I’m a bit late to @books-and-cookies‘s #BookwormsAreBadass fest, but may I introduce you to Lillian H. Smith?
“The love for a good story, well told, lies deep in every human heart.” – Lillian H. Smith
(1887-1983)
In 1912, in response to increasing demand for children’s services, Toronto Public Library Chief Librarian George Locke recruited Lillian H. Smith to head a new Children’s Department. Born in London, Ontario, Smith was the first professionally trained children’s librarian in the British Empire, and had worked for about a year in the Washington Heights Branch of the New York Public Library.
Smith was 25 when she came to Toronto Public Library, and with boundless energy and enthusiasm, she immediately started to improve collections, train staff and expand programs. By the end of her 40 years of innovative leadership, children’s services were available in 16 branch libraries, 30 schools and two settlement houses, as well as at the flagship Boys and Girls House, opened on St. George Street in 1922. She also introduced story hours that frequently attracted audiences of more than 100 children in the 1920s and 1930s. Under Smith’s guidance, reading clubs were organized for older children, and children staged plays and puppet shows, held debates, and discussed literary and historical subjects.
Lillian H. Smith believed that the role of the children’s librarian was to deliver “the right book, to the right child, at the right time.” She edited Books for Boys and Girls, first issued by Toronto Public Library in 1927, which became an indispensible guide for libraries across Canada and beyond. In 1953 the American Library Association published her seminal book, The Unreluctant Years: A Critical Approach to Children’s Literature. She lectured at the University of Toronto from 1913 to 1952, and was instrumental in forming the Canadian Association of Children’s Librarians (which predated the Canadian Library Association).
Lillian as SUCH a badass in fact, that producer Micheal Manchester has begun work on a musical based on her life. Along with composer Adrian Ellis and yours truly on vocals, three demos have been created. You can listen to them here:
I’ve got to believe that the Resistance’s intelligence officers are just. constantly Done. With everyone.
Rey’s understanding of aurebesh is more functional than formal, which isn’t a problem until the Resistance starts asking her to submit mission reports—she rarely spells anything the same way twice (”even her name!” the intelligence officer moans) and her sentence structure is….not so much a structure as “a loose grouping of things that might be parts of speech”
“…..I don’t understand, what’s the problem?” Finn asks because Finn’s grammar is impeccable, once you decipher the dense nest of abbreviations, First Order codes, and trooper slang that fill his reports. (This does not save any more time.)
“If you could maybe…..not? wax lyrical about the TIE fighter?” the intelligence officer tells Poe, when he finally gets around to submitting his report on the escape from the Finalizer. “Not that understanding enemy technology isn’t a vital contribution to intelligence, but we don’t need 500 polysyllabic words about how the sun glinted off the casing.”
General Organa still submits reports like they used to in the Rebellion (her battle damage assessment style is about thirty years out of date, and she calculates galactic coordinates like it’s the late republic) but everyone in intel is fucking terrified of bringing this up to her. Instead, they have a designated officer who deals exclusively with translating General Organa’s reports into more modern New Republic standards,so they can be processed.
(At least yours actually submits reports, their counterparts in the First Order would say, if they all got together in a bar somewhere to commiserate about how hard soldiers make military intelligence. Kylo Ren has submitted exactly one misrep in the last 15 years. Thirty-two people died and it just said ‘it was the Force’.)
