tor.com, 19 September 2018)
  • The Only Harmless Great Thing, by Brooke Bolander (Tor.com publishing)
  • “The Thing About Ghost Stories,” by Naomi Kritzer (Uncanny Magazine 25, November-December 2018)
  • “When We Were Starless,” by Simone Heller (Clarkesworld 145, October 2018)
Best Short Story
  • “The Court Magician,” by Sarah Pinsker (Lightspeed, January 2018)
  • “The Rose MacGregor Drinking and Admiration Society,” by T. Kingfisher (Uncanny Magazine 25, November-December 2018)
  • “The Secret Lives of the Nine Negro Teeth of George Washington,” by P. Djèlí Clark (Fireside Magazine, February 2018)
  • “STET,” by Sarah Gailey (Fireside Magazine, October 2018)
  • “The Tale of the Three Beautiful Raptor Sisters, and the Prince Who Was Made of Meat,” by Brooke Bolander (Uncanny Magazine 23, July-August 2018)
  • “A Witch’s Guide to Escape: A Practical Compendium of Portal Fantasies,” by Alix E. Harrow (Apex Magazine, February 2018)
Best Series
  • The Centenal Cycle, by Malka Older (Tor.com publishing)
  • The Laundry Files, by Charles Stross (most recently Tor.com publishing/Orbit)
  • Machineries of Empire, by Yoon Ha Lee (Solaris)
  • The October Daye Series, by Seanan McGuire (most recently DAW)
  • The Universe of Xuya, by Aliette de Bodard (most recently Subterranean Press)
  • Wayfarers, by Becky Chambers (Hodder & Stoughton / Harper Voyager)
Best Related Work
  • Archive of Our Own, a project of the Organization for Transformative Works
  • Astounding: John W. Campbell, Isaac Asimov, Robert A. Heinlein, L. Ron Hubbard, and the Golden Age of Science Fiction, by Alec Nevala-Lee (Dey Street Books)
  • The Hobbit Duology (documentary in three parts), written and edited by Lindsay Ellis and Angelina Meehan (YouTube)
  • An Informal History of the Hugos: A Personal Look Back at the Hugo Awards, 1953-2000, by Jo Walton (Tor)
  • www.mexicanxinitiative.com: The Mexicanx Initiative Experience at Worldcon 76(Julia Rios, Libia Brenda, Pablo Defendini, John Picacio)
  • Ursula K. Le Guin: Conversations on Writing, by Ursula K. Le Guin with David Naimon (Tin House Books)
Best Graphic Story
  • Abbott, written by Saladin Ahmed, art by Sami Kivelä, colours by Jason Wordie, letters by Jim Campbell (BOOM! Studios)
  • Black Panther: Long Live the King, written by Nnedi Okorafor and Aaron Covington, art by André Lima Araújo, Mario Del Pennino and Tana Ford (Marvel)
  • Monstress, Volume 3: Haven, written by Marjorie Liu, art by Sana Takeda (Image Comics)
  • On a Sunbeam, by Tillie Walden (First Second)
  • Paper Girls, Volume 4, written by Brian K. Vaughan, art by Cliff Chiang, colours by Matt Wilson, letters by Jared K. Fletcher (Image Comics)
  • Saga, Volume 9, written by Brian K. Vaughan, art by Fiona Staples (Image Comics)
Best Dramatic Presentation, Long Form
  • Annihilation, directed and written for the screen by Alex Garland, based on the novel by Jeff VanderMeer (Paramount Pictures / Skydance)
  • Avengers: Infinity War, screenplay by Christopher Markus and Stephen McFeely, directed by Anthony Russo and Joe Russo (Marvel Studios)
  • Black Panther, written by Ryan Coogler and Joe Robert Cole, directed by Ryan Coogler (Marvel Studios)
  • A Quiet Place, screenplay by Scott Beck, John Krasinski and Bryan Woods, directed by John Krasinski (Platinum Dunes / Sunday Night)
  • Sorry to Bother You, written and directed by Boots Riley (Annapurna Pictures)
  • Spider-Man: Into the Spider-Verse, screenplay by Phil Lord and Rodney Rothman, directed by Bob Persichetti, Peter Ramsey and Rodney Rothman (Sony)
Best Dramatic Presentation, Short Form
  • The Expanse: “Abaddon’s Gate,” written by Daniel Abraham, Ty Franck and Naren Shankar, directed by Simon Cellan Jones (Penguin in a Parka / Alcon Entertainment)
  • Doctor Who: “Demons of the Punjab,” written by Vinay Patel, directed by Jamie Childs (BBC)
  • Dirty Computer, written by Janelle Monáe and Chuck Lightning, directed by Andrew Donoho and Chuck Lightning (Wondaland Arts Society / Bad Boy Records / Atlantic Records)
  • The Good Place: “Janet(s),” written by Josh Siegal & Dylan Morgan, directed by Morgan Sackett (NBC)
  • The Good Place: “Jeremy Bearimy,” written by Megan Amram, directed by Trent O’Donnell (NBC)
  • Doctor Who: “Rosa,” written by Malorie Blackman and Chris Chibnall, directed by Mark Tonderai (BBC)
Best Editor, Short Form
  • Neil Clarke
  • Gardner Dozois
  • Lee Harris
  • Julia Rios
  • Lynne M. Thomas and Michael Damian Thomas
  • E. Catherine Tobler
Best Editor, Long Form
  • Sheila E. Gilbert
  • Anne Lesley Groell
  • Beth Meacham
  • Diana Pho
  • Gillian Redfearn
  • Navah Wolfe
Best Professional Artist
  • Galen Dara
  • Jaime Jones
  • Victo Ngai
  • John Picacio
  • Yuko Shimizu
  • Charles Vess
Best Semiprozine
  • Beneath Ceaseless Skies, editor-in-chief and publisher Scott H. Andrews
  • Fireside Magazine, edited by Julia Rios, managing editor Elsa Sjunneson-Henry, copyeditor Chelle Parker, social coordinator Meg Frank, special features editor Tanya DePass, founding editor Brian White, publisher and art director Pablo Defendini
  • FIYAH Magazine of Black Speculative Fiction, executive editors Troy L. Wiggins and DaVaun Sanders, editors L.D. Lewis, Brandon O’Brien, Kaleb Russell, Danny Lore, and Brent Lambert
  • Shimmer, publisher Beth Wodzinski, senior editor E. Catherine Tobler
  • Strange Horizons, edited by Jane Crowley, Kate Dollarhyde, Vanessa Rose Phin, Vajra Chandrasekera, Romie Stott, Maureen Kincaid Speller, and the Strange Horizons Staff
  • Uncanny Magazine, publishers/editors-in-chief Lynne M. Thomas and Michael Damian Thomas, managing editor Michi Trota, podcast producers Erika Ensign and Steven Schapansky, Disabled People Destroy Science Fiction Special Issue editors-in-chief Elsa Sjunneson-Henry and Dominik Parisien
Best Fanzine
  • Galactic Journey, founder Gideon Marcus, editor Janice Marcus
  • Journey Planet, edited by Team Journey Planet
  • Lady Business, editors Ira, Jodie, KJ, Renay & Susan
  • nerds of a feather, flock together, editors Joe Sherry, Vance Kotrla and The G
  • Quick Sip Reviews, editor Charles Payseur
  • Rocket Stack Rank, editors Greg Hullender and Eric Wong
Best Fancast
  • Be the Serpent, presented by Alexandra Rowland, Freya Marske and Jennifer Mace
  • The Coode Street Podcast, presented by Jonathan Strahan and Gary K. Wolfe
  • Fangirl Happy Hour, hosted by Ana Grilo and Renay Williams
  • Galactic Suburbia, hosted by Alisa Krasnostein, Alexandra Pierce, and Tansy Rayner Roberts, produced by Andrew Finch
  • Our Opinions Are Correct, hosted by Annalee Newitz and Charlie Jane Anders
  • The Skiffy and Fanty Show, produced by Jen Zink and Shaun Duke, hosted by the Skiffy and Fanty Crew
Best Fan Writer
  • Foz Meadows
  • James Davis Nicoll
  • Charles Payseur
  • Elsa Sjunneson-Henry
  • Alasdair Stuart
  • Bogi Takács
Best Fan Artist
  • Sara Felix
  • Grace P. Fong
  • Meg Frank
  • Ariela Housman
  • Likhain (Mia Sereno)
  • Spring Schoenhuth
Best Art Book
Under the WSFS Constitution every Worldcon has the right to add one category to the Hugo Awards for that year only. Dublin 2019 has chosen to use this right to create an award for an art book.
  • The Books of Earthsea: The Complete Illustrated Edition, illustrated by Charles Vess, written by Ursula K. Le Guin (Saga Press /Gollancz)
  • Daydreamer’s Journey: The Art of Julie Dillon, by Julie Dillon (self-published)
  • Dungeons & Dragons Art & Arcana: A Visual History, by Michael Witwer, Kyle Newman, Jon Peterson, Sam Witwer (Ten Speed Press)
  • Spectrum 25: The Best in Contemporary Fantastic Art, ed. John Fleskes (Flesk Publications)
  • Spider-Man: Into the Spider-Verse – The Art of the Movie, by Ramin Zahed (Titan Books)
  • Tolkien: Maker of Middle-earth, ed. Catherine McIlwaine (Bodleian Library)
There are two other Awards administered by Worldcon 76 that are not Hugo Awards:
Lodestar Award for Best Young Adult Book
  • The Belles, by Dhonielle Clayton (Freeform / Gollancz)
  • Children of Blood and Bone, by Tomi Adeyemi (Henry Holt / Macmillan Children’s Books)
  • The Cruel Prince, by Holly Black (Little, Brown / Hot Key Books)
  • Dread Nation, by Justina Ireland (Balzer + Bray)
  • The Invasion, by Peadar O’Guilin (David Fickling Books / Scholastic)
  • Tess of the Road, by Rachel Hartman (Random House / Penguin Teen)
John W. Campbell Award for Best New Writer
  • Katherine Arden*
  • S.A. Chakraborty*
  • R.F. Kuang
  • Jeannette Ng*
  • Vina Jie-Min Prasad*
  • Rivers Solomon*
*Finalist in their 2nd year of eligibility

Tuesday, April 2, 2019

Flashback Review: In the Valley of the Sun with Updated Readalikes

Sometimes you read a book that just fell into your lap, one you had no idea even existed, one that you had never heard about, and after reading it, you are stunned, you want to run and tell every person, everywhere to read it, and it never leaves you. This is what happened to me the first time I read In the Valley of the Sun by Andy Davidson.

I cannot use enough superlatives to talk about not only this book, but how much it blew me away. And I went out of my way to spread the word far and wide. I championed it for a Bram Stoker Award for Best First Novel [it was a finalist], I made sure a member of the RUSA CODES Reading List knew about it and it made the 2018 horror list as an honorable mention, I included it in a Library Journal column, obviously the Booklist review below, and I even talked about it on Nebraska Public Radio.

Enough sales were generated for the hardcover that a paperback was just recently released by Skyhorse. And, Davidson recently signed a 2 book deal with FSG/Macmillan to publish 2 Big 5 horror novels. The first, entitled The Boatman's Daughter is due February 2020 is already generating buzz. In general FSG has been publishing more subtle and literary horror-- The Grip of It and Universal Harvester are two critically acclaimed examples-- and I am very excited about this. These titles will get ordered by libraries; these titles will get read; and that means more patrons will be asking for more horror like the books they just enjoyed.

If you haven't read In the Valley of the Sun yet, or don't own it, now is the time to grab a paperback for your collections. You will also then be ready for Davidson to break out early next year. This novel is unlike any vampire novel you have ever read and will greatly appeal to fans of modern westerns [of which there are many as I wrote about here] too.

Below is the original review post from May 2017. But to this review, I would also add two books that have come out since which are great readalikes. Both are literary horror with lyrical language and a perfectly rendered, highly detailed setting-- The Hunger by Alma Katsu and Frankenstein in Baghdad by Ahmed Saadawi both of which were among my favorite horror readers of 2018. You can use the link to read my longer reviews for each.


In the Valley of the Sun.

Davidson, Andy (author).

June 2017. 384p. Skyhorse, hardcover, $24.99  (9781510721104); e-book (9781510721111). 
First published May 1, 2017 (Booklist).

It is 1980 and the US is still reeling from the effects of the Vietnam War, especially in the harsh landscape of rural Texas. Travis is not a good man, he even wears a black hat. Haunted by his violent past, he takes it out on the women he meets. But one night, a strange, pale skinned girl leaves him bloodied and weak in his own trailer only to awaken with an inability to tolerate daylight and a strange and overpowering hunger. When widow Annabelle and her ten year old son Sandy, see the trailer in the parking lot of their long empty roadside motel, she offers the sickly cowboy some work around the place in exchange for his board. The three lonely souls soon strike up an awkward friendship, but not for long because a veteran Texas Ranger is following the trail of dead girls that leads right up to Travis’ doorstep, and no one, not even Travis, understands the monster they are truly up against. The shifting point of view smoothly moves between the major players, allowing the reader to sympathize with all, even the most evil ones. But this is not your typical vampire novel, rather it is actually a lyrical western, with a large dose of psychological suspense. Everyone has a secret here and no one is completely innocent. It is a story dripping with atmosphere, a hauntingly dark, yet oddly beautiful debut with wide appeal, where the plot and the characters play with your mind, and the pacing is like the harsh landscape, a slow but riveting burn. This is one that readers won’t easily forget after turning the final page. Hand it often to fans of literary, psychological suspense with a strong sense of place who don’t mind a subtle touch of the supernatural, and especially target fans of the film Hell or High Water and the novels of Cormac McCarthy or Stephen Graham Jones
Further Appeal: This book was amazing from the first page. First of all, talk about a flawed protagonist, Travis wears a black hat for goodness sake. The unease in this book starts from the dead, lifeless girl on page one and only builds from there; it is intense. The characters are all complicated and flawed. The setting is rendered perfectly-- both the beauty and savagery of the landscape and the time period [post Vietnam War]. And the whole vampire thing is so subtle. I normally dislike vampire stories, but for this one, it works perfectly both as a metaphor AND literally.

But what is the most striking thing about this book it the lyrical beauty of its language. This is a book you can give out to readers who read for language. Over the years I have found that there are a lot of those readers. They don’t care as much about plot or other appeals as long as the language itself captures them.

I was a little sad when I finished this book because I think I read the best debut horror book I will read all year and it is was only March when I finished it. Expect me to bring this one up A LOT in the coming months.

Finally, it is important to note that the Western is having a moment once again, but it is in this reimagined way. Pay attention to that because it is trend that is still on an upward trajectory.

Three Words That Describe This Book: lyrical, haunting, atmospheric

Readalikes: Seriously, if you could stuff Cormac McCarthy into Stephen Graham Jones- mix the old Texas master with one of the up and coming ones and have that newly created author write a book- you would get this novel. Mongrels by Jones and either No Country for Old Men OR The Road by McCarthy [depending on your personal preferences with storyline] are where you should begin.

Mentioning No Country for Old Men which is also a very good movie, brings me back to the fact that in the review I give a watch alike. This book is more similar to Hell or High Water than any book I have ever read. The setting of that Oscar nominated movie is more contemporary, yes, but otherwise the feel, characterizations, and bleak beauty are all there. I hand sold this title to best selling horror author Jeff Strand based on this comparison alone.

Finally, if you want a Southern Gothic classic that also has a monster storyline, but one that is not the crux of the story, try the often forgotten, but absolutely AMAZING The Reapers are the Angels by Alden Bell. It’s set in the aftermath of a zombie apocalypse, but the zombies are not why you read this novel.

Monday, April 1, 2019

RA for All Roadshow to Visit Library Journal Course: Evaluating, Auditing, and Diversifying Your Collections

I am back from vacation and it appears that [mostly] you all behaved yourself. Seriously though, I am back and recharged to get moving, and that's good because my busy travel season is about to kick into high gear.

Today I wanted to start by letting you know about one of my upcoming training opportunities that is part of that busy season-- the latest Library Journal Professional Development Course which will feature a host of experts including myself entitled, Evaluating, Auditing, and Diversifying Your Collections.

Click here for all of the details, some of which I have pulled out below. I know it is not cheap, but I have participated in these classes before and talked to others who have taken them and they are a good deal. You will learn from a variety of experts who will all speak from their varied experiences. I personally know and have worked with many of the speakers in this go round.

Contact me if you have questions.

I will be developing my own longer EDI program for interested libraries this Fall, but I am going to be honest, for less than I charge for a 1 hour webinar [let alone my in-person costs], you can get much more and from more people with this course:



Evaluating, Auditing, and Diversifying Your Collections
In this multifaceted online course, you’ll complete work to ensure that your collections are Diverse, Equitable, and Inclusive—with personal coaching from experts from libraries and beyond.
Live Interactive Sessions: Tuesdays: April 30, May 7 & May 14 from 2:00 PM - 4:00 PM ET. Plus, self-guided options and additional bonus content offered so you can follow along at your own pace.
Do you want to ensure that your library’s collections are diverse, equitable, inclusive—and well-read? 
In this foundational course from Library Journal and School Library Journal, designed specifically for public librarian professionals who work in collections and readers’ advisory (RA), you’ll hear from an outstanding group of experts as they explore key concepts essential to cultivating and promoting inclusive and equitable collections. You’ll conduct a diversity audit of your collections and learn about how to include diverse books, wider perspectives, #ownvoices, and how to be more responsive to the community you serve. 
The course will cover a wide range of topics, helping teach librarians how to evaluate books and media through an inclusive lens, that includes the experiences of LGBTQIA people, Native people, people of color, people with disabilities, non-binary or gender non-conforming people, and ethnic, cultural, religious minorities, and more.
When you attend this interactive online course, you’ll come away with:  
  • The ability to assess current library collections, book promotions, and displays through a diverse lens in order to assess gaps in collections and service areas.
  • An understanding of key diversity and cultural literacy concepts such as white privilege, unconscious bias, cultural appropriation, and intersectionality.
  • The ability to recognize common problematic stereotypes, tropes, and microaggressions in media.
  • The ability to assess the diversity and inclusiveness of current collection development and RA practices.
  • Guidance on planning and executing a diversity audit.
  • Tools, tips, and advice on how to better diversify collections and displays.
  • A plan of action to better diversify your library collections and address gap areas that will transform your understanding of your library users and the services you provide.
Inspiring Live Guest Speakers + Project-Based LearningEngage with presenters via live video stream, visual presentations, and chats, and workshop practical solutions in groups, with guidance from an advisor, to map out your own cultural literacy and inclusion initiatives. You’ll leave with well-developed strategies designed to make a lasting impact on your community.
Finally, here is the info about my day in particular. You can click here for all of the details for the entire course. I hope you can join us.
Part 3 - Tuesday, May 14, 2018, 2 — 4:15 pm ET 
Session 1 | From Reading Diversely to Buying Diversely: Collection Development and Readers’ Advisory for the Inclusive Librarian | 2:00 PM — 2:30 PM ET 
Diversifying your collection begins with diversifying your suggestions. Learn from Becky Spratford of RA for All how to locate and combat implicit racism and sexism in our resources and provide a wider range of suggestions to our readers in this compelling session. Spratford will explain how encouraging readers to read more diversely results in libraries buying more diversely, and share ideas for how you can include your whole staff in the process. You’ll come away with an understanding for how equity work can become a part of your daily practice via interactions with your patron, staff, and the wider community.
Speaker: Becky Spratford, Readers’ Advisory Specialist