On St. Patrick’s Day, author Emma Donoghue was interviewed at the Odyssey Bookshop in South Hadley, and I was able to squeeze in a visit in the middle of my library shift (and be back in time for Pajama Storytime). I’ve been reading Emma Donoghue’s books my whole adult life: since 2007, I’ve read fourteen of her books, and I’m looking forward to reading her newest, The Paris Express, as soon as my library copy comes in. It was a treat to hear her speak about her new book, research, adapting novels into other forms, being Irish and Canadian, and more. Here are a few snippets from the interview:
- On being an Irish writer, even though she’s lived in Canada since 1998: “The first twenty years are the years that mark you and shape you.”
- On the topic of the train crash: “I’ve always wanted to write about a disaster of some kind.” They bring a cross-section of people together. The train journey gives shape to the novel.
- On anarchists and explosions: “They were never that clear how blowing things up would help.”
- On pacing: “Speed is the heart of the novel.” (One entitled rider demanded an unscheduled stop, adding ten minutes to the trip, which the transit employees tried to make up later in the journey: “So basically one rich arsehole ruined it for everyone.”)
- On characters being cut from the novel: All of the characters were interesting people, but they “had to be having an interesting day,” even if the conflict they faced was mostly internal. “What I love about novels is that you can jump into the head of each character in turn.”
- On writing a novel with a large cast: “It was like planning an amazing dinner party,” bringing people together and seeing how they interacted.
- On novels being made into films: “I don’t think about film when I’m writing a novel…each form has its own strengths…I love doing adaptations” [of her own work and others’, such as the upcoming H Is for Hawk]. Writing the story as a novel first, then adapting to film, is the right sequence; a novel allows for “rich imagining.”
- On adapting someone else’s work: “I felt like a tiny figure climbing inside a machine made by someone else.”
- On the writing process: “It never feels as if you’re alone…” I feel as though I’ve been with people all morning on a moving train.
- On writing about disaster: “My interest was in the tension. I didn’t want it to be a bloodbath.” But each character wonders, “Am I going to die?” And all of them have been “derailed” from the “predictable path” of their day.
- On living in a diverse, multicultural society: “The train is a more interesting train if it has a wide variety of people on it.” (The train itself is a POV character in The Paris Express.)
- On adapting one form to another: It’s “spinning the same yarn again.” She likes all forms, from novel to film to play to musical: “Whatever gets my story into your head.”
- On her new project: A musical with traditional Irish music about people who emigrated from Antrim to Canada during the Famine.
- On thinking about whether a book will sell: “I write books, then sell them….If you write a lot of things, one of them will pay the rent.”
Thank you, Emma, for your many books, and for visiting us in Western Massachusetts!
Quotations are from my notes, accurate to the best of my ability.
I decided our February book club would be the last one until summer, when I would run it again for a new group of rising K/1st graders. No one showed up for the program…but, there were plenty of kids and adults in the children’s room, so I invited them all in for a storytime instead. We read the same two books – Arihhonni David’s The Good Game and Who Will Win? – and used the coloring sheets I’d printed (a flying squirrel and a bat, characters in The Good Game), I just sprinkled in a few songs and rhymes as well: “Open Shut Them,” “The Itsy-Bitsy Spider,” and 
Three of the younger kids started with Robot Turtles, and the others began making codes for each other to decipher. I gave a basic explanation about how to use the Caesar cipher (or shift cipher), then helped the kids get Robot Turtles set up, then helped the ones who were having trouble figuring out the ciphers. (I think one thing that tripped them up initially was the letter-letter correspondence, rather than letter-number correspondence; the only number you need with this kind of cipher is the “shift,”; it’s not an A=1, B=2 kind of code.) But eventually, everyone figured it out, and then they could swap ciphered messages to decipher!
In the next few weeks, we’ll have a building challenge with blocks (we have both regular and life-size Jenga), a puzzle challenge (a 36-piece jigsaw with the picture showing, then upside down), penny boats, Snap Circuits, primary color painting (think Mix It Up!), and more. What STEAM activities do you like to do with kids?
The kids’ graphic novel book club I started last fall is still going strong, with about 4-7 kids attending each month. This month we read Lucky Scramble by Peter Raymundo, about a kid named Tyler who goes to a Rubik’s cube competition. Our icebreaker question was “What’s your favorite kind of puzzle?” and a lot of the kids said “Rubik’s cube,” even though none of us could solve one. (I said word puzzles, like wordle, and it turns out all of the kids also do the NYT puzzles!)
Last, the kids voted on which book to read next. The choices were Curveball by Pablo Cartaya, Pebble & Wren by Chris Hallbeck, and Puzzled by Pan Cooke. The first two got one vote each and Puzzled got two votes, so that will be our February book – but all three books got checked out. It was a good afternoon!
WeNeedDiverseBooks: 189. Less than last year both in terms of numbers and percentage of the total, though I do suspect myself of undercounting/tagging.
Passive programming, or self-directed programming, is a type of program that library patrons can participate in independently or with only minimal interaction with library staff. This recent 
Jenny Arch 