The caretaker

Wow, what a shit year.

It was intense and horrifying and miserable and lonely and exhausting. The world ended. And yet we’re still here.

I learned a lot this year. I learned that working from home is great, actually; that lockdown really isn’t that much different from my usual life, but it still sucks; that the sounds of forests are a better antidepressant than any medication; and that months after the most traumatic experience of my life it’s still so hard to say certain things out loud. I also learned that I often sound better than I feel. It still amazes me that I was able to write something as coherent as ‘The parting glass’ less than a week after leaving hospital, at the peak of the first wave, at the end of everything. I was desperate to be heard, to be known, to be cared for, to be safe. I still am. It’s a work in progress.

Among many other things I started a new job this year, thanks to my workplace’s pre-existing restructure. It’s kind of a systems librarian role, lots of data maintenance, gathering, querying, harmonisation. A new role in an old team, but I have been made so warmly welcome it’s like I’ve been there for years. I’m pleased that this work is being resourced (though I wish it weren’t at the expense of other areas). Quiet, routine, meaningful, honourable work, in the Maintainers tradition. The work that keeps everyone else working, though it’s hardly ‘essential’ in pandemic terms, and is 100% doable from home. I found myself drawing on the white paper ‘Information Maintenance as a Practice of Care’, embodying its values into my work.

I see my new role as a caretaker, a systems janitor, a data maintainer. My job is to nurture our data systems, help them grow, water them, prune them, compost them at an appropriate time. Our ILS is 17 years old and desperately needs replacing. We’ll take care of it as much as we can, while planning a new system that might flower for longer, and make better use of resources.

I love this job so much partly because I now get to work with some really excellent people, but also largely because this team are far better anchored in the bigger work of the library. Being a traditional cataloguer meant I had a very narrowly focused view of metadata. I dealt with records at the micro level, one item at a time, with little to no ability to see the bigger picture. It wasn’t that I couldn’t personally see it; rather, my job and team structure lacked that oversight. But now my role deals with metadata at the macro level, many thousands of records at once, where the system shapes our view. I find it deeply grounding as a metadata professional, seeing the ebb and flow of data, how it can help tell a greater story, how what we don’t record often says as much about an item, and about us, as what we do record. I’m hopeful we can make space for some work on identifying systemic biases in our metadata; our cataloguing policies mandate the use of AIATSIS headings and AUSTLANG codes for First Nations materials, but is that actually happening? How comprehensive is that data corpus?

I’m acutely mindful of not wanting to use these powers to dump on our put-upon cataloguers who already have loads of people telling them what to do and minimal agency over how they do it. Trust me, I used to be one of them. I don’t want to reinforce that cycle. I would much prefer to work with cataloguers and their supervisors to show them the big-picture insight that I didn’t have, to empower them to select the right vocabs for the right material, and to record what needs recording. In data, as in horticulture, many hands make light work.


I might have become a caretaker at work, but this year we were all also caretakers of each other. Taking care as well as giving care. It intrigues me that ‘caretaker’ and ‘caregiver’ mean broadly the same thing: the former is more detached, as if tending to a thing or an inanimate object, while the latter is closer, more familial: a responsible adult. To ‘take care’ means to look after oneself, while being a ‘caretaker’ means looking after something else. I am thankful to those who cared for me during my darkest hours. I have drawn great strength from the care of close friends, for whom my gratitude is everlasting. Without you I would not be here.

It’s safe to say my professional responsibilities took a back seat this year. I hope next year to get the ALIA ACORD comms up and running, complete some work for the VALA Committee, and sort out whatever else I said yes to. (Honestly I’ve completely forgotten.) I did give one talk this year, a presentation on critlib for the ANZTLA. I hope it can help grow some new conversations in the theological library sector.

In 2020 I somehow wrote 15 blog posts, including five for GLAM Blog Club. Usually I’d note my favourite post of the year, but honestly writing anything was so difficult that I’m nominating them all. I think ‘The martyr complex’ hit a nerve, though. I despair for library workers overseas, still having to open their doors to the public in manifestly unsafe conditions. Apparently CILIP CEO Nick Poole has been reading this blog, so if you see this, Mr Poole, you must call for the urgent closure of all public libraries in Tier 4. Nobody ever died from not having a book to read.

I’m saying this out loud because I need to, as much as I want to: next year I am absolutely doing less library professional busywork. It has to stop. I know I’ve said this before—my goal for 2020 was ‘to do less while doing better’ and look how that panned out—but I actually am gonna do it now. I need less of all this in my life. Less computers. More nature. Less doomscrolling. More reading. Less zooming. More walking. Less horror. More consciousness. Less overwhelm. More saying no to things. Please don’t take it to heart if you hear me say no a bit more next year. It’s not you, it’s me.


In part I can promise these good things to myself because I live in a city that currently has one covid case. One. A single one. Life is relatively normal here, barely anyone wears a mask (though I did get yelled at by an old man the other day for not keeping 1.5 metres away from him… on a bus). I have mental space for this stuff in a way the northern hemisphere does not. In some ways it feels like living in a postmodern remake of On the Beach, but as difficult as my life is right now, it could all have been so much worse.

The pandemic accelerated social changes I had already seen coming. I had long ago vowed to live a smaller life. I gave up flying almost three years ago for climate reasons, deciding instead to explore my own country, understand more deeply my own city and surroundings, while trying to detach myself from endless grim horrors abroad. I am powerless to help and can only absorb so much. I am needed here. I can do good here, now, in this place, in this time.

Logically I know my good fortune, but my brain persists in telling me otherwise. I was already very unwell at the start of this year; in many ways the coronavirus outbreak was the final straw. This time last year I was having a panic attack in a friend’s backyard. This time nine months ago I was being admitted to the psych ward. My illness was life-threatening. I did not expect to see Christmas.

There can’t be many people out there whose mental health at the end of this year is better than it was at the start. I have found great solace in the latter-day writings of Sarah Wilson, whose book First we make the beast beautiful: a new story about anxiety was the last book I bought in person before everything fell apart, and whose new release This one wild and precious life I look forward to bringing with me on a brighter path.

To the extent I have any goals for next year—other than continuing to not die—I hope to do more of the things I enjoy, rather than reading about them in books. Books have long been my way of making sense of the world; according to my mother I learned to read at the age of 2 1/2 and would happy babble away reading the newspaper (sometimes I even understood it, too). Books make sense in a way people never have. Books are solid, portable, dependable, usually upfront about things, and even if they’re not it can occasionally be fun to decode or divine their real meaning. Books generally have a point. People often have no point and are seldom upfront about things. It makes life deeply frustrating.

Another book I acquired just before lockdown was Lucy Jones’ Losing Eden: how our minds need the wild. It’s still in a moving box, stored away due to lack of shelf space. But I’m sure the author would be just as happy if people took her message to heart and ventured outside a bit more anyway. I couldn’t face it during April, when going outside was dumb and illegal, but perhaps this coming year, in my suspiciously covid-free paradise, would be a good time to revisit.

My goal is not to lessen my reading. I didn’t finish a single book this year. And that’s okay because I kinda had bigger things to deal with. But instead of reading about the delights of nature, I think I would prefer to experience them myself. Like many in the book professions, I have a terrible habit of buying really interesting-looking books, placing them on a shelf, and then acting as if I have read them and absorbed their wisdom by osmosis. I would like to read more, but I would also like to go outside more, walk more, take flower photos more, cycle more, do the things instead of reading about them. I hope to take care of myself. I hope to take care of others. I hope others might still take care of me.

Or, in other words, as painted by a dear friend:

Knowledge is power: an introduction to critical librarianship: transcript of a recent talk

This is the prepared transcript of ‘Knowledge is power: an introduction to critical librarianship’, a talk I was invited to give at a professional development day for the NSW branch of the Australian and New Zealand Theological Library Association (ANZTLA). It was my first time delivering a virtual talk, which I found a lot less stressful than doing a regular talk because there’s no roomful of people creating a tense atmosphere. The Q&A was great and overall it was a really nice experience.

You will note that this is a very gentle talk. I was acutely aware that for a lot of attendees I represented their first experience of critlib theory and practice; a search of the literature for ‘critical librarianship’ and ‘theological libraries’ brought up precisely zero results, which strongly suggests to me that critlib isn’t (yet) a thing in this sector. I wrote this talk for a very particular audience. I tried to meet them where they are by using rather less fiery rhetoric than I’m known for, in an effort to ameliorate, rather than alienate. It’s broadly based on the article ‘Recognising critical librarianship’, which I wrote for inCite in January. I hope I could help kickstart some new conversations for theological librarians.


Thank you all for having me. It’s an honour to be invited to speak today. I’d like to acknowledge the Traditional Owners of the lands we’re meeting on, and in particular the Ngunnawal and Ngambri peoples, custodians of the land I live and work on, which we now know as Canberra. I pay my respects to Elders past, present and emerging, and extend that respect to all First Nations people who have joined us today.

My name is Alissa McCulloch and I believe that knowledge is power. The knowledge held by libraries, and distributed through the work of librarians like yourselves, can empower our users to do incredible things.

But knowledge, much like power, is not evenly distributed. Librarianship is steeped in tradition, but those traditions aren’t all worth keeping. The structure of librarianship can work to exclude, marginalise and harm people even before they’ve walked in the door. We like to think of libraries as spaces where everyone is welcome. But not everyone is made welcome in a library. What can we do about that?

We can start by exploring something called critical librarianship. You might also hear this referred to as #critlib. Applying a different ethical lens to the work we do every day. Doing things differently, in order to do them better.


Before I go on, I do need to emphasise that this talk represents solely my own opinions. These views are all mine and definitely not my employer’s! (But I think they’re pretty good views, so you know what, maybe they should be.)


The term ‘critical librarianship’ has come to describe two related but distinct approaches to library work. The first is the idea of ‘bringing social justice to library work’, or, How might libraries advance social justice issues, or achieve social justice goals? How can we make librarianship fairer, more accessible, and more equal to all our users?

The second is ‘bringing critical theory to library work’, an approach that “places librarianship within a critical theorist framework that is epistemological, self-reflective, and activist in nature”. It involves examining the ways that libraries support, and are in turn supported by, systems of oppression and injustice. It emboldens library workers to recognise and challenge those systems and reposition our professional work. And in turn it empowers our users, who can see the library reflecting the kind of society we all want to live in.

Throughout this talk I’ll use the words ‘librarian’ and ‘library worker’ interchangeably: critical librarianship applies to, and can be practised by, everyone who works in libraries.


In other words: it’s one thing to advocate for social justice in libraries, but it’s quite another to think about where and why is there social injustice in libraries in the first place.

Overdue fines, for instance. We’ve been fining people forever as an incentive to get them to return their books on time. We kept doing it because we thought it was effective, but it turns out the evidence for this is ambivalent at best. More importantly, in many cases fines can actively deter people from wanting to use the library, particularly low-income people who might already have racked up a heap of fines they can’t repay, or are scared of doing so (or their children doing so by accident). The kinds of people who can least afford to pay library fines are often the kinds of people the library most wants to attract—people who may also have lower literacy levels, who have small children, who are socio-economically disadvantaged, and (in academic libraries at least) people who might be first-in-family to attend university, or who might otherwise be struggling academically. Library fines are a social justice issue. It’s great that many public libraries have gotten rid of library fines, but I’m not so sure that many academic and research libraries have followed in their stead.

Much as we might like to sometimes, as librarians we can’t fix everything. We can’t solve these kinds of systemic injustices out there in the world. We can’t address the factors that contribute to library users being unable to pay their library fines. But we can do something about how those injustices manifest in the library. We can counteract that here, in this space that we maintain, in this time that we have. (We can do that by getting rid of library fines in the first place.)


Let’s come now to some key tenets of critical librarianship, which include:

  • Bringing progressive values to professional practice—using libraries and library work to build a more equal and just society, and to actively address systemic harms as they manifest in the library (so things like systemic racism, sexism, homophobia, ableism, colonialism, capitalism, and so on).
  • Part of this means actively questioning existing library structures, standards and workflows, and doing so through a particular ethical lens. Not just going ‘why do we do that thing’ or ‘how can we do this better’, which should be a normal part of good library practice, but ‘who does this harm’ or ‘whose interests are best served by us doing this thing’?
  • Being a librarian doesn’t automatically make us better or more virtuous people. It just means we get paid to help people find stuff. It’s not a calling. It’s not the priesthood. It’s just a job. (But it’s a job worth doing well, and in some respects worth doing differently)
  • There is no such thing as library neutrality—libraries are not, and cannot be, neutral. The core business of librarianship involves making a lot of moral and ethical decisions, such as ‘do we buy this book’ or ‘do we let this group use a meeting room’ or ‘do we pay this vendor this amount of money’. Those decisions are made in line with a given set of values. Not making a decision is a value choice. Trying to present ‘both sides’ of a given issue is also a value choice. I might disagree with a lot of traditional library values, but they are not the bastions of righteous neutrality they claim to be. Critlib values are a bit more upfront about this fact.


Traditional library values, like the ones you and I were taught in library school, place a high premium on things like intellectual freedom and Western liberalism. We say we’re not just about books anymore, but libraries are a key part of a book-based knowledge system. For the most part, the knowledge we store and deliver, and the knowledge we tend to trust, is stuff that’s been written down, and a traditional library is a building where that written-down knowledge is kept and safeguarded.

Critical library values, on the other hand, focus on things like harm reduction (which I’ll come back to a bit later) and progressive, socialist values (which you might think of as being a bit ‘left-wing’ but I don’t think the left wing–right wing dichotomy is terribly useful these days). Critical librarianship recognises the validity and deep importance of Indigenous and other non-Western knowledge systems, that oral histories and Dreaming stories are valid sources of truth and knowledge, just as much as books. I’ll never forget Jacinta Koolmatrie, an Adnyamathanha and Ngarrindjeri woman, teaching her audience at the New Librarians’ Symposium last year that for Aboriginal people, the land is their library, that knowledge and wisdom inheres in the landscape, and it deserves our care and protection in the same way libraries do. The recent loss of Djab Wurrung sacred Directions trees east of Ararat in Victoria is just as great a cultural loss as the destruction of a library.


Sometimes people can misinterpret the ‘critical’ part of ‘critical librarianship’, and think that we’re all just about having a big whinge, or that it’s a professional excuse to be rude or disparaging about library work. And I just want to make clear that that’s not what we’re about.

It’s about making the profession better by recognising harmful practices and oppressive structures, dismantling those things and building better ones in their stead. It’s about leaving the profession in a better state than when we found it. We critique because we care. I have a lot of feelings about librarianship! And I care very deeply about what I do. If people didn’t care so deeply about the profession, we wouldn’t be spending all this energy on making all this noise and doing all this work.

Over the next few slides I’ll take you through some of the ways critical librarianship intersects with my work. I’ve spent my career largely in back-of-house roles, what you might traditionally call ‘technical services’, so things like collection development, cataloguing, and my newest role in library systems. Naturally critlib happens front-of-house too! And there is quite a lot of literature on critical reference and critical information literacy. But I’ll leave that analysis to others.


Critlib comes up most often, and is probably most immediately visible, in the realm of collection development and acquisitions—looking at the materials your library collects and provides. Think for a moment about who your library collects. Are the bulk of your materials written or created by old white guys? Now I get that in a theological library, the answer is likely to be yes. Think about how many of your materials are written or created by women? People of colour? Indigenous people? Queer people? Disabled people? Combinations thereof? It’s not just about a variety of theoretical or academic views, and it’s also not about collecting other voices for the sake of it. It’s about making different perspectives and life experiences visible in your library’s collection. It sends a message that the library doesn’t just belong to old white guys—that it belongs to all whose views and life experiences are included here.

Everyone deserves to see themselves reflected in a library space, but it is also critical that everyone doesn’t only see themselves reflected in that space, that our diversity reflects that of the communities we serve. (I’m reminded of a quote from Nikki Andersen, a library worker I deeply respect, who said last year “When someone walks into a library and can’t find a book that represents them or their life, we have failed them. Likewise, if someone walks into a library and only see books that represent their life, we have also failed them.”

It’s one thing to have materials representing the diversity of human experience, but it also matters what those materials say. It’s no good having materials about Indigenous issues that were all written by white people thirty years ago, or things about homosexuality written by straight people who deny our humanity. The adage of ‘nothing about us without us’ holds especially true.

Theological libraries are naturally quite specialised and so you’re unlikely to be collecting material that doesn’t fit your collection development policy. A book on landscape architecture or whale-watching might be very interesting, but not relevant to the work of your institution. If you choose not to purchase it, it’s not censorship. It’s a curatorial decision. Whale-watching’s not in the CDP.

Similarly, a public library (in my view) should not feel obliged to purchase a copy of a text by a far-right provocateur if they feel that doing so would not be in their community’s best interests, or would cause demonstrable harm. They’re not denying their community the ability to read the book—they’re simply choosing not to stock it. In this instance, they’re applying the concept of harm minimisation to library collection development, prioritising community wellbeing and cohesion over the intellectual freedom of an individual. This situation might be different in an academic library, where they may feel the research value of such a book outweighs the potential harm it could cause. Potentially this decision could be contextualised in the book’s catalogue record, which I’ll come to in a second. But these are individual curatorial decisions for each library. They are made in accordance with that library’s values, and they are certainly not neutral.

Now, you might hear this and go ‘well how is that any different to, say, a parent demanding a school or public library remove a picture book about gay parents, claiming it is harming their child’? How is that different to the library I’ve just described deciding to remove, or not purchase, a hateful rant by a far-right author? Besides, shouldn’t we be trying to present ‘both sides’ of an issue, for balance? My answer to this is: by retaining the book about gay parents we are affirming their humanity and place in society; we recognise that they are not seeking to harm anyone just by existing; and we are validating their story. By not purchasing the far-right book we are doing the opposite; we are choosing not to do those things. We’re not censoring the book—we’re just not validating it. False balance is harmful and does our users a deep disservice. That’s a values decision, and if it were up to me it’s one I would stand by.


Or, put slightly differently… ‘something to offend everyone’ is not a collection development policy.


Until last week I was a full-time cataloguer, so critical cataloguing and metadata is kind of my speciality. I’m endlessly fascinated by how libraries describe and arrange their collections, whether it be on a shelf or on a screen.

As many of you will likely be aware, the religion section of the Dewey Decimal Classification has traditionally allocated quite a lot of space to Christianity and comparatively little space to other religions. You may be interested to know that the editors recently released an optional alternative arrangement for the 200s, which attempts to address some of these structural biases and make the distribution of religions a little more equitable.

Dewey has also historically copped a lot of flak for classifying works on Indigenous and First Nations spirituality, including Dreaming and creation stories, as ‘folk tales’ in 398.2 and not in the religion section. Dewey itself has instructed since about the mid-90s that such works should be considered religious, and classified as such. The fact this grievance has persisted for so long suggests a pattern of unconscious bias on the part of the cataloguer—they might not have recognised Indigenous spirituality as a ‘religion’ in the Western sense, and so didn’t classify this stuff there. But this lack of recognition is very obvious to Indigenous people, and it matters.

By the way, has anyone ever thought about how weird it is that we use Library of Congress Subject Headings? Like, we’re not the Library of Congress, we’re not Americans, we’re not government librarians, but we use their vocabulary and we inherit their biases. We do this mostly out of convenience and because it’s more efficient to use somebody else’s record, but I often wonder how useful or meaningful this language is in Australian libraries. I’d love to see more widespread use of things like the AIATSIS vocabularies for Indigenous content, which are designed to reflect an Indigenous worldview, and specify—that is, give names to, and therefore surface in catalogue records—issues and concepts of importance to Indigenous Australians.

For example, consider the difference between these two headings for Indigenous Australian creation and origin stories. LCSH calls these ‘Dreamtime (Aboriginal Australian mythology)’, while AIATSIS uses the faceted term ‘Religion — Dreaming’. Now, neither of these terms is neutral, because nothing about librarianship is neutral, but while the LCSH term is pretty clearly from a Western perspective classifying these stories as mythology and not religion, the AIATSIS term does the opposite, in line with Indigenous conceptions of their lore, and recognising their right to describe their culture their way. Using these terms in a library catalogue sends a message that these are the terms the library prefers, and in so doing makes the library catalogue a more culturally safe place for Indigenous people. It’s about taking social justice principles of diversity and inclusion, applying critical theory to our controlled vocabularies, and ultimately making better choices in the service of our users. This is critical librarianship. And in my opinion, it’s also the least we can do.

While researching this talk I was really struck by how so many of these historical biases would have traditionally really suited theological libraries—lots of classification real estate for Christianity, detailed LCSH subdivisions for the heading ‘Jesus Christ’, and so on. But I don’t work in a theological library, and I don’t know if that still holds or not.


This week I’ve actually started a new job as a systems librarian, so I’m particularly interested in this facet of critical librarianship. We might not immediately think of systems as being particularly problematic, but systems reflect the biases and perspectives of the people who build them, and to a lesser extent those of people who buy them.

For example, most library catalogues and discovery systems will allow you to rank results based on ‘relevance’. How, exactly, does the system determine what is relevant? How much potential is there for bias in those search results, either because your metadata is incomplete, outdated or otherwise unhelpful; because your system autocompletes what other people search for, and people search for really racist and awful things; or because your system vendor also owns one of the publishers whose content it aggregates, and it suits them to bump that content that they own up the rankings a bit? This happens, believe it or not—there’s a whole book on this topic called ‘Masked by Trust: Bias in Library Discovery’ by Matthew Reidsma, which is excellent (and also sitting in a moving box behind me).

We could also consider the kinds of data that library systems ask for and keep about people. When you sign up new users to the library, which fields are compulsory? Do they have to specify their gender, for instance? Why does the library need to know this about somebody in order to loan them books? What kind of data are we keeping about the books people borrow, their circulation history? How long do we keep it for? Who has access to it? Would we have to give that data to the police if they asked, or had a warrant? (If we didn’t keep that data, we couldn’t then give it to the police, hey.) Is your system vendor quietly siphoning off that circulation data in the background to feed it to their book recommendation algorithm? Do we want them to do that? My local public library actually does this and I really wish they didn’t, to be honest, it makes me very uncomfortable, and frankly it makes me not want to go there.

We want our library systems to have the same kinds of values that we have as people. But more often than not libraries end up functioning in ways that suit our systems. To me, that seems a bit backward. I firmly believe that systems should work for people, not the other way around.


Just before the American presidential election, the Executive Board of the American Library Association released a statement in support of libraries, library workers and library values. They noted that: ‘Libraries are nonpartisan, but they are not indifferent.’

To me, this sentiment lies at the heart of critical librarianship. So much of this discourse gets tied up in misunderstandings over whether libraries are, or should be, political. You’ll notice I’ve avoided using the word ‘political’ in this talk for this reason, because people interpret the question of whether libraries should be political to mean ‘supporting one political party over another’ or ‘supporting the activities of government’, and that’s not what critlib means. Everything I’ve outlined today is a political act. Many of them are progressive acts. But they are not partisan acts. They are acts that are conscious of the power they wield, and consciously try to direct that power in support of building libraries that better reflect and support the communities they serve. These acts are steeped in an ethic of care. Libraries do not exist in a moral and political vacuum. We are part of society, too. And we as library workers can do our bit to help make our society better.

It has taken a very long time for organisations like ALA to come to this party. I have lost almost all hope that ALIA will ever show up, but we will welcome them when they do. There’s a lot of work ahead. Let’s get started.


Thank you 🙂

A farewell to cataloguing

A tree in a clearing

Tomorrow is a big day. I’ll be starting a new role at work. I’ll become what other libraries might call a systems librarian, in a new team, on a new floor, doing new and exciting work. Critically, I will stop being a cataloguer. Turns out I have some feelings about that.

My last day on Friday was ordinary enough. In honour of the occasion I wore my second-favourite library-themed outfit to work, a dress with LC call numbers on it, though I don’t think anyone noticed. I catalogued some books and did some advanced photocopier magic as a favour for my boss, for which I was paid in chocolate. I neglected to attend the morning tea for those of us leaving the section, partly because I was busy but mostly because I wasn’t in a great space for small talk. I’ve never felt like I belonged, here.

The restructure predated the pandemic and was meant to be over by July. It has instead lasted all year and will run into the next. You can imagine how stressful it’s been. Like everyone else in the placement pool, I was asked for my top three role preferences. Unlike most people, by all accounts, I got my first choice.

My new role joins an established team that used to be in the collections division but now sits in IT. The team maintains the catalogue and discovery layer, but also seems to get asked for reports and statistics a lot, which in turn involves a lot of funky database queries and data massaging. My new boss specialises in beautifully colour-coded spreadsheets. One of my new colleagues is a MarcEdit wizard. Everyone is a keen cyclist. I think I’ll like it here.

While I am a bit sad about no longer being a cataloguer, truth be told my professional interests have always lain in this kind of zoomed-out, macro-level work: analysing data at scale, maintaining and theorising the platforms and systems that house, shape and contextualise metadata. I’m a systems thinker with attention to detail, an unusual disposition for a cataloguer. Where others in this line of work have traditionally struggled to see the forest for the trees, I have spent aeons trying to make sense of the forest, from the canopy to the undergrowth, losing sight of how I was meant to be precisely recording only certain attributes of a given tree. Besides, those attributes wouldn’t even help someone find this particular tree. The directions were all wrong and the scientific name was meaningless to those who called the forest their home. Why can’t we describe this tree better?

…Sorry, you wanted this catalogued today? Yep sure I can do that.

And I can do that, but I can’t keep doing it in isolation, and I definitely can’t do it forever. Cataloguing is highly structured and solitary work, and in some ways it suits me down to the ground. But that structure is also the most frustrating aspect, that solitude the most soul-crushing. It might have been what I wanted, but it’s not necessarily what’s best for me.

The second-last book I catalogued on Friday was a biography of a nineteenth-century Queensland ship captain, written by his great-grandson. The author related in some detail how his ancestor was, among other things, a blackbirder for 14 years, ‘recruiting South Sea Islanders’ as if this were a fine and normal occupation and not at all kidnapping or indentured servitude no sir. The two catalogue records for this book on Libraries Australia reflected its deep whiteness and the banality of its horror. Neither featured the LCSH ‘Blackbirding’. Only one gave Australian South Sea Islanders their own heading.

I’ve catalogued more than my share of self-published biographies, histories and genealogies over the years. It is striking what this country chooses to forget. But I expect better from cataloguers whose job it is to contextualise this stuff. A primary tenet of cataloguing is to record what you see. But what if we’re as blind as the author? It’s this kind of thing that prompts me to think, well, maybe I wasn’t wasted in this job after all. Maybe I came here to notice these things, and to do better, and to demand better.

I’m looking forward to this new role. It’s no higher up the payscale, but it holds a lot of promise, and I hope to be happy there. At last I can climb one of these trees, and marvel at the forest.

Some thoughts on the future of LIS education in Australia

Yeah, I know the deadline for submissions to the ALIA Future of LIS Education discussion paper was two days ago. I’ve been all of the usual things: busy, stressed, unwell, preparing to move house and reapplying for my own job in the same week. Small fry, really. I also coordinated a submission in my capacity as Information Officer for ACORD, the ALIA Community on Resource Description, which focused on matters of interest to the Australian cataloguing and metadata sector. But a few bigger thoughts kept gnawing at me, and I decided to write them up anyway now that I have a sliver of brainspace, for general consumption as well as for ALIA’s attention. These views are, as always, solely my own.

I’ll admit to not having been privy to a lot of the professional conversation on this topic, but much of what I did hear focused on the issue of library workers having library qualifications (or not). Most job ads I see these days ask for an ALIA-recognised qualification or equivalent experience. Employers are already recognising the many paths people take to a library career, but they’re also recognising that eligibility for Associate membership doesn’t really mean very much. Of the four libraries I’ve worked in, only one specifically said I needed to have a library degree. I didn’t have a library degree. I got the job anyway. 🤷🏻‍♀️

I think employers are also frustrated by library school graduates being unable to meet the immediate needs of contemporary libraries. The skills employers need are not the skills educators are teaching; I graduated two years ago and recall being very surprised by the chasm between what I was taught and what I was seeing with my own eyes at work.1 Our sector benefits hugely from the diverse educational backgrounds of its workers, be they graduates of university, TAFE, or the school of hard knocks.

This issue cuts both ways, however: I’ve written before on the ‘price of entry’ to the LIS field, where librarianship remains on the Government’s skills shortage list despite an apparent surplus of graduates. Employers say they want ‘job-ready’ grads, but what I suspect they really want is to not have to train people in the specialities of a particular role, especially as entry-level positions continue to disappear. At the same time, though, a comprehensive LIS education has a duty to balance employable skills with a solid theoretical grounding—in other words, to learn what to do, as well as why to do it. It can’t be solely about ‘what employers want’, otherwise our moribund industry would truly never change.

This comment on page 10 of the discussion paper was… uh, quite something:

During our discussions, there were different perspectives on the division between Librarians and Library Technicians. Some felt this was a necessary distinction; that Librarians should be conceptual thinkers and Library Technicians should have the technical expertise, for example with resource description and technology devices.

This distinction is hogwash. Our sector desperately needs people with both these qualities, who are conceptual thinkers with technical expertise. I am a professional cataloguer with a master’s degree. For better or worse, I never went to TAFE. I learned to catalogue the long way. I firmly believe it has made me a better cataloguer, more able to question and deconstruct our hallowed bibliographic standards, to call for change and to make it happen. To state that resource description does not require conceptual thinking is offensive to the cataloguing and metadata community. The idea that information technology does not require it either is even more ludicrous.

I suspect this view is based on a public library’s operating model, where library techs help senior citizens with their iPads while librarians are the ones in charge. The job title of ‘library technician’ has strayed so far from its original meaning that nowadays it seems to mean ‘TAFE-qualified lower-paid library worker’ irrespective of job function, and sits below ‘librarian’ in a workplace’s hierarchy. The word ‘technical’ has a long and twisted meaning in LIS (and yes, I’ve written about that too), but we can safely say that most library IT work is done by people earning far more than a library technician’s wage. It’s a confusing term both inside and outside the industry, and it needs to go. So too does the hierarchy.

Anyway, back to qualifications. The discussion I’ve been seeing is predicated on the idea that the only way to be an accredited library professional (that is, a ‘librarian’ and not a ‘library technician’) is by getting an accredited library degree. Currently that’s the case in Australia. But what if I told you… there is another way?


My primary recommendation for the future of LIS education in Australia is this: I would like ALIA to consider adopting the LIANZA Registration model of professional accreditation, focussing on accrediting the individual, as well as the institution.

Prospective library professionals in Aotearoa New Zealand have three options. They can:

A) Complete a recognised New Zealand library and information qualification;
B) Complete a recognised overseas library and information qualification; or
C) ‘Demonstrate a comprehensive understanding of the Body of Knowledge’, along with 3 years’ professional experience, plus either a pre-2007 NZ LIS qualification, or a bachelor’s degree in any discipline.

They must also be an individual member of a recognised library association in New Zealand (LIANZA recognises six, including itself), and pay an annual fee to LIANZA.

A chart detailing the routes by which an applicant can achieve LIANZA Registration
A chart detailing the routes by which an applicant can achieve LIANZA Registration. Image courtesy LIANZA. (Click to embiggen)

I’m fascinated by the potential of option C). A prospective applicant need never have set foot in a LIS classroom, but if they have already demonstrated their intellectual aptitude at the undergraduate level, gained substantial experience in library work, and can map their knowledge against recognised competencies, then they can gain professional recognition equal to that bestowed upon library school graduates. In no way does it devalue the hard work of those graduates; it acknowledges that there are many paths to the same goal, and respects professional learning in all its forms. It recognises that librarianship is a profession by mandating a professional-level (i.e. university) qualification.2 Crucially, it also better reflects what’s actually happening on the ground.

LIANZA’s eleven ‘Body of Knowledge’ competencies outline the key skills and responsibilities of contemporary library and information workers, and cover the same kinds of material that would be taught in library school. Of particular importance is BoK 11, ‘Awareness of indigenous (Māori) knowledge paradigms’. Every accredited library worker in New Zealand must demonstrate this competency. This is not the case in Australia, where LIS professionals can—and do—go their entire careers without knowing a single damn thing about First Nations knowledge systems. It’s one of many reasons why our profession is white as hell. It makes the task of developing and maintaining culturally safe libraries that much harder, for First Nations library users and workers alike. It also perpetuates a knowledge monoculture, which is actually really boring. I wish more of us could recognise First Nations knowledge of the land as a kind of library.

Like ALIA membership, LIANZA Registration is optional. The closest ALIA currently gets to option C) is Allied Field membership, which is very deliberately not the same as ALIA Associate membership, and renders the former ineligible for jobs that require the latter. Presumably ALIA is trying to protect the existing higher education pathway. But that pathway is already collapsing: two days before the close of submissions to this paper (so, four days ago), word spread of RMIT’s intention to close its library school and teach out its courses. The status of information studies at Monash University hangs by a thread. Both universities have been hard hit by the aftereffects of the coronavirus pandemic, including the collapse of international student income and the ineligibility of public higher education institutions for jobkeeper. And that’s even after the massive fee hikes to HECS-eligible humanities and social sciences courses, which includes librarianship (but not teacher librarianship, which is classed as education).

Without RMIT, there would remain just four universities offering library degrees in Australia: Curtin, Monash, UniSA, and Charles Sturt. Curtin has already cut its undergraduate LIS courses. Monash could be on the way out altogether. UniSA is a bit of a dark horse. And Charles Sturt, while by far the largest library school in Australia, is not immune from cost and enrolment pressures.

The discussion paper notes wryly on page 12:

ALIA’s priority has been, and continues to be, supporting our accredited courses. However, it would be negligent for the sector not to consider a ‘Plan B’ in the event of the university system failing us.

Through little fault of its own, the university system is clearly already failing the Australian library and information sector. The time for Plan B is now. Automatically enrolling ALIA members into the PD Scheme does not go far enough. It’s time for ALIA to move to an accreditation model that better recognises, and does justice to, the diversity of educational and life experience among Australian library professionals. It would mean a bit more work for ALIA, yes, but I’d like to think it would make ALIA professional membership a more attractive and meaningful option. Let’s make ALIA Associate status more widely available to graduate library workers across disciplines, by providing an equal pathway to professional recognition that won’t break the bank.


  1. It’s worth mentioning that I had zero library experience when I began my MIS—which I hear is not uncommon—so my first impression of library work was in the (virtual) classroom. 
  2. This concern was publicly raised by Charles Sturt University’s School of Information Studies in its response to the discussion paper

How to catalogue a jigsaw puzzle

Two puzzle boxes stacked on top of each other: Rachael Sarra's Diverse Women and Wim Delvoye's Cloaca jigsaw puzzle

It’s been a while since I catalogued much of anything, so it’s quite nice to be (intermittently) back in the office doing this work. I would have been happy enough dealing with the usual print monographs, but recently two jigsaw puzzles wound up on my desk: one featuring a beautiful contemporary Aboriginal artwork, Diverse Women, and the other featuring the infamous mechanical stomach at the Museum of Old and New Art (Mona), Cloaca Professional. My boss knows I love cataloguing weird stuff and also nobody else wanted to deal with these for some reason, so I volunteered to take one for the team.

The majority of our jigsaw puzzle collection, if it can really be called that, is either cartographic (map-based) or an added extra that came with a book. These two puzzles were neither of those things, so there wasn’t a whole lot of precedent in the collection for how best to process them. I had a peek at the OLAC guidelines but was hoping for something a bit more accessible, so I thought I might as well write it myself. Besides, when the next jigsaw inevitably winds up on my (or your) desk this way perhaps we’ll be a little bit consistent. (I also figured I could shoehorn this into this month’s GLAM Blog Club theme, ‘Discovery’.)

As always, these observations are all mine and not those of my employer. I swear I’m not writing blog posts on company time, honest.

Fixed fields

Fortunately someone scrounged up for me a cataloguing template for jigsaw puzzles. Unfortunately this template was really intended for map-based jigsaws, and as such was coded as a cartographic resource (‘m’ in LDR/08). In my mind regular jigsaws are realia, so I coded these records as such (‘r’ in LDR/08), taking out the map-specific fields as I went.

I learned that the 008 for cartographic resources has a specific byte for jigsaws (‘l’ in 008/73). The 008 for realia1, however, is less specific; I settled on coding these as ‘games’ (‘g’ in 008/23), which apparently includes puzzles. This seems an unfortunate gap, but I was unwilling to add a cartographic 006 field just for this one byte, as it has a negligible impact on discovery. Also neither of these things are maps.

Title and access points

Both puzzle boxes featured easily identifiable titles, recorded in a 245 as usual: $a Diverse women and $a Cloaca jigsaw puzzle.

Access points, however, were trickier. A quick Google for ‘Rachel Sarra diverse women’ only returned results that related to the puzzle, which implied that Diverse Women was primarily intended for release as a puzzle, and existed publicly only in this form. I contrasted this with Cloaca Professional, which was already well-known as a public artwork, and of which a photograph was used for the Cloaca jigsaw. Diverse Women artist Rachael Sarra was credited on the puzzle box (garnering a 245 $c); so was Cloaca Professional creator Wim Delvoye, but as that artwork’s creator, not of the puzzle itself.

This suggested to me that the Diverse Women jigsaw is a standalone work, while the Cloaca jigsaw is a derivative work of a different, pre-existing (art)work. I gave Rachael Sarra the 100 field (with the $e artist reationship designator) and was going to only give Wim Delvoye the 700 field (as part of a name/title authorised access point; that is, $a Delvoye, Wim, 1965- $t Cloaca professional), but after thinking about it for way too long I decided to give him the 100 field as well in his own right, to aid discovery of his works. For some reason I kept thinking I could only give him either the 100 or the 700, but not both? I don’t know why I thought that. Perhaps I was taught it at some point.

It’s important to remember that this kind of nuanced distinction is practically meaningless for modern-day search and retrieval, but cataloguers care quite deeply about this stuff because the MARC standard forces us to. I wish it weren’t necessary.

I also gave Mona a 710 added entry, as they were intellectually responsible for the puzzle’s production. I’ve never really understood why publishers don’t get 710 fields, or why the 260/264 $b isn’t routinely indexed. I feel like that would be a useful feature. Probably too useful, I suppose.

Descriptive cataloguing

A description of the box and its contents was added in a 300 contents field. Interestingly the Diverse Women puzzle has an ISBN (a use for which this persistent identifier was probably not designed), so it went in the 020 field as usual. I did wonder if there was a controlled vocabulary for the 020 $q but the Library of Congress MARC documentation said there wasn’t, so I just made something up. Nice to be able to do that in catalogue records occasionally.

Neither puzzle gave an age range, so I didn’t include a 521 Target Audience Note (though the difficulty of Cloaca in particular suggests these are aimed at adults). However, both puzzles included specific copyright statements, which I felt it important to reproduce in a grandly-named 542 Information Relating to Copyright Status Note.

Diverse Women came with a summary on the back of the box; the Cloaca jigsaw featured one on the Mona online shop, in their trademark irreverent style. Both were duly copied into the 520 summary field.

Subject cataloguing

I admit I was initially at a loss as to how to index these puzzles, especially the Cloaca puzzle. Just how does one represent ‘jigsaw puzzle of a photograph of a mechanical digestive system’ in LCSH? For better or worse I am paid to figure out these things, eventually settling on the delightful (and new to our catalogue) ‘Scatology in art’ for Cloaca, and ‘Jigsaw puzzle art’ for Diverse Women.

The Diverse Women puzzle was additionally indexed using an AIATSIS subject heading, in line with MPOW’s cataloguing policy for First Nations materials (it’s a great policy and your library should do this too). I tossed up whether to include a heading for the Goreng Goreng people, as the box notes that Rachel is a Goreng Goreng woman but the resource isn’t strictly about the Goreng Goreng. As a white woman I’m not the best person to be making that decision, but I also didn’t want to bother my Indigenous colleagues about every single little thing related to cataloguing Indigenous resources. I ultimately decided not to include the heading, choosing instead to fully transcribe the artist credits on the box in the 245 $c. if a future cataloguer disagrees, they can always add the heading in later.

The Library of Congress Genre/Form Terms vocabulary features the term ‘Jigsaw puzzles’, so that was included in a 655 field in each record. MPOW doesn’t routinely use the 380 Form of Work field and it’s not indexed in our system, but you could use this field instead if you prefer.

Sample records

These may or may not precisely match what’s on the ANBD, but should give you a pretty good idea of what goes where. (I reserve the right to edit these later and fix my inevitable errors, haha.)2

Puzzle 1: Diverse women / Rachael Sarra

=LDR  01351crm a2200277 i 4500
=001  8536424
=005  20200924170121.0
=008  200924s2020\\\\vrannn\\\\\\\\\\\\rneng\\
=020  \\$a9781741177480$qpuzzle box
=040  \\$aANL$beng$erda
=042  \\$aanuc
=043  \\$au-at---
=100  1\$aSarra, Rachael,$eartist.
=245  10$aDiverse women /$cartist: Rachael Sarra (Goreng Goreng).
=264  \1$a[Richmond, Victoria] :$bHardie Grant Travel,$c2020.
=264  \4$c©2020
=300  \\$a1 jigsaw puzzle (1000 pieces) :$bcardboard, colour ;$c69 x 49 cm, 
          in box 33 x 23 x 5 cm
=336  \\$athree-dimensional form$2rdacontent
=337  \\$aunmediated$2rdamedia
=338  \\$aobject$2rdacarrier
=500  \\$aTitle from box.
=520  \\$aThis artwork, titled Diverse Women, celebrates the energy flowing 
          through Aboriginal and Torres Strait Islander women of the past, 
          through to the present, and bubbling towards future generations 
          of tiddas (sisters). In Rachael's words, it 'celebrates the strength, 
          complexity and diversity of our women, while the harmonious contours 
          acknowledge the caring and nurturing nature of our women'.
=542  \\$fCopyright artwork © Rachael Sarra 2020 ; copyright concept and box design 
          © Hardie Grant Publishing 2020.
=650  \0$aJigsaw puzzle art$zAustralia.
=650  \0$aArt, Aboriginal Australian.
=650  \7$aArt - Mixed media.$2aiatsiss
=653  \\$aAustralian
=655  \7$aJigsaw puzzles.$2lcgft

Puzzle 2: Cloaca jigsaw puzzle

=LDR  01142crm a2200265 i 4500
=001  8536430
=005  20200925173602.0
=008  200924s2020\\\\tmannn\\\\\\\\\\\\rneng\\
=040  \\$aANL$beng$erda
=042  \\$aanuc
=043  \\$au-at-tm
=100  1\$aDelvoye, Wim, $d1965-$eartist.
=245  10$aCloaca jigsaw puzzle.
=264  \1$a[Berriedale, Tasmania] :$bMuseum of Old and New Art,$c2020.
=264  \4$c©2020
=300  \\$a1 jigsaw puzzle (1000 pieces) :$bcardboard, colour ;$c74 x 59 cm, 
          in box 35 x 22 x 5 cm
=336  \\$athree-dimensional form$2rdacontent
=337  \\$aunmediated$2rdamedia
=338  \\$aobject$2rdacarrier
=500  \\$aTitle from box.
=520  \\$aThe joy of puzzles is universal. So is the joy of poo. So we've brought them 
          together in joyful, crappy unison: Wim Delvoye's Cloaca Professional, aka 
          Mona's shit machine, rendered at long last in jigsaw form. 1000 pieces, 
          mostly black, takes weeks to complete-gird your posterior and settle in for 
          the long haul.
=542  \\$f© Wim Delvoye.
=650  \0$aScatology in art.
=653  \\$aAustralian
=655  \7$aJigsaw puzzles.$2lcgft
=700  1\$ibased on (work):$aDelvoye, Wim, 1965-$tCloaca professional.
=710  2\$aMuseum of Old and New Art (Tas.)

  1. Strictly speaking this is the Visual Materials 008, but it covers realia too. 
  2. You may notice, as I belatedly did, that Libraries Tasmania also have a copy of the Cloaca jigsaw puzzle. They did things slightly differently to me (and may have convinced me to give Wim Delvoye the 100 field) but life would be boring if we all catalogued the same way :) 

Out of time

nebula

For a few months in late March, nobody knew what day it was. For a few weeks in mid-Victoria, nobody knows what August it is. I worry that further lockdown has warped the spacetime of greater Melbourne, that they will emerge from this black hole slightly older than the rest of us. As Westerners, we’re not used to this. But time has always been a malleable thing.

Industrialised society rather fancied itself the master of time. Clocks enabled the division of time into ever-smaller portions, into which workers were expected to cram ever-greater amounts of work. Watches, and later mobile phones, ensured we could always know our exact temporal position. I hate them, honestly. A year ago from a friend I borrowed 24/7: Late Capitalism and the Ends of Sleep, a polemic on the possibilities of chronotopic anti-capitalism. Sadly I only ever got halfway through; the dense, archaic prose had put me to sleep.

We speak of the beforetimes as a distinct epoch: a time where time made sense to us. As we were forced to abandon our daily routines, so we also lost our larger-scale markers of time—commuting to work, a midday meal, after-school pickup. Five of those in a week and we’ve made it to the weekend. Without those markers, every day was a weekend. But every day was also a work day. Every day was all the time. And the news became ever more deranged.

Yet the autumn leaves kept falling. Temperatures kept dropping. Day-lengths kept shortening. Time moved on, regardless. But we didn’t feel it that way.

I have a complicated relationship with time. For one thing, it doesn’t move in a straight line like most people think it does. Time forms great circles across the cosmos, guiding the Earth and all its lifeforms in cycles lasting many thousands of years. We’re all familiar with timelines, but such diagrams are deceptively linear, overly short and fixated on dates.

One of the hallmarks of my depression is that I lose the ability to see into the future: the worse the illness, the shorter the timescale. Life beyond is unknowable, hidden behind an impenetrable fog, as if time will simply cease to exist. My future has felt as long as five decades and as short as five minutes. There is no such thing as forever.

Perhaps it’s because I experienced both times at the same time, but to me corona time felt very similar to depression time. There is no real future, just an eternal present. Everything is too much. Seconds last for hours. Days last for weeks. We are dislocated from our regular chronologies. We feel temporally seasick. We struggle, though we don’t realise it, to weave ourselves back into the fabric of time. We yearn for something that might reconnect us with a greater existence. The key difference, of course, being that everyone else is experiencing corona time too, and they’re not used to time behaving this way.

A lot of people have written a lot about pandemic time, but they are mostly people for whom time was always already linear. A crucial exception: Diné poet Jake Skeets, whose expansive piece ‘The Other House’ speaks to Indigenous temporalities and cosmologies in our times of apocalypse.

Two years ago, when the world shrank to the size of my bedroom and I was utterly convinced that there would be no next year, I found deep comfort in the idea of deep time. I saw, to paraphrase Anna Spargo-Ryan, the fabric of time split in front of my eyes while I waited for help that never came. (It never came because I never asked; our society expects those least capable of self-reliance and self-advocacy to do these exact things in their darkest moments.) I found myself at the bottom of a large temporal hole, terrified into oblivion by the horrors of climate catastrophe. I lost all perspective of what had already happened, and what still awaited us. Time existed in zero dimensions.

Recovering from depression is an exercise in lengthening time, in re-placing oneself within and across the cosmos. I found solace in deep histories spanning tens of thousands of years. Knowing someone’s ancestors had walked this land for that long; knowing my own ancestors had walked faraway lands for almost as long. I felt part of something much greater than my own tiny golden speck of existence. It was a comfort to know the stars had been here long before me, and would be here long after me, too.

It may seem disjointed from the current Melburnian folk horror, the fear of being trapped in time, of being forgotten by the wider world, of existing in too tightly wound a time loop, of ‘living a life that resembles death’. It might feel like the darkest timeline, but there is hope to be found in our tangle of loose temporal threads. Perhaps, as Skeets writes, ‘maybe an answer lies within the reimagining of hope through the reimagining of time’.

Divided we stand

pile of notebooks on a desk, the topmost reading 'don't just stand there'

They say that ‘staying apart keeps us together’, but everyone I know is slowly disintegrating. I was slightly ahead of that curve, but the futures of many appear just as bleak. Most of my social circle lives in Melbourne, back in lockdown and under increasing strain. People are stressed, exhausted, weary, afraid for their health and their livelihoods. To think I almost moved there earlier this year. To think I’m now grateful I was forced to stay put.

It’s been a hard slog, though. After I got out of the psych ward in early April I spent 3 1/2 months at my mum’s place, learning how to be well again. We watched almost every episode of Great American Railroad Journeys. Mum watched a lot of Essendon football matches (especially the old ones where they won). I watched a lot of flowers bloom. Moving back into my own place a couple of weeks ago was almost an anti-anticlimax. It wasn’t the cute little flat in St Kilda I’d had my eye on, but it was still here, and for the moment, so was I.

Each person’s anxieties manifest in different ways. Until recently mine included a lot of shouting on Twitter. I need to stop doing this because it only makes the noise worse. I also have a lot less energy these days to scream into the void. I’d prefer to spend my time on more constructive pursuits.

Regular readers of this blog will recall my long-term criticism of the Australian Library and Information Association, including my unflattering appraisal of their response to the pandemic back in April. I considered not renewing my personal membership this year, and not just because for a while I couldn’t afford to pay it (though I did at one stage donate some of my renewal money to the GRLC casuals’ fund). Discontent with ALIA in Australia’s library community has simmered for some time. Library workers whose views I respect, such as Bonnie and Danielle, have chosen to leave. Others openly question the association’s choices in event management. Planning a large in-person conference for next February seems particularly foolhardy.

Despite all this I ultimately chose to renew my ALIA membership, albeit three months late. I did so for one primary reason. It wasn’t because I’m an ACORD office-bearer (and therefore obliged to hold personal membership for as long as I’m on that committee). It wasn’t because I felt my seat at the broader ALIA table was really getting me anywhere. It was because I was genuinely excited by this year’s elections to the Association’s Board of Directors. After years of waiting and wishing (and whining), I felt like we finally had some solid progressive leadership. I wanted to put my money where my mouth is and support those new Directors to start making necessary strategic change. This won’t happen overnight. It might not be anytime soon considering how much else everyone has on their plates right now. But there are some good foundations in place, and for the first time in my five years of membership I was optimistic about ALIA’s potential. I wanted to support that.

I was concerned, however, that my renewal would be interpreted as an endorsement of the status quo. I want to be very clear that it is not. My membership is an act of faith, not an act of trust.

It has also finally dawned on me that ALIA will never truly be the kind of organisation I think it should be. CEO Sue McKerracher made clear back in January (in InCite’s critlib-themed issue, no less, submissions for which were curiously never advertised) what she sees as ALIA’s core function: ‘taking the facts about libraries and shaping them to fit the interests of government’ (p. 7). Lobbying, in other words. Advocacy. Public relations. Media management. I know ALIA does quite a few other things, but lobbying appears to be its primary focus. It’s why the Association moved to Canberra in the first place. Certainly there are good reasons for librarianship to establish—and fund—such a body. I just resent funding it personally, is all. I don’t feel particularly advocated for.

ALIA put out a pamphlet-type thing recently listing some of the ways it had responded to the pandemic. Curiously, none of those ways included advocating for casualised library workers who lost all their shifts, or academic library workers facing forced pay cuts and mass redundancies, or LIS students graduating into a non-existent job market. They did encourage libraries to hire authors to do talks, which I would find more admirable had they also encouraged those libraries to not lay off their staff.

There’s a bit of a gap here. ALIA advocates for libraries as institutions, while our trade unions advocate for library workers within their workplaces. There’s no organisation that advocates for library workers as a whole, as professionals1, as workers with valuable skills, as people who deserve stable employment, as individuals who have so much to offer. So many of us are screaming ourselves hoarse, but it feels no organisation is listening. Globally, many library workers have had enough of their professional associations, and are investing in real change. Lindsey Cronk’s exhortations to #FixALA and Callan Bignoli’s #LibRev[olution] conference and subsequent organising point to a groundswell of support for radical change in the library sector. What kind of united future could we create for ourselves? How might we go about building a different kind of power?


Picture this: a national library workers’ association. A separate entity to ALIA, uniting library workers across all sectors, at all stages of their careers. One big library union, perhaps. I’m intrigued by the Danish model: in 1968 the librarians of Denmark collectively revolted against their library association and formed the Danish Union of Librarians, ‘to secure wage and working conditions and to cultivate their profession’. The union has both an industrial and a professional role, supporting librarians at work and in their careers. Meanwhile, the Danish Library Association takes the lead on lobbying and public outreach efforts. Interestingly, their org structure includes politicians as well as professionals, and one seat is reserved for a library student. It was the inclusion of the former that so riled the latter.

Australia’s industrial relations are very different, with library workers divided into unions based on their sector: schools, healthcare settings, levels of government, higher education and so on. There can be real advantages in organising with fellow workers in one’s sector, irrespective of role. However, anecdotal evidence suggests that some library workers can struggle to find appropriate union representation, including special librarians, employees of vendors, and those working outside a formal library environment.

Such a national library workers’ association could resemble the Danish model, and become a formal trade union, ensuring that all library workers could have someone in their corner. Or it could be a different kind of organisation, taking after the Casualised, Unemployed, and Precarious University Workers (CUPUW, formerly the National Higher Education Casuals Network), a cross-sectoral alliance of non-permanent university workers fighting for recognition of their worth as people and workers in the face of structural collapse. We could all start imagining what this new association might look like. Would people join under their own steam? Would we want ‘delegates’ from different library sectors or states, or specific representatives for students, casuals and the unemployed? How could we best set ourselves up for success and longevity?

Another benefit of such an association: it would enable library workers to speak publicly and collectively on issues that matter to us, rather than waiting for ALIA to do it on our behalf. I feel like a lot of us have spent a lot of time over the years trying to get ALIA to say particular things. Like many others, I was surprised and impressed by ALIA’s recent statement on Black Lives Matter. It was strongly worded, it came from ALIA directly (not its Board), and it was seemingly issued without members having to ask. I hope to see more of this kind of advocacy from ALIA. If only they’d spoken up for marriage equality like this before we begged them to.2

Brendan Bachmann wrote a searing piece on many libraries’ shameful treatment of their casual staff during the pandemic. I will note that MPOW, to its credit, has continued offering shifts to its few casual workers, and has moved heaven and earth to enable the vast majority of us to work from home. But many library workers have been treated far more poorly, and it is precisely the kind of behaviour Brendan discusses that a library workers’ association would stand against. Workers need to feel seen, to feel heard, and to feel like someone’s prepared to stick up for them. I’m realistic about the chances of policy reversal, but even just having that solidarity would make a world of difference.

Brendan is completely right. We are better than this. But we deserve better than this, too.


… It does seem to be a pattern though, doesn’t it? New librarian joins ALIA, chills for a bit, realises how cooked it is, agitates for change, gets nowhere, is crushed, leaves ALIA. Over and over.

So why have I spent so much time and energy over the years being cross at my professional association? Despite outward appearances I’m not naturally a ‘burn it all down’ kind of person. I don’t enjoy being angry all the time (in fact, I’m much worse at being angry now than in the Before Times, and it gladdens me). I’d much rather try to make things better. And generally speaking I prefer to be a member of things rather than not. It takes a lot for me to consider quitting something. I do think that ‘Together we are stronger’, to echo ALIA’s motto, but it’s time for a deeper introspection on who ‘we’ are.

I wrote in late March, a lifetime ago:

I don’t know why I keep looking to ALIA to demonstrate leadership in the Australian library sector. I don’t know why I hope they will stand up for library workers. I don’t know why I think they will change.

It’s deeply frustrating because we, as workers, want so desperately for our professional organisation to advocate for us. But ALIA doesn’t do that, and it’s not going to do that for as long as Institutional Membership is available. The conflict of interest here is insurmountable. So we need a separate association focussing on library workers. I had thought for a while that newCardigan would be ideally placed for such a role, but I would understand if they wanted to remain a radical social group rather than something more formalised. I don’t think the organisation we want really exists yet. I think it should.

I have a long personal history of sinking my time and energy into people and things that didn’t or couldn’t reciprocate. The time for that is over. If the Australian library sector is to have any hope of getting through these tough times, we as library workers need to build our own platform, and find our collective voice. Staying apart won’t always keep us together—it’s time for a national Australian library workers’ association. Let’s make it happen.


  1. Irrespective of how (or even if) such workers have degrees or other professional accreditation. 
  2. Man, this was three whole years ago and I’m still bitter about it. 

Papercuts: greeting the old and the new

black-and-white spooky forest
This edition of Papercuts, the occasional series where I talk about cool stuff I read recently, is haunted by the ever-growing number of unread items in my Pocket account (now 1,943 and rising) and the grim knowledge that the ability to read at all is a transient gift. I was tempted to declare Pocket bankruptcy (akin to email bankruptcy) and start again, but I knew I would regret deleting things I had long forgotten.

Most of these reads are not corona-related. I figure everyone is well aware of the coronapocalypse by now, so why not read something else?


I forget what led me to a radical New Orleans-based webzine (unusually, I don’t think it was Twitter) but I greatly enjoyed Jules Bentley’s piece on ‘Reviving Indigenous Histories with “Bulbancha is Still a Place”‘ (Antigravity Magazine, September 2018), about a collaborative zine on the Native American history of New Orleans. I paired it with another of Bentley’s excellent articles in the same mag, ‘Blanc Like Me: Cajuns vs. Whiteness’ (July 2019) about the history of the Cajuns of Louisiana, an ethnic group I admit I knew little about, and their complicated relationship with whiteness. People of similar ethnic heritage in Canada, from whence the Cajuns originated, would be considered Métis—that is, not white1—but in the United States consider themselves, and are considered in turn, sometimes white and sometimes not. My personal status as an extremely white lady will likely never be questioned, so I admit to being mildly fascinated (and somewhat repulsed) by the way whiteness grows and shrinks according to socio-political whims.

On Saturday I attended a webinar on ‘New Nature’, co-presented by the State Library of New South Wales and the Sydney Review of Books. A silver lining to everyone staying home for two months is the proliferation of online events that would previously have been held in-person, enabling the geographically dispersed and the ordinarily housebound to participate far more fully in cultural life. I’ve become a voracious reader of so-called new nature writing over the past couple of years and greatly enjoyed the webinar. One of the panellists was Koori poet and academic Evelyn Araluen, who I could listen to all day. She spoke to her SRB piece ‘Snugglepot and Cuddlepie in the Ghost Gum’ (Sydney Review of Books, February 2019), a beautiful and intricate essay on pastoralism, Aboriginality and the landscape as expressed in Australian children’s literature, which had lain dormant in my Pocket account for far too long. I immediately wished I’d read it sooner. It’s the sort of piece that demands recurrent readings.

Between the webinar and reading Araluen’s piece, though, I stumbled upon Paul Kingsnorth declaring that ‘The Earth Does Not Speak in Prose’ (paulkingsnorth.net, November 2019), a transcript of a conversation with Charlotte Du Cann, also published in issue 16 of the Dark Mountain Project. Kingsnorth is a complex, esoteric and somewhat divisive figure in new nature writing, a self-described ‘recovering environmentalist’ who co-founded Dark Mountain in 2009 before growing disillusioned with it all. He fled to Ireland with his family to put down roots and ground himself, but it doesn’t appear to have pacified him. His latest book Savage Gods has him desperately wondering whether words are the enemy of belonging (LA Review of Books, September 2019), whether language is the ultimate abstractor standing between us and the living earth, and whether he should give up writing completely.

Ever since reading ‘A Storm Blown From Paradise’ in the first issue of Emergence Magazine (February 2018) I’ve followed Kingsnorth’s work from a distance, not always agreeing with everything he says yet finding it deeply fascinating. His detractors accuse him of being an ethnonationalist, an impression not helped by the fact he voted Leave. I am inclined to read this particular interview more charitably, seeing a man cast adrift by his ancestors, reviling the culture that spawned him yet feeling he has no other to return to, a man desperate to anchor himself somewhere in deep time. I was intrigued by his thinking here; some parts, like the below passage, cut very close to the bone:

Paul: We’re people with no tradition, because that’s what modernity has done. It’s made us all into little individuals. So the story we tell, we have to come up with ourselves. And then we’re endlessly in pain, because we’re always driven to try and work everything out. Because we’re not supported by ancestry, we’re not supported by a culture. The bargain of modernity is we have no tradition to hold us back, but we also have no tradition to support us. So all the storytellers have to come up with their own vision which is why writers end up shooting themselves, or drinking themselves to death…
Charlotte: Or rediscovering old myths, old texts…
Paul: Yes. And what Dark Mountain ended up doing quite a lot of: talking about myths, folk tales and religious stories. Almost unconsciously, Dark Mountain ended up as a place where you could start looking for old stories. One of the things we got wrong in the manifesto was this notion that we need a new story, when we needed to rediscover the old ones. Martin Shaw was one of the people who really made me focus on that, because he said, ‘Look, the stories are already here, it’s just that we don’t know them anymore.’

Evelyn Araluen touched on this in the New Nature webinar, the fact that Aboriginal ways of knowing and being are not new, though they may very well feel new to those learning about them for the first time, and that it wasn’t a matter of finding new ways to live in the Anthropocene, but more a matter of centring the voices and experiences of Aboriginal people, whose ways were already working perfectly fine. I look forward to revisiting the webinar recording when it’s released, as well as delving into the new Guardian Australia series Old Knowledge for the New Normal (May 2020), which deals with similar themes.


Sadly, happily, fortunately, unfortuately, there’s been a lot of well-wishing going on lately. So it was with some interest that I came across the Get Well Soon! project, by Sam Lavigne and Tega Brain (March 2020). It collates thousands of well-wishes left on GoFundMe pages for medical fundraisers, a sad indictment of the American health system (or what’s left of it) as well as the radical energy of supporters and community. Lavigne and Brain are completely right that such an archive should not exist, but in the interests of transparency and political analysis, I’m glad it does.

The accompanying essay by Johanna Hedva is outstanding, comparing the now of illness with the now of revolution, the need for care with the need for change. It does so in a coronavirus context, because that was the only context going in late March, but I read it at the time through my own prism of severe anxiety, bedridden and unable to function, and it gave me hope in a way little else managed during that time:

Those of us for whom sickness is an everyday reality have long known about its revolutionary potential. We’ve known that a revolution can look like a horizontal body in a bed, unable to go to work. We’ve known that it might look like hundreds of thousands of bodies in bed, organizing a rent strike, separating life’s value from capitalist productivity. We’ve known that a revolution can look like the labor of a single nurse, keeping the patients in her ward alive, or the labor of a single friend, helping you buy groceries. We’ve known that it can look like the labor of nursing and care expanded exponentially, all of us reaching out to everyone we know, everyone we know reaching out to theirs. We’ve known that a revolution can look like a community pitching in $5 per person for someone’s medical treatment—we’ve wondered when that community would notice just how revolutionary the act of communal care is.

We’re told everything is impossible. Until, suddenly, it isn’t. One of the recent cardiMail newsletters highlighted this incomplete, evolving collection of The New Possible, a list of recent public policy decisions around coronavirus that would have seemed unthinkable just a few months ago. My personal favourite is the French government’s decree barring flag carrier Air France from carrying passengers between cities less than 2 1/2 hours’ flying distance where a rail line exists instead. Hooray for a rail-focused national transportation policy! For a chaser, I recommend the incendiary ‘America Is a Sham’ by Dan Kois (Slate, 14 March 2020), or for something more sedate, this interesting exploration of ‘Why Airports Die’ (Citylab, May 2020).

There’s something dangerously enticing about the idea of a ‘designer asylum’: even more so, the idea that ‘The lunatics are taking over the means of production’ (Asylum Magazine, 27(1), March 2020). I think about the hospital I recently spent time in, the kinds of questions they didn’t ask on the feedback survey, and how much nicer that environment might have been were it in a forest, and full of beanbags. I think about what scares me the most about going back. I think about why I’m scared of a place that’s meant to help me get better. It’s tempting to think about what my ideal psychiatric care environment might look like, but I know deep down it will never formally exist. Whoever heard of ‘a positive place to experience mental distress’?


I desperately want someone to visit the new Heide healing garden (Foreground, May 2020) for me when it opens later this year. I don’t dare hope that I might be able to visit in person. I can’t see myself getting to Melbourne anytime soon. Again I reflect on how my future has disintegrated.

For the moment, I will content myself with the National Museum of Australia’s online ethnobotanical exhibition Knowing Plants, which came to me via Ellen Coates’ daily delightful #CovidGLAMR explorations. The exhibition highlights three sites of First Contact on the east coast of the continent, and features plants both collected and ignored by Captain Cook’s men, with local Indigenous names and knowledge featured alongside the explorers’ botanical drawings. The backdrop of the splash page reminded me of the beautiful Parnatti exhibit at Adelaide’s MOD museum, guiding the visitor through Kaurna Yerta’s windy season.

A friend read ‘Splendid isolation: how I stopped time by sitting in a forest for 24 hours’ (The Guardian, January 2020) and dropped it in my inbox, having kindly thought of me. This piece is everything I tried desperately to explain about my time in Tasmania last January; spending an entire day at Cataract Gorge doing nothing but reading Rebecca Solnit in a stone beanbag; my inexplicable outrage at TMAG over the settlers’ blithe destruction of a sacred, sustainable lifeworld, and in particular at their mechanisation of time; the brief moment at Cradle Mountain where I stood in that lakeside forest, and felt the divine. I returned from lutruwita a very different person. This piece resonated deeply with me, a sorely needed reminder that those times and places still exist; that I still exist; that today will not persist forever; that I might one day return. The yearning for such Peace is what’s keeping me going.

A different yearning to Paul Kingsnorth’s, I think, but perhaps a related one.


  1. The Métis are one of Canada’s three constitutionally recognised indigenous groups, alongside the Inuit and First Nations Indians; Canada is the only country to recognise mixed-race people in its constitution in this way. 

The martyr complex

I agree with Brooke Reid about many things, but this in particular is a standout:

Brooke lost her casual academic library job thanks to coronavirus. (You should hire her, she’s great.) After a month off sick I’ve been working remotely now for two weeks, but I don’t yet feel as if I’ve fully ‘returned’ to librarianship. Or the world at large. Besides, what is there for many of us to return to?

Recently the Guardian Australia saw fit to run this deeply mediocre article on Australian libraries in lockdown and their impact on digitally disadvantaged people. (Fun fact: I went to high school with the author, though she likely wouldn’t remember me, and I’m disappointed to see this kind of thing from her.)

The library user interviewed, who relies on her local public library for internet access, reckons that ‘Really, there’s not as much traffic as you might think. Maybe just open the library without storytime’. I imagine you’re as disinclined as I am to take her advice on the subject. Meanwhile the only comment from a library worker (from SLNSW) is buried near the end of the piece, as if his (entirely correct) view that ‘public libraries are very busy public places […] under the current circumstances compliance with health orders is necessary’ was outweighed by the sheer inconvenience caused by such compliance.

The digital divide, like so much else in society, is largely a matter of public policy. Home internet access is not considered a basic utility, like running water and electricity, but rather a luxury for the better-off, and is priced accordingly. Try as it might, the library cannot possibly solve these kinds of policy problems. We offer internet access as a public service and as part of our commitment to freedom of information, but society shouldn’t force disadvantaged people to rely exclusively on our services. Contemporary libraries are public policy spakfilla—we are routinely expected to fill gaps left by policymakers at higher levels. Spakfilla is good for filling holes in plasterboard, but it won’t fix rotting foundations.

In 2006, my teenage life was rather more similar to that of the library user interviewed by the Guardian. My family couldn’t afford to get a landline phone connected, never mind the internet, and I refused to get a mobile because deep down I was a bit of a Luddite, and I didn’t particularly want to be contactable. Outside of school, my internet access was a weekly hour at the local public library. But had a pandemic struck that year, in those circumstances, I would have felt the library’s loss far more keenly. I would probably have watched far more television and been kept home from school, but also probably have fallen far behind in class, and been even more deeply isolated than I am now. Mum’s line of work is difficult to do remotely. I don’t know how we would be coping at the moment without the excellent home broadband we now enjoy.

In some ways, I chose to self-isolate as a teenager. But being too poor to afford the internet was not our fault, nor is it the fault of any other library user. Disadvantaged people deserve far more than just access to a public library—and when that access is rendered impossible, they should not be left to make do with nothing. Physical isolation is hard enough. Social and information isolation is even harder.


Faced with the prospect of extended building closures, many libraries have duly pivoted to making their physical collections available in other ways, with a combination of click and collect, home delivery and postal delivery services. The American Library Journal featured a brilliant op-ed the other day on why click and collect in particular, or ‘curbside pickup’, is a bad idea. It says everything I would have said on the topic, but I think this part is worth detailed consideration:

When folks are getting curbside meals, they aren’t eating the food, then returning the container to the restaurant to be used by another person. Moreover, food workers are trained in and regulated on avoiding contamination, and their workplaces are set up to prevent it. None of those things are true of libraries. Finally, restaurants are not doing delivery and pickup because there is no risk, but because the risk is outweighed by the daily need to eat. That simply isn’t true of access to physical library books. Books and other media are incredibly important, but they are not a priority right now—keeping people alive, safe, and at home is.

I would only add that restaurants and other food outlets are also relying on takeaway and deliveries to remain solvent—libraries are by and large not cost-recovery enterprises, so we don’t have this problem.

A few short weeks ago, when I was seriously ill on my own, I had a lot of deeply conflicting ethical opinions on whether I should get pizza delivered. What right did I have to demand someone else leave the house so that I didn’t have to? Would I be forcing the delivery person to take unacceptable health risks, or would my custom instead be helping keep them employed? It’s a moot point now—I ultimately did get pizza delivered, though it didn’t agree with my insides, and I promptly threw it all up—but it reveals the class issues at the heart of it all. Many people able to work from home are white collar professionals. Many people unable to work from home are blue collar or gig economy workers. They are expected to risk themselves so that others might stay safe, but they’re not necessarily getting paid (or being suitably protected) for that risk.

In setting up book retrieval and delivery services, libraries are expecting people (be they library workers, library users, or both) to risk their health for a bibliographic reward. Someone has to leave their house to retrieve books. Someone else has to collect them, or another someone has to deliver them. None of those people are likely to have, or be provided with, adequate personal protective equipment (PPE). To me, these all look like non-essential reasons to be leaving the house. Nobody ever died from not having a book to read, but the coronavirus can live on paper and other porous surfaces for up to 24 hours and on plastic for up to 72 hours; that’s enough for me to say ‘no’ to library books for the time being.

I get the feeling that large parts of our sector are desperate to prove their continuing value and relevance (and keep staff employed), and are bending over backwards to figure out ways to carry on as normal. I also suspect that many people are struggling with the idea that right now our physical collections and services have the potential to do more harm than good. That’s undoubtedly hard to process for people who’ve spent careers believing that librarianship is inherently good and noble work. Vocational awe is a hell of a drug.

The Library Journal article outlines ways libraries were already reaching people outside the building: ‘virtual and phone reference, ebooks and audiobooks, streaming movies, newspapers, databases, online programs, and more’. The immediately obvious problem? Most of these rely on people having personal internet access, which as I’ve outlined above is not an option for many. More needs to be done to figure out how to reach people while staying safe at home. The public health situation is undoubtedly far graver in the United States, where people are increasingly having to take matters into their own hands. But I have a hard time believing library books anywhere at the moment are worth that level of risk. Besides, there’s plenty that suitably online library workers could be doing from home. I hear catalogue maintenance is suddenly back in fashion.


You know what, though? Honestly, when all this is over, I don’t want to go back to normal. Normal was boring. Normal was unjust. Normal was killing me softly. Now is our big chance—our free space—to design a new normal, both within and beyond librarianship. Now is the perfect opportunity to deeply consider why we do things (not just the what and the how). Now is the time to imagine what kind of world we want to live in. The first step towards great change is believing that such change is possible. Besides, ‘things cannot and will not go back to the way they were. Of this even our enemies are certain.’

For starters, there is an obvious need for more, and more critical, library sector commentators in Australia. LIS academics would be well-placed for this kind of work, but appear largely uninterested in actively critiquing—and thereby improving—the library sector. Virtually all public librarians are government employees and do not enjoy the necessary academic or intellectual freedom. I am one of those people. That’s the price I pay for a secure job in my field. Already this post sails close to the wind of Things My Employment Precludes Me From Having Public Opinions On. But who else will point out that the emperor has no clothes?

ALIA were notably absent from the Guardian article—I suspect they simply weren’t asked for comment—but it has been evident for a long time that ALIA stands with library institutions, not library workers. The most recent ALIA Board message of Friday 24 April only confirms it: sympathy is shown for library managers having to stand down staff, but not for the staff themselves, despite ALIA’s considerable investment in a relief fund. Readers are also told that ‘we [all] have a responsibility to the library brand’, as if marketing and PR should be anyone’s priority right now. A previous message expressed concern that very few libraries and their staff would be eligible for JobKeeper, potentially putting large numbers of library workers out of work. Yet ALIA was seemingly not prepared to stand up for library workers and lobby for changes to the eligibility criteria, instead merely endorsing such efforts from unions and the Australian Local Government Association. I’m not entirely sure what these regular Board messages are meant to achieve. I don’t find them terribly reassuring.

In the face of all this, we have limited avenues to organise our labour as a sector, and fight for better. Library workers in Australia are unionised according to their employer type: government, schools, hospitals, higher education, and so on. The idea of ‘one big library union’ is not new; in fact, ALIA’s initial predecessor, the Australian Institute of Librarians (AIL), explored the possibility during its early years but could not overcome jurisdictional issues, noting that ‘A further obstacle was the opening of LAA [Library Association of Australia, AIL’s successor body] membership to employers as well as employees’. Overseas, Canadian rabble-rouser Sam Popowich has made some salient points, while the American Library Association’s companion body, the ALA-APA, exists in part to advance library workers’ salary interests. The closest thing I can think of to a pan-GLAM workers’ association in this country is newCardigan, but their reach is limited, and they lack the formal powers of a trade union.

In the past I have criticised libraries and library managers for being overly risk-averse. Now I find myself criticising them for not being risk-averse enough. It’s a strange state of affairs. I won’t pretend there are easy answers to any of these issues. But I’m also not interested in developing a martyr complex or smothering myself in vocational awe. Librarianship is important, and I appreciate many people are missing their library terribly, but right now providing access to physical collections runs the risk of spreading the virus, and library users being solely reliant on our internet access is a failure of public policy. Ours is not—and should not be—a life-or-death profession. We’re not frontline health workers. We’re not supermarket workers. We’re library workers. It’s great to be a library worker, but it ain’t everything, and it’s not worth risking public health for.