A Little Bit of Professional Self-Promotion


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I’ve been going back and forth on whether to post about this for some time. The only arguments against it are really my own internal neuroses saying HIDE HIDE HIDE HIDE. So I’m going to try and ignore them and engage in a little shameless self-promotion. Well, myself and two others. I’m part of a team, after all.

I have posted about attending American Library Association conferences, and I think I even posted once or twice about my more specific association involvement. I am a member of a division of ALA known as LLAMA, an amusing metaphor which stands for Library Leadership and Management Association. Initially, I hesitated to join LLAMA because I thought it was only for established professionals already in management positions, which I am not.

The LLAMA llama finger puppet. Because we're whimsical like that.

The LLAMA llama finger puppet. Because we’re whimsical like that.

But at Midwinter 2014 in Philadelphia, I went to the initial public meeting of a brand-new section of LLAMA called the New Professionals Section. And that’s when I realized that LLAMA could have a place for me – specifically in the idea that they’re nurturing future managers and leaders. I’m not in management yet, but I hope I will get there someday. And working on leadership is not a bad thing. It’s pushing my comfort zone, but in a good way. As I recently described myself, I’m not the kid who sits in the front row of the class, and I’m not the one who sits in back – I’m the one who sits in the second row: willing, even eager to participate, but not one to lead the charge.


So I’m pushing myself a bit, which leads me back to the shameless self-promotion. I’ll get there in a minute.

LLAMA and ALA in general seem to have a lot of conversations at conferences that focus on attracting new membership, and getting new blood into active committee involvement/leadership. At one conference, I heard a person describe her committee as being a bit like the Mad Tea Party in Alice’s Adventures in Wonderland – every year, everyone stands up and moves one seat to the left, cycling through the same positions over and over.

I’ve been turning this over in my mind since joining NPS. At first I tried focusing on outreach to library schools, trying to help students bridge the gap between student chapter and larger association involvement. I got frustrated with that, though, and started looking at other ideas.

ALA and LLAMA love webinars, but there’s a problem with those – they’re preaching to the choir. You only hear about them if you’re already involved, and you only take part in them if you a) hear about them and b) have the money and c) have the time. This does not seem to me to be a good way to get new blood.

So this year at Midwinter in Chicago, I started agitating for a podcast. It’s free, it’s accessible outside of the ALA website labyrinth, and you can listen any time. And thus I find myself at the head of a three-person team.

I am happy to announce that Break Room Chats, the podcast of the NewLLAMA_NPS_Logo Professionals Section, is up and running. We have two episodes up – it’s a monthly thing at the moment – and don’t be scared, episode two is abnormally long (but it’s FUN, if I do say so myself.)

Please check it out. I think there are insights and tips relevant to all careers, not just librarianship. We talk about what we like in our supervisors and mentors and how we try to apply those things in our management/leadership styles. We talk about the things that are frightening and exciting about starting something new or taking on new responsibilities.

And I’m pushing myself WAY outside my comfort zone in doing this. Yes, I’ve been a blogger for years, but this is my actual voice going out there. It’s scary, but it feels like the good kind of scary. I have to say, even as my stomach registers the stress-butterflies, I’m very proud of myself for doing this, and I am so proud of and grateful to my two colleagues, Elizabeth Davidson and Heather James. And I’m also deeply indebted for Tyler Dzuba, our initial and outgoing NPS Chair, for being endlessly supportive and encouraging of this idea.

We can be found on iTunes (search Break Room Chats) and on SoundCloud at https://soundcloud.com/llama_nps.

ALA Annual 2015: San Francisco


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Well, another ALA conference has come and gone, and I am left with a handful of fliers and papers to sort through, and a double stack of advance reader copies of new books that I picked up.

Here is this conference’s haul:

1. Sword of Honor, by David Kirk

2. Armada, by Ernest Cline

3. Secondhand Souls: A Novel, by Christopher Moore

4. Cold-Hearted Rake, by Lisa Kleypas (yes, a romance novel. What? They’re amusing.)

5. What A Girl Wants, by Lindsey Kelk

6. Art in the Blood: A Sherlock Holmes Adventure, by Bonnie MacBird

7. Crooked Heart: A Novel, by Lissa Evans

8. The Heart Goes Last: A Novel, by Margaret Atwood

9. The Jesus Cow: A Novel, by Michael Perry

10. Last Night at the Blue Angel: A Novel, by Rebecca Rotert

11. The Girl from the Garden: A Novel, by Parnaz Foroutan

12. Pretty Girls: A Novel, by Karin Slaughter

13. Then Comes Marriage: United States v. Windsor and the Defeat of DOMA, by Roberta Kaplan with Lisa Dickey, foreword by Edie Windsor

14. She Came from Beyond!: A Novel, by Nadine Darling

15. The Comedians: Drunks, Thieves, Scoundrels, and the History of American Comedy, by Kliph Nesteroff

16. After the Parade: A Novel, by Lori Ostlund

17. Beaded Ornaments for the Holidays and Beyond, from Bead&Button and BeadStyle Magazines

I also got to hear Roberta Kaplan speak as part of the opening ceremonies on Friday. What an amazing thing to hear this woman, who is both an out lesbian and one of the lead litigators from United States v. Windsor, speak on the two-year anniversary of her winning Supreme Court case – which also happened to be the day that the verdict in Obergefell v. Hodges was announced.

WIP Wednesday


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Taking a break from the rug as a) bored and b) it’s too big to work on outside as we fight the Squirrel Wars of 2015.

The situation is this: we have a rather old and rather large Blenheim apricot tree in the front yard. These are the apricots that used to be grown here when it was the Valley of Heart’s Delight rather than Silicon Valley. You almost never see them in stores, because they don’t travel at all well – bruise far too easily.

They’re also far and away the king of the stone fruit season.

Unfortunately, the squirrels agree. They wreak havoc in the crop if undeterred, and they would strip the tree while the fruit was still green if we didn’t guard it. So we do. We take turns sitting out there under the tree, picking up fruit as it drops (you can only be sure it’s truly ripe if you let it drop rather than picking it off the branch, and contrary to general belief, stone fruit does NOT ripen on your counter – it can get softer, but that’s not riper), and we literally chase the squirrels away when they approach. It’s all terribly dignified.

Anyway. The rug’s too much of a hassle to work on under such circumstances. Instead, I’ve started on another complex and long-term cross-stitch project that is actually a higher stitch count than the rug, but will be smaller when finished. The final product is 18×27 inches on 25ct fabric. That means 25 stitches to the inch. That means the entire project is approximately 304,650 stitches. I’m at about 1700 stitches so far.

The image is L’Esperance, a ceiling painting over a staircase at the Chateau de Chantilly in France. It was painted in the late 19th century by Diogene Ulysse Napoleon Maillart, a name which tells you rather a lot about him and his family.

Anyway, I’m completely in love with this image, and even though at this rate I will finish the piece in approximately December of 2018, I’m enjoying myself tremendously. The person who designed the cross-stitch pattern has done some work to play with light effects within the painting, creating more of a radiance emanating from the central figure. This is why my current progress looks more like army camouflage than cloudy sky.


And for anyone who’s wondering, yes, that is a poker chip I turned into a needle minder by gluing a set of magnets to it. It’s a special commemorative poker chip handed out last year at the ALA conference in Las Vegas.

WIP Wednesday


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Chipping away at that rug… In a recent conversation on a cross-stitch community on Facebook, one member described her method for rotating projects (she has three or four in progress at any given time) as a “screaming rotation.” She goes with whichever project is “screaming” at her loudest. I’d never thought of it that way, but now that she said it, I totally get what she means.

All this is to say that I’m working on starting up another big project to toss into the rotation. It’s screaming at me pretty loud, whereas the rug is more of a nagging at the back of my mind. It’ll get finished eventually, but this is a hobby, not homework.

Yes, I am justifying further procrastination to myself!

Anyway, here is the week’s progress on the rug.

Peacock 03

Peacock photo 3

Peacock 04

Peacock photo 4

WIP (Work in Progress) Wednesday


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Remember that insane rug project I took on, back in 2007? Yeah, yeah, that was eight years ago. I know.

Here is the photo from the pattern book:

Anyway, when you last heard about it, it looked like this.

week in photos 14 014

Well, that was about a year and a half ago. Since then, I’ve put in about another, uh, two weeks of work on it. But I’ve picked it up again! I swear!

Here is what it looks like as of today:

Peacock 03

Still on page 1 of 8. I’m hoping to finish the whole thing before I turn thirty in 16 months. Think I’ll manage it?

Works In Progress


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I’m coming toward the end of one cross-stitch pattern, and I’m having trouble picking the next one. I’m trying to work through some of my stash, with a particular focus on a few that I was either particularly eager to obtain and a few that I’ve already started (not much).

Thing is, I’m feeling equally uninspired by all of them. Here are four kits I’d like to select from for the next one. Any opinions?IMG_2836 IMG_2837 IMG_2838

Best Picture Project: Birdman: Or (The Unexpected Virtue of Ignorance)


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The thing about the Oscars is that they aren’t based on what audiences liked. They aren’t even based on what critics liked. They’re based on what the film industry as represented by the members of the Academy of Motion Picture Arts and Sciences liked.

And there’s not much that the Academy likes more than a navel-gazing look at their own industry, especially if it’s cynically critical. I predicted BOYHOOD would win Best Picture this year because of the unusual technical achievement, but in retrospect, BIRDMAN was not a surprise.

That said, I’m not entirely a fan. I don’t particularly like surrealism (I make an exception for Cirque du Soleil’s QUIDAM), and because we’re mostly seeing the film through Riggan’s fragmenting mind, this film lays on the surrealism pretty thickly.

There are aspects of the premise that I like, and I think the use of the Birdman character as a manifestation of the persistent nasty little voices in our heads is an interesting one. He is insidious. He will not be ignored or denied for very long, and he grows louder and more poisonous over the course of the film. Michael Keaton’s aging, increasingly irrelevant actor Riggan does not seem to be cognizant of the fact that he’s hallucinating.

I’m not sure how I feel about Keaton, either. I really enjoyed his “Fresh Air” interview about this film – he came off as soft-spoken, thoughtful, and generally rather pleasant. But I haven’t seen him as any character I actually liked. Riggan is selfish, and he’s unspooling at an alarming rate over the course of the film. Keaton’s Dogberry in MUCH ADO ABOUT NOTHING is a cartoon, grotesquely overblown, even for a Shakespearean clown.

One thing I’d like to bring up is the score which makes a choice that is especially notable in one scene backstage when Riggan is arguing with Birdman and ends up trashing his own dressing room in the process. It’s an interesting choice to have the music here be nothing more than a series of drumrolls and cymbal crashes, as though Riggan’s life is constantly on the point of just-before-the-curtain-opens.

It’s not a bad movie. I can see why it won. It’s just not my cup of tea.

Also, the Birdman costume is weird. I like the giant robo-bird in the hallucination, though.

Next Up: TBA

Was One of the Seven Dwarves Called “Weepy?”


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I am a weeper. I cry when I’m sad, of course, but also when I’m angry or stressed or overwhelmed. I cry at weddings, funerals, bar and bat mitzvahs, toasts to friends and family, and most of the time when I find myself at odds with someone. I’m not bad at conflict just because I fear it directly (though I kind of do); I’m bad at conflict because I cry and I get mad at myself for crying.

I’m the person who wells up at those corny, heartwarming Olympic athletes ads, especially the thanks-to-parents ones from companies like Johnson & Johnson. I get emotional over pretty much every death of a sympathetic character on screen or on the page, and I definitely get weepy over most series finale episodes.

In the past month or two, I’ve been working through the archives of the NPR podcast “Pop Culture Happy Hour,” which is great fun. One I listened to earlier this week, however, got me thinking about my own reactions.

The panelists took a look at pop culture things that make them cry, from simply thinking about the first ten minutes of Pixar’s animated film UP to singing along with Handel’s “Hallelujah” chorus from the “Messiah” oratorio.

It’s easy to think of sad things in pop culture that make us cry. One of my first memories of witnessing someone getting emotional over a story comes from a family tradition of reading aloud after dinner. I must have been about eight or nine years old, and the current read-aloud book was Louisa May Alcott’s Little Women. I remember that we got to the point in the book when Beth is really starting to fail, and my mom just couldn’t get through it. I remember that she put her head down on the book and cried.

Being who I am, it’s very likely I got emotional over characters and stories as a little kid, but the first time I remember it is the first time I read Anne of Green Gables. I had a flashlight, I was reading under the covers, and sobbing over the death of Matthew. Even thinking about that scene now makes me feel sad.

It’s harder to think about things that aren’t necessarily sad that make me cry. Though music often makes me feel intense emotions, I am very, very rarely moved to tears. Musicals are more likely to do it than operas, I find – the finale to Ragtime when the little boy runs out to Sarah and Coalhouse, with the swelling music, always gets me, and the entire second half of Rent is brutal.

Two that come to mind that are not sad, though, are pretty reliable.

There’s an episode of The Muppet Show that features Bernadette Peters, for instance. One of the subplots of the episode is that Kermit’s little nephew, the tiny frog Robin, feels under-appreciated and wants to run away. There’s a scene where he goes into the dressing rooms and talks to Bernadette Peters, and she starts singing “Just One Person.” The song apparently originally comes from “Snoopy! The Musical,” and has the wonderful message that if just one person believes in you, others will start to as well, and eventually you’ll believe in yourself, too. It’s kind of in the vein of “Whistle a Happy Tune” from The King and I, but more syrupy and heartwarming. In the Bernadette Peters episode, they stage it in a way that always gets me – it starts off with just Bernadette singing, and one by one several other Muppets join in. I’m getting a lump in my throat just writing about it. This song has appeared on several Muppet productions, and even was a part of Jim Henson’s memorial service.

The other example of a non-sad Thing That Makes Me Cry is from the film Finding Neverland. Yes, the death of Kate Winslet’s character is sad and beautifully staged. But I’m crying long before that in this film.

The part that always sets me off is the series of scenes around the opening night of the “Peter Pan” play. The producer, played by Dustin Hoffman, is skeptical about the play’s appeal to the usual middle-class adult audiences. He gets more confused when the playwright, J.M. Barrie, reserves a couple dozen seats scattered in ones and twos around the audience. In a move that has become legendary among those of us who love Peter Pan, Barrie saves those seats for children from a nearby orphanage. Their delight and full-hearted belief in the story unfolding onstage captures the audience, helping the adults return to a mindset in which they can believe in the pure fantasy and nostalgia for childhood innocence lost that is Peter Pan.

It’s the moment when, just before the curtain is supposed to go up and the play’s producer is threatening to release the reserved seats for sale, the children appear from around the corner, walking towards the theater. That’s when I start to blubber. There’s just something about it, and I’m not sure I can pinpoint it in words, but it gets me. Every time.

Dear #OkCupid Guys: Come to the Dork Side


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So this happened on Twitter the other day…

Me: Dear guys, structuring your creepy message as if Yoda said it does not cancel out the creepy.

Friend 1: adds to the creepy, imho.

Friend 2: depends on if it’s intentional….ha

Friend 2: Hot, you are. Message me, you should.

Friend 1: I’M IN

Me: dorks. :)

Friend 2: these are not the dorks you are looking for…*waves Jedi hand*

Friend 1: Powerful we have become. The dork side I sense in us.

Friend 2: Never underestimate the power of the DORK SIDE!


Me: I have so much love for you guys right now.

Friend 1: Last one, I promise: When you look at the dork side, careful you must be. For the dork side looks back!

Friend 2: Once you start down the dork path, forever it will dominate your destiny….

Friend 3: Come to the dork side.. we have cookies ;)


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