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\"Lindsey Norris is finally getting married to the man of her dreams--but it's not all roses for Briar Creek's beloved library director, as gardening enthusiast and town newcomer Aaron Grady gives the term 'book lover' a whole new meaning. Inappropriate looks and unwelcome late-night visits to Lindsey's house have everyone from the crafternooners to Lindsey's fiancé Sully, on edge. When Grady's dead body is found staged outside the library and all the clues point to Sully, Lindsey knows it's up to her to dig through the hidden chapters of Grady's previous life to find the real culprit and clear Sully's name. But becoming a thorn in the killer's side is not without its consequences, and the closer Lindsey gets to the truth, the more determined the murderer is to make her just a footnote\"-- Provided by publisher.

What does it mean to turn the public library or museum into a civic forum?Made in Newarkdescribes a turbulent industrial city at the dawn of the twentieth century and the ways it inspired the library's outspoken director, John Cotton Dana, to collaborate with industrialists, social workers, educators, and New Women.This is the story of experimental exhibitions in the library and the founding of the Newark Museum Associationùa project in which cultural literacy was intertwined with civics and consumption. Local artisans demonstrated crafts, connecting the cultural institution to the department store, school, and factory, all of which invoked the ideal of municipal patriotism. Today, as cultural institutions reappraise their relevance,Made in Newarkexplores precedents for contemporary debates over the ways the library and museum engage communities, define heritage in a multicultural era, and add value to the economy.

Digital libraries (DLs) and archives accumulate gigantic volumes of information. The goal of this work is, without trying to cover this immensity, to attempt, using a relatively small number of striking examples, to trace how issues of scientific creativity are reflected in DLs; to discuss and dispel stereotypical ideas about scientists as unsociable, pedantic formalists or eccentric, absent-minded persons; and to show how the peculiarities of scientists’ thought processes combined with high intelligence can cause misunderstanding in everyday life. At the same time, these qualities combined with originality of thinking, sometimes becoming a paradox, are manifested in non-standard approaches to problems, non-trivial solutions, and an ironic attitude towards the surrounding reality. As a result, along with serious results, unexpected associations and analogies, jokes, witticisms, and anecdotes are born. The paper provides examples of the creativity of scientists in the professional field as well as works in genres such as science fiction, utopia, humor, and art song. Materials from more than 20 DLs were used.

First of all, I am excited to report that the merger planning of LITA, ALCTS, and LLAMA is back on track. Shortly after the 2019 ALA Midwinter Meeting, the LITA Board decided to commit funds to create and disseminate an online allyship training to address the issues aggressive behavior, racism, and harassment reported at the Midwinter Meeting.1 Since then, the LITA staff and the LITA Board of Directors have been closely working with the ALA office and several other divisions, ALCTS, ALSC, ASGCLA, PLA, RUSA, and United, reviewing options. Other not-to-be-missed LITA highlights at the 2019 ALA Annual Conference in Washington D.C. include the LITA Top Tech Trends program widely known for its insightful overview of emerging technologies, the LITA President's Program with Meredith Broussard, a data journalist and the author of Artificial Unintelligence: How Computers Misunderstand the World3 as the speaker, and the LITA Happy Hour, a lively social gathering of all library technologists and technologyenthusiasts.

Nor has anyone ever asked about what exactly are the duties of this IAFA Committee Chair. [...]at this propitious moment I will now for the first time ever describe them: A good portion of that knowledge derived from his continual reviewing of new fiction for Locus, the magazine that takes as its remit the covering of all new publications in science fiction, fantasy and horror and which became, thanks in large part to Gary, the magazine that reported on our annual conference, often featuring our conference photo on its cover. Within the IAFA as was appropriate for \"IAFA Committee Chair\" Gary was the obvious and unanimous choice to take charge of the IAFA's first award to be presented annually at the ICFA banquet. [...]he became the Crawford Award's chief architect and implementer.

Unable to hide my enthusiasm of wanting to put my own and an increased corporate signature on a CCBC initiative, Charlotte said, \"Not to worry Alan, I have everything under control, how about we work together to get a few more dollars for the program and... could you speed up the issuance of the bank's cheque, please?\" With my marching orders received, we were off and running on what I remember as a very rich 12-year period in my career. At a personal level, I especially appreciate Charlotte's parting gift of Rebecca Bender's Giraffe and Bird to this year's entering class of grade ones, among them my youngest grandchild, Casey. A few years ago, I was honoured to be a juror for a number of TD Canadian Children's Literature Award panels and sat alongside Charlotte during meetings and meals as the team shared and negotiated their views about 'great' books. [...]I have become better connected with Charlotte and we, of course, continue to chat about good books (for young people and older folks), but also exchange views about movies, travels and shopping.

Taking into account the whole of the assets of reflection made by the Pan-African Federation of Filmmakers [FEPACI] for two decades, considering the big changes that occurred in the world of the audiovisual, the colloquy held at Tunis during the 13th Cinematographic Days of Carthage1 (from October 26 to November 3, 1990) on the theme \"the Arab-African audiovisual market in between the changes in the North and South-South cooperation\" makes the following recommendations: 1)To the intention of African and Arab originators: exercise greater professionalism in their work, as far as the conception, the preparation, the production, and the direction of their works are concerned, be they full-length or short footages, fiction or documentaries, and always make sure to have, in a better case, the collaboration of other professionals, whose skills and know-how are necessary to them, and who are scriptwriters, actors, producers, distributors, sellers, and the promoting agents. 2)To the intention of the audiovisual training structures, present in Africa and the Arab world, to give a new priority to high quality training in the trades of scenario-making, acting, production, distribution, and the promotion of audiovisual products. 3)To the intention of national structures charged with the conception and management of cultural policies, and more particularly audiovisual policies, to be convinced of the necessity to work together with the professionals in order to set up economic, legislative, statutory measures, and incentive policies and look for appropriate solutions to handicaps which jeopardize the development of the expression, the production, the distribution, and the marketing of African and Arab audiovisual products. 4) To the intention of African and Arab ruling authorities: to become aware of the decisive aspect of audiovisual and take action as a result: a) by creating national and regional instruments for reflection and action, where the professionals will have the majority in representation; b) by introducing systematically an audiovisual chapter in the negotiations they undertake with the countries from the North and to demand reciprocal relationships in the opening of screens; c) to consider and sign coproduction agreements with the countries from the North; d) to put an end to a censorship which kills local creativity and places the territory and the national audience at the mercy of foreign products massively imported and authorized; e) to encourage, stimulate, and support the setting up of private, national, and regional companies and networks of cinematographic, televisual, and videographic production and distribution. 5) To the intention of critics and journalists, it would be good to consider yourselves as responsible components at the creators, producers, distributors, and sellers' side, educators of the public and the states, in the African and Arab audiovisual movement right from tomorrow. 6) To the intention of the Pan-African Federation of Filmmakers, it is recommended the same way: a) to continue its activities of sensitization, explication, coordination, and research of active partnership, of information and pressure on all the professional, institutional, and decision-making components of the African and Arab audiovisual environment; b) to take the initiative in organizing, jointly with other actionmen, training periods and workshops for the various trades of audiovisual management; c) to take a specific action for scenario-writers' training in the field of film and television, to investigate and look for the means to create a big review, meeting the expectations of the African audiovisual partners and which will become one of the leading elements in the setting up of a wide audiovisual movement in Africa; d)to always work for real improvement on the spot of the conditions of creation, production, and marketing of African and Arab audiovisual products. 7)To the intention of African and Arab writers and playwrights, it is lastly recommended to take a resolute interest in writing things for film and television. Recommendation 2: A Strategy to Penetrate Countries from the North To encourage and facilitate the distribution of films from the South by televisions and movie-houses from the North, both at the cultural and economic level, we recommend the following decisions be taken: 1) Production * Encourage the signing of bilateral coproduction agreements with some European countries and Canada in order to have the coproduced films acquire a double nationality, making it possible for them to profit from the assistance and public funds granted to national films by each country. * To consider the film industry as a full economic product and make it part of all the international negotiations. * Require that the international television channels, willing to settle in a country from the South, dedicate a minimum per cent from their turnover to the production of films from the South. * Ask the international film production companies willing to shoot in the countries from the South or to coproduce, to bring about a real technology transfer to the local technicians. * To promote the collaboration between full-length film directors and television channels so that they can produce programs suitable for international television channels (creation documentaries, short film fiction . . .) 2) Distribution * Give the producers all the financial means to gather all the material necessary for promotion, to make their films known in the countries of the North, as much during the international festivals as with film distributors and televisions (press attaché, film copies 35mm, telecinema, videotape copies, synopsis in two languages at least, photographs, ad-clips on film videotape, extracts editing...) Internal Market and South-South Cooperation 1) Internal Market It is necessary to strengthen the distribution of the national audiovisual product on its own territory through the following measures: * To grant special facilities to local producers on their own territory, by increasing their commission on the cinema houses receipts by taking the taxes off, and initiating an obligation to program the national film on its own territory. * To grant the national product direct advertising and marketing promotion on the national television channel, by broadcasting clips inciting the public to go and see the film, from its commercial outgoing. * To stimulate national television to co-produce and co-finance the national film. * To encourage and consolidate film-lovers movements and the existence of film libraries. 2) South-South Cooperation The cinema trade in our regions, having become more and more private initiatives, it seems advisable to us to take incentive measures to encourage private distributors to acquire duties on the films from the South.

The Better Angels Society, the Library of Congress, and the Crimson Lion/Lavine Family Foundation announced that the first Library of Congress Lavine/Ken Burns Prize for Film has been awarded to Flannery, a new film directed by Elizabeth Coffman and Jesuit priest Mark Bosco that documents the life of Georgia writer Flannery O'Connor. Flannery is a feature-length documentary that explores the life and writings of O'Connor, whose provocative, award-winning fiction about Southern prophets, girls with wooden legs, and an assemblage of unique and often fantastic characters has inspired artists, musicians, and writers around the world. The award, along with a $200,000 finishing grant, was presented to the filmmakers at a gala at the Library of Congress the evening of Oct 17, 2019.

[...]of the World: The Apocalyptic Imagination in Film and Television, John W. Martens argues that God is at the center of apocalyptic texts and is usually missing in the action in apocalyptic movies. [...]it was Christians who translated and preserved the other Jewish non-Biblical apocalypses written in Hebrew or Aramaic text (e.g., the first Book of Enoch (c. 200 BCE), the fourth Book of Ezra (c. 100 BCE), and the second and third Books of Baruch (c. 100 CE)) in Ethiopic, Syriac, Greek, and Latin translations. [...]changes within the Danish film industry with respect to audience interest in plots involving human tragedy accompanied by demands on screenwriters made by Nordisk Film Kompagni with respect to film content favored producing films such as Verdens undergang featuring plots involving fantastical elements and special effects, resulting in the birth of the sub-genre of apocalyptic feature films involving celestial collisions, films that now include The Day the Sky Exploded (1958), Meteor (1979), Deep Impact (1998), Armageddon (1998), and Melancholia (2011). First Boer War (1880-1881), Johnstown Flood (1889), Panic of 1893, Spanish-American War (1898), Boxer Rebellion (1899-1901), Mount Pelee Eruption (1902), Second Boer War (1899-1902), Philippine-American War (1899), Russo-Japanese war (19041905), sinking of the Titanic (1912) and First World War (1914-1918).

In compiling the Post Script Annual Bibliography I have the opportunity to observe some of the more specific trends and changes that are occurring in film and video research and publishing. One change that seems especially noteworthy because of the way it speaks to the very nature of academic publishing is the move of some journals to a completely online format and distribution-and in some cases free access. In last year's \"Introduction\" I noted that one of the older and most respected academic journals, Literature/Film Quarterly, had announced it would be shifting venue to become an online, open-access journal. This issue of the Bibliography surveys the last of LFQ's regular print issues. The past year has also seen a similar announcement from a much younger journal focused in the same area, that of adaptation studies. The Oxford University Press-sponsored Adaptation begins online only publication in 2018, although access seems to be via subscription. Other journals will surely follow, especially as demand for libraries to provide online access increases. One of the questions they will all have to answer is whether they can maintain the same standards of scholarship, and especially whether the acceptance/submission ratio remains approximately the same. The tendency I have noted in some online only journals is that they are publishing far more pieces, suggesting, perhaps, that they are using the cheaper format to eliminate some of their \"accepted\" backlog, but also at least hinting that, for whatever reason, more work is being accepted.