Our Team: the Epic Story of Four Men and the World Series that Changed Baseball by Luke Epplin

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When thinking of historic moments or teams in Major League Baseball, the 1948 Cleveland Indians did not leap to mind. That changed when I read Luke Epplin’s new book, Our Team: the Epic Story of Four Men and the World Series that Changed Baseball.

A very good friend recommended that I read “Our Team”. He said I would like it and, as is often the case, he was right. It is in turns biography, social history, sports history, and a recap of the crucial games in Cleveland’s 1948 season and World Series win.

Epplin focuses on four people: owner Bill Veeck, fielder Larry Doby, and pitchers Bob Feller and Satchel Paige. He introduces each man while telling us about the time in which they were living. If you didn’t already know, you’ll find out how very different it was to play baseball professionally if you were Black.

Bob Feller was a pitching phenom. His dad recognized and nurtured his talent. From his home field to high school and semi-professional baseball, crowds showed up to watch Feller pitch. He drew the attention of the Cleveland Indians and was signed to a contract in 1935, his junior year in high school.

Originally set to start in the minor leagues he pitched against the Cardinals in an exhibition game and skipped straight to the majors. Feller worked 3 innings and struck out 8 batters – sending him to the minors didn’t make sense.

In contrast Satchel Paige’s path to the Majors was long and arduous. He didn’t have a father to nurture his talent. He worked from a young age and actually learned to pitch at the Alabama Reform School for Juvenile Negro Lawbreakers. When he was released at 17 he signed with a Black semi-professional team to study the game and hone his talents.

He soon learned that people would pay to watch him pitch. Like Feller he was a phenomenal pitcher but Paige was also a showman. He was good at gauging the crowd and keeping them entertained. He played in the Negro League during the season and then, as many League players did, went south to keep playing to make a living.

To earn some extra money Major Leaguers also played after the season was over. Barnstorming games often pitted Negro Leaguers against Major Leaguers. In October 1936 Paige and Feller met for the first of many games they would pitch against each other. Neither allowed a run with Feller striking out 8 and Paige 7.

Paige was such a dominant pitcher and had so much success against Major League players that League executives deemed a white player that could hit off Paige ready to play in the Majors. Despite this, he would not get his chance in the Major Leagues until the summer of 1948 when he was 42 years old.

Larry Doby was born in the south but his family moved north to find work. With his father was mostly absent and his mother working as a live-in domestic, he lived with his grandmother in Camden, NJ. He spent his free time playing stickball. Before high school his mother moved him to Paterson, NJ so he could attend an integrated school. A natural gifted athlete he was a 3 sport star and welcome to socialize with all his teammates.

Unlike Paige, Doby never aspired to play in the Major Leagues. He had his pick of sports but wanted to play Negro League baseball. He signed with the Newark Eagles and was an instant success. World War II interrupted his stint with the Eagles but after the war he resigned and continued to improve.

His talent drew the eye of both the Dodgers and the Indians with the Indians buying his contract from the Eagles in the summer of 1947. Unlike what the Dodgers did with Jackie Robinson, Doby did not go into the Minor League system. He went straight to the Majors.

The man who brought Feller, Paige and Doby together for that championship year was Bill Veeck. Bill loved baseball. His father was team president of the Chicago Cubs and Bill worked for the Cubs himself until he had the opportunity to buy the Milwaukee Brewers. In Milwaukee he perfected what he would eventually bring to the Indians. He roamed the crowds during the games talking to people, he gave away prizes, and had firework shows.

He wanted to win almost as badly as he wanted to fill the stands and make sure the fans had a good time. He also wanted to integrate baseball. He did it with personnel and eventually his Indians became the first American League team to sign a Black player.

There is so much more about each of these men that Epplin explores – how World War II affected each man, Feller’s quest to secure his financial future, Paige’s style and remarkable longevity, Veeck’s energy, and Doby’s ability to excel amid the isolation and injustices he endured integrating the game while living in a segregated society.

Then of course there is the season. The ups and downs in the race for the pennant against the Yankees and the Red Sox. The season came down to a one game playoff against the Sox to determine who would face the Boston Braves in the series. Even though we know the result, Epplin keeps you turning the pages to see what happens next.

Epplin did his research and brought to life these four remarkable men and the time in which they lived. It is both an entertaining and sobering book you don’t have to be a baseball fan to enjoy.

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Almost American Girl, written and illustrated by Robin Ha

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Area schools have been in session for a week or so now, and the air around the Library’s Teen Department has been filled with equal parts excitement and trepidation all month.  There have been a lot of butterflies, whether it’s the start of band camp or sports practice or middle school or senior year.

Middle school is usually a fraught topic every August–people going there for the first time, people hoping to start over in a new grade, people leaving it to navigate the uncharted waters of high school.  There’s a lot at stake in middle school even in the best of circumstances.

Now imagine the shock of going back to middle school then heading out on a family vacation at semester break only to discover that the “vacation” means starting over at a new school in a new country where you don’t speak the language or understand the culture and the only people you know are the surprise step-relatives you’ve just been introduced to.  Plus, you weren’t able to say goodbye to your friends and they (along with all of your clothes and possessions) are half a world away.

That’s exactly what happened to Robin Ha, author and illustrator of Almost American Girl.

Ha is now a cartoonist based in Washington, D.C.  When she was in eighth grade, her mother took her on a short trip to Alabama which turned out to be a permanent move to a house full of strangers.  Ha’s mother married a divorced father of two saddled with a failing fish market, living with his brother’s family (including their traditional Korean mother).  It was a far cry from the life Robin and her mom had carved out for themselves in Seoul, South Korea–except for many of the conventions and attitudes embraced by their new family.

The book follows Robin’s experiences navigating the challenges of middle school, of learning a new language on the fly, and of unexpected, seemingly arbitrary relationships.  Robin’s eighth grade year unfolds chronologically with interspersed flashbacks to her life growing up in South Korea.  Narrative tension isn’t compromised because the memories are connected to experiences after the move.  Prompted by Robin’s meltdown after chafing under the in-laws’ treatment, the chapter “The Leap of Faith” unfolds the difficulties Robin and her single mother endured trying to thrive in a rigid society; the chapter ends with her mother convinced that “Whatever America is like, it will be better…” even if that translates to racism, poverty, and exclusion.

Almost American Girl follows its author’s inner and outer journeys.  It’s a beautifully drawn coming of age story that’s honest and real.  It embraces the pain and delight of adolescence, bringing readers along on the emotional roller coaster ride without being heavy-handed–a meaningful, immersive experience told in a muted palette of blues and tans and purples and reds that grows brighter and deeper as Robin’s wisdom and inner strength grow.

The book is also a love letter to comics fans, celebrating teens who draw and doodle and color and who recognize the transformative power of art.  It’s for everyone who survived adolescence (in whole or in part) thanks to comic books, manga, art supplies, and pads of paper.  Find your niche, and chances are good that you’ll find friends; with any luck, you’ll find some very good ones.

Read Almost American Girl even if you aren’t an adolescent.  (Especially if you aren’t!)  Give it to a teen who’s interested in contemporary, coming of age stories or manga and anime or Korean culture beyond K-pop or who could use a gentle affirmation.  Read it because it’s lovely and because (spoiler alert) stories can have happy endings.

You can find this title in the graphic novel section of the Teen Department or as an ebook through the Library’s OverDrive service.

Houseplants for All: How to Fill Any Home with Happy Plants by Danae Horst

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I cannot tell you how many times I’ve impulsively purchased houseplants only to get them home and realize that perhaps I’m not able to provide an environment in which they’ll thrive. Yet I try. As of this writing, I have about 30, most of which do well enough alongside a few that sort of languish. A languishing plant is a sad sight to behold, so I sought a solution and found it in Danae Horst’s Houseplants for All: How to Fill Any Home with Happy Plants.

In her introduction, Horst admits, “Unfortunately, enjoying plants and keeping them happy do not always have a direct correlation” and she discusses her experience with collecting houseplants, unknowingly making mistakes, and watching them struggle or die. Like many of us who’ve watched our houseplants die slow deaths, Horst began questioning her plant-parenting abilities. After making a move with a handful of houseplants that she managed to keep alive, she continued caring for them and learning more about them, eventually having the “Aha” moment that she needed: “When I began to choose plants based on what they needed rather than just how I wanted my home to look, I found my plants seemed happier and healthier.” Aha, indeed!

In Houseplants for All, Horst debunks what she calls the “back thumb myth” and shares with us the essentials we must understand to be able to choose plants based on their needs rather than just our preferences. Also, she teaches us how to assess our space and what we’re able to provide, as well as advice for creating environments in which plants will thrive. Plus, she includes design tips and plant profiles throughout the book, which are accompanied by bright, beautiful photographs. Although a lot of information is packed into fewer than 200 pages, its arranged and presented in an approachable manner.

In section one, “the right plants for you,” we learn about the misconceptions and truths of light and humidity and how they impact the health and happiness of plants. Particularly helpful is the explanation of how light comes in through our windows and the definitions of the different types of light we’ll find within our homes. Also, Horst further defines the light terms we encounter on plant care cards. For example, “partial shade or mixed shade” for outdoor plants is equivalent to “a mix of direct sun and bright indirect light” in houseplants. Suggestions for how to measure light within your home, whether by observation, with a light meter, or an app on your phone, are included. Section one concludes with humidity and light strength “quizzes” that are less like quizzes and more like questionnaires with flow charts to help us measure and determine how much of each we do (or do not) have in our homes so we may plant accordingly.

Section two, “environment profiles,” is my favorite section of the book, as it breaks them down into five easily understood profiles: bright and sunny space, lower light space, humid space, indoor-outdoor space, and shifting light. Each profile begins with the pros and cons of having that type of space. For example, a pro of a bright space is that you’ll have more plant options, but you’ll need to water more often because they’ll dry out quicker. Each environment profile goes on to include the different types of light you might encounter within that profile, as well as specific suggestions for which plants will do well in that type of space. Detailed plant profiles, care, placement, and styling tips are also a part of each environment profile, as well as other tidbits.

Section three, the final section of the book, is applicable to caring for plants in all environment types, as it covers the “plant care essentials,” from the basics of choosing healthy plants at the store to various methods of watering and propagating them. “Plant Problems” and “Pets and Plants” are great subsections within this section.

Horst concludes her title with a list of further resources and a reminder that “plant care is a journey” and that we’ll no doubt make, as well as learn from, the mistakes we make along the way. In the 20 years that I’ve kept houseplants, I’ve made mistakes aplenty and learned a lot. I wish that I would’ve had a book like this back when I started my journey, but I’m glad to have it now. I recommend it to houseplant aficionados and beginners alike.

As always, happy reading.

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Beginning Reader Titles in the Children’s Department.

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Summer Reading 2021 has come to a close at the Joplin Public Library. With over 1,300 participants, it is safe to say that it was a successful summer. Of course, the end of summer means a new school year, and we are all full of anxious excitement about what the new season will bring. In my own household, we are eagerly anticipating kindergarten. Starting kindergarten means a lot of changes, both big and small: meeting new friends and a new teacher, learning a new routine, losing a tooth, learning to tie your shoes and learning to read.

In the children’s department, we frequently work with parents and caregivers to identify the best books for these burgeoning readers. With the variety of reading levels and options, it can be difficult to know where to start. I have identified a few series for a variety of readers, both in regards to interest and reading levels. Most of the titles are focused on sight words, letter blends and word sounds, as well as entertaining stories, engaging illustrations and diverse perspectives.

My favorite beginning reader books are part of the BRIGHT OWL BOOKS imprint by MOLLY COXE. Each book focuses on a different vowel sound or blend. My favorite part of these books, however, is the visual aspect. Each book features hand-felted creatures photographed in realistic nature scenes. “Greedy Beetle” includes a family of felted beetles, replete with tiny scarves and handkerchiefs, eating a meal in the forest. They may be the cutest beetles I have ever seen. In addition, the story has a plot and a conflict, all within the confines of the “long E” sound and no more than three- or four-word sentences.

Books for beginning readers can sometimes heavily favor individual words over engaging illustrations or plot, but Coxe’s books are a delightful exception. Other titles in this series include “Go Home,” “Goat,” “Blues for Unicorn” and “Cubs in a Tub.”

Find these titles in our catalog. 

Another series I enjoy is Holiday House Publishing’s I LIKE TO READ imprint. Each book in the series is illustrated by a bevy of excellent and well-known artists. The back cover of each book also includes a letter indicating reading level, and explanations for their leveling system are included on the back cover. I recognize that reading levels should not be the sole determinant for any child, but they can be a helpful guide for parents of beginning readers who may be intimidated by too many words on a page. (It is also important to note that actual reading levels can vary widely from book to book. While one “Level 1” may be appropriate for a child just learning to sound out words, a “Level 1” from another company may be more appropriate for an already independent reader comfortable with more complex sentences.)

The “I Like to Read” books range from two word sentences to 3-4 sentences per page, which makes them a helpful tool to utilize regardless of your new reader’s skill level. Award-winning illustrator Joe Cepeda wrote and illustrated several books for the earliest readers; these include titles, such as “I See” and “Up,” that feature simple sentences and nature themes. Paul Meisel, another award-winning artist, has written several dog-themed books that subvert the repetitive Dick and Jane titles with fun art and even funnier stories. Though most of the sentences rely on Dick and Jane-esque refrains (“See me run,” etc.) they all end with the dogs in silly situations that will guarantee a belly laugh from your child.

Find these titles in our catalog. 

Finally, I highly recommend the DIVE INTO READING imprint by publishing company Lee and Low. Started in 2015, Lee and Low primarily focuses on sharing books by and about people of color. The beginning reader series focuses on a diverse group of students (the “Confetti Kids”) engaging in a range of activities, from playing music to gardening to participating in a parade. The story includes a beginning, middle and end with active participation from the characters. In other words, we aren’t just getting a bland play-by-play of characters’ actions. Currently, Joplin Public Library only offers three of these titles (“Music Time,” “The Protest” and “Rafi y Rosa”), though we have plans to purchase more.

I appreciate the reading guide explanation on the back cover of these books. Levels range from “early emergent,” “emergent,” “early fluent,” and “fluent,” with a discreet color-coded system.

Find these titles in our catalog. 

All of the aforementioned titles can be found in the Easy Fiction section of the Children’s Department. As always, children’s department staff are more than happy to help identify these or other titles. With any new reader, we will often provide a few options while pointing out the level structure to the caregiver, and encourage them to work together to determine which book is the best fit for the child.

Icebound: Shipwrecked at the Edge of the World by Andrea Pitzer

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Tales of polar expeditions haunt because we know how they end. In the early 20th century, pack ice crushed Ernest Shackleton’s ship, dashing his race to trek Antarctica. Even this is a relative success as all crew members survived. Not so for John Franklin’s 1845 expedition to find the fabled Northwest Passage. He and his crew were never heard from again. (The British government subsequently investigated their disappearance. Perhaps they should’ve left well enough alone lest unpleasant answers surface, such as those told via eyewitness Inuits: The shipwrecked crew cannibalized each other. News of this scandalized England.)
In Icebound: Shipwrecked at the Edge of World, Andrea Pitzer takes us back even further, to William Barents’ 1596 quest to find a northeastern route to China. Brisk and informative, it’s also stress-laden from bow to stern. Precariously, we sail up and around Nova Zembla, an archipelago in the Arctic Ocean just north of Russia. Storms threaten to snap our mast. Polar bears prowl and then attack. It’s constant tacking to slip evermoving sea ice, some akin to floating mountains. On one occasion, we pass through an ice canyon, which is equal parts mesmeric and terrifying. (“Snow and hail lacquered the ships white, turning them into ghost ships.”) We’re sailing into the unknown. And Barents attempts this journey three times.
A Dutchman, Barents manifested his country’s spirit of the day: capitalize on Far East trade. Spain and Portugal had already made numerous entries into the Southern Hemisphere, so the Dutch looked for a way to expedite trade that avoided the arduous journey around the Cape of Good Hope and awaiting pirates. Of course the Dutch knew that there was a reason no northern route yet existed. But they also were hoping to underscore a long-standing argument that if one could make it past the ice, there’s a chance conditions would moderate. The idea of a temperate North Pole was something that respected cartographers took seriously. As Pitzer notes, Barents and Dutch merchants chose to believe this “lethal delusion.”
Barents didn’t command these voyages; he navigated. While he was in high standing among the crew, his singular goal to complete a voyage often collided with the crew’s singular goal to survive. Most of the book surrounds the third voyage and the sea ice’s eventual victory. Barents and crew must winter on Nova Zembla, and Pitzer’s telling of their ordeal is as harrowing as you can imagine. Without trapping arctic foxes, it’s hard to see how they would have survived. Scurvy had weakened them to the point they could barely function, not that they could do much outside anyway. Often, the structure they built was completely buried in snow during the long polar night.
And then, of course, the polar bears. Pitzer writes of their “lethal magnificence,” and that “each bear offered the same fusion of the mundane and the mythic as the Arctic itself.” Even a felled polar bear almost killed the crew. Desperate for sustenance, but loathing polar bear meat, they devoured the bear’s liver. This almost killed them because a polar bear’s liver contains a lethal dose of Vitamin A.
The asides that Pitzer offers throughout the book are welcome relief from reading of the sailors’ miseries. I learned that most European sailors of the time didn’t know how to swim. And even though we are in the nascent stages of the scientific revolution, superstition still often carried the day. Dutch sailors crossing the equator for the first time had to pay a fine in honor of Poseidon, god of the sea. Also, seeing a parhelion (where ice crystals in the atmosphere refract the illusion of two or three suns) was a good omen to sailors. (Of course, superstition and sailing seem forever entwined.)
Pitzer states that, in terms of making preparations, it’s somewhat perplexing that Barents didn’t learn from his two erstwhile attempts. It’s a good point because he was almost snared by ice during those voyages as well. Perhaps it can be attributed to European hubris of the era: The rest of the world is to be conquered, and we are the ones who will do it. On one of the earlier expeditions, the crew, sailing Russia’s northern coast, came across an indigenous man. Instead of inquiring how he and others survived in this unforgiving climate, they asked him if the territory they were on belonged to “the grand duke of Moscow.” The Nenets man had no idea whom they were talking about. No matter. They tried to kidnap him nonetheless. The same applied to animals. See a walrus? Kill it and take only the tusks. Tragi-comically, on their first expedition they thought they could catch and actually hold a live polar bear aboard the ship. They were quickly disabused of that notion.
Escape from what they called Ice Harbor did not happen until June 1597. Barents did not survive the return, dying next to the sea that would bear his name. (Sailors would also call the sea “the devil’s dance floor.”) He and his crew had discovered Spitsbergen, sailing farther north than any known human. But it’s their story of survival that captivated. A handful of years later, Shakespeare made mention of it in “Twelfth Night”: “where you will hang like an icicle on a Dutchman’s beard.”
Barents’ voyages changed how polar regions were seen. They became destinations to be explored, not thoroughfares to other lands. According to Pitzer, Barents “launched another identity for explorers: the beleaguered polar hero.” These new explorers would be less concerned with linking known lands than with exploring the unknown as the end itself. And their hallmarks were suffering and endurance.
Pitzer eventually discusses what most readers will be thinking throughout the book: Barents sailed 400 years too soon. Disappearing sea ice is a fraught subject, and Pitzer’s book shows us what’s being lost. The polar wild now includes emaciated polar bears clinging to melting floes. In writing the book, Pitzer made a trip to behold Ice Harbor. The current that sent driftwood to the shores—thus providing life-saving fuel for Barents and crew to burn—now sends plastic trash. As I said, this book is stressful.

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Mexican Gothic by Silvia Moreno-Garcia

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As the title implies, MEXICAN GOTHIC by SILVIA MORENO-GARCIA is an homage to the gothic fiction novels of the 20th century, but one set deep in the mountains of Mexico rather than the English countryside.

Noemí Taboada is the strong-willed, somewhat-spoiled daughter of a wealthy family. She spends her free time reveling in the glamor and decadence of 1950’s Mexico City – dating men her father doesn’t approve of, and enjoying life.

As the book opens, Noemí has been summoned home from a costume party by her father. Expecting to be reprimanded for her choice of date, Noemí is surprised that her father instead wants to talk about her cousin Catalina.

Catalina was recently married following a whirlwind romance. She kept her relationship with Virgil Doyle a secret from everyone, and the two went back to Virgil’s ancestral home as soon as they were wed.

Noemí’s father has received a frantic, confused letter from Catalina claiming that the Doyles are poisoning her and mentioning ghosts. Fearing that either Catalina is in real danger, or that she may need some psychological help that her new husband refuses to provide, Mr. Taboada asks Noemí to visit her cousin and report back about the situation.

Arriving at the crumbling mansion known as High Place, Noemí is immediately at odds with the Doyle family. Virgil is brusque, dismissive, and unhelpful. Virgil’s aunt, Florence, keeps Noemí from visiting Catalina, who she claims has tuberculosis. And the Doyle patriarch, Howard, talks almost exclusively about eugenics.

Now a sickly, bedridden old man, Howard also tells Noemí about his deceased wives. They were a pair of sisters, both wards of Howard when he came to Mexico. He married the elder sister initially, but she died within the year, leaving Howard to marry the younger sister.

From one of the local people in town, Noemí learns about the fate of Howard’s children. Years ago, Howard’s daughter Ruth had fallen in love with a local young man. When the young man went missing following her father’s disapproval of the match, Ruth took a shotgun into the house and shot every member of her family, including herself.

Howard survived his gunshot wound, Florence and young Virgil were not in the house at the time; the three of them were the only remaining members of the Doyle family.

Noemí’s only ally at High Place is Florence’s son, Francis. It is through him that she learns much of the history of the mansion and the Doyle family.  He tells Noemí about his family’s mining business that built their fortune, which has since dried up, and the English cemetery that Howard had constructed – with dirt brought over from Europe – where the deceased Doyles have been laid to rest.

When Noemí is finally allowed to see her cousin, Catalina seems relatively normal. She does seem weak and tired, but more coherent than she was in her letter. Until Catalina tells Noemí that the Doyles can hear her through the walls.

Concerned for her cousin, but unable to convince Virgil to get help for her, Noemí resolves to leave High Place and get help. Up to this point, the Doyles have been creepy and off-putting, but as Noemí attempts to leave the mansion, things begin to get a lot more supernatural.

Moreno-Garcia borrows elements from the classics of gothic fiction, from Flowers in the Attic to Dracula. MEXICAN GOTHIC is a creepy, atmospheric novel. The reader feels a growing dread as the history of the Doyle family is revealed, and as they – along with Noemí – come to understand just how much danger the Taboada cousins are in.

Noemí herself is not a traditional amateur detective. She is focused, driven, and stubborn. But while she has the fashion sense and charisma of a teenage sleuth like Nancy Drew, she has no real interest in solving the case. Her whole focus is on helping her cousin, not piecing together any mysteries.

It is an unusual book, and there is more going on below the surface than I can convey. Once you finish the novel, I recommend seeking out interviews with the author – she has a lot to say about this book, and about the real mining town in central Mexico that inspired the novel.

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The Art of Gathering by Priya Parker

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”THE ART OF GATHERING” is PRIYA PARKER‘s gift to those wanting to put together a successful and memorable gathering. She has used her years of field work to create a guide for planning and hosting more authentic and people-centered gatherings.

According to Parker, gathering “is the conscious bringing together of people for a reason” and she feels event planners and hosts have a responsibility to think outside the box and create something meaningful and unforgettable. She believes that the “way a group is gathered determines what happens in it and how successful it is; the little design choices you make can help your gathering soar.”

What makes this book special is Parker’s unique experience. She is an expert in conflict resolution and has planned events for leaders from around the world, so she has had a lot of practice in bringing people together. In this one-of-a-kind offering, she translates her passion around gathering into eight concise chapters that teach the reader the highlights of gathering.

To say Parker is a frequent host is an understatement. She is almost always planning an event or is being invited to a gathering. This allows her to give numerous examples of successful events and, more importantly, examples of lackluster or failed gathering. She talks frequently of what parts of her gatherings have not been successful and the things she has done to remedy the issues either during the gathering or at future gatherings. Readers can tell that she is constantly observing all the gatherings she attends for ideas and ways to strengthen her own events.

 

Chapters are focused on such topics as:

1. Determining if a gathering is necessary.

2. Being selective during the invite process.

3. Being a generous host.

4. Creating a temporary world for guests

5. Logistics are not the way to start an event

6. Being vulnerable both as a host and an attendee

7. Creating a little controversy can make some gatherings more interesting.

8. Ending the gathering in an appropriate way.

 

Key takeaways for me:

• The event is not the be all, end all. Start “priming” guests well before any gathering. Parker suggests naming the gathering in a way that suggests expectations, and reaching out between the invitation and the gathering.

• Create an alternate world (it can be simple, with ground rules that exist only during the gathering) and welcome guests across a “threshold” into that newly created world.

• Logistics should not be covered first. Her chapter title, “Never Start a Funeral With Logistics” and the example of the funeral director giving parking instructions while people are weeping for their loved one, further drives this point home.

• Foster authenticity and vulnerability among guests; hosts should help lead the way with their own vulnerability.

• A gathering’s final moments “should be authentic” and hosts should prepare their guests for reentering the real world after the gathering is finished.

The only chapter that I struggled with was “Creating a little controversy can make some gatherings more interesting.” In this chapter, Parker talks about incorporating “good controversy” into gatherings. While we often hear other experts saying we should not air our differences of thought on certain subjects, such as politics and religion, at gatherings, Parker disagrees. She does not advocate talking about hot button topics willy-nilly and writes that they need to be “designed for and given structure” with a plan for adding some “heat” to gatherings without letting them “burn up in flames.” And the end goal must be worth the discomfort the controversy brings.

She shares several examples of incorporating “good controversy,” with the most interesting being a “cage match” style debate session for a design firm she was working with. This controversy added a fun, passionate and helpful element to the gathering and in turn helped the participants make a pivotal work decision that they had been dancing around. It was her ability to plan for and manage the controversy that made it work. This might be harder for inexperienced hosts, which is why I may have struggled with this chapter.

As a whole, Parker has created a well-written and compelling guide. As I work to plan gatherings, I find myself thinking about her book and what she would suggest for each element. I am eager to continue to practice her suggestions and make the gatherings I am a part of more authentic and distinctive. This book is a must read for anyone planning a gathering — weddings, meetings, conferences, funerals, birthday parties, dinners, etc. No matter the size or scope of the event, there is something for everyone.

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Shirley Chisholm Is a Verb! by Veronica Chambers, illustrated by Rachelle Baker

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Shirley Chisholm Is a Verb!

written by Veronica Chambers, illustrated by Rachelle Baker

You know the feeling you get when you hear the ice cream truck coming?  The anticipatory thrill, the bounce-on-the-balls-of-your-feet excitement when you hear the music from down the street?  That’s how I’ve felt while waiting to get my hands on this week’s book!

Shirley Chisholm Is a Verb!, written by Veronica Chambers and illustrated by Rachelle Baker, brings the vibrant boldness of its subject to every page.  Even the warm mustard endpapers signal the energy, the vitality of her story.  Chambers and Baker deliver a picture book biography of Shirley Chisholm that is every bit as action-oriented as she was.

The daughter of immigrants from Barbados and Guyana, Shirley Chisholm was born in Brooklyn, New York, and grew up to become the first Black woman to run for U.S. president.  Chisholm was a voracious reader who earned academic honors in high school as well as college scholarships.  She graduated from Brooklyn College with a Bachelor of Arts degree in 1946 and earned a Master of Arts in education from Columbia University in 1952.  Chisholm, an early childhood educator, ran for a seat in the New York State Legislature in 1964 and won.  She served until 1968 when she ran for the U.S. House of Representatives and won, becoming the first Black woman elected to Congress.  Her campaign slogan in that race, “Unbought and Unbossed”, became the theme of her 1972 campaign seeking the Democratic Party’s presidential nomination.  Chisholm served in Congress until her retirement in 1983 and was a founding member of both the Congressional Black Caucus and the Congressional Women’s Caucus.

Shirley Chisholm was a doer, an activist who broke barriers and sought to improve conditions for families and communities.  Veronica Chambers introduces Chisholm to new audiences by capitalizing on her life of action, “Some words, when they connect with the right people, become…magical.  That’s the way it was with Congresswoman Shirley Chisholm and verbs.  She understood, almost intuitively, how and why verbs are not just words about being, but doing.  Verbs are words that move the world forward.”

On each page, Chambers highlights a portion of Chisholm’s life, highlighting in color and capital letters a verb related to the brief text.  The verbs anchor each page’s main thought, illustrating its point as effectively and vibrantly as Rachelle Baker’s artwork does.  Chambers chooses her verbs carefully, and they offer a fantastic starting point for further conversation.  They follow Chisholm on her life’s journey and, in addition to obvious choices (dreamed, campaigned, represent, voted, announced, inspired) the verbs reflect her rich experience (honor, listen, earned, help, challenge, convince, planted, pave).  Chambers ends the book with a powerful two-page spread showing a portrait of Chisholm paired with a page full of verbs each in a different, brightly-colored font.  In it, she issues her readers a challenge, “Shirley Chisholm accomplished so much, because she chose her verbs carefully…It’s your turn now. What verbs will you choose?”

Rachelle Baker captures Shirley Chisholm’s energetic spirit in brightly colored illustrations which give off a feeling of motion on every page.  Rich browns and tans ranging from caramel to mahogany to ebony join with piercing blues, lush greens, mustard yellows, and lively oranges to form a palette of saturated colors bursting with activity.  Baker’s art pulls you in as you read.  On the page highlighting a famous Chisholm quote, “If they don’t give you a seat at the table, bring a folding chair”, I could almost hear the chair dragging across the floor as she pulled it behind her.  I caught myself looking twice to see if her hand really did wave to her neighbors outside the corner store.  Baker created her art digitally on an iPad Pro with spectacular effect so that it lives and breathes and moves on the page.

Shirley Chisholm Is a Verb! opens the door to an unexplored chapter of American history.  It’s a catalyst for important conversations about representation, perseverance, service, and inspiration.  It would be a great read-aloud for pre- and early-readers while independent readers might enjoy it on their own.  I couldn’t wait to read this book, and it was well worth waiting for–I hope you have a chance to read it, too!

Good Mail Day: A Primer for Making Eye-Popping Postal Art by Jennie Hinchcliff and Carolee Gilligan Wheeler

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In 2014 we, meaning Post Art Library (the privately funded not-for-profit arts organization located inside Joplin Public Library since 1981), put out a call for entry for mail art. The idea was to create a one-off exhibit of mail art received from all over the world to introduce locals to the medium and encourage their participation. At the time, I was myself somewhat new to engaging with mail art and my experience with the world-wide mail art Network – yes, that’s a thing – was limited at best. Yet there I was, helping to coordinate a mail art call for entry and co-curate the resulting show. Enter Jennie Hinchcliff and Carolee Gilligan Wheeler’s Good Mail Day: A Primer for Making Eye-Popping Postal Art.

This book differs from other mail art books that I’ve read (such as Mail Me Art by Darren Di Lieto and Correspondence Art, edited by Michael Crane and Mary Stofflet, both of which are wonderful) in that it’s not only a gallery of mail art, but a sort of mail art workshop, as the authors offer oodles of advice for how to make mail art, start a mail art project, and navigate the mail art world. Plus, it introduces readers to mail art terminology and, perhaps most importantly, mail art etiquette.

But what’s mail art? A basic, common definition of mail art (a.k.a. correspondence or postal art) is that mail art is when people send small-scale works of art to one another through the postal service, often with the package itself being considered the work of art. Frankly, that definition falls flat and fails to describe the vibrancy of this decades-long movement. In my experience, the best way to describe mail art is to hand someone a stack of it. The only sure thing about mail art is that it is, as Hinchcliff and Gilligan Wheeler write, for everyone: “Anyone can be a mail artist, regardless of skill level or style of artwork.” The mail art itself is all over the place and all mediums are welcome. (The authors remind us, however, not to send anyone anything that we don’t want to deal with in our own mailboxes, such as perishable items.)

Although mail art is for everyone, the Network, like any other, has some basic rules. Namely, that “every piece of mail art that comes into your mailbox should receive some sort of acknowledgement in return.” That is, send something back! In the mail art world, this reciprocity is known as documentation. “No returns” is another tenet of mail art exchanges, meaning that each piece you receive is yours to keep, just as each piece you send out is someone else’s to keep. I appreciate that Hinchcliff and Gilligan Wheeler tell us the rules and “Time-honored Traditions” of mail art culture at the start. It’s as if they’re telling us that if we cannot respect those rules, then we needn’t read further or participate.

Of course, there are non-Network rules that mail artists must abide by, such as those of the postal service (or services, when mailing internationally). As such, we’re reminded to become familiar with our local postal regulations and to keep in mind that mail is categorized based not only on shape, but on thickness and weight. For example, if an envelope exceeds the maximum dimensions or thickness, then it may be categorized as a package and, accordingly, require more postage. The chapter that touches on regulations also includes “The Ten Commandments of Mail Art,” “The Seven Sins of Mailing,” and “Seven Suggestions for Shepherding Your Mail Art Safely to Its Destination.” You’ll also find tips on wooing your mail carrier and becoming friends with those who work in the post office.

The bulk of the book isn’t about defining mail art or mail art rules, but about having fun and making mail art. A few pages cover turning everyday objects, such as produce stickers, wrappers, leaves, and bird feathers into mailable mail art. What to do with those old dryer sheets? Mail them! As the authors discovered, they make for durable mail art. The point is that you may creatively make use of whatever you have nearby and whatever you find laying around, like found objects, old catalogs, junk mail, etc.

Ideas for decorating and illustrating envelopes, whether ready-made or those you create yourself, are included in this title, as are other techniques, such as paper-folding, texturing, and creating patterns, as well as stenciling, faux postage and artistamps, refining your handwriting, finding pen pals, and developing your postal personality.

My old friend, Chapter 10, details how to start a mail art project of your own, including writing a call for entry, creating documentation, and developing a correspondence register, which is more involved than keeping a list or address book of mail art contacts because it has more information. For example, a correspondence register might have columns for name, address, what you received, when you received it, what you sent back, when you sent it, and any other tidbits that you’d care to include. Trust, when coordinating a mail art project, which involves sending documentation (i.e. mail art thank yous) to those who send to you, a register is handy!

“You Can Take It with You: The Traveling Mail Art Kit,” is one of my favorite chapters. In the chapter, the authors emphasize that “mail art can happen anywhere, at any time, and in any place.” Think a waiting room that you’re stuck in, when you’re on hold making a phone call, or utilizing public transportation, or some such situation. The idea behind the mail art kit is that it’s possible to make mail art even when time is limited. The “Suggested Items for a Well-stocked Mail Art Kit” list is great, though your kit may contain whatever you like. What’s in my kit varies from time to time, though at minimum it includes stamps, stationary, and a few envelopes.

Peppered throughout the book are mini-interviews with mail artists from around the world, as well as great visuals, with the book ending with a mail art gallery followed by a contributor’s list, further resources, and an envelope template. Interestingly, the authors became friends when getting to know one another through mail art after meeting at a book arts event. Thus, the mail art that they’ve exchanged is a visual account of how their friendship developed—so cool!

So, is Good Mail Day a good primer for aspiring mail artists? Indeed, as it continues to guide me through what started as a one-off mail art project in 2014 and has since turned into an ongoing project for our growing collection. At the time of this writing, we have 300+ pieces of mail art from around the world in our collection and we’re about half-way into our third mail art exhibit, which is accompanied by an active call for entry. Visit us at www.postartlibrary.org to learn more about Post Mail Art Projekt 2021: Show Me Mail Art and check out Hinchcliff and Gilligan Wheeler’s Good Mail Day to learn how to get started.

As always, happy reading. And happy mailing!

“All Thirteen: The Incredible Cave Rescue of the Thai Boys’ Soccer Team” by Christina Soontornvat

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The library is always a great place to be, but it has been especially great these past few weeks. The start of our summer reading program has meant excited children and happy families in the Children’s Department. Families are ready for a bit of normalcy, and part of the summer routine for many of them involves signing up for our reading challenge. Our summer reading theme this year is “Tails and Tales,” so we are exploring animals, nature and the stories we tell about them.

The best book I read this year featured nature as a dominating, formidable main character. You may remember the story. In 2018, a boys’ soccer team in Thailand went caving after practice. What they didn’t know was that Thailand’s monsoon season was starting a month earlier than anticipated, leaving them stuck in an increasingly flooding cave. CHRISTINA SOONTORNAVAT‘s bestselling narrative nonfiction book, “ALL THIRTEEN: THE INCREDIBLE CAVE RESCUE OF THE THAI BOYS’ SOCCER TEAM,” recreates the edge-of-your-seat feeling we all experienced while waiting to hear of their fate.

Soontornvat begins with the story on that fateful day, as the soccer players leave practice and seek out an adventure before they call it a night. The Wild Boars, she explains, are an active and adventurous group — caving or hiking is not out of the ordinary after a long practice. A little rain was in the forecast, but not much. After all, monsoon season typically doesn’t begin until June and it was only May. Soon enough, it begins to rain and water enters the cave from several locations. In just a few short hours, the rushing water is cloudy and 6 feet deep in some places.

When the boys don’t turn up that night, their worried parents form a search party. Teammates who didn’t tag along know where they are, and soon enough, emergency services arrive at the mouth of the cave. Over the next few days, everyone — including local water experts, international cave divers and the prime minister of Thailand — is working together to get the boys out of the cave. In all, the boys remain in the cave for 18 days.

This is a story of endurance. It is also a story of mutual aid, of everyone offering what they have to help the boys, because we are, of course, all connected. Their story transcended the town of Mae Sae, the country of Thailand and borders around the world. When we watched this on TV or read it in the paper, we felt like a part of something larger. We were all rooting for the boys, for the cave divers, the Thai Navy SEALS and everyone else who stopped their lives to ensure the boys’ survival. Soontornvat effectively recreates that sentiment in “All Thirteen.”

A good narrative nonfiction book must have three key components: a compelling story, engaging images and accurate references. In short, it needs to be good, and it needs to be factual. Soontornvat achieves both in spades. I read every time I had a free moment, when I wasn’t reading about it, I was thinking about it. Even though I knew the outcome, I found myself rapidly turning the pages for some piece of good news.

Soontornvat also includes full-page maps and descriptions of things such as the formation of a karst cave, Buddhism, stateless people in Thailand and the stages of hypothermia. The images, which are all credited, are both crisp and helpful in understanding key aspects of this story. The source notes at the back of the book are exhaustive. I would recommend this book for anyone in upper elementary grades or older.

Our reading challenges are available for all ages. The Children’s Department offers the following challenges: pre-reader (ages 0-4), early reader (ages 5-8) and reader (ages 9-12). They can sign up online at www.joplinpubliclibrary.org/summer-reading-program or in person at 1901 E 20th Street. Participants earn prizes (including free books), so sign up today.