I’ve been thinking about this month’s GLAM Blog Club theme (‘invalid’) all month, though as usual I’m writing this post with hours to spare. ‘Invalid’ is one of those neat words with two pronunciations and two different, but related, meanings. ˈɪnvəlɪd. ɪnˈvalɪd. Which to write about? This year I’ve been both, but together they characterise something else: a lack of agency.
Events of this cursed year have robbed us of our agency: collectively isolated, forbidden by law to leave home unless for a specified purpose, unable to live our lives in ways we might ourselves choose. These events didn’t necessarily invalidate us, but they did invalid a lot of us, directly and indirectly. I’ve spent almost all year being an invalid to varying degrees. I’ve needed a lot of looking after. I’ve thought a lot about the rights and abilities of the chronically ill and disabled to make decisions about our own lives. I consider myself lucky to have retained those rights when they counted, but there’s a lot I couldn’t do, and it frustrated me deeply.
My illness conspired to strip me of my agency. So did my work, in a way.
It’s taken me a long time to realise this about cataloguing. I suspect it didn’t quite catalyse until I moved roles last week, where I now work with metadata very differently. I had no control over the material I processed—being in the legal deposit business meant I catalogued whatever turned up in the post—and no control over any of the structures, systems or standards that governed my work. We’ve all heard cataloguing described as ‘glorified data entry’, yet cataloguers have virtually no say in the design of the form, or how their painstakingly-entered data is used.
The thing is, though, it wasn’t always like this. Cataloguers designed traditional catalogue cards and wrote maddeningly specific rules on how to squeeze as much information as possible on a three-by-five-inch index card. Cataloguers devised added entries and filing rules. From this angle, it feels like the cataloguers of yesteryear had far greater agency over their work. Cataloguing rules were still necessary (and strictly enforced), but there was far greater scope and possibility for local practices, as locally-produced cards weren’t often distributed beyond their immediate library. More to the point, this structural work was conducted by cataloguers themselves, and it feels as if there were more opportunities to shape cataloguing policies at various levels.
Modern library systems are very different. It feels like there is no overlap whatsoever between system designers, system developers, and system data managers. Our data formats, our descriptive standards, our implementation policies, our controlled vocabularies, our classification systems: none of these are up to us. The advent of library automation in the latter half of the 20th century brought computer science into libraries, and with it computer scientists and IT professionals. People, usually men, with very different ideas about data and a dislinclination to listen to those who’ve been there before. Our sphere of influence shrank as our data and systems were ruthlessly standardised—by other people, who were suddenly more ‘technical’ than we were.
You’d be forgiven for guffawing slightly at this point, muttering something about cataloguers being on a power trip. Certainly the stereotype of cataloguers as rules-obsessed authority control freaks has some merit behind it. But I’ve come to understand that many cataloguers are like this because it’s just about the only aspect of their work that they can control. For many people, blindly enforcing cataloguing rules with scant regard for local sensitivities is the only agency they have left.
Contemporary cataloguing practice is characterised by a lack of influence over what data to record, how that data is processed and displayed, and the extent to which that data is shared. It doesn’t invalidate our data, but it does call into question how cataloguers can best fulfil their professional responsibilities. I want to be clear that this is a systemic problem, by no means unique to me and my career history. But I do wonder if other metadata librarians feel this as keenly as I have. Do others chafe against a monolithic metadata enterprise over which they have zero control? Does the supposed interoperability of our data instead consign it to irrelevance? Does our drive for efficiency compromise our values? Would our libraries be better if library workers had greater control over their data systems?
I’m lucky to be in a better place now. My new job grants me considerable agency, my health continues to gradually improve, and my bad days now are still better than my good days three months ago. But I’ve been an ˈɪnvəlɪd, an ill person, working with ɪnˈvalɪd data, which didn’t fit the system. For much of this year I had almost no agency in either my personal or professional life. It’s hard to live like that. I hope not to make a habit of it, but there’s a lot beyond my control.
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.
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.
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.
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.
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.
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
Strictly speaking this is the Visual Materials 008, but it covers realia too. ↩
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 :) ↩
This article first appeared in inCite, the magazine of the Australian Library and Information Association, January/February 2020, volume 41, issue 1/2, page 24.
Are you a critical librarian? You might already be, but maybe didn’t know your actions and philosophies fit within the name. Perhaps you’re the type to advocate for changes to subject headings, or your workplace is actively making library spaces more welcoming for disadvantaged people. Perhaps these are really the same thing.
For some, critical librarianship, or ‘critlib’, means bringing social justice principles to library work, such as a commitment to equality, diversity and solidarity with marginalised people. For others, it means aligning their library practice with critical theory, a ‘framework that is epistemological, self-reflective, and activist in nature’. These are related but distinct approaches to how libraries interact with their communities. It’s one thing to advocate for social justice in the library, but it’s quite another to use the tools of critical theory to explore why and where there is social injustice in the library in the first place.
Critical librarianship involves deep, considered analysis about the structure and theory of library work. It doesn’t mean criticising in a rude or disparaging way. Nor does it mean believing that libraries are necessarily bad. Critical librarianship aims to make the profession better by recognising harmful and oppressive structures, dismantling those structures and building better ones in their stead. We critique because we care.
All areas of library work can incorporate critical perspectives, including reference, information literacy, outreach, IT systems, collection development and cataloguing. Each area strives to recognise who is harmed by prevailing library practices, what message they send, and how they might be reformed.
For example, advocating for changes to subject headings, such as the notorious Library of Congress Subject Heading (LCSH) ‘Illegal aliens’, involves recognising how terms like these reflect social and political mores of the United States Congress, the institution served by the Library of Congress and its subject headings. Australian libraries use these headings mostly out of convenience, but many terms are clearly inappropriate, such as ‘Dreamtime (Australian Aboriginal mythology)’. The equivalent term in the Australian Institute of Aboriginal and Torres Strait Islander Studies (AIATSIS) subject headings is ‘Religion – Dreaming’, which repositions the Dreaming as contemporary spiritual practice and not ancient mythology.
Neither term is neutral, because nothing about librarianship is neutral, but choosing to replace an LCSH term with an AIATSIS one demonstrates a recognition of the rights of Indigenous people to describe their culture their way, and the obligations of libraries to uphold those rights. It sends a message that these are the terms the library prefers, and in so doing makes the library catalogue a more welcoming and inclusive place. 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. It’s also the least we can do.
Bringing social justice to the library is deeply admirable. But critical librarianship should also involve bringing the library to social justice, listening to our communities, and incorporating critical theory into library practice. Perhaps you’re already doing these things. Turns out these practices have a name.
This month’s GLAM Blog Club theme is the delightfully adaptable ‘question’. Next month’s #auslibchat theme is the equally interesting ‘Library Roles’. These have both wound up being quite timely, for reasons I probably shouldn’t discuss on the open internet, but I do have some questions about my role as a librarian with a technical bent.
I’m trying to get out of my perfectionist shell, so these are more free-flowing thoughts than I would normally commit to pixels. I should also mention I had a coconut margarita for dinner this evening, and I’m in a bit of a mood.
Back in the olden days, back-of-house library functions like cataloguing, acquisitions, et cetera were broadly known as ‘technical services’. When I started in libraries just over four years ago this term baffled me. I supposedly worked in this kind of area, but it felt like a hangover phrase from The Time Before Computers. Nothing ‘technical’ about serials check-in, I thought. Technical people worked in the systems department. Or in web publishing. Or in IT, which sat outside the library itself.
Four roles and three workplaces later, I still don’t work in any of those areas, but I also still don’t know how I feel about the phrase ‘technical services’. For context, I currently work as a web archivist, which is easily one of the best and coolest jobs I will ever have. I have the rare pleasure of a role that combines curatorial, technical and metadata aspects, in a team full of good people who know their stuff. I love (almost) every second. I haven’t been this happy at work since I spent 5 1/2 years running an ice-cream shop on weekends. I’ve been meaning to blog for ages about how awesome my current job is. I should get on that.
Notably, I am the only woman in a team of five people, and it’s taken some getting used to. Anecdotally, cataloguing and other ‘technical services’ are female-dominated, with a greater proportion of people from non-Anglo backgrounds (mostly due to the need for vernacular language skills). Yet library IT, like IT everywhere, is male-dominated. It’s not good enough for organisations like ALIA to blithely state that the LIS sector needs to hire more men. We need to look at the distribution of genders within the sector. IT pays good money. Cataloguing doesn’t. Librarianship has historically been a feminised profession, an ‘acceptable’ career path for women. It’s hard not to wonder whether tech services would be taken more seriously if more men were doing it.
But I also wonder whether I got into librarianship because it seemed like a safe and acceptable way for me, a white woman, to be technical. Being a systems thinker, I’ve always looked at how things work together, taking a broad view of the forest and its ecosystem while also occasionally delighting in a particular tree. Libraries are just one big system, right? But that system has to be meaningful to people, too, and it’s what I find most interesting about being a cataloguer.
As a technically-minded librarian I often feel like I inhabit a kind of liminal space. I don’t feel technical enough for IT—largely because I’m not much of a coder—yet I feel almost too technical for a lot of library work. Most library jobs these days are not conceived as being ‘technical’ roles. Library schools push a front-of-house mindset almost from day one. My study visit cohort were firmly told what attributes we needed in order to succeed in libraries, and I didn’t feel like I had any of them. I was a natural introvert, not very good at people, quite fond of books and reading thanks, drawn to computers and systems. I vividly remember walking the streets of suburban Perth on the brink of tears because I felt like I didn’t fit the mould the lecturer had set for us. I spent the rest of the visit wondering whether I had made the biggest mistake of my life by enrolling in library school. I seriously considered giving it all away.
I know now, of course, that the lecturer was rude, crude and totally wrong. I do have what it takes to be a librarian. Just not the kind of librarian she was thinking of. But the idea persists that librarians are not technical people, or that the heart of librarianship is not—or should not—be a technical one. We’ve been technical for decades. We were one of the first professions to embrace the possibilities of automation. (We’re still dealing with some of those possibilities now. Ask any cataloguer about whether MARC has died yet.) What happened to that? Where did that power go? Where has that technical skill and ability ended up? And why has the section known as ‘technical services’ not been at the centre of this change?
Too library for the tech staff, too techy for the library. It’s hard not to feel as if I will one day be made to choose between them.
And I will refuse to choose.
Our profession needs all the techy librarians it can get. People who speak library AND speak IT. People with the ethical grounding of librarianship, who may or may not work back-of-house, but who can also critically assess and use technology, ensuring it functions in accordance with the values of this profession. No siloing. No separating. No boundaries. And I say all this not just because I’m on the committee of VALA, a library technology organisation that was literally founded to bring librarians and technologists together, nor because I’m trying to shore up my own career prospects in an uncertain world. I say this because I want library automation to happen BY us, not TO us. I want librarians to be able to take control of their own technological destinies. I want equitable cataloguing to be supported by equitable systems. I want us to be able to speak tech, so we can either tell tech what to do, or feel suitably empowered to do it ourselves.
It’s not technical services as we’ve traditionally known it. But a lot of library traditions are changing.
A librarian’s innate desire to help is often redirected into a desire to provide great customer service. That is, until what constitutes ‘customer service’ changes, and suddenly what some kinds of librarians do isn’t considered ‘helpful’ enough. I’m sure I had something else in mind when I suggested the theme ‘help’ for GLAM Blog Club. But one of Danielle’s tweets today set a different set of cogs in motion:
Every public library collection job I've seen, they never talk about discovery, only ever about buying. Surely the two are linked or if not should be.
Yes. You can’t manage a lending collection properly if you don’t look at how it is used. You can’t analyse how it’s used without understanding how it’s discovered. You can’t analyse how it’s discovered without understanding how it’s catalogued.
And you can't do any of these things without in-house technical and collections expertise, which so many public libraries seem to think they can outsource or eliminate (because it's not considered 'customer service') https://t.co/38J2eSPNWW
A public library director once told me to my face that he wasn’t interested in hiring cataloguers. I don’t recall exactly how he phrased his justification (though I do recall my response being ‘I’m sorry to hear that’) but he clearly conceptualised his library as a ‘customer service’ organisation, where that phrase meant ‘an exclusive focus on front-of-house activities and services’. Collection development, systems administration and cataloguing, collectively ‘technical services’ in library parlance, are not commonly viewed as opportunities for great customer service. Instead they’re seen as something that can (and should) be outsourced in the interests of ‘efficiency’.
Brisbane City Council Library Service abolished their in-house tech services department twenty years ago and, oddly, chose to present about it at the 13th National Cataloguing Conference. The library moved entirely to shelf-ready stock and turfed all their cataloguers.1 The writeup in Cataloguing Australia notes (emphasis mine):
This driver of customer service is paramount at Brisbane City Council and Library Services. All our restructuring and re-engineering has been predicated on the assumption that it will provide better customer service and responsiveness. The wider implication of no longer having a Technical Services Section is that Library Services is now solely a customer service branch. There is no longer a back room mentality, and the expectation is that staff spend 80% of their working day in direct customer service.2
To be fair, a typical late-nineties tech services department probably wasn’t all that user-focused. But I reckon it could have been, if management had chosen to imbue that customer service ethos into all areas of library administration, not just the face-to-face parts. I can see I’ll be shouting ‘CATALOGUING IS POWER’ until the day I die. I’ll never understand why so many libraries, especially public libraries, willingly throw this power away. What do we lose from ‘efficiency’? What do we lose, when we lose the people who are paid to care?
I have worked for, patronised, and otherwise dealt with far too many libraries that are not resourced to care about the integrity and usefulness of their metadata, collections or systems. These things are clearly not prioritised by decision-makers, and so they are outsourced, often with little oversight. This is not good customer service. This does not help. Having a crappy website or an unusuable catalogue sends a strong message that the only patrons the library cares about are those accessing the library in person. Has the internet taught us nothing? Have twenty-plus years of ‘everything is online now’ not compelled us to create the best online presences possible for our libraries? To curate the best online and electronic collections? To boost our SEO (search engine optimisation) using well-structured, highly detailed metadata? To develop and deploy systems that don’t make people jump through endless hoops, divulge their personal data, or give up entirely in frustration and turn to a paid competitor? Why do I know so many librarians who use Audible instead of Overdrive? Who are we really competing against?
I abhor the practice of referring to library users as ‘customers’. Customers, by definition, purchase. The library has nothing to sell. The library invites the community it serves to make use of its facilities, collections and knowledge. These services are not without cost, but they are, proudly, free to the user. In lieu of ‘customer’, I prefer the term ‘library user’ or sometimes ‘patron’. The library I work for uses ‘reader’, supposing the majority of our visitors are, in fact, here to read.
Save for the two hours a week I choose to spend on a reference desk, my job is not directly user-facing. But it is user-focused. Everything I do as a librarian, I do for my library’s users (and, through the power of co-operative cataloguing, the users of hundreds of other libraries). I don’t catalogue for the catalogue’s sake. I catalogue so people can find things. Most people will never know how my cataloguing has helped them. I’m okay with that. I don’t need to be sitting in front of a library user for my work, and my help, to be valuable.
The above-mentioned issue of Cataloguing Australia, the journal’s last, also featured a paper from the then-Customer Services Manager at CAVAL. To my surprise and absolute delight, she took a similar view to me of customer service and cataloguing:
Let me begin, as we should all begin, by looking at our customers. Even if we never see them, we should never forget who they are. […] When you are making a map of the heavens, you need to be aware of whether you are doing this for a child, an astrologer, a serious astronomer or a Star Trek fan. Each one of those maps is useless to any of the other groups. So, too, with our catalogue records. For our customers are infinitely more varied than those for star maps.3
The entire article is a joy.4 It’s full of sensible, user-focused thinking (seemingly a rarity in 1999) and it’s easily my new favourite piece of professional literature. But I’m intrigued by the fact it came from a vendor. By outsourcing so much of our technical services work, has our sector also outsourced the capacity to think of this work as inherently ‘customer’-focused? A vendor’s ‘customers’ are libraries themselves—does this change a catalogue record’s intended audience?
A tech services worker might ask ‘How can I help?’, as I so often greet people on the desk, but libraries need to be structurally capable of accepting that help, and cultivating it in-house. By reframing our conception of cataloguing as an inherently user-focused (or customer-focused) activity, libraries can ensure we’re providing the right metadata to create the right map, in order to help the right people find the right materials. After all, we’re here to help.
The author mentions ‘we now have no cataloguers on our staff’ so I guess they were either made redundant or reassigned to other, non-cataloguing duties, though two staff were put in charge of quality checking vendor records. ↩
Mackenzie, Christine. (1999). ‘The end of the world as we know it? Outsourcing at Brisbane City Council Library Service’. Cataloguing Australia 25(1/4), pp. 184-187. ↩
Dearman, Rosemary. (1999). ‘Whose information universe? Customer services and cataloguing’. Cataloguing Australia 25(1/4), pp. 222-231. ↩
This is the working transcript of ‘We need to talk about cataloguing’, a talk I gave at the 9th New Librarians’ Symposium in Adelaide, South Australia on Saturday 6th July 2019. I made some last-minute edits to the text and said a few things in the wrong order, but overall I pretty much stuck to script (which was very long, hence my conscious decision to talk too fast!).
Thank you. I begin by acknowledging the traditional and continuing owners of the land on which we meet, the Kaurna people, and pay my respects to Elders past, present and emerging. This land always has been, and always will be, Aboriginal land.
Library workers, students and allies, we need to talk. You’ve probably heard of this strange thing called ‘cataloguing’. You may even have met some of these strange people called ‘cataloguers’. But for many people in the library sector, that’s about all we can say. Many of us don’t have the vocabulary to be able to talk about areas of library practice that aren’t our own.
It’s not quite the talk I promised to give, but it’s a talk I think we need to have. About what this work entails, why it matters, and why you should care. Consider how, and to whom, we should start talking. Our colleagues, our supervisors, our vendors, ourselves.
My name is Alissa McCulloch. We need to talk about cataloguing.
Firstly, a bit about me. I work at a small, minor national library that shall remain nameless, because I’m not speaking on behalf of my employer today (I just need to make that very clear, these are all my opinions, not theirs). I’ve been in libraries for around four years and have had a library degree for around six months. My work life consists mostly of cataloguing whatever turns up in the post.
You may have seen or heard me talk about cataloguing ad nauseam on podcasts, on my blog, or on twitter, because I LOVE CATALOGUING and it sparks SO MUCH joy and I think it’s amazing. Suffice to say my reputation precedes me. So perhaps some of what I’m about to say will not be a surprise to you. But I am surprised, quite often, by the reactions I get when I tell people what I do all day.
They go ‘Oh… is that still a thing?’ And I’m like ‘Yes, actually, it is still a thing’. People act like metadata grows on trees, that carefully classified shelves of books are ‘serendipitously’ arranged, that cataloguing is obsolete, that structured metadata is unnecessary in an age of keyword searches, that we’ve all been automated out of existence, that AI is coming for the few jobs we have left.
It’s more than just ‘data about data’. It gives meaning and structure to a collection of items, whether that’s a simple website, Netflix, a corpus of research data or a library catalogue. Metadata forms a map, a guide, a way of making sense of the (in many cases) enormous collection of resources at a user’s disposal. A chaotic library is an unusable library.
‘Cataloguing’ doesn’t just mean painstaking creation of item-level metadata (although it can involve that, and it’s what I spend a lot of my time doing). It involves a lot of problem-solving, detective work, ethical decisions, standards interpretation, and data maintenance. If you like puzzles, you’ll love cataloguing. Modern metadata is all about connections. It’s relational, it’s often processed at great scale, it’s about making collections accessible wherever the user is.
You might hear these jobs described as ‘metadata librarians’ or similar. If given the choice, I would describe myself as a ‘cataloguer’. In fact, at my current job no one ever actually told me what my job title was, and I needed an email signature, so I picked ‘cataloguer’ and nobody seemed to mind.
But I specifically didn’t call this talk ‘We need to talk about metadata’. Don’t get me wrong, I could talk about metadata all day, but I deliberately said ‘We need to talk about cataloguing’. The word’s kinda gone out of style. It’s old-fashioned, it’s a bit arcane, it’s not hip and modern and contemporary like ‘metadata’ is. But I’m the sort of person who likes to reclaim words, and I can reclaim this one, so I do.
Words mean things. But sometimes, if we want to, we can change those things.
Once I’ve explained what I do for a living, people then go ‘That’s great. Why should I care?’. And it’s a good question. Why should you care? You’re all busy. You all have other jobs. You don’t have time to care about metadata.
For some reason, a library vendor in California took this tweet and made a shareable graphic meme thing out of it. I stand by what I said, but what really got me was that they left out the best part of the quote. The line immediately after this was:
‘Cataloguing is power, and I will die on this hill!’
We as cataloguers have, as Hope Olson famously put it, ‘the power to name’. We decide what goes where, what’s shelved together, what’s shelved separately. We describe these things in the catalogue so that people can find them. The language used in and about cataloguing is tremendously important. If something is poorly-described, it might as well be invisible, both on a shelf and in a search engine.
Cataloguing is power. That power must be wielded responsibly.
As humans, we are all shaped by language. Our everyday language changes through time, as social and cultural practices change, but library language changes far more slowly, when it changes at all. (We’ve been putting punctuation in weird places for a long time, too. Look, I’m sorry, but I will never care about where to put a full stop in a MARC record.)
Metadata is not fixed. Metadata is never ‘finished’. Metadata is contextual. Contested. Iterative. Always changing. ‘Corrections’ are not, and can never be, universal. An accepted term today might be a rejected term in thirty years’ time, and the process will begin again. The Library of Congress Subject Heading (LCSH) for ‘People with disabilities’ is now on its fourth iteration, as the preferred language has changed over time. Previous versions of this heading used terms that would now be considered quite offensive.
We all need to look out for these things. Have new concepts arisen for which your library has no standardised heading? Has a word shifted meaning, such that it has ceased to be meaningful? Are users looking for resources by name, but finding nothing in our collections? Think of the power we have. Think of how we ought to wield that power.
What do I mean by that? Consider the widespread use in the English-speaking library world of Library of Congress Subject Headings, a standardised vocabulary originally designed by American librarians to meet the information needs of the United States Congress. Because the Library of Congress is the source of a lot of American copy cataloguing, their subject headings were widely adopted in the US, and later by other Anglophone countries. Most (though not all) Australian libraries use LCSH in some capacity. Has anyone stopped to think about how weird that is? We’re not the US Congress. We use different words and different spellings, we serve vastly different communities, we have our own information needs and information contexts that LCSH necessarily cannot meet.
Yanni Alexander Loukissas recently wrote a book titled ‘All Data Are Local’, which is sitting on my bedside table at home. I would extend that to ‘All Metadata Are Local’. And they should be. Each library serves a distinct community of users. Our metadata needs to speak their language.
Attitudes toward cataloguing itself are shaped by the language we as cataloguers use to describe our work. For example: a big part of cataloguing is about standardising names and subjects, and to a lesser degree titles, so that resources with or about those things can all be found in the one place! We call this authority control, which has gotta be one of the worst phrases in librarianship for two reasons:
A) whose ~authority~ is this done under? Who died and put us in charge? What gives us the right to decide what someone’s name is, or the best phrase to describe a certain topic? Why do we even have to choose just one? Why can’t we have several, equally valid terms?
B) Why do we have to ‘control’ everything? What need is there for this giant bibliographic power trip? Why can’t we let people decide these things for themselves, instead of us being authority control freaks?
This phrase says a lot about how we’ve historically thought about cataloguing: that we have authority, and that we are in control. Cataloguers haven’t been either of these things for a while. Which is great, because our survival depends on it.
The outlook I’ve just described, and the outlook I bring to my work, is known as radical cataloguing. It’s a way of looking at cataloguing and metadata from a structural, systemic standpoint. Getting to the root of what—and who—our data is for, and making sure it meets our users’ needs.
It’s broadly similar to the contemporary movement called critical librarianship, of which critical cataloguing is a part, which aims, according to the critlib.org site ‘to [bring] social justice principles into our work in libraries’.
Critical and radical cataloguing can involve establishing local policies for catalogue records, working to improve common standards and practices, sometimes ignoring those standards and practices, and encouraging critical viewpoints of—and within—the catalogue.
It sounds quite cool, calling myself a radical cataloguer. But this work and this ethos have never felt all that radical to me. It feels normal, to me. It feels like common sense. It feels like bringing my values to work. Sometimes these align with traditional library values. Sometimes they don’t. But it’s all in the service of making the library better. Think of it as ‘evidence-based whinging’. It’s done in good faith, and it’s done for a purpose.
Sadly, common sense isn’t as common as I’d like it to be. A recent article on tech news website The Verge described the terrible quality of metadata in the music industry, which meant people weren’t getting paid royalties for music they had written, performed, or contributed to. Bad metadata literally costs money. The author described metadata as ‘Important, complex and broken’. And I was like ‘yeah… I feel that’. A lot of what they said about commercial music metadata could just as easily be applied to the library world—infighting, governance issues, funding challenges, cultural differences and copyright laws.
This work is difficult, painstaking, often invisible and mostly thankless. But the results of not doing the work can be slow to manifest—you might be able to get by on deteriorating metadata quality for a while, but soon enough it’s gonna be a huge problem that will cost lots of money to fix, which you could have avoided with enough care, attention and maintenance.
It’s not about simply following rules and standards because that’s just how we do things, or have always done things. It’s about imbuing our information practice with an ethic of care. Thinking not just about what we do, but how and why we do it. Who benefits, who loses out, and what happens when and if the work stops being done. The ‘we’ in this instance is an information maintainer: a cataloguer, an eresources manager, a systems librarian. People. Not robots.
People often try to replace me with a robot. They ask, sometimes innocuously and sometimes not, ‘But what about AI and machine learning?’
And I go, ‘It’s a great tool. But like any tool, it has to be used responsibly.’ Algorithms are as biased as the people who write them. We all have biases, we all look at the world a particular way. The key is ensuring that library automation of any kind is properly supervised and evaluated by real people. Metadata professionals with an ethical grounding. Cataloguers, of the past, present and future.
Dewey is a product of its time. But it’s also a product of our time. Dewey is now in its 23rd edition, maintained by paid staff and volunteers from around the world. AI can’t do this. It can’t write its own rules. And it can’t be left unsupervised, because it won’t produce quality metadata.
What do I mean when I say ‘quality metadata’?
I don’t think about ‘quality’ the way most other people think about ‘quality’. People think ‘quality’ means total adherence to local, national and international policies and standards. A record can do all of those things and still be functionally useless. I don’t consider that ‘quality’.
To me, a ‘quality’ record is informative, accessible, respectful, accurate and empowering. You won’t find these ideals in RDA, or in the MARC standards, or in BIBFRAME. You’ll find them in your community. Those of you who work in libraries should have an idea of the kinds of materials your patrons are looking for, and how your library might provide them. Is your metadata a help or a hindrance? Are you describing materials the way your patrons might describe them? Are people asking you for help because your catalogue has failed them?
I know most of you are not cataloguers. Many of you undoubtedly work for libraries that outsource most or all of their cataloguing. Records appear in your system by what looks like magic but is probably a Z39.50 connection. You may well have no way of knowing what constitutes ‘good’ and ‘bad’ metadata. Here are some brief tips for you!
Compare a record with the resource it describes. Are the title, author and year correct? Does your system disambiguate different authors with the same name? I know I said I hate the phrase ‘authority control’, but you still gotta do it, the work still needs to be done. How would a user describe this item? Are those words or phrases in the record? What kinds of people use your library? Will these words meet their needs? Are they current? Offensive? Relevant?
Next, compare that record with how your OPAC displays it. Backend versus frontend. Have a look at a MARC record, even if it looks like a bunch of numbers and dollar signs. Is anything obviously missing? Are there MARC fields that your OPAC displays oddly, or not at all? Have a play around with the OPAC. Are some fields searchable but not others? Does your system support faceted browsing, like Trove does? If so, what facets are available?
I once worked for a library whose ILS didn’t display the 545 field, used for biographical and historical data in manuscript records. I’d been using this field for months. Why didn’t I know that my ILS did this stupid thing? How might I have worked around it?
If any problems appear with your library’s data, think about how you might advocate for getting them fixed…
We are constantly having to advocate for our jobs. I’m doing it right now. Right here, with this talk. And not just because my contract is up in two months and I need all the help I can get. But because without people like me shouting from the rooftops, our work is practically invisible. We are the people behind the curtain. We have to keep telling managers why quality metadata matters. But I am only one person, and I can only shout so loud. Cataloguers need your help, gathered library workers, students and allies, to talk about cataloguing.
So what should we say?
The key is to mind your language.
Firstly, what can you think about?
How does bad metadata make your job harder? What kinds of questions do you get asked that better metadata would be able to answer? Such as: ‘A friend recommended a book to me, I can’t remember what it was called, but it was blue, and it had birds on the cover. I think it was set in Queensland?’ We don’t routinely add metadata for a book’s colour in a catalogue record, it’s not searchable, but people ask questions like this all the time. Perhaps AI could help us with this metadata…!
Secondly, what can you talk about?
Appeal to your managers’ financial sensibilities. ‘Hey, we spent a lot of money on these materials. If people can’t find them, that’s money down the drain. Good metadata makes those materials findable: it’s a return on investment.’ Talk about how much time and effort is wasted dealing with bad vendor metadata, and how that staff time could be better spent on other metadata tasks. I’m sure you’ve got plenty.
Alternatively, appeal to their morals and sense of social justice. If they have one. You could say, ‘We have a lot of refugees and asylum seekers in our community, and books about people in this situation often use the phrase “Illegal aliens”. This sounds kinda dehumanising to me, do we have to use this term?’ And if they say ‘But it’s in LCSH, and that’s what we follow’ you can say ‘well… so? Just because LC does it, doesn’t mean we have to’. You can change that subject heading locally to whatever you want, or get your vendor to do it. It’s already happening in American libraries. It could just as easily happen here.
Being a radical cataloguer doesn’t mean rewriting a whole record from scratch—if good copy exists, it makes sense to use it. But do so with a critical eye. How will this metadata help my users? How will it help my colleagues do their jobs in reference, circulation, instruction or document supply? Is it fit for purpose?
And lastly, what can you do?
Make suggestions internally and externally about what problems could be solved with better metadata. What kinds of patrons ask what kinds of questions or search for what kinds of materials. What your catalogue doesn’t include. What it could start including.
If everything I’ve talked about sounds fascinating and you want more, consider joining ACORD, the new ALIA Community on Resource Description. It’s so new it doesn’t quite exist yet, but it’s slated to launch later this month, and there’s an article about it in the July issue of InCite. I’m hoping ACORD will be a great forum for cataloguers and metadata people to meet, exchange ideas, and work towards better cataloguing for all.
It can be hard to make these kinds of suggestions in your workplace, much less change international rules and standards. But you can do it. You can be part of this change. And the first step is talking about it. If you have an opinion on anything I’ve spoken about today, get talking, get writing, get tweeting, get involved with ACORD, which liaises with the committees overseeing all these rules and policies.
These rules were made by people. They can be changed by people.
And if the rules aren’t working for you, break them.
Change has to start somewhere. So it can start with you.
Last week at work I had one of the most incredibly serendipitous experiences of my library career. It was a beautiful illustration of why I became a librarian. To not only collect and preserve people’s stories, but to sometimes be part of them, and weave a broader tale.
It began in early January, when 110 books turned up from the same publisher. Being in the legal deposit business, my job is to catalogue whatever turns up in the post. Any genre, subject, author, publisher, size, format, you name it, I deal with it. (Unless it’s a serial.) We often get large boxes of books from publishers, but this particular enormous haul intrigued me. I volunteered to catalogue the lot. What can I say, I’m a sucker for punishment. And I wanted something fun to do before I went on holidays.
I slowly realised I held an entire library in my processing trolley. A living, breathing library.
It all started a few years ago in Iceland, where apparently one in ten people publish a book in their lifetime. Margaret Woodward and Justy Phillips, co-founders of Tasmanian arts collective A Published Event, found themselves in Iceland in 2012 doing arty things. They wondered whether there was a similar latent writing community in Tasmania, which is around the same size. Most of us would probably have pondered this for a short while and left it at that. But not these two. They decided to create a kind of performance library, soliciting unpublished manuscripts from would-be Tasmanian authors and publishing a whole lot of them in one go. Giving a voice to people who might otherwise never have published a book. Creating a kind of ‘time capsule’ showcasing Tasmanian life and writing during the late twenty-teens. It’s huge. It’s faintly ridiculous. And it’s completely awesome.
The People’s Library comprises 113 books. Their authors range in age from 15 to 94. All live in Tasmania, from all kinds of backgrounds, writing all sorts of things. Novels by first-time authors. Anthologies by U3A writers’ groups. Memoirs. Poetry. Non-fiction. Experimental literature. An opera about Sir Douglas Mawson, no less. Each assigned a cover colour from Werner’s nomenclature of colours, creating a beautiful rainbow effect when the books are lined up in order on a shelf.
The People’s Library was installed at Salamanca Arts Centre, Hobart, in September 2018. Authors read, performed and gave life to their stories. There were panels, responsive art pieces, readers-in-residence (and also readers-in-bed). The books took centre stage. None were for sale—this was a library, after all.
Then it came to us. To me. Cataloguing these wonders took me a full, magnificent week. They were a joy to process. I learned so much about Tasmania, about total strangers, about the limits of the written word, and even about myself. I realised we were missing three of the books, so an email was sent politely requesting copies. I returned after a month’s holiday (in Tasmania, as it happened) to an email from the publishers, promising to send the missing books and wanting to know more about how the Library was catalogued. Omg. A genuine interest in cataloging. Nobody ever asks me how I’ve catalogued their books unless they’re complaining about it, so I was very excited. I promptly wrote back with probably too much detail, which amusingly made its way back to some of the authors. Many of them were thrilled that we had collected and preserved their books.
And then I thought no more of it until last Wednesday, when I sat at the reference desk for my weekly shift. Not all cataloguers do shifts in the reading rooms, but some of us do. It was one of the first things I asked to do when I started this job, because I want to keep in touch with how people actually use and experience the library, and how the metadata I create might be a help or a hindrance.
I noticed a few volumes of The People’s Library on the collection shelves, ready for a reader to peruse. Occasionally people actually read the books I catalogue, which is always nice. I hastily arranged the volumes in colour order. The reader arrived and I retrieved the books. As I carried over the last handful I remarked, ‘I catalogued these books, they’re awesome.’ The reader looked at me oddly. ‘Are you… oh, you’re the one who sent us that lovely email!’
One half of A Published Event. In town for other reasons, but who had popped in to admire her handiwork. I had no idea she was coming, let alone during the two hours a week I spend on the desk. To have come all that way, to read some of the books she had given life to, and to have been greeted by the very same person who had lovingly catalogued them, and who only briefly sits at the reference desk… Absolute serendipity. You couldn’t have written it.
The fact it had taken me a week to catalogue the Library was cause for amusement. As part of the Library’s performance at Salamanca Arts Centre, four readers-in-residence had each read some of the books, also for a week, and produced a digest summarising what they had read and learned. In a way, she supposed I became the fifth reader-in-residence, and the catalogue records for these books constituted a fifth digest. An incredible way that librarians not only collect and preserve stories, but can sometimes be part of them. By cataloguing The People’s Library I became a part of its performance, weaving a broader tale, ensuring the voices of over a hundred Tasmanians can be read and heard by all who visit us. I felt honoured to be a part of this work.
I already can’t wait to peruse A Published Event’s next library, Lost Rocks, a collection of 40 ‘fictionellas’ borne from an almost-empty rock board picked up at the tip shop in Glenorchy. ‘A slow-publishing event of mineralogical, metaphysical and metallurgical telling.’ It doesn’t get better than this.
See, this is what I should have sung at karaoke the other day. Or something by Erasure, since it turns out Andy Bell and I have the same vocal range (who doesn’t want a little respect?). But that’s for another blog club, while this month we take some time out from changing the world to write about it.
For the longest time, the words ‘change’ and ‘cataloguing’ haven’t sat well together. Cataloguers are stereotyped as change-averse pedants who prioritise rule-following over user-helping. You’ve all heard the joke about how many cataloguers it takes to change a lightbulb, I’m sure (WHAT?! CHANGE??!?!?!). Lord knows I’ve met enough people who embody this stereotype, much as I’d like to disclaim it. And yet, to me, change is the only constant. I’ve never known a professional existence where change has been optional, and so I accept it, and go with the flow.
I glance over to my copy of Radical cataloging: essays at the front, a 2007 compendium of critical and radical analysis of cataloguing in North America. A lot has changed in the eleven years since the book was published, the biggest change being the replacement of AACR2 with RDA. With that change came a complete overhaul in how catalogue data was meant to be theorised and perceived by cataloguers—no longer card-based, but element-based, with the promise of linking those elements together in new and exciting ways. For better or worse I learned to catalogue after the introduction of RDA, but I hear there was much wailing and teeth-gnashing as the changes were introduced. People seem over it now, though.
Many of the chapters in Radical cataloging don’t seem all that radical to me, now. Yes, LCSH is unfit for the myriad of purposes we’re now putting it to. Yes, controlled subject access is practically dead (but that’s because our systems don’t harness our data well enough, not because the data itself is suddenly worthless). Yes, we should bend and/or break cataloguing rules where there are clear benefits for users. Yes, cataloguing remains a necessary and sought-after skill. Change and deviation from established standards doesn’t seem as radical to me as perhaps it did to others a decade ago. I find myself disagreeing with, though nonetheless respecting, some of the deeply-held views about the value of a rigorously-constructed catalogue. But I was raised on Google, so what would I know?
People have written entire books about how cataloguers cope with change (and I’m kicking myself for not having read that one before writing this post). Tina Gross’ chapter ‘Who moved my pinakes?’ in Radical cataloging blasts the old stereotype out of the water—that cataloguers do not oppose change for change’s sake, but rather because proposed changes are not considered to be in users’ best interests. Joan E. Schuitema’s chapter ‘The current cataloging landscape: a therapist’s perspective’ from The psychology of librarianship examines cataloguers’ experiences of trauma as a direct result of having the professional rug pulled out from under them.
And yet I suspect it’s no accident that the LCSH ‘Change’ lists ‘Catastrophical, The’ as a related term. Not all change is catastrophical, but all catastrophes are change.
If it were up to me, I know what I’d change. I would work with systems librarians and developers to better integrate our existing name and subject taxonomies into keyword-search interfaces. I would ensure our data formats recorded each element of bibliographic information once per item, and once only. I would break the Anglophone world’s inexplicable dependence on LCSH and help each sector build new and better vocabularies. I would decentralise cataloguing, by which I mean I would work to ensure a library’s users had a direct say in how its collections were described. But most importantly, I would finish off the cataloguer stereotype once and for all.
That used to be us. I think you’ll find we’ve changed.
ALIA Sydney recently hosted their first Saturday School of Critical Librarianship, a gathering for critically- and radically-minded librarians to talk shop and take stock. It was a seriously full-on day. I spent most of today sleeping it off, and there’s a worryingly large memory gap where a lot of yesterday should have been. But I did remember to jot down a few not-terribly-insightful thoughts.
We are worthy. I awoke in a spaceship at sunrise, to a blistering Twitter discussion on the merits of metadata. (Sounds blissful, really.) I was staying in a capsule hotel, because it turns out Sydney has one and I wanted to try it out, but it was very poorly ventilated and I didn’t get a great sleep. The hot topic of discussion at 6am turned out to be the Digital Public Library of America (DPLA), broadly the American equivalent of Trove or Europeana, laying off several staff, apparently including their metadata librarian. Cue spirited conversation about the value institutions place, or don’t place, on their metadata workers. Perversely it was a bit of a personal mood boost:
Honestly existential cataloguing angst at 6am on a Saturday having slept in a spaceship is the mood boost I needed to explain to a bunch of people today why this shit matters. Genuinely. Metadata is just as important as other facets of LIS, and today I’m gonna demonstrate why.
We are facilitators. The word ‘facilitator’ kept cropping up, and it wasn’t just because a few of us had been asked to ‘facilitate’, or lend our expertise to, various breakout sessions. Instead the word arose organically as a way to describe how we might envision a future, more critical (or radical) librarianship. Historically our profession has been structured around either having the answers or knowing where to find them (that is, in our collections), but might we instead take our lead from our patrons and communities? Whether it’s building collections, planning programs or cataloguing our library’s contents, there’s a lot to be said for not just listening to, or consulting with, our patrons—but actively listening to how their collections and programs and knowledge and memory ought to be managed, which we could then use our LIS skills to make happen.
We are, um, not all cataloguers. I stayed for all three iterations of the rotating breakout discussions on cataloguing, as I had been asked to help guide this discussion (I tried to move to another topic but found myself blurting out ‘my people need me’). I’m sorry to say that I don’t think I did a very good job. I wish I’d been better prepared and had more structured discussion topics. As it was, the conversation drifted from cataloguing into collection development, preservation of time-based media art, and systems librarianship. This suggested to me that people didn’t really know what to say, or felt they had nothing to say, or waited for me to do all the talking (and I still feel like I talked too much). But perhaps that in turn suggests that critical tech services in general is under-theorised and under-discussed, especially in Australia, and especially by non-tech services staff.
I was reluctant to steer the conversation back to cataloguing, figuring that people were talking about what was interesting and meaningful to them. If you were hoping I would do more active facilitating then I am sorry. But I hope people enjoyed the discussions nonetheless.
We are critical radical librarians! So this happened:
I think my group(s) have decided that instead of ‘critical librarianship’, a very American term, they’d prefer ‘radical librarianship’. Less negative-sounding, more empowering, inspires action #SydCritLib
I know there was more to this conversation that my poor memory chose not to retain, but I found it interesting that we chose to critique the very name of our fledgling local movement. I think a few attendees took ‘critical’ to mean ‘criticising everything, unproductively’, rather than the more nuanced meaning assigned it by critical theory. The hashtag-critlib movement began in the United States, I understand principally from infolit and instruction librarians in university libraries, and it is running the risk of becoming a bit cliquey. I also had Nora Almeida’s chapter ‘Interrogating the collective: #critlib and the problem of community’ from the LJP critlib book in the back of my head during this discussion. Personally, I think ‘radical librarianship’ sounds friendlier and has a more activist tone. But I also really liked Andrew’s take on it from afar:
It’s a good point – though I like the association of “critical” with being inward-looking and identifying the things that need to change internally. I feel that, too often “radical” is associated with changing the external world to meet a fixed agenda.
We can’t do it all. I really liked a point Kirsty Thorpe made about gaining power through focus—as library workers, choosing an area to focus on and directing energies towards making that area better, focusing on a couple of select things we can do, rather than spreading ourselves too thinly on things we can’t.
This was part of a broader discussion near the end of the day about power, and it prompted me to reflect on how much power I have within LIS. At my workplace, an institution fond of bureaucracy, I often feel powerless because all the decisions are made above me and I can’t change established practices or standards. Yet people from elsewhere look at me and go ‘You work where!? You have so much power! You can get things done!’ Plus I have managed to accomplish a couple of things in cataloguing entirely independently of wherever I have worked. And I wondered if this meant I had power because… people think I do? As in, they recognise power in me and they act accordingly? (Is this Schrödinger’s power?!) So what can I do with this power that I may or may not have, to push for change within LIS, and within my institution?
Also, we give a crap. We all showed up on a Saturday, some of us (including me) having come from out of town, because we care about our profession and we want to do better and do differently. There was a lot of talk about further critlib schools in Sydney, as well as opportunities to coalesce around shared or common goals. I really hope these come to fruition, because there’s really nothing like an in-person gathering to network with like-minded people and galvanise us into action. But next time I’m in Sydney, I think I’ll stay somewhere with functioning windows. And maybe a door.