- Email: [email protected]
Bridget Jones Meets Mr. Darcy: Challenges of Contemporary Fiction
Bridget Jones Meets Mr. Darcy: Challenges of Contemporary Fiction by Justine Alsop Available online 26 June 2007
This exploratory study seeks to investigate the collection practices of English Literature librarians with regard to contemporary fiction, including popular genres such as detective fiction and ‘‘chick lit’’. Results of an online survey suggest literature librarians are increasingly receptive to the acquisition of popular genres and identify the importance of adding popular titles to the collection.
Justine Alsop is Humanities and Social Sciences Librarian, James A. Gibson Library, Brock University, St. Catharines, Ontario, Canada [email protected].
The Journal of Academic Librarianship, Volume 33, Number 5, pages 581–585
INTRODUCTION Those familiar with the Bridget Jones novels or movies will remember the protagonist’s affection for both the fictional Mr. Darcy (of Jane Austen’s Pride and Prejudice) and her dashing contemporary, played by Colin Firth in the film version. Jane Austen’s novels are considered part of the traditional English Literature canon and yet their themes and characters lend themselves to modern audiences and more ‘‘popular’’ forms of entertainment. Helen Fielding’s Bridget Jones’s Diary (1999) is one of the first novels linked with the ‘‘chick lit’’ movement, a genre of literature that is aimed towards young women. At first glance, this genre would not be considered academic reading. In recent years, however, scholars have turned their attention to Fielding and her novels.1–3 This raises the question—can works by Helen Fielding stand on the shelf beside Jane Austen? Has the scholarly monograph, Chick Lit (Ferriss and Young, 2006), legitimized the study of the genre? How can librarians predict the up-andcoming author whose novel will become a classic? ‘‘Chick lit’’ is one of many challenges for librarians collecting contemporary fiction. Chick lit is a genre of the late 1990s but it is not the first issue to plague English Literature selectors. Detective fiction, children’s series books, science fiction, these and other forms of popular fiction have challenged academic librarians for many years. In the 21st century, the inclusion of popular culture courses in academia is well-established and most universities offer a wide range of courses in cultural studies or popular culture. While literature departments have similarly broadened the scope of their fiction courses, there is still a sense of reluctance to consider certain genres of fiction as academic materials and this may relate to Ted StriphasT (2002) observation that ‘‘the academy still refuses to take the popular seriously.’’4 English Literature librarians seldom have unlimited funds for the acquisition of fiction and, as such, it can be difficult to make decisions on what to select and how to identify those novels or genres that will be tomorrow’s classics. This study is an exploration of how academic librarians working in collection development for English Literature select contemporary fiction materials for the library collection and which resources and tools they depend upon when choosing novels for purchase. It is my hope that sharing techniques, resources, and opinions will help English Literature librarians in their collection development choices.
September 2007 581
LITERATURE REVIEW Over the years, there have been numerous books and articles describing the challenges of collecting contemporary fiction. The task has been described as ‘‘notably vexing and controversial’’5 and overwhelming ‘‘there is a mass of publishing first to identify, and then to winnow.’’6 The sheer volume of novels being published each year and the subjective nature of choosing from that bulk is an ongoing dilemma for English Literature librarians. In addition, the importance of including popular fiction has received attention in several articles, most notably those written by Tirosh,7 McCombs,8 Sewell,9 and Wiegand.10 In an editorial for The Journal of Popular Culture, Gary Hoppenstand, emphasizes the lasting value of developing ‘‘popular’’ fiction collections. Hoppenstand describes the arduous task involved in locating some original pulp-fiction texts and notes that ‘‘the immeasurable value of those libraries and archives that collect and preserve popular culture cannot be overestimated’’.11 Popular fiction collections in North American libraries also received attention in Laura Fuderer’s 2004 article in BiblioNotes. Fuderer describes the various collections at academic libraries and notes that science fiction and mysteries are the most popular genres of ‘‘popular fiction’’ being collected.12
‘‘Throughout the twenty or so years of articles about popular fiction, it is clear that it is more difficult than ever to anticipate trends in popular culture research and plan ahead for the next new ‘‘it’’ author.’’ Solutions for the challenge of contemporary fiction collection have been explored in many of these articles including the use of leased fiction collections13 or the creation of a focused collection policy that develops ‘‘niche’’ collections (McCombs 51). A 1995 article by Judith Overmier and Rhonda Harris Taylor provides resources (reference books, listservs, and relevant publishers) for librarians to use when identifying popular culture material for the collection.14 Throughout the twenty or so years of articles about popular fiction, it is clear that it is more difficult than ever to anticipate trends in popular culture research and plan ahead for the next new ‘‘it’’ author. Previous research in the area of contemporary fiction has identified the challenges, proposed solutions, and provided resources for English Literature librarians. Little has been written, however, on how English Literature librarians make selection decisions about contemporary fiction: what resources they use, what types of fiction courses are they supporting, and what their opinions are about ‘‘popular fiction’’. Similarly, the perspective of English Literature librarians on the task of collecting contemporary fiction and whether or not they feel it is important to purchase popular fiction has not yet been formally explored.
RESEARCH QUESTIONS This study was designed to answer the following research questions by surveying a sample of English Literature
582 The Journal of Academic Librarianship
librarians working at academic libraries in Canada and the United States. ! What sources are being used by English Literature librarians to collect contemporary fiction? ! Is ‘‘popular fiction’’ (chick lit, detective fiction, science fiction) being purchased by English Literature librarians for academic library collections? ! Do English Literature librarians feel it is important to include popular genres of fiction and why or why not? ! Are popular fiction courses being offered at American and Canadian institutions and, if so, what types of courses are being taught?
METHODS An online survey was administered to academic librarians working in the subject area of English Literature in North America. Names of English Literature librarians were gathered from the American Library Association ‘‘Literatures in English’’ (LES) section’s online directory of English Literature librarians and from the author’s personal contacts at libraries across Canada and the United States. There are approximately 174 LES members listed in the directory; as participation in the list is voluntary, however, this directory should not be taken as an inclusive list of English Literature librarians. The librarians chosen constitute a purposeful sample and were selected to represent universities of different sizes and varied years of experience. Due to the limited population size and the need to survey academic librarians with a specific subject responsibility, a random sample was not used. Fifty English Literature librarians were identified and contacted about the survey. Each librarian was sent an introductory e-mail explaining the study, including a link to the Web-based survey. After a week, a follow-up e-mail was sent to remind those who had not yet participated of the link. This is an exploratory study into the perceived role of contemporary fiction in an academic library collection and the sampling should be considered limited, reflecting the opinions of only those English Literature librarians who participated in the survey. The results do, however, shed light on the collection development practices of a unique group of academic librarians. The survey instrument included a mixture of both openended and closed-ended questions (please see Appendix A for the list of questions). The questions were divided into three sections: Collecting Contemporary fiction, Popular Fiction in the Academic Library, and About your institution. The first section explored the methods used to select contemporary fiction. The second part of the survey examined the presence of popular fiction materials in participant’s libraries and also asked for an opinion on the importance of collecting popular fiction materials. The final part inquired about the types of contemporary fiction courses being taught at the institution.
RESULTS Of the fifty surveys distributed, twenty-two were completed, for a total response rate of 44 percent. The survey began by asking how the librarian currently selected contemporary fiction for the collection. Participants were invited to select, from a list of tools, the resources they used for collecting contemporary fiction (Table 1). The popularity of certain tools
Table 1 How Contemporary Fiction is Selected For The Library Collection (As Many As Apply) Approval plan
16 (73 percent)
Confirmed author lists
6 (27.3 percent)
Book reviews
20 (90.9 percent)
Publisher’s catalogues
11 (50 percent)
Award winners
19 (86.4 percent)
Faculty requests
19 (86.4 percent)
Student requests
11 (50 percent)
Other (please specify)
7 (31.8 percent)
stood out, most notably book reviews, award winners, and faculty requests. The least popular tools were confirmed author lists (receiving every new book of a chosen author) and student requests. For those participants who used an approval plan, they were asked to describe how they chose authors to include. Fifteen participants responded to this question and cited a number of criteria including prize lists, subject knowledge, local curriculum and research interests, author popularity, faculty knowledge, and reviews. Next, contributors were asked to rate the usefulness of collection development tools when collecting contemporary fiction (Table 2). The most useful tools were book awards (Man Booker, Orange, etc.) and the Times Literary Supplement, with twenty-one of twenty-two participants rating these tools useful or very useful. Tools that were deemed least useful were amazon.com reviews and publisher’s catalogues with thirteen and fourteen participants deeming them somewhat useful or not useful at all. The third section of the survey explored the inclusion of popular fiction in the academic library beginning with a question about whether or not the participant’s institution offered courses using popular fiction materials (e.g. detective fiction, dchick-litT, science fiction, etc.). The overwhelming majority (91 percent) responded that their institution did offer courses in popular fiction. Next, participants were asked if they had purchased popular fiction items for the library. Again, the majority (95 percent) answered that they had chosen popular fiction. When asked to
describe why they had chosen popular fiction, contributors cited a number of factors such as curriculum associations (‘‘fiction that may be studied for sociological reasons [example: the extreme popularity of Harry Potter]’’), course reading lists, faculty requests, or major award winners. In addition, several respondents noted the importance of providing a balance to the more academic literature typically provided: ‘‘Students need to read something dlightT to balance their very demanding coursework’’: and the fact that today’s fiction becomes a record of our culture: ‘‘these books will be the dprimary resourcesT for historical study many decades from now’’. When asked why respondents had not chosen to purchase popular fiction, the responses noted budget, space, and lack of requests from the English department. Participants were then asked their opinion on the following statement: ‘‘It is important to have a wide range of contemporary fiction materials in the academic library collection, including popular materials like ‘‘chick lit’’, crime fiction, and science fiction’’. Eighteen participants responded with their thoughts and opinions were mixed. Most agreed that it was important to collect at least some genres of contemporary fiction. Of those who agreed, reasons given included the cultural importance of popular fiction, research interests currently or in the future, wide interest, and high usage. Those who disagreed with the statement cited reasons such as budgetary constraints, the expectation of having ‘‘canonical authors’’ in the collection, and lack of demand. Several respondents also noted that the public library was the place for a ‘‘wide range’’ of contemporary fiction. Finally, participants were asked two questions about their institutions: if the English department at their institution offered courses in contemporary fiction and what types of courses they were. Some participants cited uniquely themed courses such as Cyborg fiction, family romances, Literature and horror, British Spy Fiction, Dystopian Writing, etc. while others noted traditional survey courses and courses with a focus on locale (South Africa) or time period (Renaissance).
DISCUSSION English Literature librarians are using a variety of sources to collect contemporary fiction; however, the most highly rated tools are established and traditional collection development resources. The Times Literary Supplement was chosen by participants as one of the most valuable resources for selecting contemporary fiction. Susan Steinberg and Marcia Pankake
Table 2 Usefulness of Collection Tools for Contemporary Fiction Tool
Not Useful At All
Somewhat Useful
Useful
Very Useful
Not Applicable
Book Awards (e.g. Man Booker, Orange Prize)
0
1
8
13
0
Publisher’s Catalogues
2
12
6
0
1
Times Literary Supplement
0
1
9
12
1
New York Review of Books
1
2
8
10
1
Amazon.com reviews
6
9
2
0
3
Library Journal Book Reviews
0
10
5
4
3
Vendor Contemporary Author lists
2
6
6
1
5
September 2007 583
describe the TLS as the ‘‘grand old lady of the English literary scene’’, and indeed it is one of the most highly regarded book reviewing publications. Community reviewing tools such as amazon.com were only rated useful by two participants, despite the fact that Amazon will often include reviews from PublisherTs Weekly and Booklist.
‘‘English literature librarians are using a variety of sources to collect contemporary fiction, however the most highly-rated tools are established and traditional collection development resources.’’ The prestige of the collection also continues to be an issue. Selecting prize winners for the library collection might lend credibility to the inclusion of popular fiction in the collection; twenty-one participants used literary prizes to add contemporary fiction to the collection and several respondents noted using prize winners to create a quality collection. One respondent even mentioned resistance to the collection of popular culture from acquisitions and preservation staff. While the reluctance to collect less academic, less canonical works of fiction has improved a great deal, there appears to still be some resistance. The complicated balancing act that librarians perform in their efforts to support both the courses being offered and the desires of the students and faculty members is also reflected in the answers of participants. One participant noted, ‘‘I must first make sure that I have acquired as much dserious, literaryT fiction as I should before I spend too much on popular forms’’, and another observed that ‘‘canonical authors (both old and new) are still the primary titles we are expected to own’’. Responses seemed to be mixed on the importance of adding fiction materials that may later become classics. Some respondents felt that more popular forms of fiction should be added regardless of its presence in the curriculum, with one participant noting that ‘‘[genre courses] change on a whim, and I’d like the library to be prepared’’. Conclusion This exploratory study examined how a select group of English Literature librarians approach the challenging and subjective job of collecting contemporary fiction. From the responses gathered through the survey, it would appear that librarians selecting contemporary fiction are increasingly open to the acquisition of popular fiction materials and that universities are offering a wide range of courses in popular fiction. While opinions about the importance of popular fiction materials may be shifting, survey responses suggest the difficulty of reconciling the recognized importance with budget limitations, space constraints, and the desired image of the collection. In past articles on popular fiction in academic library collections, authors have emphasized the need for a clear collection policy to guide selection decisions.15 Articulating the types of popular fiction that will be purchased may help focus the selector and make his or her job easier; several
584 The Journal of Academic Librarianship
survey participants touched on this idea, noting that it would be impossible to cover the entire range of popular fiction: ‘‘I’ve tried to collect well-developed specific areas . . . rather than a general smattering of fiction with no focus’’. The majority of participants responded favorably to including popular fiction materials into their contemporary fiction collections, but there seems to be strong feelings about the quality of a work of fiction. Established, traditional resources such as the Times Literary Supplement rated high and several respondents noted that they attempt to choose fiction that is of the ‘‘highest quality’’ and be selective, ‘‘Philip K. Dick and James Elroy—rather than Candice Bushnell [author of Sex and the City]’’. While the concept of a canon may have disappeared from most English departments, there are lingering effects in terms of our ongoing attempts to create a collection that reflects the best of the literary world. The results of this study are limited to a small sample of a unique group of academic librarians. Future investigations on this topic might include an examination of library catalogues to compare the types of popular fiction materials held by different academic libraries. Beyond simply the world of print monographs, an exploration into the various formats of contemporary fiction (electronic books, audio books) and the impact of the thriving ‘‘literary blog’’ scene on collection development merit further research. Scholars, publishers, and authors may forever argue over which books deserve to be called classics. As scholarly presses publish critical works on flourishing new genres of literature and as English departments expand their course offerings, it is essential for academic librarians to be aware and consider reflecting these changes within the collection. Finally, in a funny twist of fate, the undeniable appeal of chick lit may help to push literary classics in the 21st century. In August of 2006, Bloomsbury UK released new editions of classics aimed at young adults, with bright, fresh covers and ‘‘gossipy, newspaper-like end sections.’’16 In the end, Jane Austen’s Pride and Prejudice, dressed up in a bright pink cover with cartoon hearts, may indeed end up on a shelf alongside Helen Fielding’s works.
APPENDIX A CONTEMPORARY FICTION IN THE ACADEMIC LIBRARY Collecting Contemporary Fiction How do you currently select contemporary fiction for your library collection? (Select as many as apply) ! Approval Plan ! Confirmed Author Lists (e.g. every new book published by a selected author) ! Book Reviews ! Publisher’s Catalogues ! Award Winners ! Faculty Requests ! Student Requests ! Other (please specify)
If you use approval lists or firm orders, how do you determine the authors to include? Please rank the usefulness of the following tools when collecting contemporary fiction ! Book Awards (e.g. Man Booker Prize, Orange Prize) ! PublisherTs Catalogues ! Times Literary Supplement ! New York Review of Books ! Amazon.com reviews ! Library Journal book reviews ! Vendor contemporary author lists Popular Fiction in the Academic Library Does your institution offer courses using popular fiction materials (e.g. detective fiction, ‘‘chick lit’’, science fiction, etc.) ____Yes ____No ____Unsure Have you purchased popular fiction items for your library collection? (chick lit, detective fiction, science fiction, fantasy, etc.) ____Yes ____No If yes, please explain why you chose to purchase a popular fiction item for the library collection. If no, please explain why you have not chosen any popular fiction materials. It is important to have a wide range of contemporary fiction materials in the academic library collection, including popular materials like ‘‘chick lit’’, crime fiction, and science fiction. Do you agree or disagree with this statement? Why? About Your Institution Does the English department at your institution offer courses in contemporary fiction? ____Yes ____No ____Unsure
If yes, please briefly describe the courses in contemporary fiction being offered.
NOTES
AND
REFERENCES
1. Suzanne Ferriss and Mallory Young, Chick Lit: The New Woman’s Fiction. (New York: Routledge, 2006). 2. Madelyn Ritrosky-Winslow, ‘‘Colin & Renee & Mark & Bridget: The Intertextual Crowd,’’ Quarterly Review of Film and Video, 23 no. 3 (July–September 2006): 237 – 256. 3. Kelly A. Marsh, ‘‘Contextualizing Bridget Jones,’’ College Literature, 31 no. 1 (January 2004): 52 – 72. 4. Ted Striphas, ‘‘Banality, Book Publishing, and Cultural Studies,’’ International Journal of Cultural Studies, 5 no. 4 (December 2002): 438 – 460. 5. Charles W. Brownson, ‘‘Contemporary Literature,’’ in English and American Literature: Sources and Strategies for Collection Development, W. McPheron, et als. (eds.), 102–126. Chicago: American Library Association, 1987. 6. Susan J. Steinberg and Marcia Pankake, ‘‘English and American Literature, with notes on some Commonwealth Literatures,’’ in English and American Literature: Sources and Strategies for Collection Development, W. McPheron, et als. (eds.), 51–77. Chicago: American Library Association, 1987. 7. Nurit Tirosh, ‘‘Popular Fiction in Israel: Comparative Perspectives,’’ New Library World 105 no. 1200/1201 (2004): 218 – 224. 8. Gillian M. McCombs, ‘‘Nancy Drew Here to Stay? The Challenges to be found in the Acquisition and Retention of Early Twentiethcentury Children’s Series Books in an Academic Library Setting’’ Acquisitions Librarian 4 no. 8 (1992): 47 – 56. 9. R.G. Sewell, ‘‘Trash or Treasure? Pop Fiction in Academic and Research Libraries,’’ College & Research Libraries 45 no. 10 (November 1984): 450 – 461. 10. Wayne A. Wiegand, ‘‘Popular Culture: A New Frontier for Academic Libraries,’’ Journal of Academic Librarianship 5 no. 4 (September 1979): 200 – 204. 11. Gary Hoppenstand, ‘‘Editorial: Collecting Popular Culture,’’ The Journal of Popular Culture 38 no. 2 (November 2004): 235 – 238. 12. Laura Fuderer, ‘‘Popular Fiction Collections in North American Libraries,’’ Biblio-Notes 43 (Spring 2004). Available: http:// www.ala.org/ala/acrlbucket/les/biblionotesnum11/BN43.PDF (September 20, 2006). 13. Kerri Odess-Harnish, ‘‘Making sense of leased popular literature collections,’’ Collection Management 27 no. 2 (2002): 55 – 74. 14. J. Overmier and R.H. Taylor, ‘‘Popular Culture in the Collection: Dancing with an Expanding Universe,’’ Collection Building 14 no. 3 (1995): 32 – 37. 15. Connie Van Fleet, ‘‘Popular Fiction Collections in Academic and Public Libraries,’’ in Acquisition in Different and Special Subject Areas, Abulfazal M. Fazle Kabir, (ed.), 63–86. New York: The Haworth Press. 16. Angel Gurria-Quintana, ‘‘Canon fodder from Jane Austen dressed as chick-lit to pocket-sized versions of heavyweight works, publishers are finding new ways to rebrand the classics,’’ Financial Times (June 17, 2006): 26.
September 2007 585
This exploratory study seeks to investigate the collection practices of English Literature librarians with regard to contemporary fiction, including popular genres such as detective fiction and ‘‘chick lit’’. Results of an online survey suggest literature librarians are increasingly receptive to the acquisition of popular genres and identify the importance of adding popular titles to the collection.
Justine Alsop is Humanities and Social Sciences Librarian, James A. Gibson Library, Brock University, St. Catharines, Ontario, Canada [email protected].
The Journal of Academic Librarianship, Volume 33, Number 5, pages 581–585
INTRODUCTION Those familiar with the Bridget Jones novels or movies will remember the protagonist’s affection for both the fictional Mr. Darcy (of Jane Austen’s Pride and Prejudice) and her dashing contemporary, played by Colin Firth in the film version. Jane Austen’s novels are considered part of the traditional English Literature canon and yet their themes and characters lend themselves to modern audiences and more ‘‘popular’’ forms of entertainment. Helen Fielding’s Bridget Jones’s Diary (1999) is one of the first novels linked with the ‘‘chick lit’’ movement, a genre of literature that is aimed towards young women. At first glance, this genre would not be considered academic reading. In recent years, however, scholars have turned their attention to Fielding and her novels.1–3 This raises the question—can works by Helen Fielding stand on the shelf beside Jane Austen? Has the scholarly monograph, Chick Lit (Ferriss and Young, 2006), legitimized the study of the genre? How can librarians predict the up-andcoming author whose novel will become a classic? ‘‘Chick lit’’ is one of many challenges for librarians collecting contemporary fiction. Chick lit is a genre of the late 1990s but it is not the first issue to plague English Literature selectors. Detective fiction, children’s series books, science fiction, these and other forms of popular fiction have challenged academic librarians for many years. In the 21st century, the inclusion of popular culture courses in academia is well-established and most universities offer a wide range of courses in cultural studies or popular culture. While literature departments have similarly broadened the scope of their fiction courses, there is still a sense of reluctance to consider certain genres of fiction as academic materials and this may relate to Ted StriphasT (2002) observation that ‘‘the academy still refuses to take the popular seriously.’’4 English Literature librarians seldom have unlimited funds for the acquisition of fiction and, as such, it can be difficult to make decisions on what to select and how to identify those novels or genres that will be tomorrow’s classics. This study is an exploration of how academic librarians working in collection development for English Literature select contemporary fiction materials for the library collection and which resources and tools they depend upon when choosing novels for purchase. It is my hope that sharing techniques, resources, and opinions will help English Literature librarians in their collection development choices.
September 2007 581
LITERATURE REVIEW Over the years, there have been numerous books and articles describing the challenges of collecting contemporary fiction. The task has been described as ‘‘notably vexing and controversial’’5 and overwhelming ‘‘there is a mass of publishing first to identify, and then to winnow.’’6 The sheer volume of novels being published each year and the subjective nature of choosing from that bulk is an ongoing dilemma for English Literature librarians. In addition, the importance of including popular fiction has received attention in several articles, most notably those written by Tirosh,7 McCombs,8 Sewell,9 and Wiegand.10 In an editorial for The Journal of Popular Culture, Gary Hoppenstand, emphasizes the lasting value of developing ‘‘popular’’ fiction collections. Hoppenstand describes the arduous task involved in locating some original pulp-fiction texts and notes that ‘‘the immeasurable value of those libraries and archives that collect and preserve popular culture cannot be overestimated’’.11 Popular fiction collections in North American libraries also received attention in Laura Fuderer’s 2004 article in BiblioNotes. Fuderer describes the various collections at academic libraries and notes that science fiction and mysteries are the most popular genres of ‘‘popular fiction’’ being collected.12
‘‘Throughout the twenty or so years of articles about popular fiction, it is clear that it is more difficult than ever to anticipate trends in popular culture research and plan ahead for the next new ‘‘it’’ author.’’ Solutions for the challenge of contemporary fiction collection have been explored in many of these articles including the use of leased fiction collections13 or the creation of a focused collection policy that develops ‘‘niche’’ collections (McCombs 51). A 1995 article by Judith Overmier and Rhonda Harris Taylor provides resources (reference books, listservs, and relevant publishers) for librarians to use when identifying popular culture material for the collection.14 Throughout the twenty or so years of articles about popular fiction, it is clear that it is more difficult than ever to anticipate trends in popular culture research and plan ahead for the next new ‘‘it’’ author. Previous research in the area of contemporary fiction has identified the challenges, proposed solutions, and provided resources for English Literature librarians. Little has been written, however, on how English Literature librarians make selection decisions about contemporary fiction: what resources they use, what types of fiction courses are they supporting, and what their opinions are about ‘‘popular fiction’’. Similarly, the perspective of English Literature librarians on the task of collecting contemporary fiction and whether or not they feel it is important to purchase popular fiction has not yet been formally explored.
RESEARCH QUESTIONS This study was designed to answer the following research questions by surveying a sample of English Literature
582 The Journal of Academic Librarianship
librarians working at academic libraries in Canada and the United States. ! What sources are being used by English Literature librarians to collect contemporary fiction? ! Is ‘‘popular fiction’’ (chick lit, detective fiction, science fiction) being purchased by English Literature librarians for academic library collections? ! Do English Literature librarians feel it is important to include popular genres of fiction and why or why not? ! Are popular fiction courses being offered at American and Canadian institutions and, if so, what types of courses are being taught?
METHODS An online survey was administered to academic librarians working in the subject area of English Literature in North America. Names of English Literature librarians were gathered from the American Library Association ‘‘Literatures in English’’ (LES) section’s online directory of English Literature librarians and from the author’s personal contacts at libraries across Canada and the United States. There are approximately 174 LES members listed in the directory; as participation in the list is voluntary, however, this directory should not be taken as an inclusive list of English Literature librarians. The librarians chosen constitute a purposeful sample and were selected to represent universities of different sizes and varied years of experience. Due to the limited population size and the need to survey academic librarians with a specific subject responsibility, a random sample was not used. Fifty English Literature librarians were identified and contacted about the survey. Each librarian was sent an introductory e-mail explaining the study, including a link to the Web-based survey. After a week, a follow-up e-mail was sent to remind those who had not yet participated of the link. This is an exploratory study into the perceived role of contemporary fiction in an academic library collection and the sampling should be considered limited, reflecting the opinions of only those English Literature librarians who participated in the survey. The results do, however, shed light on the collection development practices of a unique group of academic librarians. The survey instrument included a mixture of both openended and closed-ended questions (please see Appendix A for the list of questions). The questions were divided into three sections: Collecting Contemporary fiction, Popular Fiction in the Academic Library, and About your institution. The first section explored the methods used to select contemporary fiction. The second part of the survey examined the presence of popular fiction materials in participant’s libraries and also asked for an opinion on the importance of collecting popular fiction materials. The final part inquired about the types of contemporary fiction courses being taught at the institution.
RESULTS Of the fifty surveys distributed, twenty-two were completed, for a total response rate of 44 percent. The survey began by asking how the librarian currently selected contemporary fiction for the collection. Participants were invited to select, from a list of tools, the resources they used for collecting contemporary fiction (Table 1). The popularity of certain tools
Table 1 How Contemporary Fiction is Selected For The Library Collection (As Many As Apply) Approval plan
16 (73 percent)
Confirmed author lists
6 (27.3 percent)
Book reviews
20 (90.9 percent)
Publisher’s catalogues
11 (50 percent)
Award winners
19 (86.4 percent)
Faculty requests
19 (86.4 percent)
Student requests
11 (50 percent)
Other (please specify)
7 (31.8 percent)
stood out, most notably book reviews, award winners, and faculty requests. The least popular tools were confirmed author lists (receiving every new book of a chosen author) and student requests. For those participants who used an approval plan, they were asked to describe how they chose authors to include. Fifteen participants responded to this question and cited a number of criteria including prize lists, subject knowledge, local curriculum and research interests, author popularity, faculty knowledge, and reviews. Next, contributors were asked to rate the usefulness of collection development tools when collecting contemporary fiction (Table 2). The most useful tools were book awards (Man Booker, Orange, etc.) and the Times Literary Supplement, with twenty-one of twenty-two participants rating these tools useful or very useful. Tools that were deemed least useful were amazon.com reviews and publisher’s catalogues with thirteen and fourteen participants deeming them somewhat useful or not useful at all. The third section of the survey explored the inclusion of popular fiction in the academic library beginning with a question about whether or not the participant’s institution offered courses using popular fiction materials (e.g. detective fiction, dchick-litT, science fiction, etc.). The overwhelming majority (91 percent) responded that their institution did offer courses in popular fiction. Next, participants were asked if they had purchased popular fiction items for the library. Again, the majority (95 percent) answered that they had chosen popular fiction. When asked to
describe why they had chosen popular fiction, contributors cited a number of factors such as curriculum associations (‘‘fiction that may be studied for sociological reasons [example: the extreme popularity of Harry Potter]’’), course reading lists, faculty requests, or major award winners. In addition, several respondents noted the importance of providing a balance to the more academic literature typically provided: ‘‘Students need to read something dlightT to balance their very demanding coursework’’: and the fact that today’s fiction becomes a record of our culture: ‘‘these books will be the dprimary resourcesT for historical study many decades from now’’. When asked why respondents had not chosen to purchase popular fiction, the responses noted budget, space, and lack of requests from the English department. Participants were then asked their opinion on the following statement: ‘‘It is important to have a wide range of contemporary fiction materials in the academic library collection, including popular materials like ‘‘chick lit’’, crime fiction, and science fiction’’. Eighteen participants responded with their thoughts and opinions were mixed. Most agreed that it was important to collect at least some genres of contemporary fiction. Of those who agreed, reasons given included the cultural importance of popular fiction, research interests currently or in the future, wide interest, and high usage. Those who disagreed with the statement cited reasons such as budgetary constraints, the expectation of having ‘‘canonical authors’’ in the collection, and lack of demand. Several respondents also noted that the public library was the place for a ‘‘wide range’’ of contemporary fiction. Finally, participants were asked two questions about their institutions: if the English department at their institution offered courses in contemporary fiction and what types of courses they were. Some participants cited uniquely themed courses such as Cyborg fiction, family romances, Literature and horror, British Spy Fiction, Dystopian Writing, etc. while others noted traditional survey courses and courses with a focus on locale (South Africa) or time period (Renaissance).
DISCUSSION English Literature librarians are using a variety of sources to collect contemporary fiction; however, the most highly rated tools are established and traditional collection development resources. The Times Literary Supplement was chosen by participants as one of the most valuable resources for selecting contemporary fiction. Susan Steinberg and Marcia Pankake
Table 2 Usefulness of Collection Tools for Contemporary Fiction Tool
Not Useful At All
Somewhat Useful
Useful
Very Useful
Not Applicable
Book Awards (e.g. Man Booker, Orange Prize)
0
1
8
13
0
Publisher’s Catalogues
2
12
6
0
1
Times Literary Supplement
0
1
9
12
1
New York Review of Books
1
2
8
10
1
Amazon.com reviews
6
9
2
0
3
Library Journal Book Reviews
0
10
5
4
3
Vendor Contemporary Author lists
2
6
6
1
5
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describe the TLS as the ‘‘grand old lady of the English literary scene’’, and indeed it is one of the most highly regarded book reviewing publications. Community reviewing tools such as amazon.com were only rated useful by two participants, despite the fact that Amazon will often include reviews from PublisherTs Weekly and Booklist.
‘‘English literature librarians are using a variety of sources to collect contemporary fiction, however the most highly-rated tools are established and traditional collection development resources.’’ The prestige of the collection also continues to be an issue. Selecting prize winners for the library collection might lend credibility to the inclusion of popular fiction in the collection; twenty-one participants used literary prizes to add contemporary fiction to the collection and several respondents noted using prize winners to create a quality collection. One respondent even mentioned resistance to the collection of popular culture from acquisitions and preservation staff. While the reluctance to collect less academic, less canonical works of fiction has improved a great deal, there appears to still be some resistance. The complicated balancing act that librarians perform in their efforts to support both the courses being offered and the desires of the students and faculty members is also reflected in the answers of participants. One participant noted, ‘‘I must first make sure that I have acquired as much dserious, literaryT fiction as I should before I spend too much on popular forms’’, and another observed that ‘‘canonical authors (both old and new) are still the primary titles we are expected to own’’. Responses seemed to be mixed on the importance of adding fiction materials that may later become classics. Some respondents felt that more popular forms of fiction should be added regardless of its presence in the curriculum, with one participant noting that ‘‘[genre courses] change on a whim, and I’d like the library to be prepared’’. Conclusion This exploratory study examined how a select group of English Literature librarians approach the challenging and subjective job of collecting contemporary fiction. From the responses gathered through the survey, it would appear that librarians selecting contemporary fiction are increasingly open to the acquisition of popular fiction materials and that universities are offering a wide range of courses in popular fiction. While opinions about the importance of popular fiction materials may be shifting, survey responses suggest the difficulty of reconciling the recognized importance with budget limitations, space constraints, and the desired image of the collection. In past articles on popular fiction in academic library collections, authors have emphasized the need for a clear collection policy to guide selection decisions.15 Articulating the types of popular fiction that will be purchased may help focus the selector and make his or her job easier; several
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survey participants touched on this idea, noting that it would be impossible to cover the entire range of popular fiction: ‘‘I’ve tried to collect well-developed specific areas . . . rather than a general smattering of fiction with no focus’’. The majority of participants responded favorably to including popular fiction materials into their contemporary fiction collections, but there seems to be strong feelings about the quality of a work of fiction. Established, traditional resources such as the Times Literary Supplement rated high and several respondents noted that they attempt to choose fiction that is of the ‘‘highest quality’’ and be selective, ‘‘Philip K. Dick and James Elroy—rather than Candice Bushnell [author of Sex and the City]’’. While the concept of a canon may have disappeared from most English departments, there are lingering effects in terms of our ongoing attempts to create a collection that reflects the best of the literary world. The results of this study are limited to a small sample of a unique group of academic librarians. Future investigations on this topic might include an examination of library catalogues to compare the types of popular fiction materials held by different academic libraries. Beyond simply the world of print monographs, an exploration into the various formats of contemporary fiction (electronic books, audio books) and the impact of the thriving ‘‘literary blog’’ scene on collection development merit further research. Scholars, publishers, and authors may forever argue over which books deserve to be called classics. As scholarly presses publish critical works on flourishing new genres of literature and as English departments expand their course offerings, it is essential for academic librarians to be aware and consider reflecting these changes within the collection. Finally, in a funny twist of fate, the undeniable appeal of chick lit may help to push literary classics in the 21st century. In August of 2006, Bloomsbury UK released new editions of classics aimed at young adults, with bright, fresh covers and ‘‘gossipy, newspaper-like end sections.’’16 In the end, Jane Austen’s Pride and Prejudice, dressed up in a bright pink cover with cartoon hearts, may indeed end up on a shelf alongside Helen Fielding’s works.
APPENDIX A CONTEMPORARY FICTION IN THE ACADEMIC LIBRARY Collecting Contemporary Fiction How do you currently select contemporary fiction for your library collection? (Select as many as apply) ! Approval Plan ! Confirmed Author Lists (e.g. every new book published by a selected author) ! Book Reviews ! Publisher’s Catalogues ! Award Winners ! Faculty Requests ! Student Requests ! Other (please specify)
If you use approval lists or firm orders, how do you determine the authors to include? Please rank the usefulness of the following tools when collecting contemporary fiction ! Book Awards (e.g. Man Booker Prize, Orange Prize) ! PublisherTs Catalogues ! Times Literary Supplement ! New York Review of Books ! Amazon.com reviews ! Library Journal book reviews ! Vendor contemporary author lists Popular Fiction in the Academic Library Does your institution offer courses using popular fiction materials (e.g. detective fiction, ‘‘chick lit’’, science fiction, etc.) ____Yes ____No ____Unsure Have you purchased popular fiction items for your library collection? (chick lit, detective fiction, science fiction, fantasy, etc.) ____Yes ____No If yes, please explain why you chose to purchase a popular fiction item for the library collection. If no, please explain why you have not chosen any popular fiction materials. It is important to have a wide range of contemporary fiction materials in the academic library collection, including popular materials like ‘‘chick lit’’, crime fiction, and science fiction. Do you agree or disagree with this statement? Why? About Your Institution Does the English department at your institution offer courses in contemporary fiction? ____Yes ____No ____Unsure
If yes, please briefly describe the courses in contemporary fiction being offered.
NOTES
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REFERENCES
1. Suzanne Ferriss and Mallory Young, Chick Lit: The New Woman’s Fiction. (New York: Routledge, 2006). 2. Madelyn Ritrosky-Winslow, ‘‘Colin & Renee & Mark & Bridget: The Intertextual Crowd,’’ Quarterly Review of Film and Video, 23 no. 3 (July–September 2006): 237 – 256. 3. Kelly A. Marsh, ‘‘Contextualizing Bridget Jones,’’ College Literature, 31 no. 1 (January 2004): 52 – 72. 4. Ted Striphas, ‘‘Banality, Book Publishing, and Cultural Studies,’’ International Journal of Cultural Studies, 5 no. 4 (December 2002): 438 – 460. 5. Charles W. Brownson, ‘‘Contemporary Literature,’’ in English and American Literature: Sources and Strategies for Collection Development, W. McPheron, et als. (eds.), 102–126. Chicago: American Library Association, 1987. 6. Susan J. Steinberg and Marcia Pankake, ‘‘English and American Literature, with notes on some Commonwealth Literatures,’’ in English and American Literature: Sources and Strategies for Collection Development, W. McPheron, et als. (eds.), 51–77. Chicago: American Library Association, 1987. 7. Nurit Tirosh, ‘‘Popular Fiction in Israel: Comparative Perspectives,’’ New Library World 105 no. 1200/1201 (2004): 218 – 224. 8. Gillian M. McCombs, ‘‘Nancy Drew Here to Stay? The Challenges to be found in the Acquisition and Retention of Early Twentiethcentury Children’s Series Books in an Academic Library Setting’’ Acquisitions Librarian 4 no. 8 (1992): 47 – 56. 9. R.G. Sewell, ‘‘Trash or Treasure? Pop Fiction in Academic and Research Libraries,’’ College & Research Libraries 45 no. 10 (November 1984): 450 – 461. 10. Wayne A. Wiegand, ‘‘Popular Culture: A New Frontier for Academic Libraries,’’ Journal of Academic Librarianship 5 no. 4 (September 1979): 200 – 204. 11. Gary Hoppenstand, ‘‘Editorial: Collecting Popular Culture,’’ The Journal of Popular Culture 38 no. 2 (November 2004): 235 – 238. 12. Laura Fuderer, ‘‘Popular Fiction Collections in North American Libraries,’’ Biblio-Notes 43 (Spring 2004). Available: http:// www.ala.org/ala/acrlbucket/les/biblionotesnum11/BN43.PDF (September 20, 2006). 13. Kerri Odess-Harnish, ‘‘Making sense of leased popular literature collections,’’ Collection Management 27 no. 2 (2002): 55 – 74. 14. J. Overmier and R.H. Taylor, ‘‘Popular Culture in the Collection: Dancing with an Expanding Universe,’’ Collection Building 14 no. 3 (1995): 32 – 37. 15. Connie Van Fleet, ‘‘Popular Fiction Collections in Academic and Public Libraries,’’ in Acquisition in Different and Special Subject Areas, Abulfazal M. Fazle Kabir, (ed.), 63–86. New York: The Haworth Press. 16. Angel Gurria-Quintana, ‘‘Canon fodder from Jane Austen dressed as chick-lit to pocket-sized versions of heavyweight works, publishers are finding new ways to rebrand the classics,’’ Financial Times (June 17, 2006): 26.
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