Many picture books that are borderline non-fiction deal with the library as a place of marvel, imagination and discovery. Most of these take a positive view of librarians and the support that they offer patrons (especially children). Two of these books are semi-biographical--Clara and the Bookwagon (Levinson) and Tomás and the Library Lady (Mora)--and it is perhaps no accident that these two books are the most compelling of this group. Some of these books are formulaic in the same way that many of the non-fiction books are: They are merely fill gaps in a series about various community places or people, and thus have little that is original or eye-opening. Two of the oldest fictional books in this study are those by Bongiorno and Bonsall, which, while somewhat dated, are still worthwhile reading.
Alexander, Martha. How My Library Grew By Dinah. New York: H. W. Wilson, 1983.
Dinah wonders about the new library being built across the street from her house. She is told, "A library is a building where books are kept for people to borrow." Meanwhile, she has unanswered questions about moles in the garden and rainbows in the sky. She plans a surprise for the new library: her own picture book called "How My Library Grew." Finally the library opens. She apparently already is familiar with Bruce, the children's librarian, and he helps her find information about moles and rainbows. After she learns to write her own name, she becomes the youngest library card owner. At the end of the story she is reading a book to her teddy bear. The primary librarian character is Bruce, who patiently directs this toddler's search for information. The librarian and the library connect directly to this young researcher.
Bernthal, Mark S. Barney and Baby Bop Go to the Library. Photography by Dennis Full. S.l.: Lyrick Publishing, 1999.
This is one of dozens of Barney books. There is a note in the front from the executive director of the Association for Library Service to Children of the ALA. The title pretty much says it all. The librarian, Mrs. Turner, greets them with a smile and is ready to show the library. Throughout the book there seem to be lots of smiling, happy people. On one page there is a boy in a wheelchair returning a book. Baby Bop is able to get her own library card. As a parallel to Mrs. Turner, Barney's friend Booker T. Bookworm acts as a "proto-librarian" by helping with the return of books, hushing Baby Bop (gently), and by finding a book for Baby Bop. One can imagine that this is much like a television episode of Barney and Friends. The primary focus is on Barney and Baby Bop. Thus, while the librarian is a facilitator and tour guide, there is little for her to do but to react to Barney and Baby Bop. While this book may help make the library a more inviting place for fans of Barney, it adds little to our image of a librarian.
Bongiorno, Mary M., and Mable Gee. How Can I Find Out? Illustrated by Lucy and John Hawkinson. A Reading Laboratory Book. Chicago: Children's Press, 1963.
A boy (Timmy) undertakes a study of ants, considers his options (observation, asking parents or teacher), and decides to go to the library to pursue his questions independently. He is not sure where to begin and tries on his own. He starts with a dictionary, which is of little help. A librarian tells him about dictionaries, and then directs him to the encyclopedia. It is not clear which one initiates this interaction. Later the librarian explains how to use the card catalog to expand his research. In the end, Timmy finds the process of doing research more interesting that the "ants" that he is actually researching. Librarian is shown as being in touch with her community by helpfully directing Timmy to sources and the catalog, and then letting him do the actual research himself.
Bonsall, Crosby Newell. Tell Me Some More ... Illustrated by Fritz Siebel. An I Can Read Book. New York: HarperCollins, 1961.
Andrew leads his friend Tim to the library. There they expect to find fantastical stimulation for their imaginations (concerning elephants, camels, lions, etc.). The librarian appears mostly in the background as the boys rummage for their books, sometimes annoying adult patrons by crawling under tables. After they leave with their books, they continue their fantasies, and at the end Tim is leading his sister Tansy back to the library. The librarian here is not negative, nor is she positive in an active way. She appears, smiling, in the background, and does not become cross with the boys for disturbing the peace in the library.
Hautzig, Deborah. A Visit to the Sesame Street Library. Illustrated by Joe Mathieu. A Random House Pictureback. New York: Random House/Children's Television Workshop, 1986.
Big Bird wants to buy some books, but cannot afford the one he wants most. He is directed to the library to find the book, but instead he attends the story hour. He meets with his friend, Grover, who shows him around, and tells him about the various things one can borrow from the library: posters, records, tapes, etc. Then they go to a class on Origami and then to the bookshelves to look for Big Bird's book. There they find other books, and then go to the "Cozy Corner" to read them. When Big Bird decides that he still wants the one book he came to find, Grover suggests talking to the librarian (Mrs. Libby) and she leads them to the book. Note that she is also the librarian who presented the story hour. Grover adds comments about libraries having books in Braille, and about bookmobiles. Then Big Bird gets a library card and takes his books home. The librarian is shown interacting with children at story hour and in response to specific questions. The character that takes the most active role in introducing the library, and thus acts as a kind of "proto-librarian," is Grover (shudder).
Levinson, Nancy Smiler. Clara and the Bookwagon. Illustrated by Carolyn Croll. An I Can Read Book. New York: Harper & Row, 1988.
One of the more overt attempts at describing a librarian who determines who constitutes her community, and who then goes out proactively and brings in that community. The librarian is Mary Lemist Titcomb, who initiated the first "bookmobile" in Maryland in 1905. She brings books out to the farm areas, and in particular to a girl named Clara, who has longed to learn to read. She even offers to help Clara learn to read. Not all welcome the librarian and her books: Clara's father opposes his daughter's spending time on reading. "Miss Mary" has to allay his concerns. Here we have a librarian who not only attempts to be a part of her community, but actually sees her role as forming and changing that community (for the better). This book is somewhat on the boundary between picture books and readers. It is an "I Can Read Book" which means it has more text than most picture books. Yet, it is only about one step removed from regular picture books.
Mora, Pat. Tomás and the Library Lady. Illustrated by Raul Colón. New York: Alfred A. Knopf, 1997.
In many ways, this semi-biographical sketch is a counterweight to Richard Wright and the Library Card (see Librarians and Control). In both the library is the place of liberation, but in this case the librarian is an enabling, not a hindering force. Both stories are roughly based on incidents in the early lives of members of ethnic minorities in the United States--from the 1920s to 1940s. The Tomás of the story, we learn, is Tomás Rivera (1935-1984) after whom the campus library of the University of California at Riverside is named. He had been the chancellor of that university. His story describes a Hispanic family which migrated between the farm fields of Texas and Iowa.
During a summer in Iowa, the local librarian welcomes Tomás as part of her community. This gives him the opportunity to learn new stories. The storytelling of his grandfather plays a major role in his world view. Curiously, the same is also true for Richard Wright and his mother's and grandfather's storytelling. Indeed, it is Papá Grande (Grandfather) who tells Tomás to look for more stories in the library. The librarian welcomes him into the library and offers him a cool glass of water. Then she asks him what he wants to read. The picture books on tigers and dinosaurs which she brings him only encourage his fantasy. Often we see him projecting the books into his own fantasy life. She even charges out books to him using her own card, since he does not have one. We see how the borrowed book brings his family together at story time, thus creating and enhancing a sense of community. Tomás even takes his search for books to the town dump. By the end of the summer the librarian and Tomás have formed a bi-directional relationship, for he has also taught her to speak some Spanish phrases--at her explicit request. The sense of community must work both ways here: The librarian not only nourishes the interests of others, but others must nourish the interests of the librarian as well.
Poulet, Virginia. Blue Bug Goes to the Library. Illustrated by Peggy Perry Anderson. Chicago: Children's Press, 1979.
This book uses extremely simple language to appeal to the youngest of listeners. Everything is viewed from a bug's perspective, so that books, magazines, records (45 rpm), films, dictionaries, etc., all look huge. The only visual image of a librarian comes on page 24, where Blue Bug joins the children to "listen to stories." Curiously, the librarian's face is hidden behind the big book she (he?) is reading. Blue Bug considers the children's librarian to be his friend, and "giggles when the librarian calls him a bookworm!"
Complements, compliments, annoyances: Matthew Z. Heintzelman
