Though R. L. Stine and Christopher Pike may be our quickest associations with teen screams, horror encompasses a wide array of books. As Susan Chang, senior editor of the children’s and young adult division at Tom Doherty Associates (Tor), says, “I think what we define as ‘horror’ has changed since the heyday of the 1980s and 1990s. Boundaries are more blurred and fluid and so it is more difficult to define.” At the Horror Writers Association site, author Jonathan Maberry has developed a YA-specific blog, It’s Scary Out There, to show how horror isn’t just one type of story.

Maberry explains, “The blog is built around exploring the nature of horror and of fear, how that’s different for teens and adults, and why so many of today’s writers tackle that subject matter. The answers are always surprising. What we’re showing is that horror is different for each person.”

The blog offers interviews with authors Kendare Blake, Darren Shan, Barry Lyga, and Holly Black, with more to come.

Categorizing horror

What is horror if the boundaries are difficult to define? It’s any work where the emotions of fear, dread, and/or disgust drive the narrative. Readers either love or hate horror because it forces them to experience reading in a visceral way. Because it’s defined by how individual readers interpret a story, what one sees as horror may not resonate that way to another.

Horror isn’t comprised solely of monsters. It also consists of the everyday darkness YA readers experience. “Horror isn’t always necessarily supernatural,” Maberry notes. “[In a forthcoming blog interview] Ellen Hopkins will discuss peer pressure as horror.” Dark realistic fiction, serial killer stories, and psychological thrillers may not be “traditional” horror, but they can elicit equally strong responses of fear or dread.

Chang suggests that the decline of mass market publishing, common in the 1980s and 1990s, means readers see horror in a new way. “With the change in format to hardcover and trade paperback, horror now seems to be considered more ‘literary’ and ‘upscale,’ and perhaps taken more seriously.”

Defining the horror reader can be challenging. As Brian Farrey-Lutz, acquisitions editor at Flux, says, “I think the true horror fans can be hard to pin down. There are definitely hardcore horror fans who can’t get enough of it. But I think the people who enjoy horror occasionally and don’t seek it out on a regular basis are a larger group.”

Is there a horror trend?

Maybe because we’ve become used to trends and “the next big thing” in YA, we can overlook staples like horror that don’t fall neatly into one genre. Yet, it continues to command shelf space and endear readers.

“If we’re seeing a spike in horror, it’s because there’s a need for something different,” says Farrey-Lutz. “I think horror is sticking its toes in the YA waters to test the temperature and see if there’s enough interest to merit a wave.”

The surge of dystopian and postapocalyptic YA novels in recent years taps directly into the interest in horror, Mayberry says. “[Teens] don’t read it to indulge in downbeat nihilism. Rather the reverse. My generation thought we were going to fix the world and solve all of society’s problems. We tried, we did some good, but let’s face it: the world is a mess. We may have lost some of our optimism about the future, but the teens expect to live in the future. They’re taking the broken fall and they’re going to fix it and run with it.”

Horror captures the attention of teens of all reading abilities–advanced and reluctant readers find it compelling because it’s something to which they relate. Sure, they may not be fighting zombies or ending decades-long curses, but those stories serve as metaphors for the challenges they face every day. In many ways, the ability to slip into fictional horrors offers an escape from their own sometimes-scary realities.

Ripper tales and serial killers

Perhaps due in part to TV shows like Dexter—which stars a Miami Police Department employee who moonlights as a serial killer—there’s been a rise in stories about murder. Starting with The Name of the Star (Putnam, 2012), Maureen Johnson’s “Shades of London” trilogy follows Rory at her boarding school in modern-day London, where a rash of killings echoing those of Jack the Ripper throws everyone into panic.

Stefan Petrucha’s Ripper (Philomel, 2012) is set in New York City, 1895, during a series of Ripper-like murders. When the Pinkerton Agency gives 14-year-old Carver an apprenticeship, the cases multiply. Does Carver have a tie to the killer?

How about having a dad who kills for a living? That’s 17-year-old Jazz’s story in Barry Lyga’s trilogy, which begins with I Hunt Killers (Little, Brown, 2012). Jazz helps police hunt for a new killer in town in an effort to keep his own name clear.

Peter Adam Salomon’s Henry Franks (Flux, 2012)—a modernization of Mary Shelley’s Frankenstein—begins when Henry questions the accident that took his mother’s life. Things become stranger when a serial killer emerges in town.

In Kate Brian’s Shadowlands (2012), even the Witness Protection Program can’t shield Rory Miller from a serial killer. In her old hometown, she barely escaped the hand of Steven Nell, and her new town may not be a safe haven, either. The story continues in Hereafter (2013, both Hyperion).

If murder wasn’t complicated enough, it becomes even murkier in two novels that explore the land between the living and the dead. Daniel Marks’s Velveteen (Delacorte, 2012) follows a 16-year-old slain by a serial killer named Bonesaw. Rather than landing in a happy afterlife, Velveteen’s stuck in a space more like purgatory. In Brenna Yovanoff’s Paper Valentine (Penguin, 2013), all Hannah wants to do is grieve best friend Lillian’s death. But then Lillian’s ghost begs Hannah to investigate a string of teen-girl murders in their small town.

Of sanity and spirits

Psychological horror leaves one question in the minds of both characters and readers: Was what happened real, or the work of something supernatural? At times it’s plausible (and even obvious) that there’s a ghost in charge; at others, it’s possible the horror may be internally constructed.

There’s not a question about the existence of ghosts in Kendare Blake’s Anna Dressed in Blood (2011) and Girl of Nightmares (2012, both Tor). Cas hunts and kills ghosts. When the teen comes upon a ghost who has vanquished every hunter who dared set sights on her, Cas discovers that she has chosen to spare him.

Spirits and sanity rub against one another quite literally in Carly Anne West’s The Murmurings (S & S, 2013). Sophie’s sister, Nell, was institutionalized for hearing voices—the same voices Sophie finds herself hearing now. As she investigates further, she learns that there just might be something out to get them.

Nova Ren Suma delves into what it means to be haunted in two stirring novels. In Imaginary Girls (2011), Chloe admires her big sister, Ruby, who is beautiful and mysterious. But when a classmate’s body shows up in the reservoir, Chloe questions what parts of her relationship with Ruby are imagined. 17 & Gone (2013, both Dutton) is an even sharper exploration of madness. Lauren sees girls who have gone missing, and what ties them together is their age when they disappeared. But who are they to her? As her 17th birthday inches closer, Lauren worries she’s destined to disappear, too. Think Shirley Jackson, YA style.

The undead

What’s more horrifying than the thought of the dead rising and coming after those still alive? Maybe having to face undead loved ones and deliver the final blow. Chang notes that while the zombie trend may be over—having hit its peak between 2007 and 2009—it has become more “evergreen,” much like vampires. Maberry agrees, “They’re tidal. They may recede from popularity for a while but they always come back.” Zombies have also been kept fresh and fascinating in the media, with TV’s The Walking Dead and the recent film Warm Bodies.

Sloane Price is determined to kill herself, thanks to an abusive home life and a sister who abandoned her, but things fall apart with the appearance of the undead in Courtney Summers’s This Is Not a Test (St. Martin’s, 2012). She’s saved by five teens who bring her to the local high school to endure the outbreak. Will Sloane find any hope for a future?

It begins as any other game in T. Michael Martin’s The End Games (HarperCollins, 2013). Michael and little brother Patrick follow the rules from The Game Master in order to stay alive while the real world around them crumbles. But as rules are changed on them, the boys may be heading nowhere good. For readers who prefer their undead with laughter, there’s Sean Beaudoin’s The Infects (Candlewick, 2012), and those seeking a Gothic flair should try Susan Dennard’s Something Strange and Deadly (HarperCollins, 2012). For an epic-scale tome, suggest Alexander Gordon Smith’s The Fury (Farrar, 2013).

Readers who like their undead unending will enjoy multivolume works such as Jonathan Maberry’s “Benny Imura” series (S & S), Ilsa Bick’s “Ashes” trilogy (Egmont USA), and Darren Shan’s 12-book “Zom-B” series (Little, Brown).

Going Gothic

An interesting trend in recent Gothic horror is the use of visual “found artifacts” to enhance storytelling, which hit big with Ransom Riggs’s Miss Peregrine’s Home for Peculiar Children (Quirk, 2011). Cat Winters’s In the Shadow of Blackbirds (Abrams, 2013) melds a ghost tale with the occult, as Mary watches those around her panicking due to the 1918 influenza outbreak and war overseas. While fellow citizens seek comfort in spirit photographers and séances, Mary eschews them…until the day she is confronted with the ghost of her former boyfriend.

In Madeleine Roux’s Asylum (HarperCollins, 2013), which features eerie photographs, Dan discovers that his new summer dorm used to be a sanatorium for the criminally insane, and he and his new friends begin unlocking the asylum’s dark secrets.

Sarah Rees Brennan’s humorous Unspoken (2012) follows 17-year-old Kami as she falls in love with a boy who only exists in her head. And who is that murderer on the loose? The story continues in Untold (2013, both Random).

In Lindsey Barraclough’s Long Lankin (Candlewick, 2012), Cora and Mimi are sent to live with their aunt in a remote English town, but they’re not greeted with kindness. Besides Aunt Ida’s eccentricities, the girls find the town is full of eerie secrets, all connected to the last time Ida hosted two sisters.

The occult

A horror staple, stories about the occult fascinate not only because they’re taboo, but also because they’re often tied to history.

These two elements mingle effectively in Libba Bray’s The Diviners (Little, Brown, 2012). Evie’s confronted with a grisly killer in 1920s NYC, and her ability to tap into magical powers might be the key to catching the criminal. Readers taken with the spiritualism craze running through Bray’s novel will want to check out Sonia Gensler’s The Dark Between (Knopf, 2013).

The occult also seeps into modern-day tales. In Claudia Gray’s Spellcaster (HarperCollins, 2013), Nadia knows that something isn’t right after she and her family move to Captive’s Sound, and she detects dark spirits with her witch sensibilities. She and local boy Mateo will need to work together to unlock a curse threatening the entire town.

What happens when you start falling head over heels for the devil? Violet finds out in April Genevieve Tucholke’s Between the Devil and the Deep Blue Sea (Dial, 2013) when the devil takes the form of a new guy in town. She knows she shouldn’t fall for him, but she can’t help herself.

For a solid occult-driven series, try Tessa Gratton’s Blood Magic (2011) and The Blood Keeper (2012, both Random), where practicing blood spells puts two teens in grave danger.

Frightening realities

Sometimes, the most horrific stories happen in the real world, where the monsters and demons reside in and beside us all.

Stephanie Kuehn tackles the beast within in Charm & Strange (St. Martin’s, 2013). When Win is sent to a remote boarding school because of a terrible incident, he comes to terms with his inevitable future: with the full moon, he will transform from boy to deranged wolf, just like his father. This dark contemporary novel explores the haunting effects of abuse and mental illness.

Few fathers are as terrifying as Ry Burke’s in Daniel Kraus’s Scowler (Delacorte, 2013). The maximum security prison inmates, including Marvin Burke, are on the loose, and he’s returning to the Iowa farm where once he reigned supreme—and where his brutal attack on Ry’s mom led to his lifetime sentence. Ry pulls from the power of his childhood toys to conjure enough anger to give his dad a true showdown.

Marianna Baer takes her horror in an unexpected direction with Frost (HarperCollins, 2011), wherein main character Leena falls from pulled-together, top-of-the-class girl to one who can’t get out of bed without serious medication. What could cause such a quick shift in someone who seemed to have it all?

Classics, remodeled

Remixed classics continue to serve YA horror readers well. They also offer possibilities for classroom connections to their original literary works.

Reimagining Agatha Christie’s And Then There Were None, Gretchen McNeil sets her slasher Ten (2012) on a quiet island over a weekend meant to be a nonstop party, but it also includes a killer and a trail of blood. Megan Shepherd’s trilogy takes on H. G. Wells’s The Island of Dr. Moreau, beginning with The Madman’s Daughter (2013, both HarperCollins), a twisted story that focuses instead on Dr. Moreau’s progeny.

Dangerous Boy (Penguin, 2012) by Mandy Hubbard looks to Robert Louis Stevenson’s Dr. Jekyll and Mr. Hyde while Kenneth Oppel’s This Dark Endeavor (S & S, 2011) is the first in a series that revisits Frankenstein. Henry James’s The Turn of the Screw inspired both Adele Griffin’s Tighter (Knopf, 2011) and Francine Prose’s The Turning (HarperCollins, 2012). For readers seeking a weird tale à la Franz Kafka’s The Metamorphosis, try Mary G. Thompson’s Wuftoom (Clarion, 2012).

Scares ahead

Want more tales of horror? It’s worth checking out Johan Harstad’s 172 Hours on the Moon (Little, Brown, 2012), which blends sci-fi with the supernatural; Gwenda Bond’s Blackwood (Angry Robot, 2012), about the lost colony of Roanoke; J. R. Johansson’s Insomnia (Flux, 2013), following a boy who can enter into other people’s dreams; and Katie Williams’s Absent (Chronicle, 2013), in which a ghost is sentenced to afterlife in the high school where she died.

Classic teen horror writers are publishing new thrills, too. R.L. Stine’s A Midsummer Night’s Scream (Feiwel & Friends, 2013) and Christopher Pike’s Witch World (S & S, 2012) are good introductions for new readers and solid additions for already-devoted fans.

Those eager for what’s to come through the end of the year should find scares courtesy of Gretchen McNeil’s 3:59 (HarperCollins), Jason Vanhee’s Engines of the Broken World (Holt), Barbara Stewart’s The In-Between (St. Martin’s Griffin), and Robin Wasserman’s The Waking Dark (Knopf) satisfying.

So why horror?

“I write about people confronting monsters or fear or darkness because I want to explore how those things can be defeated,” Maberry says. “Humans may be by nature a predatory species, but we are also a survivor species with aspirations toward genuine civility.”

Horror is a perennially popular shelf staple because its variety of shapes and styles make it a favorite for many readers, a gateway for reluctant readers, and a crossover sell to older and younger YA readers.

It isn’t “the next big thing,” but an essential. And not because of the scares—but because of how much these books reach teens on a frighteningly human level.

Kelly Jensen is a teen librarian at Beloit Public Library (WI). She blogs about YA books at Stacked (stackedbooks.org) and Book Riot (bookriot.com).

Illustration by Regan Dunnick

In his video “Tumblr: The Musical,” Youtube celebrity Hank Green mocks how Tumblr aficionados get lost in a loop of scrolling, liking, and reblogging to the point of neglecting everything else in their lives, including sleep. The addictive Tumblr scroll has indeed become the preferred Internet rabbit hole, as Green, brother of the author John Green, hilariously shows.

Should libraries and librarians use Tumblr? Is it wise to wade into this alluring sea of wacky photos, pop-culture commentary, and gifs—snippets of moving images—in order to virtually chat about best book lists, library events, title recommendations, and our favorite quotes?

Yes, and here’s why. The key to a useful social network is to strategically use communication tools, understand each network’s reach, and guarantee ease of use for all involved. Tumblr can be a successful way to connect to new and diverse audiences, provided you understand who you’ll be attracting to your site and how to use Tumblr to your advantage.

Why Tumblr works

In my job as a teen librarian, I’ve been running social networks since 2006. As anyone using social media knows, it’s vital to meet your patrons where they are, rather than try to get them to visit a new, unknown site. My colleagues in the reference section maintain lively accounts representing the library as a whole on both Facebook and Twitter. But the Twitter account I maintained for my teens fell dormant, since none of them seemed to be using that platform. So I decided to concentrate my efforts on where I thought my teens were: Facebook.

In the past year, though, it became clear that my teens were no longer on Facebook—or if they were, they weren’t using it to connect with the library. During that time, I searched for ways to invigorate the teen section of our library’s website—to post more content daily and engage more readers. I sought a streamlined, visually exciting site. But the traditional blogging options were hampered by clunky interfaces and an outdated look; I knew that the posts weren’t reaching many patrons, let alone teens.

Enter Tumblr. I had been using a personal Tumblr account for a few months and found its mix of art, photos, gifs, quotes, and videos to be far more engaging than my library’s traditional text-dominated website. Hank Green was on to something.

Tumblr’s interface is easy to use, and each post looks professional the instant it uploads. There’s no need to know code, wrangle with images, or get complicated with fonts. The site can easily take the place of a traditional website or blog.

Depending on the theme you choose for your Tumblr, you can include static information—like phone numbers or hours of operation—in a sidebar, while keeping the main part of your page fresh and visually exciting with an ever-changing stream of posts. Updating is incredibly easy, and you can save drafts and schedule posts to appear at future dates and times—useful for event reminders and time-sensitive content.

As with Twitter, your goals while using Tumblr are to engage with your public and gather followers. The more you post, the more users will find you through your content, especially by searching your tags. As on Facebook, people can “like” your posts. They can also reblog them on their own Tumblrs—similar to retweeting on Twitter or sharing on Facebook. Liking and reblogging are how your Tumblr audience shows its appreciation and where they may add their own notes. While the flow of information is mostly one-way, you can track your followers as well as the number of times an individual post has been liked and reblogged to gauge your impact.

Most important for youth librarians, though, is that young people are active on Tumblr. When I checked with my teens, many said they were Tumblr users and were excited by the idea of connecting to the library this way. That’s why I made the leap to Tumblr for our teen site.

Eight tips for successful tumbling

If you’re considering starting a Tumblr, either as a supplement to your established Web presence or as a replacement for a blog, it’s important to think through your needs and those of your patrons before making the switch. Below, some pointers.

1. Think visually. The most popular Tumblr posts tend to be images, photos, or gifs. In the past, there was no easy way to quote a TV show, film, or video game without posting a video. But with Tumblr’s magic combination of gifs and blogging, media quotes are now everywhere. Take advantage of this. If you’re recommending books, don’t just post a list: Include images of all of the covers. Promoting an event? “Tumbl” your poster and a selection of photos.

2. Tag your posts. Tagging is incredibly important on Tumblr because searching tags is how users discover content and people to follow. Remember, though, that only the first five tags on any post are searchable, so choose your tags wisely. After those five, people use tags to add commentary to their posts in the same way that savvy Twitter users deploy hashtags as asides or jokes. So these additional tags can be humorous reading.

3. Be professional but playful. Be mindful of what you post. It should be in keeping with what you would highlight on any part of your library website. At the same time, be aware that your Tumblr should be fun to follow. Share favorite quotes; topical, pop culture images; and favorite artists.

4. And…be mindful of mature language. One of the truths of Tumblr is that there is no oversight regarding mature content or language. When you first sign up, your Tumblr will be automatically set in safe mode, meaning that you will not see any content deemed “not safe for work” (NSFW) on your dashboard. The Tumblr community counts on users to flag their own blogs and posts as NSFW in order to keep safe mode working properly. There’s definitely 18+ material out there, and you won’t necessarily be forewarned by tagging or a user’s customary posting habits. Many Tumblr names are variations on the appreciative phrase f**kyeah___ (example: “f**kyeahbooks”). While you may be inclined to like or reblog those items, you should consider the profanity in the source site before doing so.

5. Schedule your posts. It’s especially enjoyable to schedule themed posts, perhaps once a week, that highlight a particular topic or service. For example, the New York Public Library celebrates “Caturday” every week on their Tumblr by posting cat-related images and items from their collections. School Library Journal runs a regular feature, “Where I Work?” with photos, sharing a glimpse or two of authors’ writing spaces. Who doesn’t want to see where their favorite novels are created?

6. Check your sources. A lot of unsourced images gets passed around Tumblr, especially when it comes to art and photography. If you’re not certain of a work’s provenance, use Google’s image source search by clicking on the camera icon that allows you to search via an image URL and see if you can locate the source reliably. Artists and image makers will thank you, and you’ll set a strong example of giving creators credit for their work.

7. Remember, it’s (basically) one-way. Tumblr is not the place to gather comments, start discussions, or debate favorite books. People can send in questions, or “asks,” through the Tumblr interface. You can also pose a question and invite your followers to answer it. That’s about it for the platform’s capacity for discussion.

Tumblr is built to be used through its dashboard, the main control panel where you scroll through posts and investigate whatever keyword searches you like. On your dashboard, there’s no easy way to comment. You can reblog a post and add a comment, but replying gets increasingly cumbersome. Unless Tumblr revamps its question system, at this point you’ll be announcing or sharing information, but only occasionally responding to a question.

8. Make it easy and fun to maintain. Check in daily and take advantage of Tumblr’s tools. Use the J, K, and L keys to navigate your dashboard quickly. Hitting the L key “likes” a post, and typing shift+R (on a PC) reblogs that post instantly. Remember the current limits: You can send 10 “asks” an hour and “friend” up to 250 people per day. For more Tumblr tricks and tips, check out this helpful list over at the Daily Dot: http://ow.ly/nVTvc.

Checking in on my Tumblr account has become the most relaxing and enjoyable part of my daily routine, keeping me abreast of new books, targeted book lists, library news, and the grand world of art and images from various media. One of my teens recently proclaimed how much she enjoyed my Tumblr—a gratifying signal that I’m heading in the right direction. As long as that enjoyment continues, and my own messages are getting out, I’ll keep on tumbling.

A few of my favorite Tumblrs:

General Tumblrs 

Book Riot
LIFE
National Public Radio
The New York Times’s The Lively Morgue 
PBS’s This Day in History
WYNC’s Radiolab

Library Tumblrs

Public Library of Brookline (MA) Teen Services (my Tumblr)
Cape May County (NJ) Library Teen Zone
Grand Rapids (MI) Public Library Tumblr for Teens
Library Advocates
Library Journal
The Lifeguard Librarian
Librarian Wardrobe
New York Public Library
School Library Journal
Teenlandia: Lewis & Clark (Helena, MT) Library Teen Services Department

Tumblarians list from

The Lifeguard Librarian
Young Adults and Teens at Oak Lawn (IL) Public Library

Teen Lit Tumblrs

Public Library of Brookline teen title recommendations (mine again)
Diversity in YA
The YA Cover
YA! Flash
YA Highway

Teen Authors who Tumble

Cassandra Clare
John Green
Shannon Hale
Karen Healey
Malinda Lo
Maureen Johnson
Rainbow Rowell

Robin Brenner is the reference and teen librarian at the Public Library of Brookline (MA). She is also the editor-in-chief of the graphic novel review website No Flying No Tights and know all too well the allure of the late-night Tumblr scroll.

Ebook providers offer different selections of titles with varying terms. Which ones will best meet your school’s needs and budget? School Library Journal’s snapshot of 19 ebook vendors outlines the suppliers’ range of offerings, terms of use, and pricing options.

Do you want to buy your ebooks outright, or lease them? What kinds of discounts are available? Can students download e-content onto their personal devices or read offline?

This guide is intended to help librarians choose the vendors that are right for their schools. [This guide was updated on September 6 to correct an error in the entry for Rosen Publishing, and again on September 9 to add an entry from EBSCO.]

Congressman John Lewis, his comics-obsessed staffer Andrew Aydin, and veteran graphic novelist Nate Powell have collaborated on a powerful new graphic novel memoir, March (Top Shelf Productions), that may well take its place among the greatest examples of that genre.

Elected to the House of Representatives in 1977 serving Georgia’s fifth district, Lewis is an icon of the American civil rights movement. As chairman of the Student Nonviolent Coordinating Committee (SNCC), he had a direct hand in the March on Washington in 1963; the voter registration drives of Mississippi Freedom Summer in 1964, and the integrated interstate bus rides through the South known as the Freedom Rides starting in 1961. Lewis was there on Bloody Sunday in 1965, the violent confrontation between marchers and Alabama state troopers on the Edmund Pettis Bridge in Selma—and has the scars to prove it. His is a remarkable story, ripe for retelling to inspire a new generation.

With the March trilogy, Lewis is doing exactly that. But it might not have happened without Aydin, who met Lewis while working on his 2008 re-election campaign. Growing up the son of a single mother in Atlanta (incidentally, Lewis’s district), Aydin had a natural affinity for underdogs, hence his love of comics—and politics. On the campaign trail, the team would share their personal stories, and Lewis, a gifted storyteller, contributed his own. When talk turned to what the staff members would do after the campaign, Aydin said that he planned to attend Comic Con, the annual comics conference. Teasing ensued. But Lewis came to Aydin’s defense, recalling that he and his friends drew inspiration from a 1956 comic, Martin Luther and the Montgomery Story.

Writing Lewis’s story

Aydin then approached Lewis and proposed that he adapt his life story as a graphic novel. Lewis agreed, on the condition that they work on the project together. Aydin joined Lewis’s staff and began developing the manuscript. He studied Lewis’s memoir Walking with the Wind (S & S, 1998) and interviewed the congressman whenever they could grab an opportunity. Lewis and Aydin submitted the finished manuscript to Top Shelf Productions. Now they had to find the right artist to bring it to life.

Enter Nate Powell, a recipient of the Eisner Award—the Oscars of the comics industry—who had just completed work on another graphic novel with a civil rights theme, The Silence of Our Friends (First Second, 2012). With a visual style that complemented Lewis’s story, Powell also demonstrated a capacity for period research. And he was eager to illustrate Lewis’s memoir.

It didn’t take long for Powell to win over Lewis and Aydin and gain their confidence. “Congressman Lewis and I spent a lot of time talking about what to include,” says Aydin. “But ultimately we had to trust Nate to do what he does best. He is so talented, with such a deep understanding of the comics medium, that at a certain point we had to just step back and let his work bring this story to life.”

Once Powell began breaking down the script, the trio realized that March would be much longer than they’d envisioned—about 500 pages. Aydin suggested a trilogy—a perfect fix, since the story was already neatly divided into three chapters.

Aydin’s narrative also had to be refined for it to shine in graphic novel form. “The most fundamental challenge is finding the line between an accurate representation of real people and their lives and a personal, emotionally expressive way of approaching the narrative visually,” says Powell. That “often requires ‘moving past’ the script entirely, seeing what else might be in the scene that’s not necessarily included in the script.”

This sensibility is evident throughout the book—perhaps nowhere more than in the prologue. In a preview of the Bloody Sunday conflict, the marchers, led by Lewis and Reverend Hosea Williams, apprehensively head over the bridge toward an ominous mob of policemen. A trooper with a bullhorn yells at the crowd to turn back—and moments later, orders an attack. All hell breaks loose. Multiple graphic strategies heighten the tension in the scene: the shifting perspectives; the size, shape, and placement of the panels; the lettering and speech balloons; and the stark black-and-white illustrations.

The chronology

March opens on the morning of President Barack Obama’s first inauguration. As Lewis prepares to attend the historic occasion, he has the opportunity to reminisce about the road that has led to this moment. Flashbacks take readers back to the congressman’s childhood, providing formative glimpses into the life of this Alabama sharecropper’s son. Memories of raising chickens quickly give way to images of racial injustice, early landmarks in the movement—Brown v. Board of Education, the murder of Emmett Till, and the Montgomery Bus Boycott.

Lewis entered discussion with Ralph Abernathy and Martin Luther King, Jr. about integrating Troy State College in Alabama as an incoming freshman. But his parents objected and Lewis eventually entered a Baptist theological seminary in Nashville, TN, where the movement came to another critical juncture. “I have thought about that often. Not being admitted to Troy State, my parents not supporting the decision to try and enroll there, that was a blessing,” says Lewis. “If I had gone to Troy State, I would not have met individuals who injected into my heart, into my blood, into my DNA, the very spirit of nonviolence.”

Having embraced the ideals of nonviolence, a group of college students, including Lewis, instigate a 1960 sit-in. It leads to a confrontation on the steps of Nashville City Hall where the story closes. The second volume of March, anticipated for 2014, will carry the story to the 1963 bombing of the 16th Street Baptist Church in Birmingham.

Early response

Meanwhile, the first volume—which bears an unprecedented jacket quote from former President Bill Clinton—had earned several starred reviews leading up to its publication on August 13. When Lewis, Aydin, and Powell made appearances at conferences including Book Expo America, the American Library Association Annual Conference, and Comic Con, it was abundantly clear that March’s message was resonating in the way that Lewis had hoped.

“I want young readers to understand that another generation of young people, who tasted the bitter fruits of segregation and discrimination, came to that point where they said, ‘We won’t take it anymore,’” Lewis says. “I would love readers to recognize that it was just ordinary people who believed so deeply that they were moved to act. And I hope they see what it took to be willing to speak up and speak out. They had raw courage, enough courage—literally—to put their bodies on the line. People were prepared to die for what they believed in.”

“I think, today, it is more important than ever for young people—and those not so young—to take a long hard look at some of the things going on around them and ask themselves, ‘What can I do?’” he continues. “Sometimes I feel like many of the things we fought for in the ’50s and the ’60s are being attacked again, and it is up to all of us to work together and keep fighting. We can’t go back. The only place for us to go is forward and each and every one of us has a contribution to make.”

Jonathan Hunt (hunt_yellow@yahoo.com) is a school librarian in Modesto (CA) City Schools. He reviews for Horn Book Magazine and blogs for SLJ at Heavy Medal.

Illustration by E. B. Lewis from Jacqueline Woodson’s The Other Side.
Courtesy of Weston Woods.

Another school year is on the horizon and our focus this month highlights the relationships that children and teens make—with other kids and with adults—to help them navigate the stormy waters of growing up. Teachers and librarians have always been savvy about connecting kids to stories that engage with what is going on in their lives. Current research from the Search Institute of Minneapolis, Minnesota, an organization that addresses critical issues in education and youth development to discover what kids need to succeed, zeroes in on developmental relationships “to understand how the connections that kids form with peers and adults influence their mastery of the skills and habits that are essential for success in school and in life.” (http://ow.ly/m6yNM)

The 10 titles we’ve chosen will be excellent for group listening and for generating discussions about what’s happening to the young people in the stories, from the poignant depiction of friendship in The Other Side to the real drama wrought by abuse in Eleanor and Park.

These audiobooks not only provide important group literary opportunities, they also help students understand how to develop the empathy necessary to build healthy relationships. If time for group listening is limited, have students select titles, listen to them on their own, and write about them; they will still develop that needed empathy, and they’ll also practice the critical writing skills found in so many state and national learning standards, including the following examples:

CCSS.ELA-Literacy.W.6.3 Write narratives to develop real or imagined experiences or events using effective technique, relevant descriptive details, and well-structured event sequences.

Texas Essential Knowledge and Skills (TEKS) for English Language Arts and Reading, Grade 5, 110.16 The student is expected to: (F) make connections (e.g., thematic links, author analysis) between and across multiple texts of various genres and provide textual evidence). (http://ow.ly/mkgJN)

English Standards of Learning (SOL) for Virginia, Writing, Grade 8, 8.7 The student will write in a variety of forms, including narration, exposition, persuasion, and informational. (d) Organize details to elaborate the central idea and provide unity. (http://ow.ly/mkggo)

The books presented here have been chosen to support and enhance expeditions to favorite preschool and elementary-aged destinations: farms and other food-producing enterprises; museums (both natural history and art); nature reserves and outdoor-observation areas; community institutions; and zoos and aquariums. A mix of fact-filled offerings and fictional adventures, all of these titles pair handsome illustrations with well-written texts to entice young readers and listeners. They can be used in the classroom to support Common Core Standards by introducing and/or reviewing site-related subject matter and vocabulary as a starting point for post-trip research projects and to inspire creative art and writing projects and initiate personal written and oral narratives. Featuring class expeditions of all kinds, the titles can also be shared to generate discussion of behavioral dos and don’ts, model positive information-seeking methods, and dispel any fears or anxieties about going to unfamiliar places.

Best of all, these appealing volumes encapsulate the magic of a field-trip experience and expand the learning–and enjoyment–well beyond the designated outing.

Illustration by Harry Campbell

By Chad Sansing

Our classroom glows with activity. One kid drafts a how-to article in which he explains the steps involved in wiring a cardboard Minecraft controller. Another writes a branching-path, choose-your-own-adventure story in Twine, a free, downloadable interactive fiction app. A student who’s claimed throughout his middle-school career that he isn’t a writer leans close to his laptop screen, finding and fixing coding errors. He composes, compiles, and debugs more than 100 lines of code to light up a three-by-three-light LED display plugged into his laptop.

A pair of especially curious students sits huddled around our newest computer, an exposed-faced circuit board smaller than a paperback book. It’s called a Raspberry Pi. They’re watching how the code they write in one window changes the course of a game in another. They may not know it yet, but these kids are playing with an open-source computing platform that just might change the way we teach young people how to interact with computers.

What is Raspberry Pi, and how do I get started?

It’s a $25 computer that fits in the palm of your hand. While you supply the mouse, monitor, and keyboard connection, your “RPi” supplies the rest. It comes with a Linux-based operating system (an open-source alternative to Windows and Mac OSX) called Raspbian. The operating system is on a Micro SD card.

With its astounding price and flexible capabilities, the Raspberry Pi has the potential to challenge the digital divide and make coding in schools as commonplace as textbooks. Computing could truly become about what kids can make rather than what schools can buy. And making coding affordable for all students could foster creative, independent computing in a way that downloading the latest app does not.

The RPi was developed at the University of Cambridge’s Computer Laboratory under the leadership of Eben Upton, trustee of the Raspberry Pi Foundation. Concerned about the lack of programming in schools and the reluctance of parents to let kids hack expensive computers at home, the Foundation members set out to put the Raspberry Pi into kids’ hands so they could experiment with code and physical computing in a simple, cheap way. After alpha and beta phases in 2011, the Raspberry Pi went on sale in 2012, selling more than 500,000 devices by September of that year.

To get the little device up and going, a new user can either download Raspbian on a Micro SD card to boot the RPi or purchase a card preinstalled. A good way to start is with a card already loaded with Scratch (a popular plug-n-play visual programming language developed for kids at MIT) and IDLE (which allows for the use of Python, another programming language).

Scratch, used widely in schools and clubs, lets kids program animations and games through a visual interface. IDLE helps kids author text-based code to control circuits or actions on screens. It’s amazing to insert these tools into the RPi and watch a computer come to life from a tiny hard drive the size of a fingernail.

What if I don’t understand coding technology?

Don’t worry. There are many ways to get up to speed on the RPi. Among a host of online resources (see sidebar below), David S. Whale’s visual guide to starting a club helps educators and technical support staff get the RPi ready for classroom use. Fortunately for librarians, Whale, a school science ambassador in the UK, and other early RPi adopters have shared many strategies for purchasing, configuring, and using these diminutive computers with kids.

In addition to searching for online help, consider asking your IT person—or better, some tinkering-inclined students—to walk you through RPi, as my colleague Melissa Techman, a K–5 librarian in Albemarle County, Virginia, did, with great results.

Techman asked some sixth- and eighth- grade students at a local student-led professional development session to teach her how to use the RPi. “I was hiding a fear of anything electrical, but I wanted to get past that,” Techman says. She was motivated in part because she wanted to work with Teen Tech Girls, a local organization dedicated to helping girls find pathways to STEM (science, technology, engineering, and math) careers and projects.

“My student mentors patiently showed how the connections worked and got me started reading circuit schematics,” says Techman. They showed her how to write simple code in Arduino, an open-source software for physical computing, in order to make lights blink in a pattern.

Within a week of that first learning session, Techman started Scratch and Minecraft lunch groups at her school. Another great outcome: The tutorial “gave me the confidence to learn alongside my own inventive young students and to try new things with several programs,” she says.

For novices like Techman, learning to program with Scratch on a computer you assemble yourself is one of those experiences that shows how fulfilling it is to become a coder and maker. Once we know that feeling, it becomes a happy task to imagine how reading, writing, and math relate to planning physical computing projects and composing code.

Techman also came away from her student session inspired with ideas for physical computing and writing projects to use with upper elementary grades. In addition to starting multiage Scratch, Minecraft, and physical computing mentoring groups in her school, she plans to partner with a local high school to find mentors for her young students. The high schoolers could help the younger kids write their own Web pages using Mozilla Webmaker’s Thimble platform, among other exercises.

Photograph courtesy of Raspberry Pi Foundation

What kind of physical computing can I do with the Raspberry Pi?

Using the RPi, kids can connect Scratch with Microsoft Kinect to write programs controlled by a player’s body. Or they can plug an Arduino circuit board into a laptop to light up or move attached objects by writing small “sketches”—short programs—of code.

Working with Python and IDLE to run a circuit or to modify a game like Minecraft makes it clear to kids how computers control the devices around us. Programming a blinking LED light or a Minecraft building helps them see how what we do with code translates into what happens virtually, on screen, as well as in the physical world of electricity.

They can use a MaKey MaKey board—a small, cheap ($50) circuit board built on the Arduino platform—to wire up anything from bananas to books. MaKey MaKey boards act as bridges between computers and other objects that can “talk” to Scratch like hand-held video game controllers. Anything conductive can become a part of a kid’s controller with MaKey MaKey. For example, in one well-known MaKey MaKey project, bananas can and do act as keys of an on-screen piano (demonstration). A wire from the MaKey MaKey connects to each banana. Another wire—the “earth contact”—goes from the board to the user. When the user touches the banana, the board registers the completed circuit and tells the computer to play a note.

Another idea: Make a digital book project with MaKey MaKey. It’s possible for a kid to animate a story in Scratch and then to “turn” its pages using a MaKey MaKey connected to her computer and a physical book decorated with conductive material like graphite or tin foil. The author can wire a decorated page of her book to a MaKey MaKey, hold the earth contact, and then tap her book to complete a circuit. The MaKey MaKey then tells the computer to advance her story on-screen.

Another very useful Raspberry Pi extension for physical computing, called Cobbler, connects the computer to a breadboard (a kind of pegboard for circuits) so users can write short programs that control physical parts like lights, motors, sensors.

Arduino is another great open-source software for physical computing. The Arduino sketch pad, a free download, provides embedded help as the learner writes programming commands.

Photograph by flickr.com/skokiepl

What else can kids make with Raspberry Pi?

Brad Jones, a youth technology librarian for the Skokie (IL) Public Library, runs a “Codebots” club for elementary school students, with the help of two staffers. Recently, kids in the club used Raspberry Pi computers to run Scratch and write programs for LEGO WeDo kits, another example of physical computing for kids.

“Try! Fail! Fix!” the kids were chanting. I was impressed by how patient these LEGO natives were. Things would break, and they’d shrug. “That’s OK. That’s how it goes with LEGOs,” says Jones.

Projects like this serve as ready pathways to increasingly sophisticated endeavors using the same open technology—like the recently Kickstarted “Brick Pi” project that uses Raspberry Pis to run robots built from Lego Mindstorm/NXT kits.

In my own middle school classroom, one eighth grader has learned how to run Minecraft: Pi Edition. He’s started using IDLE and programming tutorials to change the way he plays the game. For example, he created a never-ending bridge right under his avatar’s feet. A stone appears in front of his character wherever he walks so that he can never fall into water or lava—or fall from a great height while exploring the sky. By altering the materials that make up his “bridge,” my student can actually leave multihued trails that make his avatar into a kind of paintbrush walking the land. When feeling silly, we also make the LEDs on the breadboard blink as we play.

As the student puts it, “You can customize the technology to do whatever you want. You feel like you’ve accomplished something that’s actually useful and really cool.”

The bigger picture

Using tools like the RPi to bring the Maker movement into libraries and schools is a powerful way to combat academic passivity. Kim Wilkens, the founder of Teen Tech Girls, sees other benefits from learning to code and physical computing.

“Being able to code opens new avenues to create and explore,” says Wilkens. It “helps everyone build an understanding of the role of hardware and software in the technology we use and take for granted every day.”

Wilkens has found that by late elementary school, many girls lose sight of imagining themselves in computer or engineering careers. For such girls, engaging in coding, making, and physical computing with women mentors in formal and informal learning spaces helps them see that technology overlaps many fields. It’s not just for those who study “serious math” in high school or college.

Several major organizations allied with kids and educators, such as the MacArthur-supported Digital Media & Learning Hub, the Mozilla Foundation (webmaker.org /en-US), and the National Writing Project, are investing heavily in connected learning around code, making, and physical computing. This kind of support should encourage us to set our young male and female students loose on code. Where there is room for code—which encompasses art, creation, and inquiry—there is room for curiosity and empowerment. With a tool like Raspberry Pi, it takes just a small investment and a willingness to learn for us all to code, make, and connect with other people who are doing the same.

Photograph by flickr.com/skokiepl

1. Visit a site like Adafruit to find a starter kit that’s right for you. I suggest a kit that has all the cords you’ll need, a Cobbler extension kit, and a Micro SD card preinstalled with the Raspbian Wheezy operating system.

2. Gather old and unsupported mice, keyboards, and monitors from around your school, library, or community.

3. Once your kit arrives, assemble your Raspberry Pi! Check online tutorials for any help you need.

4. Follow the on-screen start-up prompts to get everything running.

5. Pick a project—for starters, try to make a single LED blink using your RPi. Document your progress and publish it online for others to see.

6. Keep your RPi and LED on display and invite kids and community members to change little bits of the code—like how long the light stays on—to dip their feet into physical computing. As interest grows, invite kids to create a club with you.

7. Keep documenting what folks make with the RPi and curate a display of their work in your learning space. You can encourage kids to do the same and publish their learning.

8. Pick a next step: Start learning how to install and program software like Minecraft: Pi Edition on your RPi or perhaps set up another computer or two around the first.

Raspberry Pi Quick Start guide

Raspberry Pi project ideas from MAKE magazine

An Adafruit Raspberry Pi starter kit for purchase

Great Raspberry Pi Projects Created by Kids Winners at the Cambridge Computing Centre 

Minecraft Pi Edition

David S. Whale (@whaleygeek) on setting up a Raspberry Pi club

An 11 year old’s blog on Raspberry Pi Projects

Chad Sansing (csansing@gmail.com) teaches middle school language arts in Staunton, VA. He works with the National Writing Project and Mozilla’s Webmaker project to champion kids’ connected learning.

By Nell Coburn

“I want to know your top 10 best practices for storytime,” a colleague said to me a few months before I retired. “You’ve been in youth services four decades and you’ve long been a storytime trainer at Multnomah County Library (MCL). I bet you have some best practices I’ve never even thought of.”

This was an irresistible challenge, because it’s storytime that’s kept me in youth services for 40 years and storytime that I’ll miss most in retirement. Storytime is the premium service for children in public libraries across the country. For many youth librarians, it’s the most treasured part of our job. I’m sure my colleagues are aware of many storytime best practices, but I can suggest a few that might not be on everyone’s list.

I’ll start with something I’m passionate about: My longstanding belief that storytime is for children and adults. When I trained as a youth librarian in the 1970s in Prince George’s County, MD, storytime was a kids-only affair. As in most public libraries, parents and caregivers waited for their children outside the program room. A few of us encouraged them to join, but many librarians felt intimidated by the adult presence.

Back in those days, storytime was for three to five year olds. When we started offering programs for two year olds—and eventually, babies—we needed adults to accompany their children. It soon became obvious that everyone was benefiting from storytime. Now, most libraries make it clear that storytime is very much for children and their adults. I’ve underlined some key phrases from the MCL website’s description of storytime: “Parents learn how to foster early literacy skills to prepare their children for learning to read. Librarians answer questions about books and library services, and teach parents how to interest their children in books.”

How does that transfer into best practice? The Association for Library Service to Children (ALSC) and the Public Library Association (PLA) offer some effective techniques in their early literacy initiative, Every Child Ready to Read @your library, accessible online (everychildreadytoread.org). Since that venture began over a decade ago, MCL librarians have made it standard practice to make direct comments to adults during storytime.

Here’s an example: After sharing a book like Raffi and Nadine Bernard Westcott’s Down by the Bay (Crown) or Westcott’s The Lady with the Alligator Purse (Little, Brown, both 1988), a librarian might say: “Singing and rhyming help children learn that words are made up of different sound combinations. In songs, each syllable has a different note, so it’s easy to hear distinct sounds. Children who can do this are better able to sound out words when they are learning to read.”

Adults appreciate knowing that storytime materials and techniques are supported by research and boost early literacy skills. For many, this gives storytime more legitimacy and educational value.

Even more important than sharing such information with grown-ups is the ability to ensure active adult participation in storytime. The best storytimes are those during which adults are fully engaged—shaking out their wiggles, clapping, singing, dancing, and encouraging kids as they interact with the books.

This can be facilitated in multiple ways. I like to hang large-print copies of regularly used songs and rhymes on the wall, or have a collection stapled together in a take-home handout. It’s easier for grown-ups when the words are right in front of them. It helps storytime presenters, too: We don’t have to memorize all those songs! And a handout encourages parents and caregivers to share the songs and rhymes with their children later, further strengthening their early literacy skills.

Adult involvement has all sorts of positive outcomes beyond the educational ones. When grown-ups are engaged, we have fewer “adult behavior” challenges, such as chatting or cell phone use. This leads me to another best practice: Establish clear expectations for both adult and child storytime behavior. Effective instructions are positively worded and presented in simple, direct language. The focus should be on what storytime participants should do, rather than what they should not do.

Consider posting your expectations, briefly mentioning them at the beginning, or handing them out before a series of storytimes. For example, a clear, friendly statement may help adults realize that cell phone use during storytime is not appropriate. Here’s one to try: “Adults: Please help me make this storytime a good experience for all by turning off your phone, or putting it on vibrate. If you must accept a call during storytime, please step outside the room to do so.”

Help young parents understand that it’s best to take their child out of the room if he or she is disruptive, and that they are welcome back when the child is ready. According to MCL staff, this instruction is especially appreciated by immigrant parents with no storytime experience who may not know how they and their children should behave.

Likewise, a brief, straightforward statement can inform adults that we don’t expect their two year old to behave like a five year old: “Welcome! This is a storytime designed for two year olds, so please know that it will look different from some other storytimes you may have attended. Two year olds need to move, so we plan lots of movement activities and we don’t mind when they get up and roam around the room during the stories, as long as they don’t hurt themselves or disturb others.”

Adults who are actively involved and understand the educational value of storytime may be less likely to be chronically late. Of course, nothing is predictable where young children are involved, and there will be occasions when traffic, a child meltdown, or some minor home crisis will result in latecomers. The best practice here, I believe, is to welcome all attendees warmly and make them feel comfortable. Recently I observed a Spanish-language storytime during which families trickled in from 10 to 10:30 a.m. Everyone seemed fine with that, and the newcomers slipped into the group seamlessly. Spanish-speaking staff say that a relaxed regard for time is culturally appropriate, another factor to consider in our approach to latecomers.

I’ve always felt that one of storytime’s main purposes is to introduce children and grown-ups to the riches of the library’s collections. Adults often need a nudge in the direction of poetry and the fine information books available to children. To encourage them in these areas, I believe we should make it a point to feature poetry and nonfiction books in storytime.

Here are some suggestions. Byron Barton’s Building a House (Greenwillow, 1981) and Joy Cowley and Nic Bishop’s Red-Eyed Tree Frog (Scholastic, 1999) are fascinating and well-paced for storytime reading. A poetry book I’ve used again and again is Jack Prelutsky and Marc Brown’s Read-Aloud Rhymes for the Very Young (Knopf, 1986), a gem containing a great selection of poems to match with picture books. The collection includes an assortment of poems about mud, puppies, and other ordinary things that delight small children and connect storytime to their immediate world. Try pairing Lillian Schulz’s “Fuzzy Wuzzy, Creepy Crawly” caterpillar rhyme with Eric Carle’s book The Very Hungry Caterpillar (Philomel, 1969). The short poem nicely reinforces Carle’s simple science lesson.

If I have one pet peeve, it’s people who come for storytime and leave immediately after. In MCL storytime training, we encourage staff to invite participants to explore the collection and “find something wonderful to take home!” We also urge storytime presenters to accompany families to the shelves and offer assistance. Staff should not be expected to return to a public service desk right after their program. They can make themselves most useful by roaming the shelves with the participants they’ve just put under the storytime spell.

Often, adults like to linger and socialize after storytime. If you find that they aren’t also visiting the collection, set up a small selection of enticing materials in the program area. Encourage everyone to browse. You may even wind up doing quick booktalks about materials you’re encouraging families to check out. Include some cool materials for adults—a new cookbook, seasonal craft books, gardening books, magazines, or DVDs.

How do we stay fresh when we do storytimes week after week, year after year? We need to look for opportunities to continue our education in storytime techniques. Even after 40 years, I love learning new rhymes and songs from colleagues. I love seeing how someone else approaches a title and discovering which new titles work well for them. The best way to grow our storytime skills is through observation, an important part of new staff training at MCL. Veteran staff benefit from observation as well: We should all get out of our own libraries and observe our colleagues elsewhere several times a year. Managers can support this practice by incorporating it into yearly staff performance appraisals.

MCL youth librarians also enhance their skills through a practice called “storytime highlights.” During several monthly youth services meetings, a few librarians share a favorite song, rhyme, puppet story, or activity. They also meet periodically for “circle of practice” sessions before the meeting. Each session focuses on supporting skills in a specific area, such as toddler time, family storytime, or songs and rhymes for babies.

I’ll close with one of my strongest beliefs about storytime. Perhaps it’s more of a “best concept” than a best practice, but it affects everything else we do. This is something I learned from the wise Marjie Crammer, who for decades headed the children’s department at the New Carrollton (MD) Library. Marjie would tell her staff: “Storytime is not about you; it’s about the children.”

Over the years, I’ve adjusted that a bit: “Storytime is not a performance; it’s an interactive experience between you and the people in front of you on any particular day.” Staff attending MCL storytime training say this is what they remember most. It takes the pressure off and keeps the focus on the children. Come to think of it, let’s move that to best practice number one. I don’t doubt it will hold for another 40 years.

Nell Colburn served as a children’s librarian for over 40 years at Multnomah County Library in Portland, OR, and at public libraries in Maryland, Virginia, New York, and Washington. She is the 2013 recipient of the Oregon Library Association’s Eveyln Sibley Lampman Award for significant contributions in library service to the children of Oregon. She also cowrote SLJ’s “First Steps” column with Renea Arnold from 2004-2012.

The assortment of recent books surveyed below examines both historical milestones and current research that have illuminated our understanding, with explorations in two opposite (or maybe not so opposite) directions: toward the universe’s smallest and most fundamental components and forces, and outward to the stars and beyond. Along with picture books that will have very young audiences thinking beyond the playpen, selected fiction and poetry are tucked into this list to demonstrate less typical but no less valid ways of introducing scientific wonders and concepts. Several of the titles also serve todispel the notion that science is for nerds; the sometimes provocative biographies of nuclear physicists Ernest Rutherford and Richard Feynman, for instance, profile men whose personalities were every bit as big and powerful as their brains.

Illustrations by Leslie Patricelli.

The icon means that a Spanish language edition is also available.

Board books are designed to survive the wear and tear of babies’ and toddlers’ inquisitive mouths and hands and offer a wonderful opportunity to share with a child snuggled on a caregiver’s lap. The best ones tell a simple story with few or no words, allowing readers to invent their own. Ideally, illustrations are crisp and clear, with limited images on each page, offering plenty of contrast between the background and the pictures. Occasionally, a picture book makes the successful transition to a board format, but be warned that not all picture books are equally engaging as board books. Too much text on the page is distracting and crowded, and the smaller trim size can make illustrations appear crammed on the page, losing detail and focus. The absolute best board books are the ones that withstand the test of time: not only in being indestructible, but also in holding young children’s interest as they explore and point to pictures, exclaiming, “again, again!” when reaching the last page. The following selections do just that.

Boynton, Sandra. Moo, Baa, La La La! illus. by author. 30th Anniversary Edition. S & S/Little Simon. 2012. ISBN 978-1-4424-5410-1. $7.99.
This classic board book, reissued in a slightly larger format, features cartoon illustrations and a rhyming text that are still as silly as ever to read aloud for a giggle.

Brown, James. Farm. illus. by author. Candlewick. 2013. ISBN 978-0-7636-5931-8. $6.99.
Cut-and-relief lino prints showcase six different animals in this nearly wordless text. The black-and-white images are set on colored backgrounds for visual interest, making this a good choice for older babies.

Christelow, Eileen. Five Little Monkeys Jumping on the Bed. illus. by author. Houghton Harcourt. 2012. ISBN 978-0-547-89691-5. $6.99.
The classic fingerplay comes to rollicking life in this adaptation of the picture book. The engaging cartoon art perfectly captures the antics of these exuberant chimps.

Dunrea,Olivier.Gossie. illus. by author. Houghton Harcourt. 2007. ISBN 978-0-618-74791-7. $6.95.
An endearing gosling loves to wear bright red boots. Every day. Rain or shine. What happens when they go missing? This title is a perfect example of a picture book making the successful transition to a board book.

Emberley, Rebecca. My Colors/Mis Colores. illus. by author. Little, Brown. 2000. ISBN 978-0-316-233477. $6.99.
In this bilingual concept book, each spread features simple objects on one side and the color on the other. The vividly hued collage illustrations will attract toddlers.

Flaptastic Colors. DK. 2009. ISBN 978-0-7566-5227-2. $6.99.
What color is the sun? The grass? This lift-the-flap board book features clear photographs of objects to answer each color question.

Fox, Mem. Time for Bed. illus. by Jane Dyer. Houghton Harcourt. 2010. ISBN 978-0-547-40856-9. $8.99.
This padded edition features a larger trim size, making it a better choice than the original, small board book. This version does justice to the beautiful watercolor illustrations of baby animals with their parents at bedtime.

Gravett, Emily. Orange Pear Apple Bear. illus. by author. S & S/Little Simon. 2011. ISBN 978-1-442-42003-8. $7.99.
A spare text (just five words) is cleverly rearranged on each page, and warm watercolors outlined in pen-and-ink will compel readers to look at this title again and again.

Henkes,Kevin.A Good Day. illus. by author. HarperCollins/Greenwillow. 2010. ISBN 978-0-06-185778-2. $7.99.
Thick-lined, watercolor and ink illustrations face each page of large, brief text that explores in simple terms how a bad day can turn into a delightful one.

Hills, Tad. Duck & Goose Find a Pumpkin. illus. by author. Random/Schwartz & Wade. 2012. ISBN 978-0-307-98155-4. $10.99.
This charming, large board book tells the tale of Duck and Goose as they search for a pumpkin to call their own. Gorgeous oil paintings in autumnal hues invite readers into their world.

Hoban, Tana. Black on White. ISBN 978-0-688-11918-8.
––––. White on Black. ISBN 978-0-688-11919-5.
ea. vol: illus. by author. HarperCollins/Greenwillow. 1993. $6.99.
These wordless titles feature high contrast, silhouetted images against white and black backgrounds. Perfect to share with newborns.

Horacek, Petr. Beep Beep. illus. by author. Candlewick. 2008. ISBN 978-0-7636-3482-7. $5.99.
A family takes a car ride to Grandma’s, depicted in sturdy die-cut pages and boldly colored illustrations. The text contains lots of fun action words to act out together while reading aloud.

Katz, Karen. Where Is Baby’s Belly Button?illus. by author. S & S/Little Simon. 2000. ISBN 978-0-689-83560-5. $5.99.
Lift-the-flap pages feature multicultural babies playing peek-a-boo with the narrator in this interactive book filled with vibrant colors and patterns.

Laden,Nina.Peek-a-Who? illus. by author. Chronicle. 2000. ISBN 978-0-8118-2602-0. $6.95.
Rhyming words and bright colors lead toddlers on a peek-a-boo hunt on pages that sport cutout sections, allowing them to preview the next object.

Light, Steve. Trains Go. illus. by author. Chronicle. 2012. ISBN 978-0-8118-7942-2. $9.99.
Rich watercolors and an energetic text spotlight eight noisy train cars and their unique sounds. This is a new classic for train lovers.

Martin,Bill, Jr.Brown Bear, Brown Bear, What Do You See?illus. by Eric Carle. Holt. 1996. ISBN 978-0-805-04790-5. $7.95.
The beloved classic has made an excellent transition to a board-book format that can withstand seemingly endless readings and page turns.

Melling, David. Splish, Splash, Splosh! illus. by author. Tiger Tales. 2013. ISBN 978-1-58925-643-9. $8.95.
In this simple counting book, 10 adorable ducklings line up, ready to take a dip in the swimming pool.

Murphy,Mary.I Kissed the Baby! illus. by author. Candlewick. 2004. ISBN 978-0-7636-2443-9. $6.99.
Another picture book turned successful board book. Black-and-white illustrations offer plenty of contrast to a variety of animals that have fed, sung, tickled, and kissed the baby, with a bright yellow duckling at the end of this sweet story.

Murphy, Mary. Quick Duck! illus. by author. Candlewick. 2013. ISBN 978-0-7636-6022-2. $6.99.
Little Duck hurries and scampers out of the mud, down the hill, and through the reeds–but where is he going? Shown in bright yellow, he pops off the white backgrounds, making it easy for young readers to follow along with his escapades.

Opie, Iona. Humpty Dumpty and Other Rhymes. illus. by Rosemary Wells. Candlewick. 2001. ISBN 978-076-3616-281. $4.99.
These eight beloved nursery rhymes, illustrated in Wells’s signature style, are a satisfying introduction to Mother Goose.

Patricelli, Leslie. Higher! Higher! illus. by author. Candlewick. 2010. ISBN 978-0-7636-4433-8. $6.99.
A little girl being pushed on a swing by her father urges him, “Higher! Higher!” With each turn of the page, she travels higher still, until she reaches the edge of space for a high five with an alien-child also sitting on a swing, no doubt urging his own parent to push him “Higher! Higher!” When she slows down and stops, the child turns to her father with delight, uttering a new word: “Again!” Bright acrylic paintings anchor the spreads.

Rathmann, Peggy. Good Night, Gorilla. illus. by author. Putnam. 1996. ISBN 978-0-399-23003-5. $7.99.
This nearly wordless title follows the zookeeper through his nightly walk of saying good night to all the animals–while unbeknownst to him, the gorilla has swiped his key and is unlocking the cages behind him, allowing a parade of animals to follow him home to bed.

Strickland, Paul & Henrietta Strickland. Dinosaur Roar! illus. by authors. Dutton. 1997. ISBN 978-0525-458-340. $7.99.
“Dinosaur roar,/dinosaur squeak,/dinosaur fierce,/dinosaur meek.” A rollicking and rhyming text featuring playfully colorful dinosaurs introduces the concept of opposites in this silly story.

Sutton, Sally. Roadwork. illus. by Brian Lovelock. Candlewick. 2011. ISBN 978-076-3646-530. $6.99.
Trucks and big machines are the main attractions of this noisy book that features a lot of action-based words that jump off the page, begging young readers to shout them out. Multicolored ink drawings are a perfect match for the text.

Wilson, Karma. Baby Cakes. illus. by Sam Williams. S & S/Little Simon. 2006. ISBN 978-1-416-90289-8. $7.99.
Diverse babies snuggle the same teddy bear throughout and get lots of hugs, smooches, tickles, and love in this beautiful, interactive rhyme perfect for bedtime sharing. The pastel-hued illustrations are irresistible.

Yoon, Salina. One, Two, Buckle My Shoe: A Counting Nursery Rhyme.illus. by author. Random/Corey. 2011. ISBN 978-0-375-86479-7. $6.99.
This counting book offers an updated look at a classic nursery rhyme, set among the vibrant colors of a big-top circus tent. Die-cut windows create visual interest and offer a preview of the following spread as images transform from one object to the next.

Lisa G. Kropp is the youth services coordinator at the Suffolk Cooperative Library System in Bellport, NY.

Every good children’s librarian is always on the lookout for great material. Whenever you see a picture book, you don’t just read it, you ask yourself, What can I do with it? How can I use this title in a storytime? Is there a theme I can develop? As a newbie librarian, I kept lists of potential themes and books that would fit with them and also work well with a group. Of course, sometimes my themes got pretty esoteric, such as “Animals that crowd into small spaces.” But for me, one of the joys of doing this type of programming is finding books that work perfectly together to create an engaging storytime.

This month I am focusing on Spanish language and bilingual board books, picture books, and collections of songs and rhymes.

Board Books

There are quite a few board books out there that I wish to highlight. While their size is perfect for one-on-one reading, these titles can also be used for small-group sharing. Bringing quality materials to the attention of new parents and caregivers is just one of the ways that libraries can contribute to early learning programs.

PRINCE, April Jones. Qué hacen las ruedas todo el día?/What Do Wheels Do All Day? tr. from English by Carlos E. Calvo. illus. by Giles Laroche. Houghton Harcourt. 2013. BD $4.99. ISBN 978-0-547-99625-7.
PreS-Gr 1–This is a very simple rhymed text that describes and illustrates the many functions that wheels perform. They help us go places, they win races, they circle and spin. Calvo’s translation is unexpectedly lovely. It scans and rhymes perfectly, and works entirely on its own. The paper cutout illustrations provide a nice sense of reality and dimension to the action.

SCHERTLE,Alice.El camioncito azul. tr. from English by F. Isabel Campoy. illus. by Jill McElmurry. Houghton Harcourt. 2013. BD $7.99. ISBN 978-0-547-98397-4.
PreS-Gr 1–The story is a take on the old Russian folktale “The Giant Turnip.” In this case, a little blue truck is riding along a country road being greeted cheerfully by animals along the way. Then it is sideswiped by a much larger truck that has to get where it is going right away. When the large dump truck gets stuck in the mud, the little blue truck helps it out, but in the process gets stuck itself. The animals come one by one to help push the little blue truck out of the muck, but it is only when the smallest animal, the frog, joins the chain that they are successful. The translation reads aloud very smoothly. The illustrations are perfect for the story, with winding roads and countrysides reminiscent of Virginia Lee Burton’s work.
Activity Ideas: These two books could be paired for a delightful storytime about vehicles. El camioncito azul provides opportunities for audience participation through animal and truck sounds. Qué hacen las ruedas todo el día? gives children the opportunity to point out the different types of vehicles, from motorcycles to baby strollers. El camioncito azul is a terrific story to act out with some impromptu creative dramatization. It could also be paired with a Spanish version of “The Enormous Turnip”: Alexi Tolstoy’s El nabo gigante (Barefoot, 2000).

FOX, Mem. Diez deditos de las manos y diez deditos de los pies/Ten Little Fingers and Ten Little Toes. tr. from English by F. Isabel Campoy. illus by Helen Oxenbury. Houghton Harcourt. 2012. BD $6.99. ISBN 978-0-547-87006-9.
PreS-Gr 1–No matter the place of birth, nationality, race, or color, all little babies share some basic anatomy. Campoy provides a functional Spanish translation, and doesn’t try to force the rhymes. This book is ideal for Spanish-speaking parents to share directly with their infants. Oxenbury’s illustrations remind us why she is considered one of the world’s finest living illustrators.

MUNRO, Fiona, Jo Moon, & Carmen Gil. ¿De quién es esta nariz? Combel Editorial. 2011. BD $11.95. ISBN 978-4-498-25677-2.
PreS-Gr 1–A lift-the-flap book in which children see a detail of a nose and have to guess the animal’s identity. While designed primarily for parent-child sharing, this title can also be used in a storytime, with youngsters taking turns revealing the hidden animals. There are two other books in this series that could work equally as well: ¿De quién es esta cola? (Whose Tail Is This?) and ¿De quién son estas rayas? (Who Do These Stripes Belong To?) (both Combel Editorial, 2012).

THOMPSON, Lauren. Cuaquito. illus. by Derek Anderson. S & S. 2003. BD $7.99. ISBN 978-1-4169-9894-5.
PreS-Gr 1–Here’s a backlist title that would work very well with any books with a counting or animal theme. A translation of Thompson’s Little Quack, it is an absolute delight to read aloud. The Spanish edition provides the little ducklings with perfect rhyming names like Chapucín and Chapuzón. The book allows children to count along in Spanish as the ducklings jump one by one into the water. The littlest duckling, Cuaquito, is hesitant but finally makes it into the water, which should elicit cheers from the storytime crowd.

BROWN, Margaret Wise. El gran granero rojo. illus. by Felicia Bond. HarperCollins/HarperFestival.1996. BD $7.99. ISBN 978-0-060-09107-1.
PreS-Gr 1–Another translation of a popular title that originally appeared in English is this rendition of The Big Red Barn. The Spanish edition is available both in the original hardcover as well as board book formats. The text catalogues all of the numerous animals in the big red barn with a nice rhyme scheme that makes this version flow beautifully when read aloud.

BORN TO READ PROGRAM, San Antonio Public Library Foundation, San Antonio Museum of Art.1, 2, 3, Sí!: a Numbers Book in English and Spanish. 2011. ISBN 978-1-595-34080-1.
–––.Hello, Círculos!: Shapes in English y Español. 2012. ISBN 978-1-595-34140-2.
–––. Colores Everywhere!: Colors in English y Español. 2012. ISBN 978-1-595-34139-6.
ea vol: Design by Madeleine Budnick. photos by Peggy Tenison. Trinity University Press. BD $7.95.
PreS-Gr 1–These titles represent a unique museum/library partnership. Each of these concept books is illustrated with reproductions of artwork from the museum. All of the volumes are impeccably designed. Combining a focus on early literacy with a connection to fine art is absolutely brilliant. Must-haves for all collections.

Picture Books

ARGUETA,Jorge.Tamalitos: un poema para concinar/A Cooking Poem. tr. by Elisa Amado. illus. by Domi. Groundwood. 2013. RTE $18.95. ISBN 978-1-55498-300-1.
PreS-Gr 1–Part recipe, part poem, this book takes readers step-by-step through the creation of corn tamales with cheese filling. What I really like is the way Argueta connects the making of tamales with the indigenous culture of Mexico. In his telling, making tamales becomes a celebratory rite and a near-religious ritual. The Spanish version of the poem is clearly superior, and the English translation, while solid, cannot match the beauty, sound, and cadence of Argueta’s verse. There is no formal recipe, but the text makes the steps of cooking tamales very clear, and the elements of the recipe that require adult supervision (such as turning on the stove) are marked with an asterisk. Domi’s illustrations are colorful and imaginative.
Activity Ideas: Of course, this book would work perfectly with a food-themed storytime, with actual tamales available to eat afterward. The obvious connection is with the previous three cooking poems in this series: Sopa de frijoles/Bean Soup (2009), Arroz con leche/Rice Pudding (2010), Guacamole (2012, all Groundwood).
Each title has a different illustrator, and this might provide some fodder for a compare-and-contrast discussion. Guacamole was previously reviewed in this column, along with another food-themed work, Samantha R. Vamos’s La Cazuela That the Farm Maiden Stirred (Charlesbridge, 2011).

ROMÁN, Celso. Mi papá es mágico. illus. by Alekos. Alfaguara. 2010. pap. $6.95. ISBN 978-607-11-0325-3.
PreS-Gr 2–This is a lovely tribute to a father who takes his child to a park and makes it a magical experience. The child, who is the narrator of the story, simply adores her dad in a way that is totally sincere and heartfelt. This book is in some ways reminiscent of Jules Feiffer’s The Daddy Mountain (Hyperion, 2004), which would make a good pairing in a bilingual storytime. The illustrations are particularly good at portraying the world of imagination that the father creates.

MACHADO, Ana Maria. !Qué confusión! illus. by Francesc Rovira. Alfaguara. 2011. pap. $9.99. ISBN 978-970-770-946-1.
PreS-Gr 2–This is one of the more recent picture books from the revered Brazilian author. In this charming tale written in rhyming verse, Isabel and Enrique are spending the day at their grandmother’s house. They play with some clay and markers. Then it’s off to Grandma’s garden, where they plant some seeds and water the plants. Unfortunately, they end up covered in mud, and Grandma solves the problem by giving them a bath with the garden hose. A simple story of intergenerational relationships in which the use of language truly shines.

DOMINGUEZ, Angela N. Maria Had a Little Llama/María tenía una llama pequeña. Holt. 2013. RTE $16.99. ISBN 978-0-8050-9333-9.
PreS-Gr 1–This book transports the familiar children’s poem and song to the country of Peru. Mary becomes María, and the lamb becomes a llama. The text of the song is no different from what you would be familiar with, with only the substitutions mentioned above. What makes this book valuable for a collection is the illustrations. The pictures transport children into the landscape and culture of Peru. The markets, the music, and the clothing are all vividly depicted and give readers a sense of how different, and yet how alike, we all are.

Song and Nursery Rhyme Books

Here are three collections of Latino songs and nursery rhymes that I absolutely could not live without while preparing storytimes and programs. While a couple of them may be a tad challenging to find, your library users shouldn’t live without them either.

ROCKWELL, Ann. El Toro Pinto and Other Songs in Spanish. Macmillan. 1971 (Aladdin pap. 1995). (out of print) ISBN 978-0-689-71880-9.
All ages–This was one of the very few books available to me when I started programming for Spanish-speaking children. Rockwell was truly a pioneer in making this collection available. This is essentially a songbook, with the music and lyrics presented together. The tunes are simple to learn, the music is on one staff only, and there are guitar chords as well. The book includes the song “Arroz con leche,” which could accompany the Argueta food-themed storytime. The table of contents indicates the country of origin for each song. The illustrations are charming, and English translations of the songs are included at the end of the book.

GRIEGO, Margot C., Betsy L. Bucks, et. al. Tortillitas para Mamá and Other Nursery Rhymes. illus. by Barbara Cooney. Square Fish. 1988. Tr $8.99 ISBN 978-0-805-00317-8.
All ages–This was the first, and is still one of the finest, collections of Spanish-language nursery rhymes. Along with the Rockwell book, it was my go-to source of material when I started out. The title rhyme is easy to learn and fun to share with kids, even if you don’t speak Spanish. English translations are included. And the fact that this has illustrations by Caldecott Medalist Barbara Cooney is an extra bonus.

OROZCO, José-Luis, sel. De Colores and Other Latin-American Folksongs for Children. illus. by Elisa Kleven. Dutton. 1994. (Puffin, 1999). pap. $7.99. ISBN 978-0-140-56548-5.
All ages–This is an absolutely essential book by a revered singer and songwriter for Latino children. Some of the songs, such as “El chocolate,” are also nursery rhymes, which I first learned without music, but then discovered the tunes. Others are musical versions of nursery rhymes that English-speaking children would be familiar, like “The Eensy, Weensy, Spider.” It is also a source for a familiar song that would be great with the animal storytime theme suggested by some of the books mentioned in this column: “Los pollitos,” or “The Little Chicks.” Even my English-speaking daughter memorized this one as a child. There is background information on each song, putting it in context.

Tim Wadham is the director of the City of Puyallup Public Library in Washington State. wadhambooks@gmail.com

All photographs ©Philip Greenberg/Courtesy of Brooklyn Public Library.

 At one of his toddler programs at the Bay Ridge Library in Brooklyn, Chris Lassen covers a table with contact paper, sticky side up. Parents and caregivers look at him skeptically when he tells them what he had done, but the kids know exactly what to do. Little hands reach out and touch the table over and over again to feel this new sensation. In the process, brain cells are connected and the little ones hear and learn a new word: “sticky.”

Across the country at a library in Fort Vancouver, WA, Kendra Jones tapes zip-closure bags to her windows with two colors of paint inside. Toddlers squish and scribble the paint to enjoy “no-mess finger painting.” Through this tactile play experience, their fingers develop fine motor control and they begin to learn the science and art of color mixing. Kendra reports on her blog that both parents and children are quite chatty as they mush and mix.

Both of these library activities are prime examples of play driving language development and early literacy. Early childhood research has always highlighted the many benefits of play. The expanded and updated toolkit Every Child Ready to Read (ALSC/PLA, 2011, 2nd. ed.) features play as one of the five key early literacy practices parents should engage in with their children to promote reading readiness. A University of Iowa study reports that 18 month olds who play with diversely shaped objects learn new words twice as fast as those who play with more similarly shaped objects. A recent study of 1 to 2 year olds finds that those who play with blocks with their parents for just 20 minutes a day score 15 percent higher on language development tests and are 80 percent less likely to watch television. The research touting the benefits of play goes on and on.

The play gap

Studies notwithstanding, many parents are mystified as to how to play with a very young child, particularly one who is still gaining language. What do you say to a baby who can only babble? What do you do with an active toddler on a cold and rainy day when going to the playground is impossible? (I know, I’ve been there.) In the 2010 Play Report, a global survey of older children and their parents initiated by IKEA, 45 percent of parents said that they don’t have enough time to play with their children. Even when parents do find the time to play, 26 percent said that they are “too stressed to enjoy it.”
We also surveyed parents and caregivers at Brooklyn Public Library about their challenges playing with their children, and many mentioned struggling with how to engage a baby or toddler with a short attention span.

Even more troubling, research has also shown that low-income parents engage less in literacy-rich experiences than their wealthier peers. The landmark Risley & Hart study (Meaningful Differences in the Everyday Experience of Young American Children, P. H. Brookes, 1995) notes that, by the time children are three, those from educated and high-income homes have heard 33 million words and their low income counterparts have heard only 10 million. The disparity in the amount of talk between babies and parents of different income levels and education backgrounds is enormous, adding up to massive advantages or disadvantages for children in language experience long before they start preschool. The study finds that the more parents talked to children, the more their langague use increased, utilizing a richer vocabulary with more positive affirmations. When parents sit down to play and talk with their children they draw out babble and burgeoning language from babies and toddlers.

All parents want what is best for their children, and many often think that a very young child’s activities must take a school-like approach. In the race to learn more and more, earlier and earlier, some parents turn to packaged programs for babies and toddlers that incorporate developmentally dubious flash cards and video, such as Baby Einstein or Your Baby Can Read. Many parents have not heard that play is itself a rich and unparalleled learning activity. A child stacking blocks is developing math skills. When babies pull books off the shelves, they are experimenting with gravity and figuring out the properties of books (much to a shelver’s chagrin). Trips to the sandbox and bathtime water play are all early science experiments.

Enter Read, Play, Grow

Connecting the dots for parents between play, language development, and early learning has been the driving force behind First Five Years programs at Brooklyn Public Library. Since 2009—with special grant funding and some help from the staff of New York City’s Infant Toddler Technical Resource Center—we have been creating an in-house curriculum of simple, easy-to-replicate play activities for babies and toddlers dubbed “Read, Play, Grow.” Our recipes for play are deliberately simple. Blocks are made out of cereal boxes. Play dough is edible. Peek-a-boo magic tricks can be performed with a scarf stuffed into a paper towel tube. We aim to show parents and caregivers how simple play can be for little ones and how easy it is to make it happen with everyday materials.

Read, Play, Grow activities are also designed to be easy to incorporate into existing baby and toddler programs. After storytime, librarians set up one to three play “stations” constructed from simple household materials. Parents and caregivers have ample time to interact with and observe their children in the act of playing and learning. Each station has a sign that explains the activity, and we offer tips for things to say to encourage early literacy development along with safety warnings, where warranted.

With these tips, we hope that we’re helping grown-ups to engage with their children. Recent research in early literacy has noted that parents who are supportive and responsive to their children’s chatter and other first attempts at language have children who perform better on early language assessments. It is also important for staff to model these interactions with children. When parents and caregivers see library staff or other adults get on the floor to play and talk with a child, they see first-hand how to engage with a child. From my experience, this kind of direct observation speaks louder than a million parenting workshops.

Talking with a baby or toddler during playtime can sometimes feel awkward, particularly when a child is not talking back. That is precisely why parents should see these interactions modeled. Here is a composite transcript of one exchange that occurred in our library programs during which an 18-month-old boy is stacking blocks made out of cereal boxes:

Librarian:“I like how you’re stacking the blocks.”

Child looks at librarian for a few seconds and puts another block on top.

Librarian: “You put another block on top of the blocks. You’ve got a tall tower! Are you going to knock it down?”

Child looks at the librarian and then back at the tower and knocks it down with a smile.

Librarian: “Boom, boom, boom! You did it! You knocked down the tower!”

While the child said nothing, he was obviously taking everything in and understanding what the librarian said. The librarian put his experience into words and modeled to the parent things to say while playing at home.

Getting hands-on

While we love to show parents how they can make blocks out of cereal boxes, we also show them how they can check out blocks from the library—board book blocks. Parents sometimes look a bit dubious when we suggest playing with library materials, but it gives them permission to loosen up. We line the books up as dominoes or stack them into a tower. Usually a toddler will wander over and knock it over or start a domino rally going to complete the demonstration.

Another favorite activity for babies: tape tactile elements to the floor to create a sensory crawl zone. We have used bubble wrap, foam, textured bath mats, quilts, and pot holders. Visual elements also work well, such as black-and-white patterned bath towels or shiny paper. Little sitters and crawlers get to take in some new sensations as they explore, while staff and parents are talking to them about things that are “bumpy,” “smooth,” “soft,” or “rough.”

Many librarians want to create a program that results in something toddlers can take home. While the goal of giving the child a product based on a theme is laudable (I did this early in my career), all too often, the parents and caregivers complete the paper plate fish that requires motor skills that the toddler does not yet have. Young children are still getting the feel of what a paper plate is and what it does, and are not yet ready to make it into a fish. This is why we have incorporated open-ended collage, process-based activities into our toddler programs. Sensory collage is one of my favorites. We give children a variety of things to glue to their papers, such as textured papers, cotton balls, burlap, and bubble wrap. Children get to explore these materials. They may never stick them down on their paper, and that is just fine.

The playdate, multiplied

For the past three years, our Central Library has hosted the annual Big Brooklyn Playdate. Each time, over 100 babies and toddlers (and their parents or caregivers) have come out to play. Brooklyn Public Library staffers transform the Dweck Center—usually the site of gallery exhibits—into a baby and toddler play space with various “play stations” around the room that parents, caregivers, and young children can explore together. Again, we place signs near activities to give parents tips of things to say and ways to interact. For the first time this year, we borrowed an idea from the Parent-Child Workshop playbook and invited “roving experts” (child development experts, a pediatric physical therapist, and a child sleep expert) to our event to be on hand to answer questions from parents.

The head of our mail room at the Central Library always knows when the Big Brooklyn Playdate is coming because we ask her for her largest cardboard box. We cut a variety of shaped holes and doors in it. Sometimes we give kids crayons or sidewalk chalk to decorate it with, but they are usually so engrossed in crawling in and peeking out of the box that this is unnecessary. Lots of language happens in and out of the box, with squeals and giggles offering delightful punctuation.

The surprise hit of the Playdate is an activity we call the “The Un-Sand Box.” It is two large tubs filled with shredded paper from our office shredder. Who knew recycled documents could be so much fun? The kids love throwing, tossing, and scrunching the “snow” as many of them like to call it. Of course, the paper does go everywhere, but it cleans up easily enough with a push broom. The very first time we tried this, we hid small toys in the paper for the children to find, but we quickly learned it was pointless. The shredded paper was the thing.

The annual Big Brooklyn Playdate is the biggest event we do for babies, toddlers, and their caregivers at library. The feedback is that everyone wants us to do it again every week. We publicize it on several local mommy blogs and family websites, bringing in families with young children who have never been to the library before. Outreach efforts to local early childhood organizations also hook up a group of teen moms from a local high school.

Two years into Read, Play, Grow programs and after the first Big Brooklyn Playdate, we surveyed parents and caregivers about the program’s effectiveness. A full 74 percent of respondents reported gaining new ideas to use with their children and 44 percent said they use Read, Play, Grow activities at home.

Come out to play

With President Obama calling for more funding for early childhood education and a New York Times article from 2011 reporting high-powered Manhattan parents attending block-building workshops, it seems that the educational pendulum is once again swinging back to embracing the value of play. While it comes naturally to children, some of us grown-ups need help—and even permission—to get down on the floor and stack blocks, squeeze dough, and make a mess.

Brooklyn Public Library’s programs are just a few of the playful activities going on at libraries throughout the country. From play installations that would rival most children’s museums to in-house-developed play activities using materials rescued from the recycling bin, ours is just one of the many libraries putting play front and center.

Has your library come out to play?

Rachel G. Payne is the coordinator of early childhood services at Brooklyn Public Library. She has reviewed children’s books for SLJ and Kirkus, served on the Caldecott Award Committee, and presented on early literacy at conferences nationwide.

First up are introductions to ocean-related topics, including currents, tides, food chains, and topography. In Down, Down, Down and Journey into the Deep, the authors organize their tours vertically, descending into ever-darker ocean zones, revealing giant tube worms and carnivorous sponges. With thousands of animals to study, most writers concentrate on a group such as whales or octopuses to show how species interact within a habitat. Books about prehistoric ocean life allow students to compare ancient animals with current ocean dwellers, while speculation about sea monsters can turn to fact as new discoveries are made.

Challenges facing scientists remain formidable. More humans have walked on the Moon than in the Marianas Trench, 35,000 feet below the surface. Although some people dive in search of sunken ships or treasure, many more study the ocean itself. The final illustration in Life in the Ocean, a biography of oceanographer Sylvia Earle, shows two people looking over the water. Below them, a panorama of animals and plants extends downward against deepening shades of blue. As elementary and middle school readers dive into this collection of ocean wonders, their awareness of and appreciation for the world under the sea are sure to grow.

The Big Picture

BANG, Molly & Penny Chisholm. Ocean Sunlight: How Tiny Plants Feed the Seas. illus. by Molly Bang. Scholastic. 2012. Tr $18.99. ISBN 978-0-545-27322-0.
K-Gr 4–Sunlight’s role in ocean food chains extends from surface waters to pitch-black depths. The dramatic growth of phytoplankton cascading across a spread is one of many arresting illustrations, large enough for group sharing yet complex enough to study individually. Detailed notes cover topics such as photosynthesis, marine snow, and chemosynthesis.

COLE, Joanna. The Magic School Bus on the Ocean Floor. illus. by Bruce Degen. (Magic School Bus Series). Scholastic. 1992. Tr $14.99. ISBN 978-0-59041-430-2; pap. $6.99. 978-0-59041-431-9.
Gr 1-4–A diligent lifeguard tries to rescue Ms. Frizzle’s class as she drives across the beach and continental shelf into deep waters. A whirlwind tour of the ocean floor and coral reefs ends with a surfboard ride to demonstrate wave action. Cartoon illustrations and fact-filled “class report” sidebars enliven another entertaining and informative field trip. Audio and DVD versions available from Scholastic.

GREEN, Dan. Oceans: Making Waves! illus. by Simon Basher. (Basher Science Series). Kingfisher. 2012. Tr $14.99. ISBN 978-0-7534-6821-0. pap. $8.99. ISBN 978-0-7534-6822-7.
Gr 5-8–With its conversational tone and cartoon illustrations, this unconventional guide packs a lot of information into each double-page entry. Not only do animals introduce themselves, but ocean features such as tides, seaweed, and pollution also have their say. The wide-ranging topics and appealing format should jumpstart interest in the watery world.

JENKINS, Steve. Down, Down, Down: A Journey to the Bottom of the Sea. illus. by author. Houghton Harcourt. 2009. Tr $17. ISBN 978-0-618-96636-3.
Gr 2-6–Jenkins’s masterful collages reveal characteristics of animals at different ocean depths from the sunlit surface to the deepest trench. For example, contrasting images of twilight-zone animals as they would appear in light with their glowing outlines in dark water illustrate bioluminescence. Those interested in specific species will find more information after the main text.

JOHNSON, Rebecca L. Journey into the Deep: Discovering New Ocean Creatures. Millbrook. 2010. PLB $31.93. ISBN 978-0-7613-4148-2.
Gr 5-8–From 2000 to 2010, hundreds of scientists worldwide participated in the Census of Marine Life. New species that they identified, such as zombie worms or yeti crabs, appear in amazing photographs that accompany quotations from scientists and descriptions of their research methods and findings at various ocean depths.

WALKER, Pam & Elaine Wood. The Open Ocean. (Life in the Sea Series). Facts On File. 2005. PLB $35. ISBN 978-0-8160-5705-4.
Gr 6-10–The authors supply extensive information about the open ocean, which covers more than half of Earth’s surface. Drawings and diagrams accompany clear explanations of topics such as animal anatomy, food chains, hydrothermal vents, and properties of seawater. Although a few color photos are included, the volume is aimed at researchers, not browsers.

WIESNER, David. Flotsam. illus. by author. Clarion. 2006. Tr $17. ISBN 978-0-618-19457-5; ebook $17. ISBN 978-0-547-75930-2.
PreS Up–Photos developed from a “Melville underwater camera” washed ashore astound the boy who discovers the device. Fantastic scenes of undersea life and images of children from years before encourage him to add his own photo to the series. Wiesner wordlessly stretches readers’ imaginations about the timeless ocean circling the globe.

Animals Past and Present

BRADLEY, Timothy J. Paleo Sharks: Survival of the Strangest. illus. by author. Chronicle. 2007. Tr $15.95. ISBN 978-0-8118-4878-7.
Gr 4-8–Sharks from the Paleozoic, Mesozoic, and Cenozoic eras have connections to current ocean dwellers. Diagrams show relative sizes of the ancient shark, great white shark, and human diver while dramatic illustrations often feature predators and prey. Bradley clearly explains what paleontologists can and can’t deduce from fossil remains.

BULION, Leslie. At the Sea Floor Café: Odd Ocean Critter Poems. illus. by Leslie Evans. Peachtree. 2011. Tr $14.95. ISBN 978-1-56145-565-2.
Gr 5-8–Eighteen poems introduce unusual ocean animals such as the bone-eating osedax and eviscerating sea cucumbers. Linoleum-block illustrations plus fact-filled paragraphs accompany the poetic portraits. Explanations of the poetic forms, including limerick, cinquain, and triolet, encourage readers to follow Bulion’s lead in presenting scientific information in verse.

BUTTFIELD, Helen. The Secret Life of Fishes: From Angels to Zebras on the Coral Reef. illus. by author. reprint ed. Diane Publishing. 2004. (original ed. Abrams, 2000). Tr $17. ISBN 978-0-7567-8075-3.
Gr 5-8–More than 250 fishes glide across the pages of this elegant introduction to life on coral reefs. Meticulous watercolor illustrations accompany Buttfield’s pithy text, which often notes the importance of color and pattern for attracting mates, eluding enemies, or fooling prey. Share with students of art and design as well as ichthyologists.

CYRUS, Kurt. The Voyage of Turtle Rex. illus. by author. Houghton Harcourt. 2011. Tr $16.99. ISBN 978-0-547-42924-3; ebook $16.99. ISBN 978-0-547-77283-7.
K-Gr 2–A tiny turtle scuttles past T. rex to reach the ocean’s sheltering seaweed, where she grows into a two-ton Archelon. Swimming with Plesiosaurs and escaping a massive Mosasaur, she eventually returns to the same beach to lay eggs for another generation. Easy-flowing narrative verse plus large illustrations encourage read-aloud visits to ancient seas.

DAVIES, Nicola. Surprising Sharks. illus. by James Croft. (Read & Wonder Series). Candlewick. 2003. pap. $6.99. ISBN 978-0-7636-2742-3.
K-Gr 3–Large diagrams and bright illustrations note the essentials of shark anatomy and how different senses help sharks find food. The fierce great white may not surprise readers, but the variety of sizes, shapes, and colors of other sharks will. Most surprising? Sharks kill about six people yearly, but humans kill millions of sharks.

ELLIOTT, David. In the Sea. illus. by Holly Meade. Candlewick. 2012. Tr $16.99. ISBN 978-0-7636-4498-7.
K-Gr 3–Short, bouncy poems introduce ocean animals to young listeners. Evocative imagery of an octopus as an “eight-armed apparition” or a dolphin as an “acrobat with fins” plus energetic woodcut illustrations of creatures that swim, swirl, and dive across oversize pages add up to a good choice for storytimes as well as individual viewing.

GISH, Melissa. Whales. (Living Wild Series). Creative Education. 2012. PLB $35.65. ISBN 978-1-60818-084-4; pap. $8.99. ISBN 978-0-89812-676-1.
Gr 5-8–Gish packs an impressive amount of information into this well-designed volume. Effectively covering diverse science topics such as whale communication methods, life cycles, and migration patterns, she also considers whales in myth and literature and includes a Japanese fable and D. H. Lawrence poem. Large photos, maps, and illustrations will engage browsers as well.

GUIBERSON, Brenda Z. Into the Sea. illus. by Alix Berenzy. Holt. 1996. Tr $18.99. ISBN 978-0-8050-2263-6; pap. $8.99. ISBN 978-0-8050-6481-0.
Gr 2-5–From when a hatchling makes her way across the beach until she returns to lay her eggs years later, a sea turtle lives in the ocean. Pencil and gouache illustrations depict her underwater life amid sea grass refuges and fishing net dangers. Compare this contemporary reptile with Cyrus’s prehistoric Archelon.

HALFMANN, Janet. Star of the Sea: A Day in the Life of a Starfish. illus. by Joan Paley. Holt. 2011. Tr $16.99. ISBN 978-0-8050-9073-4.
K-Gr 3–Sea stars may look harmless, but hundreds of sticky tube feet under their rays, plus a stomach that extends from their mouth, make them effective predators. Collage illustrations follow a sea star’s hunt for mussels and its escape from a seagull. More information, including the animal’s ability to grow replacement rays, appears after the story.

MARKLE, Sandra. Octopuses. (Animal Prey Series). Lerner. 2007. PLB $25.26. ISBN 978-0-8225-6063-0; pap. $7.95. ISBN 978-0-8225-6066-1.
Gr 3-6–Octopuses must elude predators while seeking their own prey. Color photos reveal techniques such as blasting ink to distract pursuers or changing shape or color to blend in with the seafloor or reef. Views of octopuses from around the world will intrigue browsers and beginning researchers, who can follow the creatures’ life cycle.

NEWQUIST, HP. Here There Be Monsters: The Legendary Kraken and the Giant Squid. Houghton Harcourt. 2010. Tr $18. ISBN 978-0-547-07678-2.
Gr 5-8–Sailors’ tales of sea monsters fueled speculation about kraken long before giant squid carcasses washed ashore in the 19th century. Illustrations range from 16th-century maps to 20th-century movie posters, accompanying summaries of legends and excerpts from poems and stories. Photos by modern scientists elucidate current research about the elusive animal.

PFEFFER, Wendy. Life in a Coral Reef. illus. by Steve Jenkins. HarperCollins. 2009. Tr $16.99. ISBN 978-0-06-029553-0; pap. $5.99. ISBN 978-0-06-445222-9.
K-Gr 3–Coral reefs bustle with activity day and night. Paper cutout illustrations capture the vibrant hues of reef animals from tiny coral polyps to a lime-green moray eel gliding past a mucus-enclosed parrot fish. Fact pages identify coral reef locations worldwide and threats to their existence.

SIMON, Seymour. Coral Reefs. HarperCollins, 2013. Tr $17.99. ISBN 978-0-06-191495-9; pap. $6.95. ISBN 978-0-06-191496-6.
Gr 2-5–Vibrant close-up photos accompany Simon’s informative text. He explains how coral polyps slowly develop into colonies that form different reef structures. Careful page design matches relevant photos with introductions to various hard and soft corals and unusual reef animals. Throughout, the author stresses the importance of reefs and notes threats to their survival.

TURNER, Pamela S. Project Seahorse. photos by Scott Tuason. (Scientists in the Field Series). Houghton Harcourt. 2010. RTE $18. ISBN 978-0-547-20713-1.
Gr 4-8–Coral reef destruction from blast fishing, pollution, and dredging threatens many fish, including seahorses. Amazing close-up photos complement explanations of their unusual biology, including that males give birth. Attempts by Filipino scientists and villagers to establish a marine protected area demonstrate the need for cooperative conservation efforts at local, national, and international levels.

Human Explorations

BECKER, Helaine. The Big Green Book of the Big Blue Sea. illus. by Willow Dawson. Kids Can. 2012. Tr $15.95. ISBN 978-1-55453-746-4; pap. $9.95. ISBN 978-1-55453-747-1.
Gr 3-6–Even students far from coastlines can participate in hands-on activities to learn about the ocean. More than 30 simple experiments employ everyday materials to investigate topics such as currents, salinity, pollution, and camouflage. Sidebars with diagrams and photos cover current issues including environmental threats and ways to help.

BERNE, Jennifer. Manfish: A Story of Jacques Cousteau. illus. by Éric Puybaret. Chronicle. 2008. Tr $16.99. ISBN 978-0-8118-6063-5.
Gr 1-4–Cousteau’s childhood fascination with machines, movies, and the sea provided the foundation for his inventions and explorations that drew worldwide attention to ocean life. Blue-green backgrounds painted in acrylic on linen reinforce the watery theme, especially in the fold-out panorama of Cousteau diving ever deeper. Compare this biographical introduction with Dan Yaccarino’s The Fantastical Undersea Life of Jacques Cousteau.

EARLE, Sylvia A. Dive! My Adventures in the Deep Frontier. National Geographic. 1999. RTE $18.95. ISBN 978-0-7922-7144-4.
Gr 3-7–A marine biologist, Earle shares her lifelong passion for ocean exploration and conservation. From childhood observations of creatures on shore to journeys thousands of feet below the surface in a submersible she helped design, Earle has retained her fascination with marine life. Numerous photos document various forays under the sea.

FALLS, Kat. Dark Life. Scholastic. 2010. Tr $16.99. ISBN 978-0-545-17814-3; pap. $6.99. ISBN 978-0-545-17815-0.
Gr 5-9–In this futuristic novel, rising waters force humans into stack cities while pioneers farm the ocean floor. Western adventure motifs combine with subsea adaptations, such as Liquigen for breathing, as Undersea Ty and Topsider Gemma face fast-paced treachery and danger while searching for the girl’s brother. Challenge readers to invent additional underwater survival strategies.

GIBBONS, Gail. Sunken Treasure. illus. by author. reprint ed. HarperCollins. 1990. (original ed. Crowell, 1988). pap. $6.99. ISBN 978-0-06-446097-2.
Gr 1-4–Gibbons’s exciting account of the sinking of a Spanish galleon near Florida in 1622 and the 20-year search to locate the ship more than 300 years later demonstrates that divers search for treasure as well as marine life. Detailed illustrations accompany explanations of the work involved in discovery, salvage, and restoration.

MALLORY, Kenneth. Adventure Beneath the Sea: Living in an Underwater Science Station. photos by Brian Skerry. Boyds Mills. 2010. RTE $18.95. ISBN 978-1-59078-607-9.
Gr 4-8–Readers follow Mallory and Skerry through aquanaut training and their stay on Aquarius, an underwater research station. A map of Aquarius plus numerous photos give potential oceanographers insights into coral reef research as well as station life from meals to Internet connection. Mallory concludes with warnings about threats to coral reefs.

MATSEN, Brad. The Incredible Record-Setting Deep-Sea Dive of the Bathysphere. Enslow. 2003. PLB $23.93. ISBN 978-0-7660-2188-4.
Gr 4-7–The 1934 dive of William Beebe and Otis Barton continues to inspire oceanographers. Diagrams of the bathysphere and period photos set the scene. Matsen effectively builds the suspense and excitement of their descent. Even though readers know the outcome, the danger surrounding the small ship in a vast ocean is palpable.

NIVOLA, Claire A. Life in the Ocean: The Story of Oceanographer Sylvia Earle. illus. by author. Farrar. 2012. Tr $17.99. ISBN 978-0-374-38068-7.
K-Gr 3–Nivola weaves quotations from Earle into her brief biography, but richly colored illustrations draw viewers on their own. Earle swims past reef fishes, walks through bamboo coral, and plunges into a galaxy of bioluminescent creatures. The final spread incorporates earlier illustrations in a panorama of a teeming world worth exploring and preserving. Audio version available from Recorded Books.

WALKER, Sally M. Secrets of a Civil War Submarine: Solving the Mysteries of the H. L. Hunley.Carolrhoda. 2005. RTE $18.95. ISBN 978-1-57505-830-6.
Gr 6-10–History and science combine in a fascinating account of the submarine developed to break the Union blockade of Charleston. Documents, maps, and diagrams illustrate the Civil War section while photos enhance explanations of the 1990s work of divers, engineers, and geologists to locate and raise the H.L. Hunley in order to learn why she sank.

YACCARINO, Dan. The Fantastic Undersea Life of Jacques Cousteau. illus. by author. Knopf. 2009. Tr $16.99. ISBN 978-0-375-85573-3; pap. $7.99. ISBN 978-0-375-84470-6; ebook $7.99. ISBN 978-0-375-98755-7.
Gr 1-4–Bold colors and abstract patterns emphasize Cousteau’s energetic quest to invent ways to explore the ocean, document what he saw, and share his discoveries with others. Brief quotations from Cousteau complement Yaccarino’s simple text. Words are secondary to the layered illustrations, which reveal the vitality of ocean life.

Kathy Piehl is Professor Emerita at Memorial Library, Minnesota State University, Mankato.

A young patron sits down to a recording session at the “creation station” of the Darien (CT) Library.
Photograph by Dru Nadler.

Andrew Carle, a technology educator at Flint High School in Northern Virginia, scurries about the classroom, rearranging desks and chairs, strategically sprinkling around wires, batteries, transistors, and clocks—all the while a video camera whirs in the background. A few seconds later, 10 seventh graders saunter in and the room becomes a hive of activity. Students cluster in shifting groups of twos and threes, occasionally checking in with Carle, testing wires, referencing books and Macbooks. In that hour, compressed into 140 inspiring seconds on YouTube, the middle school students become consultants, designers, and builders. Or, as Carle and thousands of others like to call them, makers.

The maker movement, known to past generations as “DIY” (do-it-yourself), encourages collaboration, invention, and radical participation with a single goal: to create new things. This maker ethos is gaining a serious foothold in education, both in practice and at the policy level. In 2012, the movement’s flagship event, Maker Faire, drew a total of 165,000 people to meetups in New York and San Francisco. In March 2013, Tom Kalil, the White House deputy director for technology and innovation, hosted a Google+ Hangout with a guest list that included Dale Dougherty, the founder of Maker Media, inventor and MacArthur fellow Saul Griffith, and 11-year-old Sylvia T. (better known to fans of her popular online maker show as “Super Awesome Sylvia”).

STEMming from a great idea. The White House’s embrace of the maker movement is hard-wired into President Barack Obama’s “Educate to Innovate” campaign to improve STEM (science, technology, engineering, and math) education. “I want us all to think about new and creative ways to engage young people in science and engineering,” Obama said at the campaign’s launch in 2009. “Whether it’s science festivals, robotics competitions, fairs that encourage young people to create and build and invent—to be makers of things, not just consumers of things.”

As the maker movement evolves, so, too, does the demand for a new kind of participatory public arena, commonly known as a maker space. Here, budding makers mingle, share knowledge and resources, and collaborate on projects. Some leading maker machers—among them Cory Doctorow, science fiction author and co-editor of the blog Boing Boing—see librarians and makers as natural allies and think of libraries as a natural setting for creating a maker space.

Libraries should be “information dojos,” Doctorow says, “where communities come together to teach each other black-belt information literacy; where initiates work alongside novitiates to show them how to master the tools of the networked age from the bare metal up.” Now, librarians and their supporters in the nonprofit, academic, and policy worlds have taken up the gauntlet. Together, they’re designing best practices, securing funding, conducting research, and recruiting schools and teachers, cobbling together the gears and circuitry of a culture that they say has the potential to forever change the way children learn.

Getting schooled. During the White House Hangout, Dougherty discussed a recent Maker Media initiative called “Maker Education,” which aims to empower young people to become master tinkerers. Addressing the issue of scale, he asked: “What are the kinds of models we can build that other youth-serving organizations can follow to work with kids?”

A key focus of Maker Education is integrating maker spaces into existing educational programs nationwide, says AnnMarie Thomas, the founding executive director of Maker Education. To head the initiative, Thomas took a one-year sabbatical from her job as an engineering professor at the University of St. Thomas, where she had noticed that “more and more kids were coming into engineering with very little hands-on experience.” Maker Corps, a Maker Education program, aims to connect maker groups to one another and build a community that’s based on the core competencies of the maker movement.

Making, says AnnMarie Thomas, resonates with children in extraordinary ways: “Look at any of the literature on hands-on work, look at what’s happened at museums around the country. You really see a sense of interest and engagement among kids, see them taking ownership of their work.” As examples, she points to the children at Mt. Elliott Makerspace in Detroit, who demonstrate soldering lessons at the local farmer’s market, and an 11-year-old maker in Los Angeles who teaches community classes.

DIY gets F2F. Parker Thomas, Maker Media’s current director of educational initiatives, notes that, while the Internet creates opportunities to collaborate long-distance, cyberspace is no substitute for “meatspace.” Maker activity can create a force multiplier effect when it fosters cross-pollination between schools. To that end, during the last academic year, Thomas helped coordinate efforts among 15 public and private schools in the San Francisco Bay Area. “Some of our schools decided to partner so they could apply for grants together,” he says.

Launching the programs at some of these schools required a healthy dose of imagination and perseverance. “It’s easy to start a maker space if you’re a motorcycle fabricator in your spare time,” he says. “Less easy if you’re a Spanish teacher and have never made anything in your life.”

Some of the teachers were armed with “nothing but enthusiasm,” he says. To get these educators more maker savvy, sponsors and advocates offered resources, including personal development workshops and online info sessions, and created a playbook that advised on everything from safety standards to how to pitch maker spaces to school administrators.

Parker Thomas worked directly with interested teachers. “We helped enable them,” he says. “The administration then starts to see the results, and it’s easier to get into the rest of the schools.” But he acknowledges that “if we need to scale, we need to do this at the district level,” noting that the Santa Rosa High School District is a recent collaborator.

The reaction from children has been deeply gratifying, he adds. At Independence High School in San Francisco—which Thomas describes as “kind of like your last speed bump before you drop out”—students have to be in school only 45 minutes per week. When students worked maker projects, however, they stayed voluntarily, sometimes several hours a day. Says Parker, “We seem to spark a sense of curiosity, of wonder.”

At the June Jordan School for Equity, also in San Francisco, Thomas attended a mini maker fair at the end of the first semester of the maker class. “I saw a bulletin board with iPad speakers acting like an amp and a box with a lid that had LEDs on top,” he says. “A kid didn’t have a desk at home, so he built one.” And the progress was evident. “You could see that they learned to iterate. The joints got better on each leg.”

The level of craftsmanship and personal initiative seen at these schools seems limitless. Thomas cites the Oakland-based Lighthouse Community Charter School, which has had a maker program for the past five years: “Three 18-year-old seniors wanted to build an electric car. They found a Ford Ranger and pulled the motor out. They’re trying to find batteries for it and they ran a Kickstarter campaign to do it.” That kind of project, he says, rewards students with a host of skills, including engineering, storytelling, and managing an online fundraising campaign.

Most importantly, he says, making empowers children with a mindset. “You’re not held hostage to what you can find. If you can dream it, you can make it, and you can shape the world around you.”

Media as making. Gwyneth Jones, known to Internet fans as “The Daring Librarian,” vividly recalls a recent trip to Nashville, where the city’s public library administrators spoke about their under-construction, hands-on learning space: “It’s the size of an airport lounge,” Jones says, “with a 3-D printer, woodworking, and sinks with experiments. And it’s just for teens—grown-ups are there on sufferance.”

Four walls do not a maker space make… Here are some of the fundamental tools commonly found in successful maker spaces. Though making is by its nature improvisational, a common toolkit can help to make it easier for newbies to learn the necessary skills and also help institutions and policymakers plan.

1. Arduino

An open-source electronic prototyping platform. Arduino programming language and modules (“boards”), which can be hand-built or purchased pre-wired, allow makers to create interactive electronic objects. Arduino devices can sense their environment by receiving input from multiple sensors and can control lights, motors, and other actuators.

2. Hot glue gun

A handheld tool for fastening items. Check out this basic tutorial on usage and safety instructions.

3. Jump wires

Wires used to transfer electrical signals from one part of a circuit board to a central microcontroller

4. Play-Doh

A modeling compound commonly used by young children for art and craft projects

5. 3-D printers

A printer that makes a three-dimensional solid object of virtually any shape from a digital model.

6. Laser cutter

Allows for very precise cuts without warping or destroying nearby material, enabling users to create elaborate designs for products. Click here to see a list of great projects.

Jones says she has always implemented maker tenets into her work at her Murray Hill Middle School library in Laurel, MD. “We’ve been doing animation and moviemaking from the get-go,” she says. Her students use programs such as GoAnimate to create openings for the school’s TV studio and Comic Life to build their own graphic novels—and then reach wider audiences by licensing their work through Creative Commons or selling their publications. Using such technology in a school setting, she says, also helps bridge the digital divide, much as the YOUmedia initiative has done in public libraries.

Such activities can expand a child’s idea of what a product is, she says. “They can create something that shows what they learned. My kids are visual learners. If they can make something with their hands, they’re going to write a PSA and maybe create an animation to go with it. They get to choose how to show what they learned and how much they learned, and didn’t necessarily need to write a 10-page essay.”

When Kiera Parrott first established a “creation station” at Darien Library in Connecticut, the tools at students’ disposal were Mac computers, Flip cameras, and voice recorders. Integrated devices such as the iPad freed students to follow their imaginations. They now use iPads to create stop-motion animation with LEGO figures, video book reviews, and whatever else captures their fancy. Parrott contrasts these activities with the regular school curriculum. “Even if it’s a wonderful school with fabulous teachers, there’s still a hierarchy, it’s still prescriptive.” In a maker space, she says, “it’s all about them and their experience.”

Making a maker space. “Today’s tinkerers work in vast, distributed communities where information sharing is the norm, where the ethics and practices of the free/open source software movement have gone physical,” Doctorow says. To cater to kids’ needs, librarians and school administrators will be forced to challenge traditional constructs of physical space, teamwork, and information architecture.

Flint High School’s Andrew Carle calls for a space that evokes wonder, something that can attract students’ attention, “slow down traffic in the hallway and pull them through the door….Every pinball machine, every arcade cabinet, was designed to capture [the] fleeting fascination of passing teenagers,” Carle says. “3-D printers can do the same work.” A well-designed maker space, he notes, will leave a trail of breadcrumbs throughout the school and reinforce the maker mindset of “discovering ways that you can tweak, hack, or create new things that exist in and interact with the wider world.”

Yet Carle also stresses the importance of a supportive space, one that titillates but never intimidates newcomers, with ample signage and instructions, and where “no one (has to) go in alone.”

“If you’re a kid you can’t do anything wrong,” says Parrott. “There’s no such thing at this point. We’re not telling you what you need to make. We’re going to give you the tools, physical and digital, and then let you go. We’ll provide some guidance to shape those skills, but it’s really about the exploration and discovery.”

A short list of these tools includes “Arduino [programming language and circuits], papier-mâché, LEGOs, cardboard, robots, rockets, welding machines, gears, circuit boards, computer-assisted drawing software, string, vinyl cutters, LED lights, the command line, string, rubber bands, wire, duct tape, Play-Doh, steamworks, sensors, hot glue guns, scissors, Raspberry Pis, gyroscopes, Tesla coils, musical instruments, fire, water cannons, plastic, wood, motors, solar power, wearable computers, and 3D printers,” according to education writer Audrey Watters. Due to constraints of both money and room, school libraries looking to establish maker spaces will have to prioritize what to purchase, especially if the spaces are being funded at the district or state levels.

Armed with a little planning and a basic toolkit consisting of laser cutters, a set of hand tools, and a single computer, Saul Griffith, who has received a DARPA (Defense Advanced Research Projects Agency) grant to aid him in his efforts, is confident that the maker movement could become a permanent fixture of school education. “It’s very reasonable to imagine that we could outfit every high school and every middle school. I actually think we should be targeting down to every elementary school in the country with a reasonably capable set of tools so all children in the country become part of this manufacturing and design revolution,” he says.

The big picture. “One of the impacts of building your own computing devices is that it forces you to confront the architecture and systems that underlie your own information consumption,” Doctorow says.

Opening the wonders of maker culture to vast new audiences can have a liberating effect on education. Scholars, including the University of Indiana’s Kylie Peppler and the University of California’s Mimi Ito, have written several papers on topics such as learning about circuitry through e-textiles, introducing computation into arts education, and developing participatory competencies in media production.

In her 2009 book The Computer Clubhouse, Peppler and her co-authors reference MIT mathematician Seymour Papert’s concept of “objects-to-think-with.” The term, according to Papert, helps illustrate how both digital and physical objects such as robots, games, and programs can “become objects in the mind that help to construct, examine, and revise connections between old and new knowledge.” Indeed, objects in a maker space can assume this role, according to the authors, “allowing members to engage with technology, problem-solving, and artistic expression in profound ways.”

Scholars are being careful, however, to not define the movement’s constraints too tightly, in order to preserve the improvisational feel that makes maker spaces so appealing. The goal, in a sense, is a rough map rather than a GPS device. Structure and setting still matter. “We would never want maker spaces to look like schools,” Peppler says. “But you do need to get a sense of how they work.”

With great power (tools) comes great responsibility. When power saws and drill presses replace traditional learning materials, the library inevitably becomes a riskier environment, something acknowledged by leading proponents of maker spaces. “There could be liability issues” stemming from use of tools and machinery, says Susan Hildreth, director of the Institute of Museum and Library Services (IMLS). “But those could be addressed.” Hardware is a potential issue, but the bigger practical concern is the space itself. “If you’re going to have a space that could be noisy and could create smoke, you need to consider where the space is placed, and how it is vented.”

Indeed, some have pushed for a more rigorous approach to safety standards in maker spaces. At a February workshop in Somerville, MA, titled “How to Make a Makerspace,” Dougherty pushed makers to design best practices for building and operating spaces. William Gurstelle, noted science writer and the author of Backyard Ballistics and The Practical Pyromaniac, has written a safety guide that addresses the usage of tools such as sewing machines, table saws, and heat guns.

Money makers. Hildreth, whom President Barack Obama tapped in 2011 to be director of IMLS, says her curiosity about maker spaces was piqued by her insight that simple content mastery would no longer cut it. “Information and knowledge changes so quickly nowadays,” she says. Now IMLS’s emphasis is on supporting libraries to help students attain what she dubs “21st-century skills, skills such as being creative, collaborative, analytical, and learning how to parse and organize information.”

A maker space, she says, serves as an active breeding ground for such skills, a place where swarms of inquisitive young people can come together and absorb new learning paradigms. The library world’s shift from analogue to digital materials is helping to free up space that could be reconfigured to become a maker space, she adds. “If you think of the library as the learning center, you need to adapt to the demands of your community,” she says.

The movement is yet in its infancy, Hildreth believes, but it’s shown enough promise to warrant some IMLS funding, such as a $444,296 research grant to study the effects of maker spaces given to the Children’s Museum of Pittsburgh.

The museum also received a further $150,000 grant to help it establish an in-house maker space with the cooperation of Carnegie Mellon University and the University of Pittsburgh. Other IMLS grants funding maker activity include $250,000 to the Chicago Public Library to create a new maker space; $100,000 to the New York Hall of Science (NYHS) for a “Digital Making program” within the NYHS’s maker space; an additional grant to NYHS to engage racially diverse communities in making; and a $99,443 grant to the Oregon Museum of Science and Industry in Portland, OR, to develop a community maker space. More maker funding will likely be a priority for 2014, Hildreth adds.

Funding is also flowing into the movement from elsewhere, according to Marsha Semmel, the IMLS’ director of strategic partnerships. She noted in particular the Cognizant Foundation—which has given major grants to the Detroit Public Library and NYHS—and DARPA, which aims to establish making practices in 1,000 schools by 2016. The MacArthur Foundation also supports the Maker Education intitiative, partnering with IMLS to launch well-funded museum and library spaces, modeled after the YOUmedia program at the Chicago Public Library, that offer state-of-the-art digital media tools.

The money, Semmel says, would help to bridge the void left by the disappearance of traditional maker activities—home economics, shop, chemistry labs—from the traditional school curriculum. “My grandfather was a house painter and my grandma was a milliner, so I sewed and made mosaics,” she says. “Those things have been pushed out of people’s lives. But the urge to create and design is universal, and it remains.”

The Common Core State Standards (CCSS) provide several ways to incorporate what students have learned from listening to classics during the summer as starting points for individual writing and classroom discussion:

[CCSS.ELA-Literacy.RL.9-10.2] Determine a theme or central idea of a text and analyze in detail its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text.

[CCSS.ELA-Literacy.SL.11-12.1c] Propel conversations by posing and responding to questions that probe reasoning and evidence; ensure a hearing for a full range of positions on a topic or issue; clarify, verify, or challenge ideas and conclusions; and promote divergent and creative perspectives.

A natural extension for listening to these audiobooks is viewing their film adaptations, a compare and contrast study that can be found in several reading, speaking, and listening Standards. The experience offers abundant opportunities for student discussion and writing.

Literary and modern classics are included in many national and regional lists for the college bound, such as the comprehensive list from the Arrowhead Library System in Wisconsin (http://ow.ly/kwSPV). Check with your local public library for copies of classics in print, audio, or DVD formats to round out lesson plans.

All Quiet on the Western Front. Written by Erich Maria Remarque. Trans. by A. W. Wheen. Narrated by Frank Muller. 6 CDs. 7 hrs. Recorded Books. 1994. ISBN 978-0-7887-3441-0. $72.75. Gr 9 Up
This World War I narrative was originally published in 1929, while the senseless destruction of the Great War was still fresh in the minds of those who lived through its horrors. Hearing 19-year-old Paul Baumer describe his experiences as a German recruit, the depth of his deprivation in the trenches, the cruel loss of life, and the cumulative devastation on mind and body is heart wrenching. Muller’s understated performance, with its steady pacing and paradoxically soothing vocal timbre, enhances the lyrical language and elicits a palpable sense of the terror faced by Paul and his friends through the unrelenting close combat. In 1930, the movie adaptation won the Academy Award for best picture and best director and is now in the Library of Congress’s National Film Preservation Board’s Film Registry (http://ow.ly/kwRp2).

The Call of the Wild. Written by Jack London. Narrated by Jeff Daniels. 3 CDs. 3:15 hrs. Listening Library. 2010. ISBN 978-0-3077-1026-0. $30. Gr 8 Up
Originally serialized in The Saturday Evening Post, June 20–July 18, 1903, this classic remains relevant over 100 years later. The universal themes of survival, kindness, cruelty, and natural instinct are strengthened by Daniels’s performance. His voicing provides just the right conversational and friendly tone with a touch of comfortable rasp, adding fresh energy to the timeless story. Buck, a four-year-old St. Bernard–and Scotch Shepherd cross breed, who weighs 140 pounds, has his life changed forever when he is kidnapped and taken to the cold bleakness of the Arctic to work with Klondike gold miners. A film adaptation of this story starring Clark Gable was released in 1935. Comparing and contrasting the audio production and the film will offer students many chances to write about or discuss the two versions.

Dracula. Written by Bram Stoker. Narrated by Alan Cumming, Tim Curry, and a full cast. Digital Download. 15:30 hrs. Audio Theater/Audible. 2012. $29.95. Gr 9 Up
The strength of this audiobook production of the 1897 classic is the performances by a full cast that includes the incomparable Alan Cumming, Tim Curry, Simon Vance, and Katherine Kellgren, all seasoned and award-winning narrators. Voicing the various characters with individual accents and unique vocal stylings makes for a memorable listening experience. Tension builds immediately as listeners become privy to the journal of young solicitor Jonathan Harker, who travels from England to Dracula’s castle and, with a sense of grave foreboding, realizes that he is a prisoner of the undead Count. This chilling narrative opens Stoker’s tale of Victorian moral fears that sparked the vampire genre and furnishes an excellent example of how listening to a terrifying story, performed beautifully, raises text, plot, and characterization to a new level. Viewing the 1935 movie adaptation of Dracula (starring Bela Lugosi, also on the Library of Congress’s National Film Preservation Board Film Registry) will encourage discussion not only of classic literature, but also of classic filmmaking.

Fahrenheit 451. Written by Ray Bradbury. Narrated by Stephen Hoye. 5 CDs. 5:30 hrs. Tantor Media. 2010. ISBN 978-1-4001-4818-9. $24.99. Gr 9 Up
In this foremost example of dystopian fiction, Bradbury twists the heroic role of firefighters. In a futuristic society, firemen don’t put out fires, they start them. Specifically, they burn books and the subversive ideas contained within their pages. The trouble begins when one fireman, Guy Montag, begins to question the system and seeks to escape the control of the city. Hoye is a superb guide through this terrifying world, moving both action and reflection along with exactly the right pacing. First published in 1953, the story remains disturbingly contemporary and the ending, with its determination to keep books alive by memorizing them and speaking them aloud, is well suited to the audio medium. The 1996 film, directed by François Truffaut and starring Julie Christie and Oskar Werner, veers from the original story, making it particularly useful as a student exploration of the differences between Hoye’s interpretation of Bradbury’s words and Truffaut’s greater liberties with the text.

Hamlet. Written by William Shakespeare. Narrated by Simon Russell Beale, Imogen Stubbs, Jane Lapotaire, and a full cast. 3 CDs, 3:25 hrs. AudioGo. 2006. ISBN 978-0-7927-2985-3. $33.95. Gr 9 Up
Perhaps the best known of Shakespeare’s tragedies, this story of destiny and revenge pits a young prince against the murderous uncle who has stolen the throne and queen. Students often struggle when reading Shakespeare, and listening can serve as a bridge, facilitating understanding. This excellent full-cast production includes musical interludes and an insert with scene-by-scene summaries, making it not only a strong listening experience, but also the perfect adjunct to literary appreciation. Fans of the long-running British science-fiction series Doctor Who, and David Tennant’s portrayal of the Doctor, will be mesmerized by the 2010 BBC television production featuring Tennant as Hamlet, with Patrick Stewart as the nefarious uncle, Claudius.

The Hound of the Baskervilles (and The Adventures of the Dancing Men). Written by Sir Arthur Conan Doyle. Narrated by Simon Prebble. 6 CDs. 6:30 hrs. Tantor Media. 2009. ISBN 978-1-4001-1515-0. $17.99. Gr 9 Up
Sherlock Holmes takes on the intriguing case of the heir to the Baskerville estate who seems destined to be the next victim of the mysterious, and deadly, hound thought to have killed several of his ancestors. Dodgy servants, an escaped prisoner, and a supposed brother-and-sister duo test the famous detective’s mettle. Prebble is more than up to the task of directing listeners through myriad characters, clues, and deceptions. Subtle voicing differentiates the large cast and expert pacing heightens the tension. Be sure to have students watch the first-rate British (Granada Television) production starring Jeremy Brett as Conan Doyle’s brilliant, but decidedly peculiar detective.

Things Fall Apart. Written by Chinua Achebe. Narrated by Peter Francis James. 6 CDs. 6:30 hrs. Recorded Books. 1997. ISBN 978-1-4025-4462-0. $72.75. Gr 9 Up
Published in 1958, Achebe’s seminal work heralds the revolution that preceded Nigerian independence in 1960. Designed to teach students about the rich Igbo heritage, it tells the heartbreaking tale of Okonkwo’s single-minded rise to success among his people and the surrounding villages, followed by a heinous act, banishment, and descent into total failure. James narrates this story of the European colonization of Africa, the encroachment of Christianity, and the disintegration of traditional cultures with appropriate gravitas and measured pacing, bringing out all of the nuances of the text. Students can listen to Achebe read a part of the story (http://ow.ly/kwRJe) and then watch a portion of a production that includes the same text (http://ow.ly/kwS2a) for comparison. Round out the unit with PBS journalist Jeffrey Brown’s interview with Achebe on the 50th anniversary of the publication of Things Fall Apart (http://ow.ly/kwSpg).

To Kill a Mockingbird. Written by Harper Lee. Narrated by Sissy Spacek. 11 CDs. 12 hrs. Harper Audio. 2006. ISBN 978-0-06-1808-12-8. $34.99. Gr 8 Up
Spacek, with her lilting Southern accent, perfectly captures the voice of Scout, the young girl whose life is thrown into turmoil when her father, the upright and highly ethical lawyer Atticus Finch, takes on the defense of a black man accused of raping a white woman. Their sleepy Alabama town may never be the same and Spacek’s exceptional pacing propels this Pulitzer Prize-winner—a staple of many high school reading lists—to its inexorable conclusion. The 1962 film, starring Gregory Peck (who won an Academy Award for his portrayal of Atticus Finch), was named to the National Film Registry by the Library of Congress in 1995.

Sharon Grover is Head of Youth Services at the Hedberg Public Library, Janesville, WI. Lizette (Liz) Hannegan was a school librarian and the district library supervisor for the Arlington (VA) Public Schools before her retirement. They are co-authors of Listening to Learn: Audiobooks Supporting Literacy (ALA Editions, 2011).

Illustration by John Corbitt.

This month, librarians across the country are building their lists of can’t-miss panels, lunches, unconferences (participant-driven meetings), and exhibits as they gear up for the American Library Association (ALA) annual conference in Chicago from June 27 to July 2.

Other librarians are questioning how much ALA annual really serves their professional development needs. In a time of contracting budgets, layoffs, and demands for tech expertise in the library, is ALA still the must-attend event for all? Or is the ISTE (International Society for Technology in Education) conference in San Antonio from June 23 to 26 a better choice?

For the ALA faithful, the panoply of offerings—not to mention the essential social component—makes ALA annual a necessity. “There’s definitely a lot of friends who connect at ALA,” says Gretchen Caserotti, director of the Meridian (ID) Library District, chair of the Association for Library Service to Children (ALSC) Children and Technology Committee, and a PLA (Public Library Association) and LITA (Library and Information Technology Association) member.

What else are ALA attendees looking forward to? For Caserotti, it’s the Newbery-Caldecott-Wilder Banquet along with tech programs like “Apps, Apps, and More Apps,” “Top Technology Trends & LITA Awards Presentation,” and the LITA President’s Program speech by Cory Doctorow.

Young Adult Library Services Association (YALSA) executive director Beth Yoke expects to be holed up in meetings for much of the conference, but she’s eager to see the 25 featured winners of the Excellence in Library Service to Young Adults awards, with programs ranging from one involving iPads and incarcerated youth to another called “Teen Fashion Apprentice.” What’s on Wendy Stephens’s ALA list? Alice Walker, Pulitzer Prize-winning author of The Color Purple, who’s delivering a keynote. The unconferences. And, “it’s a huge thrill to go to the Printz reception and the awards banquet,” says Stephens, a librarian at Cullman (AL) High School, ALA councilor-at-large, and the YALSA blog member manager.

Starr LaTronica, ALSC vice president and president-elect and youth services/outreach manager at the Four County Library System in Vestal, NY, will try not to miss “Think with Your Eyes!” a panel focusing on visual literacy. “In this heavily visual world, so much relies on being able to interpret visual cues,” says LaTronica, who praises the “serendipity” of the ALA conference experience, where the vast and varied offerings can lead to unexpected inspirations.

ISTE appeal

Serendipity, schmoozing, and star power aside, how critical is ALA to librarians’ needs? Not very, some librarians say. “Although I’ve gotten some great ideas at ALA, they’re still struggling to step up their game technology-wise,” says Gwyneth Jones, otherwise known as the “Daring Librarian” and a teacher librarian and technology specialist at the Murray Hill Middle School in Laurel, MD.

Particularly among tech-savvy school librarians like Jones, ISTE is now more of a draw. It’s not just that ISTE’s ed-tech focus provides more bang for their conference buck. School librarians—while often active in AASL activities within ALA—don’t always feel they’re taken seriously at ALA annual and prefer the vibe among ISTE’s mix of educators.

“I sometimes have problems with the way school librarians are treated at ALA,” says Jones. “When I went to ALA early on, I felt like people were thinking, ‘oh, you’re a school librarian, how cute!’”

By contrast, “when I went to ISTE, I felt embraced by everyone,” she says. “They didn’t care what kind of librarian I was.” Jones, now the PK–12 schools representative for ISTE and an ISTE board member, says it’s “a great way to represent my people.”

At ISTE, Jones found “inspiration to start my school library blog.” And, she points out, “there’s not just one blogger’s cafe but four” at ISTE, as well as an entire category of sessions on BYOD.

“I always make the choice to go to ISTE,” says Tiffany Whitehead, a teacher librarian at Central Middle School in Baton Rouge, LA, who blogs as the “Mighty Little Librarian.” “As a school librarian, I’m an educator first. The chance to network with other educators, classroom teachers, administrators, tech coordinators, and others is the most important thing I can do for myself.”

At ISTE, Whitehead will be hosting a tech playground where teachers and school librarians will informally present and share tips on tools and resources. Whitehead’s principal first suggested she attend ISTE, she says. “I would love to go to ALA for the atmosphere and the emphasis on books, but I feel that for my teachers and my students, ISTE is the best choice for me. I really am the technology person on campus.”

Whitehead is also president-elect of SIGMS, an ISTE special interest group (SIG) for media specialists. The many special interest groups within ISTE “play a large and meaningful role in what’s being put forward” during the conferences, according to ISTE CEO Brian Lewis. This year’s conference, for instance, offers more than a dozen sessions about educational video conferencing. The opening keynote speaker is gamification expert Jane McGonigal. “We’re trying to connect folks with what they say they want,” says Lewis.

Stephens, who is attending both conferences and presenting at ALA, points out that “there is a more eclectic crowd of people at ISTE” than at ALA. For instance, as a friend of hers said: “There are men there.”

Gender statistics aside, Stephens—whose school district has never paid for her to attend a library conference but did sponsor an ISTE trip—says, “more people at ISTE work in the educational enterprise. Maybe you feel a little more kinship with those people than a state librarian from another part of the country or an academic library director.”

However, she adds, ISTE inspirations can sometimes be frustrating. “You may go and see this wonderful app and find that it’s blocked” back at your school.

On the other hand, in Stephens’s view, ALA is sometimes out of touch with the daily challenges of school librarians. While useful to people “in rarified situations, there’s not much trickle-down to people who are in a more typical situation.” That would be librarians “trying to tread water and keep programs running on a basic level,” and those working on “nuts and bolts advocacy to keep your job.” However, Stephens believes, “You can bring back more tangibles from ALA—advanced reader’s copies; posters; pictures of you with the Caldecott and Newbery winners. That can be very good for morale.”

AASL and ISTE

AASL president Susan Ballard acknowledges that some school librarians “don’t feel the love” at ALA and points out that ALA has taken steps to remedy this. “ALA is getting better and better at recognizing that we don’t exist in silos and we’re all interconnected,” she says.

How? Ballard refers to an ALA special presidential task force devoted to the current state of school libraries, as well as a focus on the Common Core curriculum. “I know when I go to AASL it’s not just your father’s Oldsmobile,” she says. “It’s as edgy as anything out there.”

AASL still holds appeal for Jones. “If I had to choose one, it would be AASL over ALA,” she says. And Whitehead will be presenting at AASL’s national conference in November.

In Ballard’s view, if librarians think that ISTE is more valuable to librarians than ALA, “we have a perception problem. People hear the word ‘librarian’ and they have a dated concept.” She adds, “I had a colleague in another state who said to his school librarian, ‘I have to think of another name for you, because when I say “school librarian,” I’m not getting any [financial] support.’ He understood what she did, but he couldn’t call her a librarian.”

However, YALSA’s Yoke points to ALA’s focus on “dynamic collaborations between school and public libraries,” the Common Core, and sessions on maintaining teen collections and new media, as huge selling points.

“A lot of the time we get this anecdotal information from school library members that the Association is more public focused,” Yoke says. However, she notes, a survey among 13,000 current, former, and potential ALA members showed evidence to the contrary. “There’s a perception that school librarians have different wishes and needs, but the survey did not bear that out,” says Yoke.

According to Lewis, “The library media specialist’s role is changing in terms of its interconnectivity across the school system.” He adds, “folks in school districts are looking for help, no matter where they are in the process of technology. They’re looking for clarity and support in how to effectively do what it is they’re expected to do.”

Among upcoming ISTE sessions, Lewis singles out “The Empowered Executive Team,” led by Steve Clemons of the San Diego Office of Education. The gist here is that better understanding and communication about what institutions are spending their tech-slated money on will ensure buy-in, communication, and shared decision making.

Caserotti, a technophile who’s gotten involved with ALA committees, says that ALA’s “support structure has been really empowering to me.” Broadly speaking, though, she worries that librarians are not keeping up with technology, despite high-visibility techies like Jones and Whitehead. Technology in the library is “like a car,” she says. “Some people will lift up the hood and take the initiative to learn how the car works.” But most people “take the car to the shop.” At ALA, she wonders, “how many people are stuffing their bags with posters,” and how many are saying, “yeah, I’m comfortable with tablets in the library?”

“Part of the beauty in ISTE is the connectivity to others,” says Lewis, who became CEO of ISTE last summer. “ALA’s conference is great and ISTE is great,” he adds. “Everybody who puts on an event like this works so hard to make sure that through whatever measures, we’re delivering terrific content.”

Writing about humor is a good way to suck all the fun out of it, so please—feel free to skip straight to the booklist. Or as Platte F. Clarke advises in Bad Unicorn, “I recommend you close the book now and run away—preferably with screaming and arm flailing.” It’s got to be better than having to read about how literary devices like hyperbole (e.g., “screaming and arm flailing”) are examples of figurative language (Common Core State Standard 5.4) that can add to the complexity of a text (CCSS RL 10). Just don’t tell the kids.

We love giving funny books to children because we want them to enjoy reading. When they come back clamoring for more Pseudonymous Bosch, you may smile a satisfied smile. But you—and your old pal the Stinky Cheese Man—may be accomplishing more than you realize. Numerous academic studies conducted over the past decade indicate that there are more advantages to reading humorous literature than pure pleasure. Experiments have shown that the brain’s response to the unexpected—say, the purple dragon in Chloe and the Lion, or the polar bear sidekick in Timmy Failure—is to seek order. College students made to read Kafka performed twice as well on pattern recognition tests as their peers. Broken rules compel our brains to look for functioning ones.

Seems like Dr. Seuss was on to something when he said, “I like nonsense. It wakes up the brain cells.” If only he’d been grant-funded, he could have said that in an 80-page thesis instead of a nine-word off-the-cuff remark! Set their brains dancing with these recent funny books.

Picture Books with a Kick

AHLBERG, Allan. The Goldilocks Variations. illus. by Jessica Ahlberg. Candlewick. 2012. RTE $17.99. ISBN 978-0-7636-6268-4.
PreS-Gr 3–The three bears are just the appetizer in this charmingly illustrated pop-up banquet. Goldilocks encounters a family of aliens, talking furniture, and “a grumpy-looking ‘grandma’ in a bed, six or seven other beds, and somebody or something banging away like billy-o at the back door.” By altering individual elements, Ahlberg reinforces the central idea.

BARNETT, Mac. Chloe and the Lion. illus. by Adam Rex. Hyperion/Disney. 2012. RTE $16.99. ISBN 978-1-4231-1334-8.
Gr 1-5–All Chloe wants is a ride on the merry-go-round, but her story is hijacked by a couple of unlikely characters. In a dispute about who’s in charge, the illustrator draws the writer into a gorilla suit, and the writer writes the illustrator into the lion’s belly. Use this book to teach point of view and the collaborative process.

EATON, Maxwell. The Flying Beaver Brothers and the Fishy Business. illus. by author. (The Flying Beaver Brothers Series). Knopf. 2012. RTE $12.99. ISBN 978-0-375-96448-0; pap. $6.99. ISBN 978-0-375-86448-3.
Gr 1-5–A volcano has appeared overnight on Beaver Island. Oh no, it’s really a smokestack for a fish-stick factory run by duplicitous mackerel! This graphic novel is the second entry in a series that features simple cartoon art and razor-sharp comic timing, with an eco-friendly message.

HODGKINSON, Leigh. Goldilocks and Just One Bear. illus. by author. Candlewick/Nosy Crow. 2012. RTE $15.99. ISBN 978-0-7636-6172-4.
K-Gr 3–A bear lost in the city tries out the porridge and the chairs in an empty apartment. When the owner turns out to be an all-grown-up Goldilocks, the two stories, old and new, come together in a comic fanfare. Retro-modern ink and watercolor art adds fun details.

KLASSEN, Jon. This Is Not My Hat. illus. by author. Candlewick. 2012. RTE $15.99. ISBN 978-0-7636-5599-0.
K-Gr 3–The narrative tension between text and art is as crystalline as the water at the bottom of the sea is murky in this tale of underwater mischief. The little fish in the stolen hat is absolutely sure he is going to get away with his crime, but attentive children will holler, “Look behind you!”

SCHWARTZ, Corey Rosen. The Three Ninja Pigs. illus. by Dan Santat. Putnam. 2012. Tr $16.99. ISBN 978-0-399-25514-4.
K-Gr 3–These porcine powerhouses are ready to rumble! With their arsenal of martial-arts skills, the Big Bad Wolf doesn’t stand a chance. Except–whoops! Pigs One and Two skipped a few lessons. Rhyming text and dynamic illustrations are a delight, and the glossary of Japanese words invites culture study tie-ins.

WILLEMS, Mo. Goldilocks and the Three Dinosaurs. illus. by author. HarperCollins. 2012. Tr $17.99. ISBN 978-0-06-210418-2.
K-Gr 3–In this signature retelling, Mama Dinosaur rubs her hands together while saying, “I SURE HOPE NO INNOCENT LITTLE SUCCULENT CHILD HAPPENS BY OUR UNLOCKED HOME WHILE WE ARE… uhhh… SOMEPLACE ELSE!” Children will automatically supply the classic version for comparison.

Funny Transitional Titles

ABBOTT, Tony. The Mysterious Talent Show Mystery. illus. by Colleen Madden. Bk. 4. (Goofballs Series). Egmont USA. 2013. Tr $14.99. ISBN 978-1-60684-167-9; pap. $4.99. ISBN 978-1-60684-400-7.
Gr 2-4–Readers decipher clues while puns ricochet around the room as two young sleuths investigate strange happenings. Wordplay contributes complexity, while snappy dialogue-driven text keeps those pages turning. This series features short chapters and comic black-and-white drawings.

ADDERSON, Caroline. Jasper John Dooley: Left Behind. illus. by Ben Clanton. Bk. 2. (Jasper John Dooley Series). Kids Can. 2013. Tr $15.95. ISBN 978-1-55453-579-8.
Gr 1-3–Jasper, introduced in Star of the Week (2012), feels a little puncture when his Nan leaves for vacation. And when he accidentally staples his snake story to his stomach, that deflated feeling just gets worse. Jasper’s grownups indulge him a bit, but not too much, in this sweet book about managing feelings.

COX, Judy. The Secret Chicken Society. illus. by Amanda Haley. Holiday House. 2012. Tr $15.95. ISBN 978-0-823-42372-9; pap. $5.99. ISBN 978-0-823-42765-9.
Gr 2-4–Few animals are as funny as a chicken, but that’s only one of the things Daniel discovers when he adopts five fuzzy chicks. Summery slapstick with a healthy dose of fun facts.

MONTIJO, Rhode. Gum Girl! Chews Your Destiny. illus. by author. Hyperion/Disney. July 2013. Tr $14.99. ISBN 978-1-423-15740-3.
K-Gr 2–A freak combination of bubble gum and high voltage turns gum-loving Gabby into a sticky, stretchy superhero. A few Spanish words and puns keep the text popping, and artwork in bold geometric shapes gives the book a Powerpuff Girls-meet-Dora energy.

O’RYAN, Ray. Hello, Nebulon! illus. by Jack Colin. Bk. 1. (Galaxy Zack Series). S & S/Little Simon. 2013. Tr $15.99. ISBN 978-1-4424-5387-6; pap. $4.99. ISBN 978-1-4424-5386-9; ebook $4.99. ISBN 978-1-4424-5388-3.
Gr 1-3–Zack is worried about moving to Nebulon–what if his new teacher has two heads? What if the pizza comes with bugs instead of pepperoni? Cartoony space-age illustrations depict Zack making a new friend, riding a hoverbike, and exploring his jazzy new house. First in a forthcoming series.

Middle-Grade Malarkey

AGUIRRE, Jorge. Giants Beware! illus. by Rafael Rosado. First Second. 2012. pap. $14.99. ISBN 978-1-596-43582-7.
Gr 2-6–Rambunctious Claudette, the daughter of the town blacksmith, sets off to kill the local giant with her best friend and brother in tow. Action and friendship, drawn in a clear, cheerful style, make this graphic novel a great choice for “Bone” (Scholastic) fans.

BEATY, Andrea. Dorko the Magnificent. Abrams/Amulet. 2013. Tr $16.95. ISBN 978-1-4197-0638-7.
Gr 3-5–Botched magic tricks and an old lady with a specialty in Extreme Crankiness provide slapstick humor as young Robbie practices for his school’s talent show. Readers will root for Robbie, who works hard and remains optimistic despite setbacks.

BOYCE, Frank Cottrell. Chitty Chitty Bang Bang Flies Again. illus. by Joe Berger. Candlewick. 2012. RTE $15.99. ISBN 978-0-7636-5957-8; pap. $6.99. ISBN 978-0-7636-6353-7.
Gr 3-6–To keep Dad busy after he’s been laid off, Mum gets him an old camper van to fix. But when the family visits the junkyard looking for parts, they strike flying, floating automotive gold. An inventive and picturesque family story, as full of heart and humor as the original.

CARMAN, Patrick. Floors. Bk. 1. (Floors Series). Scholastic. 2011. RTE $16.99. ISBN 978-0-545-25519-6; pap. $6.99. ISBN 978-0-545-46092-7.
Gr 4-6–Odd ducks of both the web-footed and human variety alternately help and hinder junior handyman Leo and his pal Remi as Leo attempts to discover the whereabouts of the Whippet Hotel’s owner before it’s too late. Fans of Pseudonymous Bosch will love this book and its sequel, 3 Below (2012). Audio version is available from Audible and Playaway.

CLARKE, Platte F. Bad Unicorn. S & S/Aladdin. 2013. Tr $15.99. ISBN 978-1-4424-5012-7; ebook $9.99. ISBN 978-1-4424-5014-1.
Gr 4-8–A familiar premise–underdog kid is the only one who can save the world–is put through a satirical shredder. What comes out is action and suspense with a hilarious Monty Pythonesque edge. Multiple points of view keep the plot humming.

GILMAN, Charles. Professor Gargoyle. Bk. 1. (Tales from Lovecraft Middle School Series). Quirk. 2012. Tr $13.99. ISBN 978-1-59474-591-1; pap. $13.99. ISBN 978-1-59474-592-8.
Gr 4-7–In this series kickoff, Robert is a nice kid just trying to navigate the pitfalls of a new school. It doesn’t take him long to realize, however, that the pitfalls of Lovecraft Middle School may involve actual pits. A wide variety of lusciously phantasmagorical vocabulary (“mesmerized,” “fetid,” “ventriloquist”) festoons the readable, peppy text. Audio version available from Listening Library.

MASS, Wendy. Pi in the Sky. Little, Brown. June 2013. Tr $16.99. ISBN 978-0-316-08916-6; ebook $9.99. ISBN 978-0-316-23501-3.
Gr 5-8–Joss is bored with his simple job of delivering pies for the Supreme Overlord of the Universe (his dad). Soon, however, something goes badly wrong, and it is Joss’s responsibility to rebuild Earth. Entertaining, unexpected, and irreverent, and yet packed with information about elemental physics and the contents of the universe.

PASTIS, Stephan. Timmy Failure: Mistakes Were Made. Bk. 1. illus. by author. (Timmy Failure Series). Candlewick. 2013. RTE $15.99. ISBN 978-0-7636-6358-2.
Gr 4-6–A self-proclaimed private detective with a magnificent lack of insight, Timmy and his polar bear sidekick “solve” “mysteries” in super-short, heavily illustrated chapters. This is the kind of pattern-violating humor that makes readers’ brains beg for mercy.

REX, Adam. Cold Cereal. (The Cold Cereal Saga). HarperCollins. 2012. Tr $16.99. ISBN 978-0-06-206002-0; pap. $7.99. ISBN 978-0-06-206003-7; ebook $7.99. ISBN 978-0-06-206004-4.
Gr 5-8–Scott thinks he’s a little weird–until he meets Erno and Emily, their friend Biggs, who is very big indeed, and a leprechaun named Mick. This odd team must thwart the evil cereal company that is trying to take over the world. The equally excellent sequel is Unlucky Charms (2013). Audio version available from Listening Library.

SPRATT, R. A. The Adventures of Nanny Piggins. Bk. 1. illus. by Dan Santat. (Nanny Piggins Series). Little, Brown. 2010. Tr $15.99. ISBN 978-0-316-06819-2; pap. $6.99. ISBN 978-0-316-06818-5; ebook $2.99. ISBN 978-0-316-23098-8.
Gr 1-6–Parents who hire Nanny Piggins should be aware that she loves trashy novels and cake, and her idea of fun is to drop things off the roof and watch them crash. Kids who like subversive humor will adore her. Nanny Piggins and the Wicked Plan (2013) is a sequel, with more to come.

Older Kids Love Laughs, Too

BEAUDOIN, Sean. The Infects. Candlewick. 2012. RTE $16.99. ISBN 978-0-7636-5947-9; ebook $16.99. ISBN 978-0-7636-6211-0.
Gr 9 Up–Nero’s bad week suddenly gets much worse when people start acting like zombies: lurching, drooling, and lusting after human flesh. It’s ruthlessly fast paced, loaded with pop-culture references, and splattered with gore, and the dialogue raises sarcasm–and profanity–to an art form. Audio version available from Brilliance Audio.

BENWAY, Robin. Also Known As. Walker. 2013. Tr. $16.99. ISBN 978-0-8027-3390-0; ebook $16.99. ISBN 978-0-8027-3391-7.
Gr 7 Up–Maggie is the new girl at a fancy New York City prep school, fresh off a safecracking gig in Iceland. Her current assignment is to infiltrate the family of a magazine publisher. There’s romance, swanky settings, and a brassy sidekick named Roux. Especially for fans of Meg Cabot’s “Airhead” series (Scholastic). Audio version available from Brilliance Audio.

EULBERG, Elizabeth. Revenge of the Girl with the Great Personality. Scholastic. 2013. Tr $17.99. ISBN 978-0-545-47699-7; ebook $17.99. ISBN 978-0-545-52078-2.
Gr 7 Up–Lexi keeps a low profile while her seven-year-old sister, Mac, is a pageant queen. But one day, on a dare, she swaps her baggy jeans for skinny ones, curls her hair, and throws on a little makeup. Witty narration and fun dialogue are combined with intelligent thoughts about appearance and self-worth.

HERBACH, Geoff. I’m with Stupid. 2013. ISBN 978-1-4022-7791-7.
–––– . Nothing Special. 2012. ISBN 978-1-4022-6507-5; ISBN 978-1-4022-6508-2.
–––– . Stupid Fast. 2011. ISBN 978-1-4022-563-0; ISBN 978-1-4022-5631-8.ea vol: Sourcebooks/Fire. pap. $9.99. ebook $9.99.
Gr 7 Up–In this series, Felton Reinstein must come to grips with heartbreak, dysfunction, hope, and his own unexpected transformation from nebbish to gifted athlete. As in Sherman Alexie’s The Absolutely True Diary of a Part-Time Indian (Little, Brown, 2007), Felton’s family problems and personal anxieties are deeply felt but leavened considerably by his wry, self-deprecating narration. Audio version for Stupid Fast available from Recorded Books.

STRAND, Jeff. A Bad Day for Voodoo. Sourcebooks/Fire. 2012. pap. $8.99. ISBN 978-1-4022-6680-5; ebook $8.99. ISBN 978-1-4022-6682-9.
Gr 7 Up–“My mom came home around six and asked me how my day went. I told her, leaving out the voodoo but leaving in Mr. Click’s leg and death.” By page 10, average Florida teen Tyler has inadvertently killed his history teacher, and then things really get weird. A laugh in every paragraph.

Nonfiction

COY, John. Hoop Genius: How a Desperate Teacher and a Rowdy Gym Class Invented Basketball. illus. by Joe Morse. Carolrhoda. 2013. RTE $16.95. ISBN 978-0-7613-6617-1; ebook $12.95. ISBN 978-0-7613-8723-7.
Gr 1-4–Calisthenics were boring, football and soccer, too rough. James Naismith therefore invented a game that relied on speed, accuracy, and no tackling. Muscular paintings in a muted but vibrant palette suit the historical subject without looking musty, while action panels feature a riot of elongated limbs.

GRIFFITHS, Andy. What Body Part Is That?: A Wacky Guide to the Funniest, Weirdest, and Most Disgustingest Parts of Your Body. illus. by Terry Denton. Feiwel & Friends. 2012. Tr $12.99. ISBN 978-0-312-36790-9; ebbok $9.99. ISBN 978-1-466-82759-2.
Gr 3-7–Research has shown “bizarre elaboration” to have a significant positive effect on retention, especially of vocabulary. “Other easier-to-pronounce names for the esophagus are food funnel, nutrient hose, provisions pipe, chow spout, hamburger highway, taco tunnel, and sausage chute.” Readers will remember lots of anatomy and physiology facts once they’ve ingested this profusely illustrated, super-goofy fun fest.

HALE, Nathan. One Dead Spy: The Life, Times, and Last Words of Nathan Hale, America’s Most Famous Spy. ISBN 978-1-419-70396-6. ISBN 978-1-613-12372-0.
–––– . Big Bad Ironclad! A Civil War Steamship Showdown. ISBN 978-1-419-70395-9; ISBN 978-1-613-12371-3.ea vol: illus. by author. 2012. Abrams/Amulet. (Nathan Hale’s Hazardous Tales Series). Tr $12.95. ebook $12.95.

Gr 3-8–One Dead Spy begins as Nathan Hale is about to be hanged. He was not a very good spy. But in the hands of Nathan Hale, the present-day graphic novelist, he makes an excellent narrator. American history is hilarious in these lively, rigorously researched, visually engaging stories.

LEVINE, Gail Carson. Forgive Me, I Meant to Do It: False Apology Poems. illus. by Matthew Cordell. HarperCollins. 2012. Tr $15.99. ISBN 978-0-06-178725-6.
Gr 4-6–These spare, sly poems use inference to tell tall tales of deceit and betrayal among family members, friends, and fairy-tale characters. “I have shortened my nose with your saw/because honestly telling lies is so much fun./Forgive me I don’t care about becoming a real boy.”

LEWIS, J. Patrick. Edgar Allan Poe’s Pie: Math Puzzlers in Classic Poems. illus. by Michael Slack. Houghton Harcourt. 2012. Tr $16.99. ISBN 978-0-547-51338-6.
Gr 4-6–Famous poems are adapted into math problems involving boxer shorts, pizza, termites, and more. I think that I shall never solve/A poem that makes my brain evolve/Word problems are made by fools like me/But only Patrick Lewis can make poems like these. Silly, colorful art adds appeal.

LONG, Ethan. The Wing Wing Brothers Math Spectacular! 2013. ISBN 978-0-8234-2604-1.
–––– . Up! Tall! and High! 2012. ISBN 978-0-8234-2320-0.ea vol: illus. by author. Holiday House. RTE $15.95.

PreK-Gr 1–What can you learn from a bird? The Wing Wing Brothers juggle pies and spin plates to demonstrate greater than, less than, and equal to along with addition and subtraction. And the birds of Up! fly, fall, and mount stilts to explain how up, tall, and high are similar but not identical. Cartoony art adds a friendly wink.

Paula Willey reviews children’s and teen books online at Pink Me

Kids with Superpowers

MONTIJO, Rhode. Gum Girl! Chews Your Destiny. Bk. 1. illus. by author. Disney/Hyperion. June 2013. Tr $14.99. ISBN 978-1-4231-5740-3.
Gr 1-5–This is a fantasy adventure story with appealing graphic-novel type illustrations. The protagonist just happened to be a young Latina named Gabby Gomez. Spanish words and phrases are scattered throughout the story, but there are no other distinctly Latino cultural references. And I love it. Such a book recognizes a character’s cultural identity, but at the same time speaks to universally understood experiences of childhood. Gabby Gomez loves to chew gum, so much so that after having to use peanut butter to get gum out of her hair, her mother lays down the law: that there will be no more. On the way to school, Gabby finds one last piece of gum in her pocket and uses it to blow a huge bubble. When the bubble hits the power lines it turns Gabby into Gum Girl. “Now I AM gum!” Gabby realizes, and she learns that with her sticky superpower she can help fight crime. She also discovers that the can reverse the effect and become a normal girl again with peanut butter. As Gum Girl, she saves a plane that is going to crash because of a broken wing. As the story ends, she realizes that she has to find a way to tell her mother about her experiences, and readers learn that a villain is waiting in the wings. Kids who read this will definitely be looking forward to future adventures.

JULES, Jacqueline. Zapato Power: Freddie Ramos Makes a Splash. Bk. 4. illus. by Miguel Benítez. Albert Whitman. 2012. Tr $14.99. ISBN 978-0-8075-9485-8.
Gr 1-4–Freddie Ramos has special shoes that give him “Zapato Power,” which is the ability to run faster than a train. In this fourth volume in the series, Freddie gets his powerful shoes stuck on some gum on the sidewalk, while at the same time he tries to retrieve a lost wallet that he sees lying there. He retrieves the wallet but it is almost immediately stolen by the Girl on the Green Bike, whose name readers later learn is Erika. Freddie has to use his superpowers to get the wallet back and then return it to its owner, but things don’t quite work out as planned. Then his white backpack, with his special zapatos in it, goes missing, and Erika is immediately the suspect. She is also suspected of leaving sticky wads of purple gum all over the park. The resolution is satisfying, and carries with it a subtle message about being nonjudgmental. This is a great book to pair with Gum Girl–Gabby is the gum hero, and Erika the gum bully. This book also makes for a great read-aloud, with opportunities for audience participation. The other books in the series include Freddie Ramos Takes Off (2010), Freddie Ramos Springs into Action (2010), and Freddie Ramos Zooms to the Rescue (2011).

PILKEY, Dav. El capitán calzoncillos y el terrorífico retorno de cacapipí. tr. from English by Nuria Molinero. illus. by author. Scholastic en Español. 2012. pap. $5.99. ISBN 978-0-545-48870-9.
Gr 2-5–Given the superhero theme, who can resist this translation of Capitan Underpants and the Terrifying Return of Tippy Tinkletrousers? Molinero definitely shares Pilkey’s wacky sense of humor as evidenced by the fact that “cacapipí” can be literally translated as “poop and pee,” which works perfectly as an alternative Spanish name for the aforementioned Tippy. The thoughtfulness of the translation extends all the way to the illustrated comic-book sequences, which maintain the kids’ handwritten typography, and even George and Harold’s (Jorge and Berto’s, in this case) misspellings of commonly used words. This humorous title, along with the translations of all the other “Captain Underpants” books, is a must for Spanish-language collections, and demonstrates that bodily function references cross all cultural boundaries.

Here are a couple of backlist titles that would work great paired with the two newer titles reviewed above.

SANDOVAL, Jaime Alfonso. Confidencias de un superhéroe. illus by Jazmín Velasco. Ediciones Castillo. 2001. ISBN 970-20-0180-3.
Gr 4-6–What kid wouldn’t want to be a superhero like Batman or Superman or Ant Man? Ten-year-old Paco Godínez is about to find out being in a comic book isn’t all it’s cracked up to be. When he unexpectedly receives a superhero outfit with an accompanying instruction manual, he becomes Capitán Matraca, hero of his village San Bartolo Chico, and sets out to save cats and old ladies in danger. Paco’s first-person narration of his experiences as a superhero is marvelously funny and entertaining, as he learns that exciting as it might be, the superhero life is not for him. Among his adventures are a tussle with Mutant Vegetables that threaten the end of the world and all humanity, and the extermination of all civilizations. The artwork adds to the already high kid appeal. This is one of those lesser-known gems that should be known better; a highly imaginative book that is recommended for all collections.

GARZA, Xavier. Maximilian and the Mystery of the Guardian Angel: A Bilingual Lucha Libre Thriller. tr. by Luis Humberto Crosthwaite & Carla González Campos. illus. by author. Cinco Puntos. 2011. Tr $12.95. ISBN 978-1-933693-98-9.
Gr 4-6–Garza has made a career of Lucha Libre stories, and nobody does them better. With their costumes, and the masks that conceal their true identities, Lucha Libre wrestlers are the real superheroes of Mexico. Maximilian’s hero is a wrestler known as the Guardian Angel. When the he comes to San Antonio to wrestle, Maximilian is beside himself. What he doesn’t know is how learning the Guardian Angel’s true identity will change his life and that of his family. Full of magical realistic touches that are one of the hallmarks of Latino literature, this book is an irresistable combination of action and mystery.

Scary Stories and Poems

GANGES, Montse. Pequeño Coco. illus. by Imapla. (Primeros Lectores Series). Editorial Bam bú. 2009. pap. $7.95. ISBN 978-84-8343-037-8.
K-Gr 3–There was a time when Big Coco (read: bogeyman) would terrorize bad children, but ever since parents began telling their children that he would visit them if they misbehaved he’s been retired. Big Coco and his wife and son, Little Coco, have sequestered themselves in their deep dark cave, far away from the light of the sun. For his eighth birthday, Little Coco asks that his parents allow him to go to the outside world for just one afternoon. But when he emerges into the light, it is not what he had imagined it would be. First, no one pays any attention to him. Through encounters with a witch who calls herself The Cat Woman and a little girl named Mimí, Little Coco learns more about the human world than he ever expected, and whether he has what it takes to assume Big Coco’s job. This book is an excellent choice coming out of Spain that I would really like to see get into the hands of U.S. Spanish-speaking readers.

LUNA, James. A Mummy in Her Backpack/Una momia en su mochila. tr. by Gabriela Baeza Ventura. illus by Ted Dawson and Giovanni Mora. Piñata. 2012. pap. $9.95. ISBN 978-1-55885-756-8.
Gr 1-3–Luna is an elementary school teacher and he speaks directly to the sensibilities of younger elementary school-age kids. When Flor returns from a trip to Guanajuato, Mexico, she discovers that a mummy named Rafa from the museum she visited has hitched a ride. Rafa is anxious to see the United States, but since he was born in 1884, everything is new to him, and he marvels at electricity and technology. When Rafa discovers that it’s almost time for the Day of the Dead, he realizes that he needs to go back home. Flor and her friend are then challenged to find a way to get Rafa back to Mexico, which they are able to do with the help of an understanding school custodian. The publisher has done a nice job with the illustrations and design of this “flip-the-book-over-to-read-it-in-another-language” edition. This short story will appeal to readers in either language.

MARTÍNEZ, Carmen Gil. ¡Qué miedo! illus. by Isabel Riera. Ediciones Aljibe. 2010. pap $13.80. ISBN 978-84-4970-0644-6.
Gr 2-4–This is a selection of scary poems about characters like Vampire Romero, the Monster in the Closet, Akila the Mummy and the Teresa the Witch. The illustrations are fun and whimsical, so they aren’t too scary. There are also riddles and incantations or spells at the end. All of the poems are great to read aloud, with fun rhymes and clever wordplay. With its appealing cover and short length, this is the sort of book that will be constantly checked out, no matter the season.

HAYES, Joe. Ghost Fever/Mal de fantasma. illus. by Mona Pennypacker. tr. by author. Cinco Puntos. 2004. Tr $14.95. ISBN 978-0-938317-83-8; pap. $8.95. ISBN 978-1-933693-03-3.
Gr 4-6–Unlike some of Hayes’s other work, this book is one stand-alone story, presented bilingually, with the Spanish and English on the same page. The storyteller’s voice is its strongest asset: “This one happened way back in the 1950’s in Duston, Arizona, which is the town I grew up in.” Cole Cash is a shop owner in the community, who also makes money renting houses that are “across the tracks.” But there is one empty house that he probably shouldn’t have bought. Finally there is a taker, and when 14 year-old Elena moves in with her dad, she soon meets the ghost of one of the previous owners of the house, a young girl named Mariana Mendoza, who died in a tragic accident after stealing money from her parents for her quinceñera dress. After this encounter Elena comes down with a high fever and it’s up to her abuela to make things right. Luckily, her grandmother knows how to deal with ghosts.

Tim Wadham is the director of the City of Puyallup Public Library in Washington State. Email him at wadhambooks@gmail.com.

Because the standards require reading and rereading texts closely, the books must be engaging enough to keep students interested and substantial enough to merit close study. Our shelves have many books that suit those needs, such as those highlighted by this list. Each of these books is paired with a standard for a specific grade and meets the CC reading formula measures for that grade. All are multifaceted enough to lend themselves to other standards and a range of grades. And they’re only a small sample of the great nonfiction that finally has a chance to share center stage.

ELEMENTARY SCHOOL

Barretta, Gene.Now & Ben: The Modern Inventions of Benjamin Franklin. illus. by author. Holt. 2006. ISBN 978-0-80507-917-3. Gr 2–5

Byrd, Robert. Electric Ben: The Amazing Life and Times of Benjamin Franklin. illus. by author. Dial. 2012. ISBN 978-0-8037-3749-5. Gr 4–7

Fritz, Jean. What’s the Big Idea, Ben Franklin? illus. by Margot Tomes. Putnam. 1976. ISBN 978-0-698-20365-5. Gr 3–5
Schroeder, Alan. Ben Franklin: His Wit and Wisdom from A to Z.illus. by John O’Brien. Holiday House. 2011. ISBN 978-0-82341-950-0. Gr 2–5
CC Standard RI.4.9 Integrate information from two texts on the same topic in order to write or speak about the subject knowledgeably.

Ben Franklin wore so many hats that he merits many biographies. These illustrated books at different reading levels take a variety of approaches to his life and work. Barretta uses a “Now/Then” structure, focusing on Franklin’s inventions in his day and how they’re used now. Schroeder uses an alphabetical arrangement that mixes miscellaneous facts; the letter “B,” for example, covers Boston, bifocals, and balloon. The Fritz and Byrd biographies are chronological structures, but have different tones and levels of detail. Students can compare emphases and structures, perhaps using a graphic organizer, and also compare the varied illustration styles and what they add to each text.

Gibbons, Gail. Monarch Butterfly. Holiday House. 1989. PreS–Gr 2
Marsh, Laura F. Caterpillar to Butterfly.National Geographic. 2012. ISBN 978-1-4263-0920-5. PreS–Gr 2
CC Standard RI K.9 With prompting and support, identify basic similarities in and differences between two texts on the same topic (e.g., in illustrations, descriptions, or procedures).

The amazing transformation from caterpillar to butterfly is conveyed in different ways by these two colorful books. Kindergarteners will be able to identify similarities in the information and differences in presentation such as photographs versus paintings. Both books use labels in the visuals to highlight body parts. The Marsh book has a table of contents, numbered chapters, a glossary, and tips for a butterfly garden. Gibbons’s book features a map of migration routes and explains how to raise a monarch butterfly.

Kudlinski, Kathleen V. Boy, Were We Wrong About Dinosaurs! illus. by S. D. Schindler. Dutton. 2005. ISBN 978-0-52546-978-0. Gr 2–4
CC Standard RI.4.8 Explain how an author uses reasons and evidence to support particular points in a text.

It was once believed that dinosaurs dragged their tails; now fossil finds indicate that they held their tails out straight. This upbeat book with humorous illustrations provides a valuable lesson in how science uses new findings and ideas to reevaluate accepted beliefs, comparing what scientists used to think about dinosaurs with what they think now. Students can make a chart listing each past belief, each new belief, and the evidence that prompted the change, and judge whether the evidence seems sufficient. The book explains that scientists still don’t have all the answers, often due to insufficient evidence, and they don’t always agree with one another in interpreting evidence. Students can look for language that indicates uncertainty, such as “there is no way to be sure.” Some students might like to compare this book to Kudlinski’s Boy, Were We Wrong about the Solar System! (Dutton, 2008) which has a similar structure.

Leedy, Loreen. Seeing Symmetry. illus. by author. Holiday House. 2012. ISBN 978-0-8234-2360-6. Gr 2–4
CC Standard RI.3.7 Use information gained from illustrations (e.g., maps, photographs) and the words in a text to demonstrate understanding of the text (e.g., where, when, why, and how key events occur).

Bright computer-generated pictures use familiar objects like food, animals, and people to show examples of vertical, horizontal, and rotational symmetry. The simple text explains the concepts and introduces new vocabulary like line symmetry, mirror image, horizontal, vertical, and rotate, terms which will require going over more than once. Students can then seek out examples in school and at home to demonstrate their understanding of the types of symmetry. Teachers may also want to use the two craft activities given at the back of the book to reinforce the concepts.

Macaulay, David, and Sheila Keenan. Castle: How It Works. illus. by David Macaulay. Roaring Brook/David Macaulay Studio. 2012. ISBN 978-1-59643-744-9. Gr 1–3
CC Standard RI.2.4 Determine the meaning of words and phrases in a text relevant to a grade 2 topic or subject area.

The master of architectural books turns his talents to a younger crowd with this easy reader that meets the CC need for texts on technical subjects. With a slight fictional story line, the appealing text and pictures introduce castle residents, parts of the building, and different weapons, using technical terms in context like siege and portcullis, which are also defined in the glossary. At certain points the voice is second person, such as, “You are deep within the castle.” Students can note where that’s used and what it adds. Another book in the series by the same authors is Jet Plane: How It Works, which has similar features and approach.

Mann, Elizabeth. Empire State Building. illus. by Alan Witschonke. Photos by Lewis Hine. Mikaya. 2003. ISBN 978-1-93141-406-7. Gr 4–8
CC Standard RI.5.3 Explain the relationships or interactions between two or more individuals, events, ideas, or concepts in a historical, scientific, or technical text based on specific information in it.

The Empire State Building dazzled New York City when it was built in 1931. This engaging Orbis Pictus Honor Book employs cutaways and numbered diagrams to demonstrate how it was constructed. Students can analyze how the text and visuals, including paintings and historical photographs, convey the process, noting that building skyscrapers depended on technological advances such as the inventions of steel and the automatic elevator brake. Another central idea is that during the Great Depression the Empire State Building was an important symbol of hope to New Yorkers, who were proud of the height made possible only by those technological advances. Check out other books in the “Wonders of the World” series, too, which satisfy the CC call for technical content.

Pinkney, Andrea Davis. Let It Shine: Stories of Black Women Freedom Fighters. illus. by Stephen Alcorn. Harcourt. 2000. ISBN 978-0-15201-005-8. Gr 4–8
CC Standard RI.5.2 Determine two or more main ideas of a text and explain how they are supported by key details; summarize the text.

From Sojourner Truth, born around 1797, to Congresswoman Shirley Chisholm, born in 1924, this collective biography introduces 10 remarkable black women. A striking full-page color portrait of each individual precedes about 10 pages of text that describe her life and accomplishments. Pinkney emphasizes the strength of the subjects and the importance of fighting for change. An author’s note, which could be read aloud, points to these themes and to her motivation in writing about them. Students can approach the book as a whole or focus on one chapter to explore the main ideas and identify details that illustrate the women’s contributions and their commitment to freedom.

Rappaport, Doreen. Martin’s Big Words: The Life of Dr. Martin Luther King, Jr. illus. by Bryan Collier. Hyperion. 2001. ISBN 978-0-78680-714-7. K–Gr 3
CC Standard RI.1.2 Identify the main topic and retell key details of a text.

The lyrical words and expansive pictures in this stunning award winner make it an excellent read-aloud. After listening to the book more than once or reading it independently, students can discuss its title and subtitle, which point to the main topic about the power of words in Dr. King’s life. As a class or in small groups, they can find details in the text, including the quotes in a colored typeface, that relate to the theme. Enrich the experience by listening to a clip from one of Dr. King’s speeches at Stanford’s MLK website.

MIDDLE SCHOOL/HIGH SCHOOL

Aronson, Marc and Marina Tamar Budhos. Sugar Changed the World: A Story of Magic, Spice, Slavery, Freedom, and Science. Clarion. 2010. ISBN 978-0-61857-492-6. Gr 8 Up
CC Standard RI.9-10.8 Delineate and evaluate the argument and specific claims in a text, assessing whether the reasoning is valid and the evidence is relevant and sufficient; identify false statements and fallacious reasoning.

“Only 4 percent of the slaves taken from Africa were brought to North America, which means that 96 percent went to the Caribbean, Brazil, and the rest of South America, mostly to work with sugar.” This surprising fact points to the authors’ contention that the enormous growth in the sugar trade in the 17th and 18th centuries was the major factor in slavery. They argue, too, that sugar was instrumental in spreading the idea of freedom, an idea that changed the world. Like other books by Aronson, this work prompts readers to question previous assumptions and delve into the arguments presented, and encourages them to think like historians.

Burgan, Michael. Breaker Boys: How a Photograph Helped End Child Labor. Compass Point. 2012. ISBN 978-0-7565-4510-9. Gr 6–9
CC Standard RI.6.5 Analyze how a particular sentence, paragraph, chapter, or section fits into the overall structure of a text and contributes to the development of the ideas.

Photographs can change history. So contends this and other entries in the valuable “Captured History” series. Breaker Boys’ straightforward text focuses on a 1911 photograph by Lewis Hine of a group of boys who sorted coal at a Pennsylvania mine for 10 hours a day. The four chapters discuss coal mining, children in the mines, Hine and his work, and the slow changes in child labor laws. Students will be able to identify the structure as cause and effect, and analyze the role of the four chapters. They can also look for sentences and paragraphs that develop the idea of the political influence of photographs. To extend the topic, have students find more Hine photographs about child labor at the Library of Congress website or Flickr.com that can be used in presentations.

Burns, Loree Griffin. Tracking Trash: Flotsam, Jetsam, and the Science of Ocean Motion. Houghton. 2007. ISBN 978-0-61858-131-3. Gr 6–9
CC Standard RI.7.3 Analyze the interactions between individuals, events, and ideas in a text (e.g., how ideas influence individuals or events, or how individuals influence ideas or events).

This fascinating photo-essay presents the work of an oceanographer who studies ocean currents by following the movement of debris like rubber ducks and hockey gloves spilled by container ships into the Pacific. Students can identify the central ideas about principles of ocean movement and issues around pollution, and trace their interaction through the text, noting how information about the scientist’s work and scientific methods are integrated with those ideas. Students can also consider how photographs, diagrams, and maps are crucial in developing the concepts. Other entries in the excellent “Scientists in the Field” series also lend themselves to use with Common Core.

Freedman, Russell. Who Was First? Discovering the Americas.Clarion. 2007. ISBN 978-0-618-66391-0. Gr 7 Up
CC Standard RI.11-12.5 Analyze and evaluate the effectiveness of the structure an author uses in his or her exposition or argument, including whether the structure makes points clear, convincing, and engaging.

In looking at beliefs about who first discovered America, Freedman starts with Christopher Columbus and moves backward in time to examine claims about earlier explorers. He shows that some claims don’t have adequate evidence, but also looks at one from an amateur historian that is now accepted. The book’s unusual structure makes it perfect for analysis to see if the reverse chronological organization is effective in making points about how historians evaluate new information and sometimes adjust their beliefs about the past. The chapter-by-chapter bibliographic essays are also models for research and documentation.

Hoose, Phillip. Moonbird : A Year on the Wind with the Great Survivor B95. Farrar. 2012. ISBN 978-0-374-3046803. Gr 7 Up
CC Standard RI.9-10.6 Determine an author’s point of view or purpose in a text and analyze how an author uses rhetoric to advance that point of view or purpose.

For the past 20 years, a bird nicknamed the Moonbird has flown annually from Patagonia to the Arctic and back, a round-trip of 18,000 miles. Unfortunately, the remarkable species of rufa Red Knots is diminishing in number for several reasons. Hoose brilliantly weaves together the Moonbird’s story, the threats to the species, and the international effort to save these birds. He engages readers with one bird’s amazing journey that’s dependent on a complicated web of ecological factors. Students can look carefully at the choice of words and content as well as Hoose’s background as an environmentalist to try to determine his purpose in writing the book and consider if that affects how a reader should approach the text.

Macaulay, David. Mosque.illus. by author. Houghton. 2003. ISBN 978-0-61824-034-0. Gr 7 Up
CC Standard RI.11-12.7 Integrate and evaluate multiple sources of information presented in different media or formats (e.g., visually, quantitatively) as well as in words in order to address a question or solve a problem.

Mosque explores in detail the building of a fictional mosque in the Ottoman Empire starting in 1595. Each generous spread combines sophisticated text with appealing large and small illustrations including maps, cutaways, diagrams, floor plans, and numbered step-by-step processes. Labels identify specific aspects of the building and introduce new vocabulary such as alem, pendentive, and dershane. The question addressed is how such a large structure was built so long ago. Students can consider the different and related roles text and art play in addressing that question and in presenting complex technical information. For a different media source on the same topic, listen to Macaulay’s NPR interview about Mosque.

Schlosser, Eric and Charles Wilson. Chew on This: Everything You Don’t Want to Know About Fast Food.Houghton. 2006. ISBN 978-0-61871-031-7. Gr 7–10
CC Standard RI.8.8 Delineate and evaluate the argument and specific claims in a text, assessing whether the reasoning is sound and the evidence is relevant and sufficient; recognize when irrelevant evidence is introduced.

Fast food—good or bad? In adapting Schlosser’s best seller Fast Food Nation, the authors thoughtfully added material relevant to teens about how fast food is marketed to young people and about teenagers who work in fast food restaurants. They point to problems with working conditions at the restaurants and with inhumane treatment of animals at companies that supply meat. They also argue that fast food harms the environment and consumers’ health. Students can consider whether the authors provide credible evidence for their arguments and if they acknowledge competing arguments about benefits of fast food such as convenience and low prices.

Stone, Tanya Lee. Almost Astronauts: 13 Women Who Dared to Dream.Candlewick. 2009. ISBN 978-0-76363-611-1. Gr 6 Up
CC Standard RI.8.6 Determine an author’s point of view or purpose in a text and analyze how the author acknowledges and responds to conflicting evidence or viewpoints.

In the early 1960s, 13 women highly qualified to become astronauts were excluded by NASA from the Mercury space program. This appealing Sibert Award winner, notable for the author’s strong point of view, explores the reasons and biases behind the decision. Students can examine the text for language and other evidence that show Stone’s position on the topic and the people involved. For example, what words does she use to describe the women, some of whom she interviewed? How does she present opposing viewpoints that argued that women shouldn’t be included? One of the book’s main themes is that society minimized women’s abilities and restricted their opportunities. Students can consider how photographs and artifacts like advertisements are used to make that case, and if it’s presented fairly.

Kathleen Odean, chair of the 2002 Newbery Award Committee, presents workshops on new young adult books and Common Core nonfiction. She’s the author of Great Books for Girls (2002) and Great Books for Babies and Toddlers (2003, both Ballentine).On May 21, she will be moderating a free webcast on materials selection in light of the Common Core State Standards.

Chart Designs by Mark Tuchman.

Igniting a love for reading is primarily what drives job satisfaction for librarians who work with teens. And satisfied they are—seven out of ten school media specialists and public librarians working directly with children and/or teens report they are either satisfied or very satisfied with their jobs. SLJ set out to learn more about the motivations and challenges in the profession in a recent national job satisfaction survey of just over 1,000 school and public librarians.

We asked librarians to identify the many rewards of their jobs and to pinpoint their top-most satisfaction. Connecting young people to reading and lifelong learning was by far their single biggest gratification. “I love when I am able to find a book for a student who is resisting reading, and that book changes their outlook on reading,” says Carrie Kausch, school librarian for Osbourn Park High School in Manassas, Virginia.

“There is very little that gives me as much satisfaction as hearing a student say, ‘I loved that book! What else can I read?’” adds Melanie Gibson, a private school librarian in Dallas, Texas. Clearly there is a lot of passion for the work at hand. Service is the priority, not prestige or income, when working in the library. “I love the meaningful investment I get to make on a daily basis in the lives of young people,” writes a high school librarian from rural Tennessee.

Another high school teacher-librarian from suburban Illinois gushes, “This job is a dream. I get to buy books, plan projects collaboratively, teach [technology] skills, talk to students about books, and throw parties for students in the form of library programs. What’s not to love?”

The library is a program, not a room

While the rewards for the job are many, there are also some drawbacks. Public librarians are more likely than their school counterparts to identify them as low salary and problems with management, coworkers, or even library users. On the flip side, lack of respect and recognition, inadequate library funding, and the expectation to perform nonlibrary-related tasks are especially irksome for school librarians.

School librarians feel less appreciated by those who hold the purse strings than do public librarians. Fewer than half feel they get the recognition or respect they deserve from their superintendent or school board. “It is a constant uphill fight for administration to understand, acknowledge, and support collaboration and information-fluency skills, and to get them to understand that the library is a program, not a room,” laments Stephanie Rosalia, a teacher-librarian in New York City.

Just over half of the public librarians surveyed express confidence that library administrators and local community leaders give them the appropriate respect and recognition.

Challenges to overcome

Regardless of where librarians work, their biggest on-the-job challenge is lack of time to get everything accomplished. “Performing nonlibrarian tasks such as emptying the book drop, shelving books, paging, and other technical tasks keeps me from doing things like outreach, marketing, and promotion of library services to the community,” writes one California public librarian.

Other shared hurdles include ever-present budgetary constraints and increased demand on the library with fewer resources (especially support staff). Managing unruly patrons also figures prominently as one of public librarians’ biggest challenges.

Future challenges anticipated by school librarians include adapting to Bring Your Own Device (BYOD) proposals, meeting the needs brought by the Common Core State Standards initiative, and the ongoing transition to digital resources and tools. Steven Alcorta of California’s Sonoma County Library sums up the challenge for public librarians as, “changing technologies and the expectation that staff will be expert on all of them.”

Professional latecomers

It may be surprising to learn that about three-quarters of school media specialists and half of public librarians working with children chose librarianship as their second, and sometimes third, career. Most of these school media specialists were previously classroom teachers. Some had grown tired of the planning, testing, and grading associated with that profession. They desired more autonomy and the chance to be creative while still meeting education goals. When the library opportunity arose, they went for it.

For some, changing positions within a school resulted in an initial drop in respect from faculty and students alike. “I heard a lot of ‘Oh, you are not a teacher anymore,’” writes one elementary media specialist from suburban Illinois. “After much effort personally and professionally, I have turned our library into an extension of the classroom.”

Many transplanted school librarians acknowledge they had to work hard and grow into the position, but they are not disappointed. In fact, satisfaction levels for school librarians entering the profession later in their careers far exceed first-career librarians—by 15 percentage points. “I am much more suited to the multitasking of librarianship and love [the] connection I make with students and teachers,” a high school media specialist and former classroom teacher from Charleston, South Carolina, reveals.

Salary, security, and advancement

The median annual salary for a full-time children’s or youth services librarian working at a public library is $44,700. This is considerably less than the median school librarian salary of $57,000. School librarians with an MLS degree earn significantly more than those without an MLS (median of $58,400 versus $37,500).

Public librarians feel far more secure in their jobs overall than do school media specialists (82% of public librarians and 63% of school librarians feel either secure or very secure). But, insecurity is not widespread. Only one in ten school librarians reported that their jobs are either not too or not at all secure. There is a strong correlation between respondents feeling job insecurity and having low job satisfaction.

Prospects for advancement are low but tend not to impact satisfaction. About three-quarters of public and school librarians say their advancement opportunities are fair to poor. Despite this outlook, 88% would choose their careers again.

Nearly a third of public librarians and one-fifth of school librarians actively searched for a new job in the previous 12 months. Only a quarter of those looked for a position outside librarianship.

Satisfaction by school type

Librarians teaching at the middle or high school level reported higher satisfaction with their jobs than elementary school media specialists (73% and 72% very satisfied or satisfied, respectively, versus 65% very satisfied or satisfied). This is not necessarily correlated with pay—although secondary school librarians do generally make more. Instead, the data suggests that elementary librarian dissatisfaction is tied to being stretched too thin with little or no support staff.

Nearly one-quarter of media specialists working at the elementary school level divides his or her time between two or more locations (16% work in two locations, 7% work in three or more). Thirteen percent gained responsibility for an additional library within the last two years. This has resulted in more time spent managing/troubleshooting and less time interacting with children.

Working on a fixed schedule, where library media center hours are heavily scheduled and students visit as a class at a set time, is common at the elementary level—and it restricts librarians’ ability to collaborate with faculty, a key component of the job. “I have a full schedule of classes in which I am supposed to supplement what the teachers are doing, but I can’t plan with the teachers,” explains Karen Valentine a school librarian at Pleasant Ridge Elementary in North Carolina. “Their planning period is while the students are with me.”

Just over a quarter (29%) of elementary school librarians report that in the last year they were assigned mundane tasks that squander their expertise, compared to 17% of middle school and 20% of high school librarians. Having to perform duties such as administering tests or minding study halls leave elementary school librarians feeling underappreciated.

Overall, elementary school librarians are less likely than their secondary school counterparts to believe they get the recognition they deserve from classroom teachers and feel less secure in their jobs. Twenty-five percent have searched for a new job in the last year, as opposed to 20% of high school and 16% of middle school librarians.

Drive to be flexible and diverse

Carrie Cline, library director for McDonald County Library in rural Missouri, has some guidance to offer those entering the profession. “It’s nothing like you hear in college! You have to get along with parents, learn to entertain the children, even the ones who are misbehaving, and you can’t take yourself too seriously!” she urges.

The advice applies to librarians at any stage of their careers. “Be extremely flexible. The job description is a fluid one, and the face of librarianship is changing. You need to be able to change with it,” encourages Jennifer Powers, a teacher-librarian at St. John’s Episcopal School in Dallas.

“The more you can do, the more valuable you are,” adds Maggie Bokelman of Eagle View Middle School in Pennsylvania. “Be willing to be a technology specialist, an instructional coach, a research guide, and a reading motivator. I like the fact that our profession is changing, and that I have the opportunity to come up with new ideas and new ways of doing things. It’s an exciting time to be a librarian.”

Method: A job satisfaction survey invite and reminder were emailed to SLJ Extra Helping newsletter subscribers in October 2012. The survey link was also advertised in Extra Helping. Results are based on the responses of 713 U.S. school librarians and 294 U.S. public librarians working directly with children or teens. The data shown in total was weighted to represent national regional breakdowns obtained from the Institute of Museum and Library Services and National Center for Education Statistics.

Laura Girmscheid is research manager for School Library Journal and Library Journal.