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books

  • STACKED
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  • Categories
    • Audiobooks
    • Book Lists
      • Debut YA Novels
      • Get Genrefied
      • On The Radar
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Teen Dating Violence Awareness Month: A Discussion and Reading Guide

February 13, 2014 |

Did you know that February is Teen Dating Violence Awareness Month? I had no idea until I saw someone talking about it, and I thought it would be more than worthwhile to talk a bit about why having a month of awareness of this topic is important, as well as offer some discussion fodder and a reading list of YA fiction that delves into teen dating violence.

According to the Centers for Disease Control, a 2011 survey of teens found that 9.4% of teens reported having been in a romantic relationship that resulted in them being hit, slapped, or physically hurt on purpose in the last twelve months. Sit with that a minute: in the last year, almost 10% of teens reported having been in a relationship that involved violence. If we believe that at least that much did not report violence in their relationship — and anyone who went to high school and took one of these surveys knows what they involve — that is a huge and startling statistic.

In addition to that, 1 in 5 females and 1 in 7 males report having been sexually assaulted, raped, physically hurt, or stalked by a romantic partner; those statistics are for those aged 11 to 17.


Twenty percent of women between the ages of 11 and 17 have reported being raped, assaulted, or stalked by a romantic partner and fourteen percent of men between the ages of 11 and 17 have reported being raped, assaulted, or stalked by a romantic partner. 

These numbers were reported in a survey separate from the one above, so considered separately and considered together, those numbers are frightening.

Starting a conversation about this topic can be difficult, but I think it’s one that’s important to keep aware of and know the statistics about because it should be informative in working with teens. Whether you’re an educator or a librarian or teen advocate in some capacity (which includes writers for teens, readers who appreciate YA fiction, bloggers, and so forth), being ignorant of what teens experience or are familiar with because of their peers’ experiences can be more harmful than helpful. Fortunately, aside from the statistics that exist, there are excellent resources for building your awareness of teen dating violence, as well as excellent teen novels that tackle this delicate issue in ways that are not only helpful, but can be the door that invites important conversation.

Despite what we can think as adults, teens are aware of these issues and not only are they aware of them, they’re not afraid to talk about them. It’s us as adults who are more fearful to broach the issues for fears we may do or say wrong or — in a worse case scenario — we fear that we might put ideas into “impressionable minds.” Let’s be real though: teens know. Teens aren’t impressionable in that way. What can and does make an impression is being willing to be an advocate and an open conversationalist to, for, and with these teens. That knowledge that you care can change their world.

Select Resources 

Last April, I wrote a guide to discussing sex, sexual assault, and rape, so I won’t go too much into that here. But I do want to point to a project being built by Teen Librarian Toolbox, called the Sexual Violence in Young Adult Literature Chat. The ongoing project, which is supplemented by the linked tumblr account, is meant to foster conversation about sexual violence in a manner that helps empower readers and teen advocates in not only their ability to think about this challenging topic, but also to foster conversation with teens themselves.

Become familiar with Teen Dating Violence Awareness Month’s site. This online hub is a space for discussing and advocating for the efforts of promoting and raising awareness of teen dating violence. There are a wealth of resources, including dating abuse helplines and a wealth of public awareness campaigns. Those campaign sites will offer even more great resources and helpful tips for raising your own awareness, as well as for becoming a stronger advocate for teens.  

The Teen Dating Violence site is an arm of love is respect, which is another site you should have on your radar. This resource is one that would be especially useful for teen themselves, as it offers a tool defining what dating violence is. Again, the statistics are that roughly 10% of teens reported being in a physically harmful relationship; it’s not always obvious to teens (just like it’s not always obvious to adults!) when a relationship is abusive.

Although I don’t think that the US Department of Health and Human Services site offers the most useful information, I’m linking to it because it does offer tips and help as to cultivating conversations about Teen Dating Violence Awareness Month. This is the toolkit for adults to talk about this month and what the purpose behind the campaign is. It offers some downloadable and printable fact sheets that could be valuable in displays, on social media, or on physical bulletin boards.

Dating Violence in YA Fiction

Since I covered sexual violence last spring, I’m focusing this list more specifically on dating violence. All of these are YA titles, and each has some component of relationship violence — and I’m not going to shy away from it: some of these books can be really challenging to read because of that. But I think knowing about them, talking about them, and having them available for teens can be invaluable in fostering important conversations, if not for helping a teen in one of these situations realize what’s going on is not okay.

All descriptions come from WorldCat, and I know this is far from a complete list. Please feel free to add more to this list, especially books where the male main character may be suffering from dating violence. I find that there is often a lacking in stories about relationship violence — verbal, sexual, or physical — of the male being the victim. Which isn’t to say the stories of females being victims aren’t important (they definitely are, and as noted, they are more frequently the victims), but I think it’s just as important to show the other side, too, as it’s often the one that’s talked about far less. Likewise, there’s a dearth of LGBTQ relationships presented.

Since my knowledge is heavier on realistic fiction, that’s reflected, but I am aware dating violence shows up in other genres within YA fiction, as well. 



Bad Boy by Dream Jones: Devastated to find herself back in a group home after a peaceful year of living with loving foster parents, a Brooklyn teenager striving to become strong and independent soon falls prey to the dangerous affections of a good looking but shady young man.

Bitter End by Jennifer Brown: When seventeen-year-old Alex starts dating Cole, a new boy at her high school, her two closest friends increasingly mistrust him as the relationship grows more serious.

Breaking Beautiful by Jennifer Shaw Wolf: Allie is overwhelmed when her boyfriend, Trip, dies in a car accident, leaving her scarred and unable to recall what happened that night, but she feels she must uncover the truth, even if it could hurt the people who tried to save her from Trip’s abuse.

Breathing Underwater by Alex Flinn: Sent to counseling for hitting his girlfriend, Caitlin, and ordered to keep a journal, sixteen-year-old Nick recounts his relationship with Caitlin, examines his controlling behavior and anger, and describes living with his abusive father.

But I Love Him by Amanda Grace: Traces, through the course of a year, Ann’s transformation from a happy A-student, track star, and popular senior to a solitary, abused woman whose love for the emotionally-scarred Connor has taken away everything–even herself.

Dark Song by Gail Giles: After her father loses his job and she finds out that her parents have lied to her, fifteen-year-old Ames feels betrayed enough to become involved with a criminal who will stop at nothing to get what he wants.

Dreamland by Sarah Dessen: After her older sister runs away, sixteen-year-old Caitlin decides that she needs to make a major change in her own life and begins an abusive relationship with a boy who is mysterious, brilliant, and dangerous.

Falling For You by Lisa Schroeder: Very good friends, her poetry notebooks, and a mysterious “ninja of nice” give seventeen-year-old Rae the strength to face her mother’s neglect, her stepfather’s increasing abuse, and a new boyfriend’s obsessiveness.

Panic by Sharon Draper: As rehearsals begin for the ballet version of Peter Pan, the teenaged members of an Ohio dance troupe lose their focus when one of their own goes missing. (From description it doesn’t sound like it’s about dating abuse, but that is a storyline among other characters in the book). 

 

Rage: A Love Story by Julie Anne Peters: At the end of high school, Johanna finally begins dating the girl she has loved from afar, but Reeve is as much trouble as she claims to be as she and her twin brother damage Johanna’s self-esteem, friendships, and already precarious relationship with her sister.


Shattered by Sarah N. Harvey: After March shoves her boyfriend and he ends up in a coma, she tries to figure out what it means to have a perfect life.

So Much It Hurts by Monique Polak: A teen actress gets involved with an older director, whose explosive temper and controlling behavior threaten to destroy her life.




Stay by Deb Caletti: In a remote corner of Washington State where she and her father have gone to escape her obsessive boyfriend, Clara meets two brothers who captain a sailboat, a lighthouse keeper with a secret, and an old friend of her father who knows his secrets.


Teenage Love Affair by Ni-Ni Simone: Seventeen-year-old Zsa-Zsa is torn between her current boyfriend who is abusive and her first love, Malachi.

Things Change by Patrick Jones: Sixteen-year-old Johanna, one of the best students in her class, develops a passionate attachment for troubled seventeen-year-old Paul and finds her plans for the future changing in unexpected ways.

Filed Under: big issues, book lists, dating violence, Discussion and Resource Guides, Uncategorized, Young Adult

Weight, Body Image & Body Portrayal in YA Books

September 17, 2012 |

This week, I’m reviewing a few books that tackle a subject that’s near and dear to my heart. I thought before delving into those reviews, I’d talk about why these books are tough for me to read and even harder for me to review without bias. I think it’s fair to say that when I review a book — when anyone reviews a book — there are certain biases that emerge within the review. Certain subjects tend to arouse more feelings or beliefs than others. It would be impossible to be entirely objective in a review. You can get close, but even if you evaluate a book solely on a list of literary standards, your own biases about what makes a standard come into play.

My touchy subjects are weight and body image. More specifically, the portrayal of characters who aren’t thin or of average, non-noteworthy size. In other words, I’m endlessly curious about stories featuring fat or obese characters. If you’ve spent any time here you know this already, as I’ve talked about fat girls on book covers and I talked about how annoying it is that bodies are constantly compared to one another in such a way that even thin bodies are somehow improper or less-than worthy of being a body.

I’m inherently biased against books featuring fat characters because being fat has been a reality of my life since middle school and through high school, college, graduate school, now. Living with a fat body has been my reality. It’s been my reality and my existence for as long as I can remember being body-aware.

Everyone’s experience with their own physical body is different. Everyone’s bodies are as they are for entirely different reasons, and everyone’s level of acceptance of what they look like and how they feel is going to be different. It changes, too: I thought I was huge in high school, thanks in part to what other people would say to me. But when I got to college, I realized I wasn’t that big. Until, of course, I gained a lot of weight in college. I’m talking close to 100 pounds over the course of four years — and why doesn’t really matter. The thing is, I didn’t feel all that different than I did in high school. I was able to do everything I did in high school physically. I still got out of bed. I could still do the stairs. I could still participate in x, y, and z and not feel like my body was holding me back. Was I happy with how I looked? No. But I was still physically capable of doing everything I wanted to do.

What left a mark on me was less about my fat and more about what other people thought about fat and then attached to me.  There are a million assumptions about fat people, about how their bodies hold them back and how their bodies are somehow less-than because they are larger. About how because they carry more fat, then they’re a part of the problem of the obesity epidemic, of health crises, and so on. About how they’re somehow less human because their bodies take up more space. But in my experience, none of these things are true. I’m still as perfectly a valid human as someone who is half or quarter of my size and as perfectly valid as someone who might be three or four or eight times the size of me. Even after shedding a lot of weight and taking better care of myself physically in terms of following a fitness and eating routine, I still consider who I was at my highest weight as essential and important a human as I am now — and if you’re wondering, since likely you are because I think it’s part of the human/societal condition at this point to be so, I’m at the smallest I have been since high school right now, even though I probably weigh more than anyone would believe.

Of course, this is to say that what the scale says means nothing except whatever you believe it says. Do I still find myself excited when I see the number go down? Absolutely. But what matters most to me is how I feel when I get up in the morning and how I’m able to best navigate my world within the body I have. The fat but still absolutely human body.

When I read a book tackling weight then, I bring my own life experience to the table. I bring all the baggage I’ve dealt with and all of my experiences living with my body and the experiences of others living with my body. Is it fair? Maybe, maybe not. But often, books tackling overweight teens tend to fall into a number of problematic tropes and stereotypes:

  • Attachment to eating: In so many of the books tackling weight issues — and I’ll say this about both books about overweight teens and books about teens struggling with eating disorders on the other side of the spectrum — is that food and consumption are inextricably linked to emotion and comfort. Does this happen in real life? Absolutely. We go out and eat to celebrate good news, and sometimes we dive into certain foods for comfort when we’re sad or depressed or anxious. But what many of these books do is continuously attach meaning to eating. The fat character can’t cope with loss or grief or any other big deal issue, their only solution is to eat. There’s not an actual, genuine emotion to ground the reader to the character or to allow the reader to empathize with the character and their situation. Instead, readers are told that the character is just eating again to make themselves feel better about whatever the issue at hand is. The association is that the character is weak and that their bodies are fat because they’re too weak to tackle the issue at hand. They turn to comfort, and then they wear that comfort through their fatness. This feels like cheating to me — it’s too simplistic and far too dehumanizing in terms of explaining why someone is fat. It’s lazy character development and relies upon societal stereotypes of what does and doesn’t make someone fat. Readers are given the explanation they’re given everywhere else, furthering the stereotype and further suggesting the connection between a problem and a fat body. 
  • Choice vs. legitimate issue: Many times, the fat character is fat because, well, she or he chose to be that way. The food for comfort issue above plays into it a bit, but more than that, stories about the fat character tend to make the reader assume that said character could be different — could be thin or of an average size — if they were better/smarter/less lazy/any other quality that is within their own control. In other words, it’s their own fault they’re fat so suck it up and deal. That’s far too simplistic and again, it’s exactly what society says about fat people, isn’t it? That change is entirely within their control and the only reason they aren’t slim is because they’re lazy? The truth is, though, fat people are fat for any number of reasons: genetics, health concerns, and their environment, among other things. Sometimes, very active, athletic people are fat. Sometimes, they’re more fit than thin people, too. Fat isn’t always about choice. Even if there is choice involved in how one’s body appears, making a commitment to change, to start working out or eating “right” or any number of other choices meant to make a fat body less fat doesn’t promise the end of fat. That we continue to suggest it’s a choice is harmful and ignorant.
  • Changing for someone/something else: I don’t think it’s unreasonable or unbelievable that sometimes what spurs a person to change their life is someone or something else. Especially teens. Peer pressure and the desire to fit in are cornerstones of teen development. And here is where my adult sensibilities kick in — it is problematic to me when weight loss, when getting rid of fatness, is the means for a character to suddenly become accepted. When fatness is portrayed as the stumbling block in making a character one worthy of being accepted, of being loved, of capturing the attention of the cute boy or the popular clique. Does it happen in real life? I’d be naive to say no; I also think I’d be naive in suggesting that a book tackling fat issues make itself a happy story where everyone learns to accept one another in whatever shape or size they are. Here’s the thing though. At what point are these books simply playing upon social expectations? It’s the Cinderella scenario. As soon as the fat character overcomes their fatness and becomes what society wants them to be — thin and attractive — they’re suddenly going to be accepted and loved. Fat is bad. It’s ugly. And often in these books, it is the only reason someone can’t get the stud or fit in with a certain crowd. Here’s the truth: the only way you can change and sustain change is through making the commitment to yourself. You have to first accept who you are at that very basic level before you can decide to change. Choosing to change to fit other people’s molds isn’t just unhealthy; it’s unrealistic. In real life, when you lose a significant part of your fatness, it doesn’t make people like you more. It doesn’t get you the star football player. And if it DOES do those things, then that says more about those people than it does about you. So that many of these books showcase weight loss as a means to solve your social problems is in and of itself troubling. 
  • Lack of support: Going along with the changing for other people issue is that in so many of these books, fat characters lack support systems. Even their families lack empathy for their fat compatriots. Mom or dad or brother or sister constantly nag upon the fat character to get on a diet, to lose weight, to make themselves better. Often the characters are portrayed as loners or as people who don’t have many friends to whom they can turn. Or if they do have friends, those friends are either struggling with fatness themselves or aren’t true friends. They’re of the hot and cold variety. It’s never about who the person is on the inside. It’s about what they look like on the outside. Even if it’s explained as coming from a place of concern and love on the part of the family member of friend, it’s still troubling that these fat characters aren’t accepted wholly for who they are until they lose weight.  
  • Fat fear stereotyping: This one’s mileage varies, so understand this is entirely my personal peeve, though I am probably not isolated in this feeling. Many times books tackling fat characters play into horrific stereotypes of what it means to exist in a fat body. What that experience must be like. For starters — and this particular scenario emerges repeatedly in these books — there’s the character’s fear of not fitting into a seat or of a chair breaking beneath them. Is this a legitimate concern? I think so. Except, it’s also not a part of one’s existence with a fat body at every waking moment. If it were, fat people wouldn’t leave their homes. Wouldn’t go to school. Wouldn’t get on an airplane (where fat people are regularly discriminated against anyway). In other words, a lot of times these books look into the experience of fat with speculation and almost a perverse sense of power in terms of a character’s capabilities or lack thereof. These characters live a daily life of fear, to the point it can paralyze them. Fatness is to be feared because by being fat, you might embarrass yourself if you try to sit on the locker room bench. Or in the classroom chair. Or hell, that a fat body can’t participate in physical education class because there’s no way someone who weighs 300 pounds could ever get through 30 minutes of activity. 
  • Non-acceptance of self: The most troubling issue for me in these books, though, is that a character who is fat rarely gets the opportunity to accept themselves as they are. Because of all the issues outlined above, they’re already pinned down AS the fat character and AS the fat character, they’re somehow less-than-human. They lack feelings, they lack drive and ambition for non-body related goals, they lack friends and family, and they lack self-care. If adolescence is about growing up and learning about yourself, who you are, and what you’re capable of, that should translate into your physical experience, too. I mean, it already does with puberty. I don’t quite understand then why these books insist that being fat isn’t okay. That it’s something needing to be changed. I think it goes back to what I’ve repeated over and over: social norms. Social beliefs about what it means to have and live inside a fat body. Because a fat body is somehow less able to do the things a normal or thin body is. Because a fat body represents what’s wrong with everything in society. Because a fat body represents something to someone who isn’t existing within the body that they are judging. 

I feel like we’ve come leaps and bounds in terms of accepting people in our world for their lifestyle choices. By no way are we perfect nor do I think we will ever be, but we are far more willing to look at people who are LGBTQ or who are choosing non-traditional means of careers or education or who have maybe become pregnant at a bad time and need to make life-altering choices impacting themselves and that child and accept the choices they make. These are, of course, a small number of examples. But when it comes to choosing to accept fatness, we continue to drown in these stereotypes. I can count on one hand the books that work against one or all of the problems above, and that makes me sad and frustrated. Aside from being that teen — and now being that adult — I know scads of kids who are exposed to these beliefs and it damages them early on. It tells them they’ll never be good enough. It tells them that their bodies are wrong, are disgusting, are less than capable and that translates into them thinking they aren’t worthy of love or acceptance, either.

We’re much more than our bodies, but we exist within a physical shape for our entire lives. We can choose to accept them or we can choose to change them, but that choice is entirely personal. It’s disheartening when stories of triumph and of change are instead muddied with simplistic renderings of what it means to be a person.

So over the next few days, I’ve scheduled reviews of a few books touching on what it is like to be a fat kid. Some are better than others and some DO absolutely force a character to change — for themselves. What I’ve been trying to point out is that sometimes the story is just that, about a fat character who needs or wants to change themselves. But too often, it comes at the price of falling into easy-to-use stereotypes, easy-to-buy scenarios that devalue the character and their journey to that point. Because even if their fatness is the point of the story, they are so much more than what their bodies look like. 

If you’ve read a book where you think an overweight character has been particularly well rendered, I’d love to hear the title. I’ve got a small list, and I’ve read a handful, but I feel this is an area worth shining more light into. We offer books about the dangers and truths of eating disorders. Why is it we can’t offer that sort of array of fiction to those who are fat without falling into a problematic trope? 

(I’m not the only person thinking about this lately. Funny enough, this is a post I’ve been working on for a month or so now, and in that space, this is a topic that popped up over at Teen Librarian’s Toolbox, and it’s well worth reading. Please also read the fantastic blog post by Rae Carson about weight and what it means to have extra weight as a woman. It’s one of those pieces I return to again and again.) 

Filed Under: big issues, fatness, Uncategorized

Expectation and reward

September 5, 2012 |

I’ve been sitting on this for a few weeks now — which is how I feel I start all of these posts about blogging and about reviewing. But I think it was really April’s post today that got me to sit down and hash out my thoughts a bit on this. So before delving in, I urge you to read her post about how blogging isn’t a competition.

Back in May I blogged about how blogging is hard. And I still believe wholeheartedly in that. Maybe more so now that I’m reflecting back on how the last couple of months have been for me when it comes to blogging. I’ve got a pile in a double digits of books I want to write reviews for, but every time I sit down to tackle it, even for books I am really eager to write thoughtful posts for, I manage to convince myself writing about something else is more worthwhile. I’m not sure whether that assessment is or isn’t true, but it pulls my mind away from working on the task in front of me.

I am and always have been the all or nothing type, and it goes into everything I do. I blog and I blog with my whole heart. I read and I read with my whole heart. I write and I write with my whole heart. I think anyone who knows me would say that about me and I hope that those who are close to me would say that that’s how I am with people I care about, too. It’s just who I am.

But when I find myself in a dry spell in an area, I cannot make myself do anything relating to it. So I’ve hit this dry spell in writing reviews that’s lasted for months now. Even as I felt like I finally broke through the wall this week by writing a lengthy — and I think strong — review for a book I’m posting later this month, I stepped back after I scheduled it and wondered: why?

Blogging is and always will be something I do for myself, but more than once I wonder why I do it. I get a lot out of it and it has connected me to so many people and so many good books. I don’t feel like I’m exaggerating in saying that blogging has changed my life. It’s made me a much more stable, happy, and thoughtful person than I was before. Some of that is simply growing up because who I was at 24 when I started this blog is hardly a slice of who I am now at almost-28 writing this blog. Part of me wonders how much of it is learning about different aspects of my profession and about the book and reviewing world (two or three or four or five or more separate things all sort of co-mingling) that jades me a bit and part of me — maybe a bigger part of me — wonders about people and the straight-up human aspects of blogging and writing and engagement and how much those have influenced me in the last few months. It’s never really been a secret, for example, that authors might buy reviews of their books and it’s never really been a secret that some bloggers have preferential treatment from publishers. What has been surprising, though, is what people respond to and what sets them off.

I feel like I learned this lesson hard after the ARC discussion following ALA. Who knew something so … innocuous … could send people into such passion? Or that discussing being critical or being passionate about what you do would get people thinking and talking? Who knew that blogging about a fitness DVD could, dare I say, cause a number of people who hadn’t been working out to suddenly dive in? I love that that happened and I love thinking that maybe something I said inspired one person to try something new. That’s awesome. It really is.

But then I think back to writing reviews and books and why I wanted to start blogging in the first place. I pour my heart and soul into the reviews I do write because that’s just who I am. It’s all or nothing. Lately, it’s been nothing, and I wonder how much of it has to do with the fact I don’t know what reward I am getting out of writing them. Or maybe that’s not really it. Maybe it’s that I don’t feel writing a review of a book commands the sort of discussion or interest or passion that other posts do.

Or maybe it’s that the things I listed as having fantastic responses and engagement have made me do a lot of thinking about what I’m doing this for anyway. Is it me? I think it is. But then I wonder why I feel so discouraged when reviews sort of slide under the radar or when they’re drowned out. Maybe it’s that reading is a much more private activity? Or that it’s something so personal and individual that it can never sustain the sort of fevered discussion other topics do? Maybe it’s that other bloggers with whom I like to talk regularly don’t want to read or engage in a discussion over a book they haven’t read yet because they don’t want to be influenced (I do that).

I’m not sure I have an answer.

Anyone who knows me in real life knows this about me, too: I’m not a loud person. I never did well in the participation aspect of any class I took. I prefer to sit back and listen. I like to hear what other people say and process it at many different levels before I respond. I’m highly introverted. I love being around people but I need me time to decompress, to recollect myself, to recenter. Blogging has forced me to push outside a lot of my comfort zones. Maybe what would be surprising is that a lot of those bigger posts have made me really uncomfortable.

I love discussion and I love when people are engaged in content here and I certainly don’t want that to stop. It’s what makes blogging exciting and keeps me wanting to continue. It makes me want to look for other people who are blogging and writing and share their great things with others, too. But in a lot of those discussions, I feel like I lost a bit of myself. Of my need to refocus and recenter. Of my need to reengage with my own thoughts.

Writing reviews is that very introverted part of me. I think they’re the most intimate and raw things I do write because they come from a lot of internal vulnerabilities or thoughts I’ve had about any number of things. Part of me wonders if other people feel this way, too, and if that’s what makes writing them so difficult sometimes. If that’s why there are long periods of nothing followed by bursts of energy to review, review, review. If that’s why there’s not always much engagement with book reviews, despite how much I think one I’ve written just nails it perfectly.

It’s not about pressure for me, and it never has been nor will it ever be. It’s more about my need to dig inside myself and pull from sensitivities, from experiences I don’t always feel comfortable thinking or writing about, from all these lessons I’ve learned over the course of blogging and just growing up and becoming the person I really strive to be. There’s all and there’s nothing. And right now, there’s been a lot of nothing, but not for lack of trying or care.

At the end of the day, it’s about what I expect from my own reviewing and my own writing. The reward is self-discovery and self-gratification and feeling as though I’ve walked away from what I’m doing with my whole heart with some kind of reward. The droughts — especially ones that have dragged on as long as this one has — are painful and annoying. All I expect is to walk away feeling like I’ve done what I love doing.

Blogging is hard. Writing reviews is hard. Putting yourself out there is hard. It’s a constant struggle for how much to say and how much to hold back. It’s also about image and perception and approachability. I love when people want to reach out. But how much can I give back fairly to everyone and still hold something true to myself? I know I owe nothing to anyone expect myself, but when you’re a blogger and when you love the way people engage with you, there’s a lot of thought behind where you draw the line in the sand. And when you’re an all or nothing person, it’s tough. You want to give your all where you can, even if it means at some point you may leave yourself with nothing.

I have to keep reminding myself it’s okay. I am an imperfect person, and that is okay. There are things I don’t have to do until I feel ready to do them, and that is okay. If I declare book review bankruptcy on the things sitting in my pile because I just don’t have it in me . . . that’s okay. The only expectations and rewards required are the ones I get myself.

Maybe blogging this does the opposite of what I’m saying I want, but I share it because I have a feeling there are many bloggers — new bloggers and more seasoned bloggers — who will understand this or empathize with this right now, in the future, or have struggled with it.

We’re human.

It’s okay.

Filed Under: big issues, blogging, Professional Development, Uncategorized

Authenticity, Paying for Play & The Core of Libraries

August 28, 2012 |

Liz raises a number of vital questions in her post from this weekend, Buying Your Way Into Libraries. Go read it if you haven’t.

I’ve been thinking about these two pieces she cites since both popped up. The second article caught my attention a couple of weeks ago with it first emerged: three library systems have recently purchased an agreement with Smashwords, one of the leading ebook/self-publishing services, wherein for about $100,000, each of the systems will acquire roughly 10,000 of the best-selling titles. Note that there are over 45,000 authors who use Smashwords and they do not know whether or not they are part of the Library Direct program until it shows up on their sales/payment report.

For anyone out of the loop, a number of the big publishers do not sell or license ebooks to libraries. Or, in the rare case one of these publishers does allow library ebook acquisition, there are either restrictions (such as no more than 26 total borrows) or the prices are inflated to the point that purchasing an agreement for them makes a huge financial strain on the library budget. That means the stock of ebooks available for libraries is limited, and with the demand going up, libraries are looking for ways to meet it. It’s not that they do not want to offer ebooks; it’s that their hands are tied and they can’t.

The Smashwords agreement looks like a fantastic option for libraries. It’s access to ten thousand ebooks for readers to choose from, fulfilling patron demand while also fleshing out a collection of books that are best-sellers. It also has the added benefit of not restricting usage and the cost spread out among each of the titles is low. The downside to this agreement, though, is that libraries don’t have control over what titles they’re purchasing. They’re relying instead on whatever best-selling titles are according to Smashwords (and as I mentioned above, even the authors who have books through Smashwords don’t know they’re part of that program either).

Buying into an agreement without control over titles isn’t necessarily earth shattering, but it does raise questions in my mind about collection development and what libraries are willing to give up in the name of providing a resource. In other words, to meet the demands and interest in pursuing ebooks, libraries are giving up the ability to build and sustain a collection built to suit the interests of their communities in the best way possible. More than that, libraries buying into agreements like this undermine the core skills and knowledge set the librarians have. It bypasses human knowledge — both of the classroom-gained kind and the touchy-feely kind acquired by being on the front lines of public service in a library — in favor of giving it over to a company who is interested more in making a deal than in connecting a person to a resource. They’re a business, not a public service.

One of the challenges about collection development that’s becoming a bigger issue is that of self-published works. There’s no doubt there are great self-published books out there, just as there’s little doubt there is a host of crap out there, too. Those who self-pub do so for any number of reasons. The problem, though, is that there are very few reputable review sources. Librarians who practice good collection development rely on trade reviews for purchasing decisions (as well as other factors, including awards or personal reading/knowledge, as well as blogs, consumer reviews on sites like Amazon, and other media sources).  They read Kirkus, Library Journal, Publishers Weekly, and other big name journals, depending on their specialty, and those reviews help them determine whether an item is a good fit for their collection. It’s true — a bad review in a trade journal can keep a librarian from acquiring a book, just like a good review can convince them to purchase more than one copy.

When it comes to self-pubbed books, there are few, if any, places to turn to for reviews. At this point, the only trade publication involved with reviewing self-pubbed books is Kirkus; however, it’s vital to note that Kirkus’s self-pub review model is based on the author paying for a review and then choosing whether or not that review may be published through the traditional journal (though they will make that review available on BN.com and other sites, including Kirkus’s website). You can read the way it works here. There are blogs that also review self-pubbed books, but again, it’s not easy to determine which are best resources for librarians to use for collection development. And the truth of the matter is, there is so much being published through traditional means that even delving into the self-publishing world in libraries is more than overwhelming.

Backtracking to the first article Liz mentions that popped up this weekend. Todd Rutherford created a system wherein authors — self-pubbed, primarily — could pay to have him and his team write glowing reviews of their books. Those reviews would then flood the internet, on big sales sites and more. As the article notes and Liz pulls out, “One of Mr. Rutherford’s clients, who confidently commissioned hundreds of reviews and didn’t even require them to be favorable, subsequently became a best seller. This is proof, Mr. Rutherford said, that his notion was correct. Attention, despite being contrived, draws more attention.”

Through developing these fake reviews and flooding consumer sites with them, buyers were left with the idea that these books were worth purchasing. And they were not only purchased, but they were purchased at times in such quantities that those books became best sellers. The article goes on further to talk about how these sorts of pay-for-review situations have shed a light on consumer reviews all together, with some questioning whether they can believe any sorts of reviews they read outside of a traditional source, including blogs and sites like Amazon, BN.com, and others.

By paying for fake reviews, authors were seeing sales.

By paying for fake reviews, authors were becoming best sellers.

By starting a way for authors to do this, Rutherford made a lot of money.

What Rutherford did was remove the middle man, that human-knowledge aspect of reviewing and promoting. It became a business, rather than a service. Through this business, many saw themselves achieving their publishing dreams, and, as has been rumored, it helped at least one self-pubbed author gain a traditional publisher and make their way to the NYT Bestsellers list.

Smashwords, in the business of making money in the self-publishing industry, is taking away the control from libraries of collection development by offering them books that are best sellers. Best sellers that may or may not fit a community’s needs or interests. Best sellers that may or may not be well-written, of merit, or, hell, even edited. A self-pubbed ebook priced at pennies over the course of a few days could sell hundreds of copies and become a best seller. A self-pubbed ebook priced at what would be a standard price could also sell hundreds of copies and become a best seller — through the services of people like Rutherford.

The more we want to reach out and provide, the more we’re giving up. I think in the cases of some libraries, it’s less about providing a true service to readers and instead, it’s about “sticking it to the man,” as it were. In other words, they’re entering agreements like this in order to show big publishers they’re not needed anyway.

Except, in doing that, they’re also removing any control over quality, over content, and over authenticity.

Beyond being frustrating and beyond overlooking the library’s greatest resource, the question arises again over reviews and what a valuable review is. For self-pubbed authors interested in getting their name out there, doing it quickly and in the best possible light, there are two options: work hard and hope for the best or pay someone like Rutherford to stroke your ego and get your buck.

As a reviewer and as a librarian, both of these stories made me stop and consider the purpose of both of these activities. The first because it’s clear that there are people making this a business and doing it at the expense of those like myself and so many others who make reviewing a thing of blood, sweat, and tears; the second because it’s unfortunate that there are other people in the field who undermine what it is that individuals bring to a library: their knowledge, their critical judgment, and their interest in serving their communities to the best of their ability.

Services, not businesses.

Filed Under: big issues, collection development, ebooks, In The Library, libraries, publishing, self-publishing, Uncategorized

The Chemical Garden Trilogy – A Discussion

July 11, 2012 |

I have a complicated relationship with Lauren DeStefano’s Chemical Garden trilogy, which so far includes Wither and Fever. I wasn’t hugely impressed with Wither, but it wasn’t really because I thought it was poorly written or dull. I guess you could say my problems were more ideological, but I’m not sure that’s totally accurate either.

Regardless, I liked it enough to read the sequel, Fever, which I finished a few days ago. I had a lot of the same problems with it as I did with Wither, and rather than write a review which would mostly just be a re-hash of the one I did for Wither, I wanted to talk about the series of books in broader terms. More specifically, I want to discuss how sex and rape are portrayed in the books, and how problematic I find those portrayals. (There will be some spoilers for Wither, but not any for Fever that you wouldn’t discover by reading the jacket copy.)

I’ve been thinking about this a lot more since reading this opinion piece by Drew McWeeny, which discusses how problematic depictions of rape in movies have become for him. His thesis is that so much of rape in movies lately serves no purpose other than to shock or titillate, and neither of those purposes are artistic or justify the rape’s inclusion. In short, it’s exploitative in the worst way. 

In a related way, there’s something about the Chemical Garden books that seems exploitative. It’s different from the movies that McWeeny references, since the readers of the Chemical Garden books are probably more likely to be female than male (so presumably the titillation aspect isn’t as prominent), but I can’t stop seeing parallels. I do have major problems with media that throw in a rape to shock or simply as an easy way to say “Look how shitty this person/situation is!” It’s bothered me more and more as I got older, and now I screen everything I read or view so that even if I choose not to avoid the book or movie, I at least know what I’m getting into and am prepared for it.

In the Chemical Garden books, I don’t feel that the rampant sexual violence has much purpose beyond demonstrating that Rhine lives in a terrible world. And that’s not enough for me. Just because it’s not explicitly described doesn’t mean it needn’t have some real purpose for being there. In Fever, Rhine and Gabriel escape Vaughn’s estate only to run into another nightmare: a brothel set in a decaying carnival/circus site. This section of the book (about 100 pages) introduces a character who sticks around for a while, and it builds Rhine’s world a bit further, but I don’t think either of those reasons really justified the inclusion of the brothel. I didn’t see it do much for Rhine or Gabriel’s character development and I didn’t see it do much to further the plot. The new character didn’t seem to have much point, and I already knew Rhine’s world was shitty since I had read Wither. I knew her world was filled with just this sort of violence and sexual abuse. I didn’t need this chunk of the book to reinforce that knowledge. It seemed extraneous and left a bad taste in my mouth. It felt exploitative.

Obviously, my feelings and thoughts about these books hinge very strongly on how much and what kind of meaning I require in my books. Perhaps it is unfair, but I require more meaning in my dystopias than in other books I read. By “meaning,” I do mean it in a pretty traditional sense: I want the books to say something about our world, whether that something is social, political, familial, or anything else.

This series of books has often been compared to The Handmaid’s Tale and Julia Karr’s XVI, both of which have copious amounts of rape and both of which I found to be valuable reading experiences. So why the difference in my opinion between the Chemical Garden books and these two? The meaning in each resonated with me. The Handmaid’s Tale had so much to say about religion and faith and the power of story. XVI wasn’t as smoothly done, but it had plenty to say about the power of media to make us believe impossible things. Both books have a lot to say about the problems with power and unflinching obedience. I suppose the Chemical Garden books have something to say about what desperate people do in desperate times, but McWeeny addresses that in his piece. It’s not enough for him, and it’s not enough for me, either.

Clearly, my problems with the books aren’t enough to stop me from reading them. DeStefano has made me care about Rhine. I want to know that she’ll be OK. I want to know if she’ll live past her 20th birthday. I want to read the third book and witness a world that begins to heal. Hence my complicated relationship. I’ll probably read the final book, but I predict it will be punctuated by these moments of frustration and distaste, just as my readings of Wither and Fever were.

I don’t intend this post to be a slam of the books. Many people whose opinions I respect enjoy them quite a bit and presumably derive a great deal of meaning from them. I only intend to describe my frustration with them and perhaps open up a dialogue with others about these aspects of the books. If you’ve read them, did you experience the same frustration?

Filed Under: big issues, Discussion and Resource Guides, Uncategorized

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