Thứ Tư, 28 tháng 3, 2018

Youtube daily Mar 28 2018

Ms. Hong!

What were you doing while Gyeonghye got like this?

The thing is...

Lady Geum?

I'm sorry, sir.

President Jang,

take Gyeonghye upstairs.

Lady Geum, come to my room.

What are you doing?

Don't protect your daughter in front of me again!

Sir.

Did you think I wouldn't know why

you slapped her?

I'm sorry, sir.

I'll let it slide just this once...

Because I understand how you felt as a parent,

hitting your own child

to avoid my wrath.

I'm sorry for causing you concern.

However...

If she does that to Gyeonghye again,

I will punish Shopper Hong myself!

You won't be able to avoid the situation

by slapping her then.

I'll tell her to serve Ms. Gyeonghye the best she can.

I'll help as well.

You still haven't come to your senses.

Don't you know whose grave it was

that you saw today?

That sad grave on the Eun family plot

without a tombstone

belongs to your dad.

If you don't want to make Chairman Eun

bury his granddaughter...

Stay down.

She locked me in the electrical room

and went to drink.

I was locked in there for nearly 3 hours.

But,

must I really have you slap me in the face?

Are you hurt?

No.

Did you eat?

I'll make something for you.

I need to tell the chairman

that it wasn't my fault.

You're going to be scolded badly

because she came home drunk.

Don't make it worse.

If I try to cover up Madam Eun's wrongdoings,

I may be wrongfully accused.

You won't be scolded.

I got angry at you so that you wouldn't.

Don't you get that?

If I explained what had happened,

I wouldn't have been punished.

No.

It'll only make things worse.

Please just take it and move on.

You don't seem like my mom.

You look like the head housekeeper

who calls me Shopper Hong.

You should...

Go home and rest today.

I'll talk to the chairman.

Okay.

Call me...

When you get home.

I don't have my cell phone.

Madam Eun took it from me yesterday.

She must have thrown it away.

I don't think I'll be able to find it.

Ask your dad to make you something good to eat.

Forget what happened yesterday...

And get some rest.

I'm speechless.

You can't hire me because I'm too pretty?

What ridiculous piece of garbage is that?

You think all pretty girls are snotty

and have tons of guys?

If we're just a little nice to guys,

people say we're flirting.

What?

You've never seen a pretty girl burp before?

No.

Are you blind or something?

I'm not the only one.

Look, mister.

You have a way with annoying people.

Did you meet already?

He's my new partner,

Detective Na Jinbeom.

He's a detective?

I told you, right?

She's like a sister to me.

Her name is Hong Ganghui.

- The one who wants to be a model? / - Yeah.

- Hi, Sinhyeok. / - Hi.

You brat!

I told you not to drink in the middle of the day!

Aren't you sick of being a lazy bum?

Stop it. I had an interview.

What's the point? You fail every time.

I'm trying hard!

I went to an cashier interview today.

I, the model Hong Ganghui.

But because her husband cheats on her,

she can't hire someone pretty like me. What can I do?

Seriously.

My life is exhausting.

What the... Why that little...

Our house is so pretty.

Seyeon!

Seyeon!

Why were you so hard to reach?

Dad was really worried too.

I lost my phone.

What?

Aren't you off only on the weekends?

Did that psycho Eun Gyeonghye fire you?

I suddenly got the day off.

Speak nicely. Don't call her a psycho.

A psycho isn't the only thing

I can call her.

Psycho, Scissorhands, Bloody Eun Gyeonghye...

That's enough.

I should tell dad, Cheolsu and Seonhui right away

that you're home.

All our family has been doing lately

was worrying about you

after breakfast, lunch and dinner.

Dad,

Seyeon's home.

I'm sure...

Jang Myeonghwan has something on her.

Here is Ms. Gyeonghye's credit card transactions

as requested.

Thank you.

There's nothing from a bar...

Just a single taxi charge.

I checked with the taxi driver.

She

went to the family burial yesterday.

Did you tell the chairman?

Not yet.

I'll find out why she went to the family burial.

May I

tell the chairman myself afterward?

I understand.

Jang Myeonghwan.

You told Gyeonghye whose

grave this was and threatened her.

I'll make you pay for this.

What do you want?

Ms. Gyeonghye...

Went to her father's grave yesterday.

Though I'm sure you knew that already.

I don't know what she said

but

don't you know what state she's in?

If you keep this up...

I'll have no choice but to speak with the chairman.

Lady Geum!

Do not anger Ms. Gyeonghye ever again.

And apologize to her.

If you don't...

I'll tell the chairman how you have been...

Treating Ms. Gyeonghye all this time.

Now that Seyeon is here,

our home finally feels complete.

It felt so empty with you gone.

Liar.

She was ecstatic about having her own room.

She even danced.

What are you talking about? I did not.

Hey. Cut your nails.

Your nails are like saws.

You're popping all the dumplings!

You should stop talking.

You're getting spit on them. Gross.

Auntie Seyeon is here. Please stop fighting.

If you want to fight, why don't you say, please?

It's a good method for kids,

but it'll be just as good for adults

who are like kids.

Thanks for the advice.

Hear that?

Aren't you ashamed to face your nephew?

Don't give your big brother an attitude, please.

I'm not the only one.

Don't be mean to your little sister, please.

Stop it already.

I wish mom could've come too.

I called just in case but she didn't pick up.

Should we make dumplings again this weekend?

Mom really likes making fresh dumplings.

Seonhui,

was it taken care of?

I heard the landlord wanted to raise the deposit.

Not yet.

I'm sure I'll find a way somehow.

Seonhui...

Use my study abroad money.

What?

I don't need it right away.

We should resolve the urgent matters first.

There's no need.

I've decided to close the gym.

Once I do, I can pay for Seonhui's deposit.

So don't you worry.

Dad, what do you mean,

you're closing the gym?

I kept it for too long already.

I should've moved onto something that makes money.

Dad.

Gosh. Where's my head?

I forgot I put the broth on the stove.

I'm so out of it.

The gym really isn't doing well.

You little brat.

You don't know when to stop talking.

Poor dad.

If he closes the gym...

Gyeonghye.

You must have been very heartbroken.

I know...

Where you went yesterday.

How did you know about it?

Grandpa.

If I disappoint you as well...

Will I end up like my father too?

Why are you saying that?

I'm scared...

That because I'm so pathetic...

And so inadequate...

You will abandon me.

Cheer up.

Your grandpa...

Will never lose my blood ever again.

I promise.

Do you mean it?

You promise, right?

Come to the office tomorrow.

It's been a while...

Since we went out for lunch together.

Okay.

Seyeon.

Seyeon,

take these dumplings with you.

I picked the prettiest ones.

I'll eat them when I miss you and home.

I wish you could sleep here and go in the morning.

I'll be back on the weekend.

Dad,

don't close the gym.

You look the coolest when you're at the gym.

It's just a dead weight if I keep it.

I should close shop

and do something that makes money.

If I had been a useful father,

you wouldn't be suffering like this.

You should be studying abroad, pursuing your dream,

not doing something like this.

Don't say that.

I will make my dream come true.

I'll give you good news soon.

Good news?

What's that?

Just wait.

I'll make you smile

ear-to-ear real soon.

I'll go now. Don't come out.

Okay. Okay. Bye.

I'll apologize.

So don't say anything stupid to the chairman.

Watch what you say.

I apologize for...

Hurting your feelings.

What are you doing?

Apologizing.

I'll sleep in the guest room

until you feel better.

I want you to rest comfortably.

Do you like it?

Seyeon.

I didn't think...

About how hurt you'd be.

I knew how wronged you were...

But I couldn't take your side. I'm sorry.

Mom.

Our family's dumplings.

You like dumplings.

(Winners Designer Trainee Exam Card)

You can do it, Seyeon.

You will perform a task together

with one other person.

Find out about each other during the next 30 minutes,

and find your partners.

If you can't find a partner,

you are automatically disqualified.

Okay, begin forming teams now.

You know it's normal

to start by saying what school and major you were.

I majored in fashion design at Parsons.

And you?

I didn't graduate college.

I studied on my own.

You didn't go to college?

Oh...

You're the one who made it

because you had the best portfolio.

Yes.

You know how strict they are

in selecting their trainees here.

I thought it was strange and was very curious that they

suddenly took someone for having the best portfolio.

I thought they were giving a chance

to someone who didn't deserve it.

I guess I was right.

Do you have a partner?

No, not yet.

Me neither. Let me introduce myself.

How old are you?

I was born in 1988.

I'm kind of old, aren't I?

I'm old too, actually.

I was a fashion stylist assistant in the U.S.,

so I got a late start.

I was a salesperson at a luxury shop until recently.

I'm sorry but I think you should find someone else.

Do you have a partner?

If not, do you want to...

What's your blood type?

- Pardon? / - Your blood type.

It's B.

I see.

Mine is AB.

- What's your sign? / - Pisces.

That isn't a good match with me either.

I'm especially strong in making patterns

and designing fabric.

What are your strengths, Chasun?

Everything but pattern-making

and designing fabric.

Our zodiac signs and blood types may be different,

but we'll probably make an awesome pair.

Do you want to be my partner?

Okay.

Let's go over there.

This is the main look for our S/S season.

You have 4 hours.

Make the exact same thing.

In 4 hours?

The same thing in 4 hours?

Wow.

You're crazy fast. And precise too.

Please do an overlock on the sleeve.

I can't touch sewing machines.

I break every machine I touch.

Then hand me some more pins.

Here.

Just do as I say.

Stop getting in my way.

What? In your way? Watch it, okay?

Darn it!

Why did you have to knock over our sewing machine?

Oh, no.

Can you get us a new sewing machine?

Excuse me.

Didn't you say materials and tools distributed

will not be replaced?

- That's right. / - No way.

That's not right.

We'll follow the rules.

We'll run out of time if we sew this by hand.

Baton touch.

My turn.

Do you know what my dream is?

To be the senior tailor

at Atelier, the heart of haute couture.

Watch this.

Next.

Next piece.

I will announce the team with the highest score.

Hong Seyeon and Sa Chasun.

Team 3.

Magic fingers.

We got the highest score thanks to you.

When our sewing machine broke,

I thought it was over for sure.

You've got skills.

One look and you figured out the patterns,

design, the cut of the fabrics, everything.

I didn't expect to meet a guru here.

It's an honor.

I'm not that good.

Good luck on the final interview tomorrow.

You too. Good luck.

What is Hong Seyeon

doing here?

Aren't they pretty?

They are.

Freesia.

It means hope, trust, and high spirits.

Grandpa.

I just saw Seyeon...

In the lobby.

Yes.

She applied for the designer trainee program.

I'm sure she had the first round of interviews today.

The designer trainee program?

I'm sure she isn't qualified.

From now on,

I plan to give an opportunity to people

who have skills and upright character

but lack the education and experience

to even apply for the program,

like Seyeon.

Grandpa.

You've overestimated her.

She isn't even a good personal shopper.

She only makes me uncomfortable.

Give it some time.

I wouldn't have been thoughtless in

choosing someone who will be by your side.

- Grandpa. / - Let's stop talking about that.

Let's go out for lunch.

(Family Registry Record)

Family members can get discounts, right?

Yes. It's been activated. Try turning it on.

Mom must have been very worried about me.

What you got out of my grandfather wasn't money.

Designer trainee?

Do you think you're qualified?

You wanted to be my personal shopper, right?

Go ahead.

Although I can't stand to look at you.

In exchange...

Give up on becoming a trainee designer.

What?

You can't give it up?

No,

I can't.

How dare you use me to fulfill your greed?

I won't just sit back and

watch you manipulate people.

If you try to become a designer trainee...

I won't forgive you.

I decided to become a designer because...

I decided to become a designer because...

I was always told

that I was good with my hands and...

That's not it.

I...

Want to be a designer...

Because I'm happy

when I'm making clothes.

I prefer the second response.

I wish you luck tomorrow.

Mr. Lee.

Please

help me with one more thing.

Would you listen to my

30-second self-introduction?

Let's begin.

Hello.

I'm Hong Seyeon. I want to make clothes

that make people happy by wearing them.

Rather than becoming a designer who makes

pretty clothes, I want to become a designer

who brings happiness for the wearer.

I want the person

who wears my clothes to go to nicer places,

and meet nicer people. That is my dream.

If I become the Winners designer trainee...

I will be able to touch,

see and make that dream a reality.

Please give me a chance.

The content isn't bad.

You just need to work on the time constraint.

I'm so nervous.

I have no idea what they'll ask at the interview.

Questions about your expertise are important too,

but they'll ask about your personal life as well.

For example, they may ask...

About your hobbies and what you do in your daily life.

Those are too simple that

I didn't even think about it.

What did you say your special talents and

hobbies were when you interviewed?

Special talent was martial arts.

I said I had no hobbies.

You have no hobbies?

Who doesn't have hobbies?

I don't have any.

Since when?

Seyeon,

what will you say your

talents and hobbies are?

For hobby, I'd say drawing. For my special talent...

But...

I think it would be weird if I say

what my special talent is.

What is your talent?

Whistling.

Whistling?

If I say whistling is my talent,

they'll ask me to do it, right?

But I whistle really well.

Since we came in first in round one,

it should be in the bag as long as

we don't curse, right?

It ain't over till it's over.

Let's not relax until it's over.

We can do it.

We can do it.

Sir.

You've been removed from the list of interviewers.

What do you mean?

It's the chairman's orders.

What?

(Interviewer)

I heard you interviewed

for the designer trainee program.

I hope you make it.

Do you think I'll make it?

You manipulate my grandfather

and flirt with my husband.

You're disgusting.

If you want to cut off Gyeonghye's limbs and control

her as you please, get rid of Geum Yeongsuk.

The people in this house are monsters. I'm so angry.

This is too hard.

For more infomation >> Mysterious Personal Shopper | 인형의 집 EP 18 [SUB : ENG, CHN / 2018.03.28] - Duration: 33:52.

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To Niche or Not to Niche: Shelving and Highlighting Diverse Books in Your Collection - Duration: 53:16.

Sandie: Everyone, I know there are a lot of other things you could be doing, and if you've been here since 9:00 am,

you're probably very, very tired, but this is the WNDB-sponsored panel and unlike all of the other pop stage

events, we unfortunately do not have any books or swag for you. Although, I am giving out one tote bag at the end of the session [audience laughter]

if you make it to the very end. But such is the life being a member of a nonprofit organization.

So how many of you are familiar with WNDB?

Yay, so I don't even know if I have to read the mission then but I will read the description which is that,

We Need Diverse Books is a grassroots organization of children's book lovers that advocates essential changes in the publishing industry

to produce and promote literature that reflects and honors the lives of all young people.

Our mission: putting more books featuring diverse characters into the hands of all children.

So I am Sandie [unintelligible] Chen. I'm the co-chair of the panels committee

along with Alex Gino, who many of you may know as the author of George and another book that comes out

later on this year. And I am the token non MLS on this stage.

So, this is our wonderful group of panelists, and they are actually each going to introduce themselves.

Alia: I actually don't have an MLS either.

Sandie: Oh, good. [audience laughter] Alia: Just so you know. Sandy: That makes me feel better.

Hi my name's Alia Jones, and I'm a senior library services assistant with the Cincinnati library system in Hamilton county. It's nice to meet you.

Hi everybody my name is Tori Ogawa, and I'm a children's librarian and the Harold W McGraw Junior Fellow at Darien Library in Connecticut.

Hi. Soraya Silverman-Montano. I'm the services department head with the Las Vegas Clark County Library District.

I also just started my Nevada Library Association presidency. So, about a month in, yay.

My name is Amy Reyes, and I am a children's librarian, actually here in Colorado, yay. [soft audience cheering]

Hi, everyone. My name is Sarah Park Dahlen and I'm an associate professor

in the Master of Library and Information Science program at Saint Catherine University in Saint Paul, Minnesota.

Lots of saints. [audience chuckling[

Sandie: Okay, so today we are going to talk to all of the various people on our panel about how

best practice is, and how we promote and highlight diverse books without necessarily

having just a special display that says Diverse Books. So, the first and sort of obvious question is,

why should appealing to diverse readers be important to all librarians even if they serve less diverse schools and communities?

And I'm going to throw this to you, Tori, since I know you work in Darien, and I just made that joke about Aryans and Dariens. [audience laughter]

Tori: So, if you don't know Darien, Connecticut, it is a primarily white community.

It's a very wealthy community. There's not a lot of diversity. The diversity does come from the different surrounding cities or towns

but we primarily service a poor, white community, but I think it's important because

if they don't get diverse books in there, where are they ever going to

see somebody of a different color, see somebody of a different background than them, and then when they encounter somebody in life,

how are they going to react?

It's just like, we do get questions. We had a parent--

We had a display of the We Need Diverse Books and we just used the logo, and they're like, 'why do you have this up?'

Like, 'there's not a big Jewish community here, why are you putting up a Jewish book?'

or 'there's not a lot of lot of Black people here, why are you doing this?'

'Why are you trying to push this on kids?' And we're like, 'well, I mean, we're not trying to shove it down their throats, but we're giving them the opportunity to

see diversity and just help them to learn and learn empathy and learn what other people go through and their experiences.

I'm not trying to make your kid read it, but I'd like to give them the choice.'

And I think they should too. But just trying to educate parents as well.

By putting books on display, it educates parents about giving their kids the opportunity to read diverse books as well.

Sandie: Anyone else on the panel want to chime in?

Sarah: I think what Tori said was really great and also we have to remember that not all kinds of diversities are visible.

There might be people who, you know the example that you used was Jewish and people might be white-presenting but might be Jewish, right.

And so I think it's really important for us to remember that there are all kinds of different kinds of diversity.

The word intersectionality is really important to remember, that people have different aspects of our identities

And they might be in our communities and those people also deserve to see different aspects of themselves in the books that they read.

Alia: And also, it's important to remember that diversity isn't just ethnic and racial.

We also have people with disabilities. We also have people with different sexual and gender diversity.

So, you know you also have to think about the importance of that

and that even if that community is mostly white, there's also people from those communities, too.

Sandie: Soraya or Amy?

Amy: I don't think it's news, the idea of windows and mirrors.

We all want to find protagonists that we identify with.

For me, when I read Hunger Games, I wasn't into it until I found out that Katniss and I had the same birthday. [audience chuckling]

That could be your mirror. And windows are also important too as we've already been discussing,

like seeing and sharing this global community, even if your neighborhood is predominantly one quote-unquote type of people.

I like what John Green says, there is no them; there's only facets of us.

So, we need to experience those other lives that might be a little bit different than ours just so that we can see just how similar we actually are.

Alia: And if you haven't read Dr. Rudine Sims Bishop's essay, "Windows, Mirrors, and Sliding Glass Doors,"

it's from 1990. Look that up, Windows, MIrrors, and Sliding Glass Doors, it's really good.

Soraya: I was going to reference that. She stole my thought [audience chuckling], but I actually,

in my previous branch, I made diversity displays, but they weren't framed that way.

I just picked, I modified Dr. Rudine's quote on mirrors and doors and kept it as 'diverse books open up your world.'

And honestly, it wasn't anything other than that. I put a variety of topics out, and they weren't labeled otherwise and those things

I swear, I stocked them every. single. day. It was a predominantly white community.

There was no questions on why we have this, it was just, this opens doors. That's how it was framed

and constantly refilling those displays, so.

Sandie: Well I was gonna say that what Soraya said actually brings us to our next question which is similar,

It's how do you take diversity into consideration in your programming and displays and also,

are there barriers to overcome when it comes to highlighting diversity and also syllabi? I know Sarah is going to talk about that.

Soraya: I'll jump in on this. So, my previous role as librarian,

I managed all the pages of our branch and one of their active goals as a daily duty was, we have a ton of

front-facing books, just on every entry of every category within our collections. And so I said,

I want you to find characters that are diverse on the cover. Like just highlighting them, putting them on display.

It wasn't anything, it wasn't even my diversity displays, it was just our regular collections.

Because It's important for little kids to walk by and notice, 'oh, this person looks like me,' like, weird concept.

But in programming specifically as well, I do storytime every week

I don't explicitly do, I don't do the diversity storytimes,

I just have storytimes with diverse characters, and it's not focused on any specific culture or identity.

It's that they feature everyday human beings doing everyday situations who happen to be diverse because that's that's who we are.

My family is half Muslim, half Jewish.

My husband's family is Catholic. I'm half Malaysian, half Lithuanian. My husband's Filipino.

I'm a mix of everything. I love seeing myself. I don't see myself very often in books, but I know I feel a small joy when I do.

So, if I can provide that for a child, I'm going to make every opportunity to do so.

Alia: I'd like to add on to that, It's super easy just to go up and down your shelves and pull out diverse books.

Just having that representation there is really important, walking up and down for kids to see that image, see that representation.

And it's not hard to do, and that's one easy way to start in your branch.

I was just gonna say that my branch is predominantly Black, and it's in a more lower income neighborhood.

So I was talking to a couple kids about what they like and they're like, 'we kind of like funny books,' so I started to think.

You know, they're Black boys, how many funny Black boy books can I find. So I've started,

- yeah, just like silly stuff - so I did like a Black boy joy display.

Because I thought maybe they might relate to that, so you know just thinking about your demographics of

your library is also important and trying to put up something they might relate to.

Tori: I think also just in your displays not necessarily centering it around diversity, but putting

people of diversity in like, a fantasy display or like, adventure display

and just being intentional about what you're selecting off your shelf to be a front-facing book within your displays.

I think that definitely is a good way to incorporate it.

And for us to start and think about that more as we build new displays every two weeks or every month and just keeping that in mind.

Sarah: So I'm gonna talk briefly about the barriers.

So, when I plan my syllabi I have to make sure that my area libraries

have the books that I want my students to read because a lot of them

borrow books. They don't buy them from the library and so when I want to put a book by, for example, a smaller

publisher on my syllabi, I have to look it up in all the area

libraries and count to see to make sure that there are like 20 or more copies, and if they aren't available then

I really have to think about assigning that book. If there are say, 10 copies available, and I'm going to have 20 students

then that means I have to tell my students, 'there are only going to be 10 copies available.

We have to figure something out. Are, you know, half of you willing to buy the book? Etc etc.'

So you know Hennepin County is the

biggest library system in Minnesota, and they are pretty phenomenal about buying a lot of diverse books.

And I really appreciate that but smaller systems might not be able to.

The example that I like to share is the year that I assigned

Tim Tingles' How I Became a Ghost. I think Hennepin County had, because it was a smaller press,

and he was like, I mean, he's a very well-known and very well-respected author now,

but at the time that I first assigned his book,

he was not quite as well-known, and there were 15 copies of How I Became a Ghost in the library.

So I had to think about that and also at the same time

another person who's not Native but who had written a book that same year. similar sort of in terms of content and time period as How I Became a Ghost

had many more copies of the book, but I wanted to assign Tim Tingle. I wanted to assign someone who was an own-voices on the story.

So things like that can be a barrier to what I put on my syllabi.

And if I can't expose my students, who are future children's librarians, to the great diversity of books we have,

then the ripple effect of that is that then the children who they serve might not, get a whole lot of exposure as well.

Sandie: Okay, so

obviously, I think

most of us can answer this question ourselves, but I have to ask it, which is,

what are some examples of what not to do when it comes to diverse titles other than having them only out in February? [audience chuckling]

Soraya: Don't. label. them. as. diverse. titles.

Because you never know. Let's say you have a young person who identifies

as, you know, not cisgender

and you label your LGBTQ books and their family doesn't know and he

wants to just find books he identifies with and suddenly you've outed them, so

don't. label. them.

There's better ways to get that information out there, get those books into children's hands.

But don't explicitly label.

Amy: I think we already kind of touched on this earlier, but

don't assume that diversity means out facing diversity.

There's many different types of diversity and so be sure to include all of them,

not just like was said, not just February. It's not just Black History Month.

There's so many different types of diversity and intersectional diversity. Like there are

learning-disabled Hispanic kids, and there are D/deaf and hard-of-hearing Black kids, and they need all of those stories.

Alia: I think it's also important to be aware of avoiding stereotypes in certain diverse books because

just because a book is diverse doesn't mean that it's a good book.

Beware. I'd say do your research, you know?

Look for own-voices titles.

Look for reviews in journals. But not only that, be aware that journals often privilege

people who are not from the community that write about the subject they're writing about.

So, know that there's so many great people writing about diverse books online.

If you need resources afterwards we could give them to you, but yeah, a lot of people writing about great diverse books

maybe that you haven't found or know about. So do your research before you put the books up.

Sarah: Following that, I think also knowing what terminology to use is really important and I,

when I first saw all the book displays that were labeled "Books from Shithole Countries," I was like, 'yay, librarians, promoting books!"

but then I was like, 'oh wait. Let's not use that language.'

And so then I started seeing more

images of libraries and bookstores that were promoting books from Nigeria, books from [etc sound] and books set in different--

The language really, really matters. We don't need to say "shithole"

over and over and over again, right. And the other thing, like right now, something that's going on

is the Lunar New Year.

And so if you're making a display about that, is your display, does it say Chinese New Year

or does it say Lunar New Year? So being very inclusive and thoughtful about the terminology that you use also when you're doing your diversity displays.

Tori: I have to say, don't assume that someone doesn't want to read it because it's not about them

or it doesn't reflect them or something like that. Don't assume

that just because it's diverse that they won't want it. A lot of times

I think we get stuck in this place where it's like, 'Oh, it's

not what, I don't think they're gonna want to read it because there's a Black character or an Asian character

and they're white.' Don't assume that. They might want to read it, so just offer it to them. Don't be afraid to

put it in their hand and it'll be their choice to take it or not, but you gave them that choice.

I think sometimes we forget that when you just assume, 'I'm not even gonna offer that title because I don't think they'll want it.'

I think that's a lesson that I needed to learn as a new librarian, so.

Alia: Kind of to go off on that, I've only been in libraries a very short time.

I was a indie children's book seller for two years, so I got really stubborn about just giving people diverse books.

If they asked me for a book on space, 'hey, here's a book about space with a Black kid.' [panelists and audience chuckling]

So you know, but that's what they wanted, but I just kind of diversified

maybe what, you know, they were getting. Kind of just to throw some other things in there that maybe they didn't know about.

So, that's important, too.

Soraya: I would say on that, if you have any buying power or the ability to recommend titles --

a lot of mainstream publishers may not carry as many diverse books as a smaller imprint or a smaller publisher

so going out of your way to be knowledgeable and aware what's out there, and what's being published

and making those suggestions to your collection development people.

So, I don't know if you're familiar with Salaam Reads, but they are a fabulous Muslim imprint.

I have been pushing titles to my collection development people all year since I saw them at Midwinter last year, I believe.

And we've purchased several titles, so it's very exciting. But be aware.

Sandie: And WNDB does have resources for librarians if they need recommendations on what books that they would like to stock.

And so my next question for you guys is, I know that, Soraya, you touched a little bit upon this when you spoke about storytime,

but can you give everybody some concrete examples of how you integrate and highlight diverse titles in your collections programming classes?

Soraya: Definitely. Storytime's my favorite part of my job.

So like I said, I actively go out of my way to make sure that the titles I'm presenting -- it's not always possible for all the titles -- but

at least one of them features diverse children or diverse families.

I actually presented at Annual last year for Storytime Underground, when we had our first pre conference ever.

It was on diversity in storytime without it being a diverse storytime. If you have the ability to do that in your system, fabulous.

Not everyone does but we can all take active steps to making our storytimes more inclusive and more diverse.

So if you would like, I do have that PowerPoint available, it's online.

It's hosted through Storytime Underground's blogs, so if you search for it, it'll pop up. But I believe I did

16 different thematic storytimes on diverse characters and diverse themes.

Lots of great recommendations if you need a starting point but again, not advertised. Like one of them was about making mistakes.

How it's okay to make mistakes, but I featured Todd Parr's It's Okay to Make Mistakes.

And a book by -- oh my gosh, I'm going to forget her name --

it's called That's Not How You Do It, and she has a

Asian and French last name -- sorry, guys, I'm gonna butcher it.

But anyway, the theme is on how it's okay to make mistakes

and nothing to do with diversity but both titles are very diverse. And kids identified very -- I had one kid actually come up during that one and be like,

'Oh, that identifies with my culture.' So it's a Japanese culture and

That's Not How You Do It is the story. So, you never know what audience you're reaching by making those,

they're small steps, but they're, you're being intentional. And they can make a big impact.

Amy: One thing we just started at my library with storytimes in particular is

we aren't doing themes anymore. I know that that's like a big deal to a lot of children's librarians.

And it was for me for like the first four and a half years of my professional career.

I was all about theme and the rhymes are gonna match the books and the crafts is gonna go with it.

And I decided, you know, there are a lot of really amazing books that I end up not getting to share as frequently as I would like because I've

hamstrung myself to a theme and my patrons don't actually care.

So by doing away with themes not only do we get to repeat the same songs and rhymes together over the course of the month

so that they really know them by the end -- and that's great for their early literacy --

it means that I get to share those awesome and more diverse titles that I wasn't getting to share as frequently before.

Tori: I think on more of a concrete side of display examples, we've done things like,

Travel Around the World, and then we put books of characters that are around the world, so that they can get a window into different cultures from different places.

And it's like they're taking a tiny vacation.

Or doing read-a-likes, like For People Who Loved Harry Potter,

but then incorporating diverse titles that way so it's more focused on "because you liked Harry Potter,"

there are these other things, and you're not specifically focusing on diversity.

But you're harping in on their love for the fantasy and the wizardry or the magic or whatever it is.

And I think, I think it was back to another question.

It's hard for us. We like to do diverse programs, and we like to bring in

performers from different cultures, like a Chinese New Year Lion dance or something like that.

But we often see that those programs are not well attended and that's really discouraging to us.

But then there's one person who comes up and is like, 'that was the best program. Thank you for doing this.'

So I think that makes it worth it when you're touching one family or one child or one parent and they're really thankful

that you included their culture or gave them a look into this, it makes it all worth it.

And you should just keep doing it and keep bringing those people in and

don't get discouraged about that. Don't stop doing it.

Alia: It can be something as simple as picking a diverse book for your book of the month, you know.

That way you get a lot of people reading one title, one good title.

And Sarah, didn't you say something about double shelving?

Sarah: Yes, so Cynthia Leitich Smith, the author, she has a section on her website where she talks about the concept of double shelving.

And basically the idea is, if you have a book that is considered diverse,

then you put it, like you shelve it in both, sort of like your juvenile general collection

as well as -- say if you have a set of separate section

that's Native American authors or something like that -- then you would also put it there.

And she, you know, she also says, we know you don't have unlimited budgets, but if you really care about this,

then you will put your money where your mouth is. Buy multiple copies. Buy one for the general section. Buy one for the specific section.

Buy another for a display. You know, really put it in multiple places so that it'll be discoverable in multiple ways.

You know, I don't do library book displays and programming things like that, but just on the question of

how I prepare my students. So, I teach a separate social justice and children's and young adult literature class.

So it's a lot easier to just talk about diversity all the time, but then in my general classes

I also integrate as much diversity as possible. And so I'll put things like -- oh god, I can't even think --

So if we were talking about A Different Pond by Bao Phi, I might not put that under [makes quote fingers] Vietnamese Refugees, I would put that under

Minnesota Authors because I always have a section where I highlight Minnesota authors for my Minnesota future librarians.

And I also --

Part of their assignment when they read these books is that one student has to do a lot of

research on that book, on the author, the illustrator,

the context in which that book is taking place, as well as the time period in which it was written because that might influence

what you see or don't see in the book. And then that student is responsible to educate the rest of the class on those issues.

So, for example, if we're reading Walter Dean Myers' Fallen Angels, my students have to research not only the Vietnam War and all of its

complexities, but they also have to research Black males in the military and to teach us about that.

So I encourage my students whenever they give their presentations that their research has to be multi-faceted.

This is not just a book about a Vietnamese boy going fishing with his dad in Minnesota.

There's so much more to that book than just those things so that's what I do.

I hope that prepares my students to think really broadly about all the different complexities of the books that we read.

Sandie: So we're gonna switch gears a little bit and talk about the p-word, which in our world means

"problematic," right. So, how do you handle problematic books,

particularly if they're popular or maybe they're even bestsellers so -- and actually maybe start off by saying what you consider

problematic, because I think that no everybody shares the same idea of what that means.

[panelist laughter as no one speaks up] Sandie: not all at once. Soraya: [Off mic: no one wants to buckle down on that.]

I will say there's a lot of [makes quote fingers] classic literature

that's still on a bunch of reading lists. So whenever I get a student that comes in looking for Little House on the Prairie or

Indian in the Cupboard

I'll ask, 'Oh, what school do you go to? What grade are you in?' And I try to find that teacher's name. And I'll email them to say,

'Hey, I know you're busy, you have a lot on your plate.

Just as a recommendation from my perspective as a librarian, I would highly recommend

considering other titles that may still reflect the

whatever you're trying to teach your students from this story, but that it is problematic.

I don't usually get responses, sadly, but I have a couple times. [audience chuckling]

And I have a good relationship with a lot of the schools in our area, so I feel like that rapport really helps bring that

[makes quote fingers] touchy conversation to light.

But it is important, and we, I'll tell the students as well, 'like I know this is on your reading assignment

but if you'd like

similar literature that is

more accurately reflected or more --

I don't, they don't understand problematic when you're in second grade.

But I'll try to recommend similar titles to them and be like, 'hey, this is much, I prefer this book much more. I think it's a better read.'

Tori: So I think my direct supervisor's very good at handling things like this.

If there's a parent that comes in -- The Little House on the Prairie book is the perfect example. It's like,

oh, they read it as a kid,

so it's like a cherished thing, right? And you're like, you don't want to be like, 'no you shouldn't read that.'

But I think you set them up and say, 'well, how long has it been since you've read this book?

Maybe things politically and the times have changed, or you know, things are not as politically correct in that book anymore.

But if you want to read it just know, be aware, but maybe it'll start a bigger conversation

with your child and have that conversation

if you're going to read this with you know, start that conversation about

maybe why this is inappropriate or problematic anymore in today's -- I mean it was probably always problematic

but it wasn't recognized as that -- but you know, start that conversation with your kids.

It's a good way to start, you know, talking about it.'

Alia: Well first of all, I think it involves research again,

figuring out why a book might be considered problematic.

Looking for multiple perspectives and ideas about why a book is outdated. Why even though it might have just came out two months ago,

It's getting a lot of pushback for being insensitive.

So educate yourself as best as you can in order to figure out why people have issues with books.

And for me, as far as dealing with problematic books, I just don't recommend them. [audience chuckling] I know that's kind of obvious.

But like, as a bookseller, like if a kid were looking for a certain book and I know

that that type of book involves a book

that I know is problematic, I won't recommend it, you know. So they might find it on their own later

but for me, I don't have to recommend that book to them because I know that it's not necessarily that great.

So that's just what I do. I try to educate myself.

Sandie: So our next question is, and we spoke a little bit about this earlier,

which is that some kinds of diversity get a lot of, for lack of a better word, airplay. We talk a lot about

the lack of regional and ethnic diversity in books but

there are other kinds of diversity that maybe don't get talked about as much and how can we help promote books about less obvious kinds of diversity:

religion, disability, even socioeconomic status?

Soraya: Like Alia said, you gotta research. We can't know everything.

And have that repertoire. If you're not, if you're not knowledgeable about what's out there,

you can't recommend it, you can't make active efforts to bring those communities to light.

So, you know there's plenty of great blogs,

We Need Diverse Books is obviously one of them, but the CCBC puts out a great report every year on diverse titles.

It's pretty expansive in terms of the communities that it focuses on,

but you have to actively make those efforts. They're not gonna come to you.

Because, to be fair, there aren't a lot out there that we can pull from in general.

So, if you're not making those steps then you're never going to know, you're never going to be able to share those titles because you don't know they exist.

Alia: And maybe take the titles that you do know and integrate them into other kinds of displays.

So, for example, Hena Khan's Golden Domes and Silver Lanterns,

put that into a display about shapes, or you know, colors and things, you know.

So, knowing the titles and then taking them outside of the context that they might always be in.

Because that's also a book about religion. It's a book about a lot of different things.

So putting them in displays that you might not normally put them in is a way to get them to a new reader.

Sarah: And I have sort of mixed feelings about this because, number one,

I think we are operating on the assumption that there are lots and lots of books to choose from and there still are not as many as we should have,

especially from own-voices. And the other thing is findability, right, discoverability.

So, how are libraries, and reviewers as well, right,

how are the publishers, reviewers, and libraries labeling books in such a way to make them findable?

And so I think some of the software that's out there, some of the websites that are that are out there now are really helping us to do that.

We just need to be on top of it to make sure that we can find the books that fit the criteria that we're looking for.

So, I think if anyone here is in technical services or cataloging.

that's really important. Like how do we label books? My graduate assistants, and I, or my graduate students

and I did a research study recently where we were looking for Asian American teen literature and

we tried different ways of finding the books in a particular library catalog and we came up with different results.

Like if we use the word Asian, or if we used the word Thai or if we use the word whatever.

And then we also did manual searches and looked at summaries and we came up with completely different lists.

And so, how are these books being catalogued so that we can even find them in the first place?

Sandie: So this is our last question

and then we would love to hear some questions from the audience if you have them.

So, last year at ALA, the Soho publisher said in a panel, quote 'diverse books aren't for diverse people, diverse books are for everyone.'

Right? So it's a pretty universal statement that we hope everybody here believes.

And yet with that in mind how do we keep one another accountable when it comes to diversity?

Because it seems like an easy thing to say and to hear and to agree to

but then in practice, like everyone has been saying, it can be very difficult to actually find the book sometimes.

Tori: I think within your own whatever workspace in your department, to keep each other accountable, if you see something missing, say something.

To whoever, if you're not the collector -- because I'm not the collector in our department

But I noticed that I'm the one --

I'm half Japanese half Filipino, and I didn't see a lot of those Asian American books in our collection.

And I said something and now we have some series.

Or you know things like that. So just making it a point to say,

'Hey, I don't see this. Can we buy some books?' Or if you have buying power,

talk to your co-workers or talk to your patrons and your people and see what's missing and then

show each other new books. Like our collector does keep us accountable by being like,

'Hey, did you see that this just came out?' and she's like, 'this is the perfect title.'

There was something about a homeless family

and how -- I forget what the title of the book is but -- the father and mother go to shelters.

And she's like, 'this is just a lovely book, like I think you guys need to see this.'

So she keeps us accountable by making us read it

at some point in the day and being like, 'hey, just be aware that this is out there now.'

[Off mic: Alia tells Tori the name of the book and Tori thanks her.]

Alia: That book is called Still a Family. [Off mic: Tori tells her she's bad at titles and Alia reassures her it's okay.]

Soraya: I would say, also, you have to have those hard conversations with your colleagues who may not be on the same page as you are.

There's a lot of people who are still very outdated and very old school

who may reject the idea just immediately, but.

You know if you need backup on that,

obviously ALA supports us, ALSC supports us. Bring that information to your supervisors if you're not the supervisor.

I mean like, look, these are modern day standards, and we are not meeting them.

We need to have these conversations to get people on board because otherwise nothing's gonna change.

They're gonna -- until they retire or leave, everything gonna stay the same.

So, it may be awkward and maybe you're not in a position of power so it's uncomfortable

But ALA gives you that support, it gives you that research, those studies, that information.

Bring it to them and be, 'look, it's not me, I swear. It's the profession as a whole.'

We gotta make those active steps.

Amy: I think, too, as we're doing weeding, we have an opportunity to go through our collections

make sure that stuff that's really problematic gets taken out, for one and then, for two,

stuff that's not circulating well but is a high quality diverse book,

then that's one that we know, 'hey this one, first picked for my next display or my next book bundle or my next

storytime. When I have an opportunity to share this book I will.''

There's several times that I'm weeding where I'm like,

'I don't want to think my community's racist,

but there's a lot of really good books about people of color that are not getting checked out.'

So it's a good opportunity for me to see what's not circing and then be able to

highlight those, and hopefully highlight them well so that my community sees what good resources they are.

Sarah: Yeah, I think we have to keep speaking up, and I'm really glad Soraya gave the example of writing to the teacher.

So after the Tim Tingle thing in my local library, I wrote to Hennepin County and I asked them about why

did we have so few copies of Tim Tingle's books and so many copies of this other book and they wrote back a

really really really thoughtful, like very comprehensive answer which opened up a new line of communication for me.

And now we have really great conversations about books, and I think our collection development person is doing a phenomenal job. But you know,

I spoke up and they responded and we engaged in this. And so I think it's important for all of us to remember that we have to communicate our discontent.

Because if we don't then other people might not know, like they might not see some of the things that we see that are problematic.

And we have to believe one another too.

Like if I say something in an Asian-American book is problematic, I hope you believe me.

I hope that we believe people who have the lived experiences of particular

conditions or whatever when they say that this representation is really hurtful.

I really hope that we can believe one another and then do something about it.

I was really taken by Grace Lin's blog posts about how terrible

-- not terrible, well terrible -- but also like orientalist and racist Tikki Tikki Tembo is.

I don't know how many people have actually read that and have done something about it in their libraries.

So I think we have to be vigilant and just keep talking about the things that are problematic so that we can all keep learning and then doing something about it.

Alia: I think, to kind of go on what you said, communicate your discontent, but also communicate your successes.

Show what's working.

Like, for example, right now we have a lot of really great books up for Black History Month,

and my manager was like, 'oh my god, like people are really responding to them,' I'm like, 'yeah, I know.' [audience and panelist laughter]

The community's just really happy to see themselves represented in our branch.

And kind of to go back to your quote, you said diverse books are -- or that person said -- diverse books are FOR everyone.

I would say diverse books ARE everyone, and I think that's important to remember, diverse books reflect our world. This is our world.

So, librarians, you gotta BE about diversity, not be trendy. You gotta be about it. You got to care about it.

It's got to be about in every aspect of how you think about collections management, making displays, programming.

You know, it's got -- you've gotta really be about it for it to make a difference.

Sandie: Thank you so much to all of you for coming here and listening to our wonderful panel. We hope a few of you have questions.

[Looking out in the audience and chuckling in surprise] Oh! Okay.

Thank you. My name is Kaitlin and I work for the New York Public Library.

And I do a series where diverse authors come and talk about their favorite diverse books.

But I'm having a really hard time getting people to come.

Do you have any suggestions?

Soraya: How are you marketing it?

Kaitlin: So we've put up fliers. We've reached out to other, obviously, other libraries in our system. We've reached out to Brooklyn Public Library.

We've presented it both to, like families as an event for you to come to with your children.

The ones that have teen authors coming, we've presented it as like, 'cool teen authors are coming, you should come see them.'

The ones that are in general, we're like, 'librarians, this could be a professional development for you. Teachers, this could be professional development for you.'

It's just, nothing seems to be working.

Soraya: Yeah, I was gonna say, maybe the day it's being offered, the time it's being offered.

Like, are you timing it with your -- if it's a children's author -- are you timing it with your storytime [unintelligible]?

Because you feel like it could trend? You can just sub a storytime for that week and put in that instead.

Kaitlin: That's true. That's a good idea. Soraya: You already have a built-in audience there. Kaitlin:That's a great idea. Thank you.

[Librarian]: Hello. And hello, fellow Ohioan up there.

Alia: [waves] Hey. Librarian: Hey.

I work in Avon Lake, Ohio. It is a very un-diverse community.

So this question is more specifically for people who work in predominantly white, upper-middle-class, you know, Christian communities. [Sandie points at Tori.]

[As Tori gives a little hand wave.] Yeah, yeah. Yeah, yeah, yeah.

I like to say that I have been very conscious about buying a lot of diverse books and

putting them out there and putting them in my readers advisory panel and putting them on display and

giving them to the patrons and putting them in the teens hands. I'm young adult services so.

And something troubling that I've actually been seeing specifically, what's happening is that I will recommend, you know, diverse books

and you know, put them in the teen's hands.

Then they'll say, 'oh, thank you,' and then they will put them down and walk away.

And you know, it's -- or I will have them on display, and they will consistently be on display multiple times,

like Piecing Me Together actually, by Renee Watson, putting it up. Multiple times it's been on display, and it's had like two circs in two years.

So I guess I'm asking about roadblocks. What you get, I'm getting really frustrated about it.

Other-- you know I keep trying and trying, and it's just, it is not, it's not working.

I have a Social Justice Book Club that I'm doing,

that I started last month. And so right when I get back from, to Cleveland from, you know, from here

we'll have another meeting and attendance has been very, very low.

So we got, you know, I have a nice little core group of kids,

but there's only three of them, so. And there's a lot of students that come after school.

So, are there other other things that I could be doing?

It seems like when I put them on display, they just get they just get passed over consistently and consistently.

I feel like, I feel like I'm not doing all, you know.

Alia: I don't know if I really have a suggestion, but I would say just having them there is important. [Librarian: Thank you.]

I mean, just for those kids to see that representation.

They might not be picking it up or they might flip through it. They might see something they've never thought about.

So keep doing that. It's, I know it's not easy.

But you gotta keep pushing through, keep repping diversity. Keep being about it. That's all.

Librarian: Thank you, and I will not, and I will not necessarily weed them.

It's my discretion. But it's hard to justify when you have such low circ numbers, and I have limited space.

You know, I don't want to say goodbye to Walter Dean Myers, but it's it's very difficult when to justify.

Luckily, I don't have to, I don't have to do that, but I--

Tori: I mean, it seems like you're doing all you can by --

like, I don't know, maybe change the way you're displaying it, like highlight it in a different way.

And I'm sure you're probably doing that, like changing how you represent it, you know, like

highlighting it in a different matter of, like, 'it's not just about this, but hey, like it's an adventure book' or whatever it is.

I'm sure you're probably doing that. Don't be discouraged.

I mean, if it's circing at least to somebody, you're reaching somebody, you know. [Librarian: Thanks, yeah.]

I mean, I felt that because there's this book like Cora Cooks Pancit and it's about a Filipino girl.

And I was like, this is like the first book I've seen that represents me and I'm an adult, you know.

So it's like, but no one's checked it out, like hardly anybody our community.

But I kept putting it up in our new book display, on the top so that somebody would see it and check it out.

And then you know every couple weeks it went,

it went, and I was like, 'oh, yay, somebody's reading it.' So, I mean, you're getting to somebody, just keep doing it.'

Don't be discouraged. Librarian: Thank you. Thank you. I appreciate it.

Amy: I totally feel your pain, too.

There are many books that according to circ stats I should have weeded the first year I started working at my library that are still on the shelves

because I insist that one of these days someone is going to check that book out and see themselves

or see a culture that they have never experienced and find people that they still fall in love with.

So I'm determined to hold on to some of them.

One thing I would say, and I know this probably sounds awful,

but I wouldn't call it Social Justice Book Club, just because "social justice" comes with a certain amount of political baggage

and you're missing kids that need that the most.

Because their parents see Social Justice Book Club and say, 'nah, that's not for my family.'

Which is sadly true.

If you just change it to Teen Book Club you might be surprised by how many kids come and

suddenly enjoy the diverse books you're recommending

because they stumbled into it.

Sandie: Any other questions?

My name's Mary. I'm a children's librarian from Minneapolis, Minnesota, from the county library system

and my question is about reviewers, book reviewers and about book review journals,

and how you guys feel about calling out whiteness in addition to calling out

other areas of diversity and kind of just your thoughts about,

you know, that white is not just considered the default. And if you're a book reviewer, kind of advice for how to make all the books findable and yet use your words.

You know, it's so hard to write book reviews concisely and whatever. So, thoughts, please. Thank you.

Sandie: How many of you write book reviews? [Alia, Tori, and Amy raise their hands with Soraya doing a "kinda" gesture.]

And how many of you write book reviews for Kirkus or one of the other journals? [Tori and Amy raise their hands] Okay.

[points to the panelists] So, one of you who does that should be [unintelligible].

Amy: I don't like assuming that white is not the default.

That all cultures need to be represented and even within whiteness there are many shades and tones of whiteness.

There's, you know, working class. There's upper-middle class, like you can't assume

upper middle class Christian white in this country anymore. So, assuming any ethnic background, I think is

faulty. So, I like calling out all the different types of diversity within books because

sort of it gives the cataloger something to go off of to help with those finding aids that we can find, like

maybe the publisher only put that this is Thai American literature,

but maybe it's also Filipino, maybe they're, you know, mixed ethnicity.

Maybe it's also about neurodiversity. Maybe it's not just one thing.

So the more that we can call that stuff out, the more tools we give to catalogers to help find those things,

the more we give tools to teachers to help find those things,

and the more we give tools to patrons who are really forward-thinking and actually looking for those things.

Soraya: I don't review but I would say, honestly, we as individuals make a huge impact. If you write to Kirkus, you write to School Journal, you say,

'look, I want to see more diverse reviewers. I want to see more diverse titles.' They listen.

They may not read in detail everything, but they listen.

And the negative feedback that has come to certain titles in the last few years has really hit some of these reviewers hard.

So it's on their radar. They're aware. I don't know how many are making as many initiatives as they should, but it is on the radar.

So the more that we vocalize that this is a necessity that we need, the more oomph we're gonna have behind it.

Also, be a reviewer yourself. You know, it's not as hard as you think.

Especially if you're framing it as, 'I am a Muslim Jewish Malay Lithuanian

person and I would love to review some titles for you from that diverse perspective.'

I'm pretty sure they're gonna take you into more consideration because they're actively seeking that or they should be anyway.

So make your voices heard.

Amy: I want to say a quick plug.

I just happen to know. I won't speak for Vicki, my editor,

but we're actually looking for religiously diverse people. I'm reviewing a book right now where the lead character

is Mexican American like I am, overweight like I am, but she's Wiccan like I am NOT [panelists and audience chuckling]

And I cannot speak to the accuracy of how Wicca is portrayed in this particular book. Even though, it's a huge part of the plot.

So, religiously diverse, ideologically diverse, ethnically diverse, neurodiverse,

whatever you are, reach out, we might have space for you. And if nothing else blog about it.

Alia: I just want to say that as far as calling out whiteness,

I mean, publishing is extremely white. That's the reality. Publishing-- [Sarah: Seventy-nine percent.]

Yeah, publishing and reviewing, it is extremely white. So we need more diverse reviewers.

So, I mean, like you said, apply.

And don't worry about the review journals, blog yourself. Write for yourself. Take the books and put out your ideas yourself.

But as far as review journals go, I'd say they're working on it.

I really know that they're making an effort to hire more diverse reviewers and to kind of

police themselves from within to try to become more inclusive and diverse.

Sarah: And I think a great resource to consider is Melinda Lo's blog post,

something, I forgot the exact title, but it's something about diversity in book reviews.

So if you just google her name and diversity in book reviews, I think you'll find her blog post.

It's a four-part series of essays that she wrote where she looked at

book reviews from the industry, and how they talked about diversity.

And I think reading the way she analyzed these book reviews will help all of us

to be more critical readers of book reviews and to understand where people might have problems writing about diverse books.

So one of the things that she found was that some reviewers were having trouble with intersectionality,

as if someone couldn't be Chinese and disabled and a lesbian and, you know, like, low-income.

As if people like that don't actually exist.

And so learning how to be a critical consumer of book reviews, I think is also important.

And, personally for me, I actually prefer if book reviews do tell me a lot about what's going on

in terms of diversity because I want to be able to find those books.

I can't tell you how many times, as a researcher of Asian American children's books, I've struggled to find,

like I've had to go deep into my research in order to find books that were even, that I even wanted to include in my study

because everything I found -- like maybe book reviews didn't say anything,the catalog didn't say anything.

I'd have to get the book into my hands and then I'd have to dig into the book to -- And it just, you know, I just want someone to tell me that this character is Korean.

That means a lot to me, especially as someone who never saw a Korean person when I was reading as a kid.

So I just want someone to tell me, 'this is a Korean character.'

That's not all she is but it's a lot. It means a lot if that's what she is.

Sandie: So I can't believe it happened, but our time is actually up.

But I do have one little tote bag and three little buttons.

If you happen to have a diverse title that you love love love

and you raise your hand and recommend it now,

whoever stands up and says it will get this tote bag. [points to audience member] Yes!

[As audience member starts speaking off mic] Oh my wait for the microphone 'cause I'm the only one who heard that.

Audience member: We're coming out with a book at Charlesbridge called Like Vanessa.

It's written by Tammy Charles, and it's about her, it's a semi autobiographical book about her experiences

being a young girl watching the first black Miss America win a pageant and how she decided she wanted to become just like Vanessa Williams.

Sandie: Excellent. Thank you.

You get a tote bag. I wish I could be like Oprah and say you get a tote bag and you get a tote bag [panelists and audience laugter]

But sadly, I only have one tote bag. So, thank you guys very much. Please, a round of applause for all the amazing panelists.[clapping]

And we might be lingering around. And if you look up really quickly, you'll actually see the editors from Kirkus leaving.

[Everyone waves] Bye! So now you know who to write to if you would like to be a reviewer for Kirkus.

Thank you guys for coming to our panel.

And we hope that if you decide to share on social media, that you will tag We Need Diverse Books at @diversebooks on Twitter

and feel free to, you know, introduce yourselves to us.

And Alia you wanted to say something?

Alia: Yeah, I just wanted to say, you know I've mentioned a lot of diverse reviewers and their blogs.

I made a really awesome PowerPoint with Sam Bloom right here, where we listed a lot of really great blogs and websites to find quality, diverse, own-voices books.

So if you're interested in seeing that PowerPoint, just come up to me. I can give you my website where I have it and we can talk.

Sandie: Alright, thank you very much. [clapping]

For more infomation >> To Niche or Not to Niche: Shelving and Highlighting Diverse Books in Your Collection - Duration: 53:16.

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Should You Spay or Neuter Your Dog? Reasons You Should Spay/Neuter Your Dog - Benefits, Pros & Cons! - Duration: 4:34.

hi everybody and welcome back to Relax My Dog, today we're going to be

talking about the benefits of spaying your female dog and neutering your male dog, let's get started

so firstly looking at your female dog, it's proven that your female dog can actually live longer

if you do spay them, spaying can help prevent your dog from getting any

serious health problems such as different infections and also breast

cancer as well, what I didn't know is that breast cancer, like for humans, is

extremely dangerous for your dog and this can actually result in death for

about 50% of canine cases, so it's extremely important to take this into

consideration when wanting to spay and neuter your dog. Now the most effective

way to protect your dog is to spay your dog before their first heat, maybe visit

your vet to see when that may be. So we know that spaying your female dog has

many health benefits but neutering your male dog, like Milo, also has a lot of

benefits too, so neutering can help prevent different

cancers that your dog can get, but definitely take into account that for

the best chance of protection it is important that you get it as early as

possible, now it does vary between it breeds when you should get this done so

maybe visit your vets to find out when the best possible time is to do that

Now moving on to the main reason we wanted to get Milo neutered and why you may

want to get your female dog spayed; now typically after about six months of age

unspayed female dogs go into heat for two to three weeks at a time and

that's usually about twice a year although this can vary between your

breed of your dog and also the size of your dog as well

now this period of time that your dog is in heat, this can bring a lot of

different behaviors that you may not want to experience with your dog, this

can include your dog becoming very very howley and making a lot of noise howling

throughout the night and just not their usual behavior, as well as that they can

urinate a lot in the house as well, even if they have been a house trained

they are quite naughty during this time, this will also attract any un-neutered

dogs into your area as well, so we know that spaying does help your female

dog become a little bit more well behaved, but it also helps your boy dog as well

so your un- neutered dog is likely to show a lot of unwanted behaviors around

the house in order to attract a mate, the main one is that it'll want to roam

around the surrounding areas and want to get out the garden and dig through

underneath the fence, it'll just do a lot of things to try and get away from you

so it's very important that if you are wanting to not neuter your dog even

though I would personally want to neuter my dog

it's very important that you keep them close and you keep an eye on them at all

times, as well as that your dog would want to do a lot of marking in the house,

in the outside, just everywhere basically to try and make their mark on the house

un-neutered dogs are also going to be creating a lot of aggressive behavior as

well which is something that we noticed with Milo, he was being a lot louder than

he usually is and just not his usual self, that's why we decided to neuter him

and as you can see he's as calm as anything and as you may have seen in other videos

he is extremely settled and just relaxed constantly which just makes him an

excellent dog, and I love him so much! And then the last tip is something you guys might not have

thought about and that is that it saves you money, that may sound a bit weird

because you do have to pay for the surgeries and everything like that to

get them spayed and neutered but it is a lot cheaper to give them the surgery

than it is to look after a litter of puppies, you've got to think about that

unless you're wanting to do that you wanted to breed your dog which is

completely fine, you do whatever you want to do with your dog, but if you

aren't wanting to have these bills to look after these puppies and if you're

wanting to save your dog from health benefits and to also make them a little

it more of a chilled-out dog, it may be important to spay and neuter your dog

which may cost a total bill but overall it will be a lot more of a cheaper option

Now to finish off, if you haven't

neutered and spayed your dog, what are you waiting for? There are so many

different health benefits and behavioral benefits as well, unless you're wanting

to use your dog for breeding, there is no reason why you shouldn't want to spay

and neuter your dog! Don't forget to give us a big thumbs up if you did enjoy this

video and if you thought Milo was a super good boy, and also don't forget to

leave any comments down below of what you experienced when you got your dog spayed

or neutered, also don't forget to subscribe to our youtube channel and

also click the notification bell as well to stay up to date with everything here

on Relax My Dog and me and Milo will see you next time, bye!

you

For more infomation >> Should You Spay or Neuter Your Dog? Reasons You Should Spay/Neuter Your Dog - Benefits, Pros & Cons! - Duration: 4:34.

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FFXIV Leatherworker Quest Level 60 (Patch 4.0) - Duration: 8:57.

and we're back for another episode in this episode we're going to be doing the

level six sea level worker quest introduced in storm blood and as always

hello from every so you have to come back to the original guilt in order to

do the new level 60 questions you may have done everything previously so let's

do it now so I got some bad at me look so the question is called a taxing

request well we'll get some commercial engineering manuals my bad that'll help

us a little bit so I had 250 crystals as well

not bad so Gil Master giver surprised yet glad for your unexpected visit so

well if isn't my favorite level worker I was certain you'd be too busy selling to

lords and ladies and it's guard to have a convict but you've come at a good time

I have need of a woman with your talents we recently received a rather unusual

request for a level worker I wouldn't dare entrust it to the others

and I'm much too busy if you've tried to come and visit then I'm sure you can fit

this into your schedule head down to the shaded bowler and have a talk with art

alone tell her I sent you as you'll explain everything cool so let's do that

now we're ladies now originally to be

perfectly honest this girl was mean you know they like she was one of those

tough love sort of guild masters you know so when he's buying the quest as a

level worker is just horrible she doesn't really encourage you she

just expects you to fail and you can see here I'm still promising on nicely gang

they're nearly all level 61 already so what I was worried about is by basically

being so far ahead that I don't have a million quest to do so let me just get

them done so if we metaphor level workers guild oh yes give us told me

about you a darling protege who gained some small bit of fame for services

rendered here in gridania inish god so well your honors and accolades mean

naught to EOG as premier naturalist at a loon henceforth I and I alone shall be

the judge of your work you should be happy proud even to assist

me with my noble work there's not often one has the opportunity to serve as my

lady and well my duty dutiful apprentice okay

I'm assuming is this like the level 70 level work again I'll be interesting so

daunted by my celebrity I see worry not under my careful guidance your skills

will be put to good use this I can assure you until now I have

been collaborating with my first assistant marcet to write articles for

the New Jersey idea graphic though I would love to continue with my writing a

duty of much greater importance as drawing my attention in my research of

the calamity effects on the environment it has come clear that the abnormal rate

at which the realm is changing far after its the pace of animal adaption indeed

sorry one second indeed I fear certain species now face extinction and what

manner of naturalist would I be if I did not do all in my power to save them alas

time is not on our side which is why in the event I am NOT able to save these

humble creatures I would preserve them through taxi der

me that future generations may still gaze upon their splendor that is why I

conferred with guild master giver and why you now stand before me if you

believe itself capable of the task at hand I shall make you my seventy second

assistant what say you okay so hmm confidence good in time I

will know if there is any talent to match in any case your contributions

will not go unrecognized you shall be duly credited in my next publication of

new your Z and geographic as

etc low so now your first task shall be a simple one speak with the research

assistant 71 they own at the car line canopy well what are you waiting for

okay so imma she's gonna be like the new pain in the asses that she let's just

teleport save ourselves a few seconds of running maybe she doesn't realize how

famous I am when it comes to crafting I'm probably one of the very few people

in the game at this point who is actually doing this quest and all the

other craft the quest is actually my goal to be 70 everything in song blood

literally 70 everything and when you hit 70 of each rank so war magic handle and

you become god or goddess as long as you miss we will be goddess so it is my

intention to be goddess of everything here's Jordan and is worth doing all the

classic West because they are really really interesting even for crafters and

gatherers oh I you the level worker miss at saloon

core I mean hired to help with the mounting

dollars who were being scammed let's be honest you volunteered I mean working

under her is an unpleasant mind you it's just well Who am I kidding she calls us

assistants but I know the truth we're just a bunch of servants to her

my name is beyond by the way number 71 the taxidermist

she calls me to be honest it's just a hobby but she won't listen she never

listens it's sad when animals die you know but when I mount them it's like

they never really left so I practice every chance I get to make

the best mounts I can't I'm no good at preparing skins though they're always so

unsightly and mish shapen when I finished working with an honest-to-god

level worker like yourself how about they look so real folks will swear

they're still breathing yep

so I should probably be heading back or else I'll upset Miss Italian again

anyway it was nice meeting you

epic okay so I've a feeling we're gonna have to make a lever at some point so

let's go back to where we were before I guess I'll have to just one at this time

so as I say it's worth doing all of these quests all of them because they

are interesting is I've never seen a game where crafting and gathering has

got class job quests with story so which is really good usually crafting and

gathering in games is just an additional skill that you want Locke and just do

whatever you like but these have story so these are worth leveling just like

the other ones to make money to repay your on gear and so on okay let's talk

to her so there you are honestly did you get lost on the way back here my time is

quite precious you know so I suppose it is important for peers to establish

amicable relations I forgive you this time I'm tempted almost to make a voice

for now that we have dealt with formalities our team is assembled the

fledgling young taxidermist who knows nor of level working and the level

workers who likewise knows nor of taxidermy two halves that shall make a

lovely hole under my sage guidance the two of you shall make displays unlike

anything the realm has ever seen I think so yes lifelike displays that will

preserve the beauty of the realms blessed creatures now and forevermore

but future generations will look upon your mountain and mV the age when these

animals proudly walk the earth but first I must repair collecting animals for

mounting finding an ideal venue there is much to be done I thought you will make

good use of this time to hone your skills

yep

so the next level worker price will be available from at Elune upon reaching

level 63 the requirements would undertaking subsequent quests can be

reviewed in your journal fair enough so as we said level 63 so anyway guys

that's it for this episode thank you for watching and as always good bye from me

and good bye from me free bye guys

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RS Команда СОПРЯЖЕНИЕ не работает в AutoCAD - Duration: 0:41.

Hi, I'm Sami, from Fawzi academy. In this video, I will talk about.

When using the FILLET command in AutoCAD, the results are incorrect or it does not work at all.

TRIMMODE variable is set to a value of 0 which results in selected objects or line segments not being trimmed before the fillet is added.

On the command line in AutoCAD, type TRIMMODE and set the value to 1.

Thank you, for watching Fawzi academy. Please, like. Subscribe, share, this video,

And visit, our website, fawziacademy.com.

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