Running Head: A REVIEW OF SELECTED GENRE A Review of Selected Genre Deborah Bluestein This paper is submitted in partial fulfillment of the requirements for ILS 593 (S70) Readers’ Advisory Services Southern Connecticut State University School of Graduate Studies Elsie Okobi, Ph.D. Department of Information and Library Science April 14, 2014 1 A REVIEW OF SELECTED GENRE 2 Table of Contents The Defining Aspects of Genre and Appeal....................................................................................3 In-Depth Reviews of Three Genres Genre 1, Romance................................................................................................................5 Genre 2, Chick Lit………………………………………….…………………………….11 Genre 3, Crime….………………………………………….…………………………….16 Reviews of Four Additional Genres Genre 4, Historical Fiction ...………………………...…….…………………………….25 Genre 5, Fantasy.……….………………………………….…………………………….29 Genre 6, Adventure - Spy/Espionage - Political Intrigue…………….………………….32 Genre 7, Nonfiction – Historical and Biography…………………….…………………..36 Limitations of the Reviews and Opportunities for Further Study.................................................41 Appendix …………………...........................................................................................................42 References A REVIEW OF SELECTED GENRE 3 A Review of Selected Genre Popular fiction and non-fiction books in this course were found to be identifiable and organized through groups of genre and subgenre that had common characteristics of style, theme, and appeal, and constituted the primary focus of readers’ advisory services to leisure readers (Maatta, 2010). This paper reviewed in-depth some of the defining aspects found in the literature for the three fiction genres of romance, Chick Lit, and crime. These in-depth studies were then followed by brief reviews of four additional genres: historical fiction, fantasy fiction, adventure fiction, and a nonfiction history/biography genre blend. Each review was written from the perspective of one particular title that was selected and read in anticipation that it would be representative of the genre, a premise that in some instances became complicated due to the discovery of genre mixing and crossovers. Sections of this paper and related annotations were individually submitted during the course, and subsequently consolidated and expanded to form this final document. The annotations were placed in the Appendix. The Defining Aspects of Genre and Appeal During the course it was found that both the fiction and nonfiction used in readers’ advisory had stories to tell, but they had a fundamental underlying difference: The information conveyed in nonfiction was by definition, factually true. Alpert noted, “The Nonfiction element means that the story is based on fact, not on the realm of imagination” (2008, p. 26). Whether fiction or nonfiction, it was found that aspects of genre and elements of appeal defined both the attraction for readers and how advisors located material. This was important because the public was using fewer library reference resources and turning to convenient electronic resources, while simultaneously increasing the circulation of fiction and nonfiction; A REVIEW OF SELECTED GENRE 4 and this subsequently allowed librarians to transfer their attentions to other services that included a renewed focus on advisory (Saricks, 2005). Genre fiction has been a major driver of increased fiction circulation, and was identified by Maatta as popular fiction intended for leisure reading and entertainment, as opposed to literary fiction that sought to explored the deeper facets of the human condition (2010, p. 118). Although the number of principal fiction genre categories listed by scholars sometimes varied, those commonly used appeared to be based on succeeding versions of the volume, Genreflecting, most recently authored and updated by Diana Tixier Herald (2005). These categories generally included historical fiction, westerns, crime, adventure, romance, science fiction, fantasy, horror, Christian fiction, and emerging genres (Herald, 2005). For nonfiction, the narrative style has been a major driver of increased circulation, the term “narrative” referring to forms written in a style taken from techniques used in fiction, such as scene setting, multidimensional characters, and a compelling voice (Alpert, 2006, p. 26). Subject headings have long been the traditional approach to identifying nonfiction material. But the development and growth of narrative nonfiction, led by popular works such as Silent Spring (Carson, 1962) and In Cold Blood (Capote, 1965), created a need for the elements of appeal that were used in fiction readers’ advisory and discussed below, to then be applied to nonfiction advisory as well (Alpert, 2008). To use appeal in this way required an alternate method of identifying nonfiction categories: by genre and subgenre. These coexisted with major subject headings, but in a manner that allowed the necessary appeal elements to characterize a narrative. The identification of genre categories was applied to nonfiction by Saricks (2005) and others, such as Amy Alpert (2006), who recognized a list of nonfiction genres in common use that included in part: biography/autobiography; essays/short true stories; humor; travel; survival, A REVIEW OF SELECTED GENRE 5 exploration, and adventure; animals and nature; science/technology; medicine; self-help, and inspirational; business; lifestyle and entertainment; religion; sports; true crime; history; and journalistic exposes, current affairs, and politics. The appeal attraction for readers consisted of those elements of a piece of material (such as a book, audio tape, or film) to which a user related and responded; and in the practice of reader’s advisory, appeal was ascertained by the advisor in order to suggest books to patrons that coincided with what they would like to read. Joyce Saricks called this process “identifying the “feel” so that we can work better with readers” (2005, p. 42). She listed the main appeal elements as pacing (both the speed of reading and revealing of plot and characters); characterization (point of view, number and familiarity); storyline (plot, action level, intent, and complexity); frame and tone (time, atmosphere, detail, and mood); and the author’s writing style (such as direct or conversational, simplistic or flamboyant) (p. 66). These elements of appeal were applicable to both fiction and nonfiction (p. 69). In-Depth Reviews of Three Genres Genre 1, Romance: The Sins of the Mother, by Danielle Steel (2012) Romance fiction was described as a work “celebrating the emotional development of a love relationship”, which concluded by overcoming the obstacles keeping two people apart (Adkins, 2005, p. 253). This happy ending requirement was clarified even further by Joyce Saricks, who emphasized that the lead characters must “recognize and affirm their love”; otherwise, the book may be romantic, but it “is not a Romance” (2009, p. 135). Review of the literature regarding the basic requirements for this genre indicated the strength of other romance characteristics may vary, particularly within some subgenres or in works that contain aspects of crossover into other genres. But romances generally included an A REVIEW OF SELECTED GENRE 6 emphasis on relationships more than plot, an emotional tone that caused the reader to feel they are participating in the story, an empowered and validated woman as the lead character, a hero who learns to acknowledge his feelings and need for the heroine, and a predictable and satisfying conclusion (Saricks, 2009, p. 135; Herald, 2005, p. 172). Appeal components may also have varied, but in Saricks (2009, pp. 132-138) romances were described as usually having an upbeat, optimistic tone (particularly at the end); the writing may be fast paced, yet readers could be interrupted and resume reading without losing track of the story; and the books were usually quickly and easily read. Saricks continued that the primary characters were revealed from a third person perspective and seemed familiar to the reader. Women were smart, independent, and articulate; men strong but often distant, and each were being compelled to change. Secondary characters might be quirky and carry underlying, subordinate story lines. The main plot, also subordinate to the emphasis on relationships, might provide a backdrop of business or social issues, and a woman’s struggle to succeed. There were usually interesting framing details about time and place, although romance style usually employed character conversation more than description (2009). Readers responding to the appeals of romance were primarily women interested in the positive images of a strong female lead character striving to overcome adversity, and also in the male characters who were caring and eventually able to love and express that love (Herald, 2005, pp. 254-255). Women readers were also drawn by the reassurance of predictable, happy outcomes and validation of female roles and values. There were many subgenres within the romance category, and each of these had additional subdivisions with unique features. Although the number and defining characteristics A REVIEW OF SELECTED GENRE 7 might vary somewhat by theorist, subgenre lists predominantly included those listed by Herald (2005, pp. 261-307), who described them as follows. Contemporary romance – These novels were set in a post-World War II period with characters usually in their twenties or thirties who faced obstacles found in contemporary life and familiar to the reader. Books now considered classics might have been contemporary in their time (such as the works of Samuel Richardson or Jane Austin). Subdivisions of this genre included sensuous novels (describing erotic intimate details), and sweet (no sexual activity). Romantic suspense – Realistic stories with aspects of mystery, the subcategories were derived from settings that were contemporary, historical, paranormal (futuristic), or gothic. Historical romance – Written at least fifty years after the portrayed period, the plot basis or backdrop was founded in historic characters or events described with a sense of authenticity. Subdivisions included general historical, which had unique settings; frontier and western (rugged outdoors); Native American; medieval (castles and knights); and Scotland (18th century adventure set in rugged highlands, with fights between clans or the English). Another subdivision was regency, set in early 19th century England’s formal, fashionable society. The saga subcategory depicted succeeding family generations and was often in series, with multiple themes and plots that frequently did not have happy endings. Lastly there were the hot historicals, which had a sexual focus and were further divided into sweet-and-savage (sexual fantasies about a seduced or sexually abused heroine, often in exotic settings), and spicy (less violence and stronger heroines). A REVIEW OF SELECTED GENRE 8 Paranormal romance – Set in futuristic or timeless periods, there were characters such as vampires, ghosts, and psychic or magic abilities. Subcategories included fantasy (faerie or supernatural); time-travel; paranormal beings (vampires and werewolves); and futuristic themes (from science fiction, virtual reality, space travel, and aliens). Ethnic romance – Characters and settings were tailored to particular groups of readers; subcategories included African American, Latina, and Native American (western settings). Danielle Steel’s novel, The Sins of the Mother (2012), fell primarily into the subgenre of contemporary romance (an annotation that included a summary of the plot for the book was placed in the Appendix). Olivia was the main protagonist, but the marriages and love relationships of her children received almost more focus in this novel than those of Olivia herself. In this story there were multiple characters overcoming the expected obstacles in the emotional development of a love relationship, and as the primary matriarch, Olivia’s own love developed as much in relationships with her children as it did with the man in her life. Other hallmarks of romance were fully demonstrated: Olivia was a strong female lead character; her sons and her daughters’ lovers were men who grew to see beyond appearances, and acknowledge and surrender to a need for the women. There was affirmation that obstacles could be overcome and end happily for everyone (even the death of Olivia’s mother occurred in sleep). The story was set in the same time period as the reader and presented current daily life challenges, which made it a contemporary romance (Herald, 2005, p. 264). But there were some aspects of other primary and subgenre here as well. The protagonist was mature, with grown children, which was found in women’s fiction; and the woman was coping with keeping a A REVIEW OF SELECTED GENRE 9 balance between a career and her relationships, which was also a feature of Chick Lit (Herald, 2005, p. 493-494). Critical reviews of the Steel book were mixed. Additional information and some interesting perspectives on this author, genre, or other romance titles were found in the following resources (see references for publisher information). A reviewer for BookReporter.com called it “...classic Danielle Steel at her best...allows readers to journey across the world without ever leaving their easy chairs and provides a feel-good read that will leave them with a smile on their faces” (Taylor, 2012). The Fresh Fiction reviewer said it was “an exceptional story of the rights and wrongs within a family and the road to healing...an unforgettable novel that pulls at the heartstrings!” (Quintin, 2012). But Kirkus Media (2012a) had a different view, “… this feels more like a factory product than a book as such—competent enough, and resembling a book in form, but with a certain emptiness at its heart. Still, if you care about the tribulations of the very rich, this is your book.” Additional information and some interesting perspectives on this author, genre, or other romance titles were found in the following resources (see references for publisher information). The Lives of Danielle Steel: The Unauthorized Biography of America's #1 Best-Selling Author, by Vickie L. Bane and Lorenzo Benet (Steel’s third exhusband, 1995). An unauthorized biography presented the author’s life as having a strong resemblance to those of many women and upheavals in Steel’s novels. A A REVIEW OF SELECTED GENRE 10 brief opposing view was found in a San Francisco Chronicle article where Steel claimed that the biography ruined her fourth marriage (Carroll, 1997). Romance Fiction: A Guide to the Genre (Genreflecting Advisory Series), by Kristin Ramsdell (2012). This was a comprehensive text on the romance genre by the romance columnist for Library Journal. Rethinking the Romance Genre: Global Intimacies in Contemporary Literary and Visual Culture, by Emily S. Davis (2013). The author took a look at print and media romance fiction through its interaction with global issues in areas of politics, feminism, and sexuality. Romance Writers of America (RWA) was found to be a non-profit organization of authors that promoted the genre, offers awards and scholarships, and sponsors workshops and events. Their website was www.rwa.org. All About Romance. This blog site had an archive of over 7,000 reviews, along with author articles, conference reports (RWA), and message boards. URL: http://www.likesbooks.com/ Blogging for a Good Book - Romance. Booklists and reviews were found with reader ratings, some readalikes, and links to other sites. The site was provided by the Williamsburg (VA) Regional Library. URL: http://bfgb.wordpress.com/category/romance/ Goodreads – Romance Book Lists. This comprehensive, up to date listing of popular romance books was divided by different attributes such as subgenre, appeal, and series. Site also had reviews, recommendations, and user tagging. URL: http://www.goodreads.com/list/tag/romance A REVIEW OF SELECTED GENRE 11 Kirkus – Romance Book Reviews. This website carried synopsis and reviews of current selected titles, in addition to blogs and author information. URL: https://www.kirkusreviews.com/book-reviews/romance/ The Romance Reader. This website of volunteer reviewers offered monthly summaries of nearly 100 new romance releases by subgenre. The site was simple, easy to navigate, did not allow industry advertisers, and prided itself in candid book reviews. URL: www.theromancereader.com. One of the most intriguing aspects of the romance genre and all genres in general, was that they had not remained static. Danielle Steel’s mixing of a few genres and subgenre elements in the novel examined here was an example of that fluidity. And as authors continued to produce crossover and new subgenres through innovative storylines, characters, and settings, the resulting dynamic appeared to hold the interest of readers, expanded their selection options, and broadened the focus and profession of readers’ advisory. Genre 2, Chick Lit: Someday, Someday, Maybe, by Lauren Graham (2013) As a genre, Chick Lit was found to be a relatively recent addition that began in the late 1990’s with the novel Bridget Jones’s Diary, and provided fiction that was youthful and vibrant in its outlook, characters, and audience (Maatta, 2010). It also had the contemporary and realistic aspect of another genre considered to be “emerging”, women’s fiction (Herald, 2005), and some of the literature treated Chick Lit as a subgenre within that category (Maatta, 2010; Saricks, 2009). Both genres had careers and relationships vying for the heroine’s focus. But Chick Lit was set apart by its witty, gossipy dialog and the unconventional approaches to daily travails carried out by the genre’s often twenty-something female lead characters (Herald, 2005). A REVIEW OF SELECTED GENRE 12 The largest group of Chick Lit readers were generally women in their twenties and thirties (Herald, 2005) drawn by the genre’s distinct appeal qualities. The novels might feel fastpaced, and the characters could be quirky as they rapidly changed their focus (Maatta, 2010) from one activity, or thought, to the next. The storylines were character based and involved their relationships, although careers were usually a primary concern for the main protagonists, and Maatta noted that the settings were usually urban and in a contemporary frame, with a lot of references to pop culture, a preoccupation with name brands, and a tone that was upbeat and humorous (2010). Although primary sources such as Herald, Maatta, and Saricks did not provide a complete list of Chick Lit subgenres, they did mention a few, such as Mommy Lit (young mothers) and Hen Lit, that featured women over forty (Maatta, 2010); multicultural forms such as those featuring Asian Americans; inspirational versions (Saricks, 2009); and some crossovers into mystery and the paranormal (Herald, 2005). Online resources, such as Chick Lit Books (2013), itemized many more categories, which appeared to generally rely on ethnicity, values, setting, or career status as the basis for their designation: Jewish Chick Lit, Christian Chick Lit, Glamor Lit (famous or rich women), Single City Girl Lit (city-specific), Wedding Lit, and Working Girl Lit (revolving mostly around careers). If one were to accept this breakout, a novel such as Someday, Someday, Maybe would likely be categorized as Single City Girl Lit. Some of the expansion in Chick Lit subgenres stemmed from the maturation of the original authors and audience, who were facing new circumstances as they progressed from singles to the balancing of career and family (Maatta, 2010). But the resulting Mommy Lit and Hen Lit novels maintained the same breezy writing style of the original genre (2010). A REVIEW OF SELECTED GENRE 13 As with women’s fiction, relationships were a primary ingredient of Chick Lit, and lead characters had mutually supportive female friends who sustained them (Maatta, 2010). Men, and the romance they brought to the story, were important to the character, but Lauren Graham’s Someday, Someday, Maybe (2013), demonstrated that male characters might be overshadowed in the writing by a focus on the female lead’s reactions to them, and the effect of those reactions on other aspects of her life and career. Thus, in this novel the male characters were detailed primarily for those attributes that impacted the heroine. Someday, Someday, Maybe also remained true to many of the other expected appeal characteristics of Chick Lit (an annotation that includes a summary of the plot for the book can be found in the Appendix). The pace of the story seemed quicker than it actually was in the number of pages turned, because the thoughts of the heroine, Franny, were constantly jumping away from the immediate action that surrounded her, and wandering off to speculate about what others were thinking, or to ruminate on what brought her to this scene, or to drift into musings about seemingly unrelated activities scheduled on her Filofax. A cultural icon representing the stereotypical career woman, Filofax pages appeared interspersed between chapters, and by varying the number and content of the pages, the author was able to summarize, compress or extend time, and move the reading along at the desired pace. The Filofax device also alerted the reader to important changes in Franny’s predicaments, as when it was replaced by a sheet from a television program’s crew call schedule to signal the possibility of an important breakthrough in her career. First person narrative was often a key mechanism of Chick Lit when exploring “all about attitude and relationships” (Herald, 2005, p. 499). Through a stream of consciousness writing style, the main character, Franny, stood fully revealed in her difficulties with focusing on the A REVIEW OF SELECTED GENRE 14 moment, and her uncertainties about how others perceived and reacted to her. In confidential and witty exchanges with a much wiser Jane, the two women discussed Fanny’s often muddled and chaotic search for the right choices in hair and clothes, her agents, auditions, and lovers. And so this gentle, sometimes a bit sexy story proceeded at a steady pace through the days of its familiar, if a little quirky lead character, and the amusing, yet insightful details about the difficulties of love, and of finding and keeping acting work in the entertainment business. The reception by reviewers was generally enthusiastic, and focused on the humor and authenticity of the novel’s “backstage” look at the entertainment business: “Descriptions of the indignities suffered by struggling actresses feel hilariously, and poignantly, authentic.” J. Kaufman (2013) in The Wall Street Journal “Franny's struggles are so real, so relatable, and at times so familiar that one wonders just how much of this first novel is autobiographical. Recommended for all aspiring actors and for any reader who has ever wondered about the life of an actor before she becomes a star.” Jennifer Beach (2013) in Library Journal “…a funny and charming debut about finding yourself, finding love, and, most difficult of all, finding an acting job.” Goodreads (n.d.) For additional information about this author, genre, or other Chick Lit titles, the following resources provided interesting insight (see references for publisher information). Interviews: Lauren Graham On Writing, Procrastinating, and Her Favorite Authors, by Emma Chastain (2013). This was a brief interview, but the author gave some serious responses and insight into her academic background, interest in literature, and approach to writing. A REVIEW OF SELECTED GENRE 15 Chick Lit: The New Woman’s Fiction, by Suzanne Ferriss (2005). This genre guide in fourteen essays provided chapters on the early background (beginning with Jane Austin) and seminal works of Chick Lit, the various subgenres, and its role within women’s literature in a world of postfeminism. Chick Lit and Postfeminism (Cultural Frames, Framing Culture series), by Stephanie Harzewski (2011). The book included the author’s exploration of the historical framework and social conditions surrounding the development of Chick Lit; how the genre and its reception by fans and critics illuminated a consumer culture, gender relations and the struggles between the women’s movement and postfeminism; and how it fit into the traditions of fiction and narrative. Novelicious: Chick Lit Author Websites. This resource carried links to nearly 50 blogs and websites of the most popular Chick Lit authors. URL: http://www.novelicious.com/chick-lit-author-websites.html Chloe's Chick Lit Reviews. This website carried reviews, author interviews, and booklists. This site also had a special version for mobile. URL: http://chicklitchloe.blogspot.com/?m=0 The Best Chick Lit. In addition to reviews and booklists, this blog site included guest blogs, author interviews, and author tour information. URL: http://bestchicklit.com/ Chick Lit Club. This site had book lists with brief reviews and ratings by title and by author, and also listed chick films with reviews, and some author interviews. URL: http://www.chicklitclub.com/titlesa.html A REVIEW OF SELECTED GENRE Goodreads: Genres – Women’s’ Fiction – Chick Lit. 16 A list of recent Chic Lit books was found, with access to reviews, recommendations, and user tagging. URL: https://www.goodreads.com/genres/chick-lit As a recent growing and evolving part of genre, Chick Lit offered new energy and vitality to the fiction shelves of the library. It attracted a young audience and broadened that portion of the community exposed to learning about and valuing the contribution that their local library could make to their leisure reading. Genre 3, Crime: Gone Girl, by Gillian Flynn (2012) Both Herald (2005) and Maatta (2010) referred to “crime” and “mysteries” as synonymous before progressing into subgenre headings that might include use of the words separately in conjunction with other descriptives, such as “cozy mystery”. In general, all types of crime/mystery books featured characters with a puzzle or problem to solve, sometimes a secondary character that helped in the investigation, and some form of tension during the process of seeking a resolution (Saricks, 2009). Pacing was usually relentless and always compelling; and although storylines centered on solving the puzzle, characterization was important and focused on the protagonist and critical secondary characters (good and bad), who might reappear if the book was part of a series (2009). Other characteristics and elements of appeal, such as frame, tone, and style might vary widely by author and within subgenres. For many readers of crime/mystery, detectives appearing in series were a major appeal of the genre. Saricks (2009) noted that they followed detectives and other characters they liked from book to book, reading them in serial order and not being too particular about how the books were regarded in reviews. Inexpensive paperback crime serials appearing only in paperback were found to be a problem for libraries, however, because if lost or damaged they could not be A REVIEW OF SELECTED GENRE 17 replaced, frustrating future readers who might become interested in a series but then be unable to find some books on the shelf (2009). Crime/mystery readers were also found to have subgenre preferences, such as police or private investigators, and many favored particular types of locations and frames, such as urban settings or art-related stories (Saricks, 2009, p. 218). As described by Herald (2005), the mystery/crime genre was broad and each subgenre contained many other subdivisions. One area of criminal activity not included under mystery/crime, however, was the thriller. With the one exception of legal thrillers, that subgenre appeared with adventure novels because they generally involved spies, espionage, and terrorism. For mystery/crime, Genreflecting provided the following information unless otherwise noted. Cozy (classical) mysteries were described by Erin Smith (in Herald, 2005, p. 137) as occurring in a particular community, with interesting lead characters who used observation, deduction, and logic. Maatta (2010) pointed out that the stories revolved around solving crimes perpetrated by individuals, and appealed to the reader’s sense of justice and a desire to solve the author’s puzzle along with the protagonist. Readers looking for readalikes often wanted sleuths who exhibited similar behaviors. Maatta continued that these books were complex (which controlled the pace), might incorporate social issues and location details important to the reader, and varied from the dark to humorous. Detective Stories had several subordinate levels of subgenre, and were described as being based in a modern, complex society in which detectives specialized in solving crimes, and were favored by readers based on how closely readers believed the detective resembled themselves (Saricks, 2009). Plots often ended A REVIEW OF SELECTED GENRE 18 up being secondary in the reader’s memory, although the structure and complexity of the plot might subliminally influence enjoyment, but settings and secondary focus, such as protagonist temperament, hobbies, and pets might become very important to the reader, particularly in series (Herald, 2005). Some of the detective subgenres under detective stories were the following. o Professionals - Police Detective stories were described by Saricks (2009) as involving entire departments or individual investigators that had multiple cases in various stages of resolution. Details about department procedures, forensics, and locations might be critical, and investigators were often in physical danger, with stories that could be dark and bleak, and contain graphic sex and violence (particularly in urban settings). o Professionals - Private Investigators were professionals hired to pursue a single case almost invariably associated with murder (Saricks, 2009). The setting was urban, the frame was contemporary, the tone was generally dark, and the protagonists usually related the story in first person, with characterizing details that often showed them to be flawed loners who sometimes worked outside the laws of a deficient legal system (2009). o Professionals – Ex-cops gave crime authors the opportunity to display knowledge of police procedure, while having the flexibility of not being confined by agency rules and limitations. Stories could be helped by the detective’s insider access to officials, and extended (perhaps in series) by viewing a detective first as an officer and later in the private sector. A REVIEW OF SELECTED GENRE o Unofficial detectives - Hard-boiled, were described by Herald (2005) as featuring no detective backgrounds, but merely regular people somehow drawn in to a situation of solving a particular crime. A bleak mood, violence, and dark situations characterized this subgenre. o Unofficial detectives - Amateur detectives were described by Saricks (2009) as being usually presented in a lighter, sometimes humorous tone. They became interested in a puzzle encountered through normal activities or a hobby, and used intuition and observations to unofficially solve the mystery, although they might have a relationship with police, who usually took a disparaging view toward them (2009). o Diversity Detection included gay and lesbian professional and nonprofessional detectives, and also ethnic minority detectives, who added a strikingly different dimension to storylines and characters (Herald, 2005, p. 173). It was also noted that women were no longer part of this subgenre because novels featuring female detectives had grown to nearly half of the detective category (2005). o Subjects/Themes presented crimes in a particular setting, or involving a particular profession, interest, or hobby. Some listed themes were sports, cooking, bibliomysteries (such as librarians), and the art world (Herald, 2005). o Genreblends included historical settings, with the caveat that many nineteenth century detectives were contemporary at the time of publication 19 A REVIEW OF SELECTED GENRE (such as Sherlock Holmes). 20 Other subdivisions included futuristic mysteries and bizarre blends (such as vampire detectives) (Herald, 2005). Suspense was also treated by Herald (2005) as a subgenre of crime/mystery, but this type focused primarily on the psychology of a criminal who might already be identified for the reader. Although suspense was not found to be unique to crime novels, Saricks (2009) noted that within that genre it evolved around the unknown of what would happen next inside a contemporary and narrow time frame, and around finding out why the crime was committed. The tone was dark and menacing, the pace was relentless, the villain’s thoughts were sometimes known to the reader (but not the protagonist), and there might be explicit crime scene detail. Authors might include a prolog device to setup the story, and the protagonist was developed to draw the empathy of the reader as the story proceeded to a confrontation where he/she must figure out how to escape the villain (2009). o Serial Killers and Psychopaths – This aspect of madness added to suspense elements usually portrayed a woman as the victim (Herald, 2005). Saricks noted that serial killers were becoming particularly popular, while violence had become more graphic and “protagonists more damaged” (2009, p. 69). o Romance/Suspense Writers was a subdivision that consisted of many authors who had migrated from romance into the suspense genre and began blending appeal elements of the two forms together (Herald, 2005). A REVIEW OF SELECTED GENRE 21 Crime/caper presented many rogue protagonists as career criminals, but regardless of their background, all of the protagonists exhibited cunning as their major trait (Herald, 2005). The mood for these books varied from humorous to dark. Legal thrillers - Thrillers generally differed from suspense in that the reader did not know the thoughts of the killer (Maatta, 2010, p. 134). Instead, there was an insider’s view of chasing down criminals by a particular profession. Saricks (2009) described the subgenre as having professional details in technical jargon; strong but sometimes flawed protagonists; a breakneck pace; a dark and gritty tone; frequent violence; and complex conspiratorial plots and twists often drawn from contemporary headlines and moral debates. Herald (2005) narrowed the scope of thrillers that fell under the genre of crime to legal thrillers, and observed that the professionals were usually lawyers. Saricks also pointed out that in crime thrillers, the protagonist might turn out to be the villain (2009, p. 78). In addition to the appeal elements of crime/mystery, Gone Girl (Flynn, 2012) contained many aspects of suspense and its subcategory, serial killers and psychopaths (an annotation that includes a summary of the plot for the book can be found in the Appendix). These included the identification of the criminal through a good portion of the novel and the uncertainty of Nick’s escape. But the greatest impact came from Amy’s madness, which was revealed to the reader slowly through the discoveries of her husband, Nick, and then later through her own voice. Together, Nick and Amy consumed most of the narrative focus, and secondary characters, even Nick’s supportive twin sister, his naïve girlfriend, Amy’s worried parents, and the investigators, participated only briefly as needed to further the reader’s view of Nick’s predicament. The A REVIEW OF SELECTED GENRE 22 settings provided were small Missouri towns, but they really could have been be anywhere, because the relevant settings were within the isolated thoughts of Nick and Amy. In the mechanism of the first person narrative of a diary, Amy was seen as her husband first believed her to be, and then as she wished to be known to the police so that her crime would succeed. The time frame, over a period of seven days, built in suspense as Nick’s daily events alternated with Amy’s diary passages beginning more than five years earlier. Then the diary stopped, and the current voice of Amy began, mad, but amused, and menacing. The tone was desperate for Nick, although his own lies did not make him a terribly sympathetic figure. Finally, abruptly, Amy’s reappearance reset both the clock and the tone. The relentless pace for the reader fell away, even as the story skipped forward first half a week and paused, skipped again a month, and then to other months, lingering a moment at each one. The tone for Amy grew triumphant, but for Nick became first despairing, then resigned, and finally slipped into madness all his own. Reviewers were very enthusiastic about Gone Girl, particularly the plot twists that evolved as the story progresses: “...they had the kinds of fights, infidelity, money troubles and other noirstyle problems that witnesses will remember now that Amy’s gone…Perhaps these sound like standard-issue crime story machinations. They’re not. They’re only the opening moves for the game Ms. Flynn has in mind, which is a two-sided contest in which Nick and Amy tell conflicting stories. Each addresses the reader: Nick in the present tense, and Amy by way of an italics-filled, giddily emotional diary about the marriage. Both Nick and Amy are extremely adept liars, and they lied to each other a lot. Now they will lie to you...Ms. Flynn’s dazzling A REVIEW OF SELECTED GENRE 23 breakthrough. It is wily, mercurial, subtly layered and populated by characters so well imagined that they’re hard to part with..." Janet Maslin (2012) in The New York Times “Interspersing the mystery of Amy’s disappearance with flashbacks from her diary, Flynn shows the marriage lumbering toward collapse—and prepares the first of several foreseeable but highly effective twists. One of those rare thrillers whose revelations actually intensify its suspense instead of dissipating it. The final pages are chilling...” Kirkus Reviews (2012b) “…Nick and Amy, both unreliable narrators in their own ways. The reader comes to discover their layers of deceit through a process similar to that at work in the imploding relationship. Compulsively readable, creepily unforgettable, this is a must read for any fan of bad girls and good writing.” Publishers Weekly (2012) There was additional information about this author, genre, or other crime titles in the following resources (see references for publisher information). Best of 2012 (behind the scenes): Gillian Flynn on Gone Girl Twists "it's fine with me if people don't like the ending", by Stephan Lee (2012). In this interview the author discussed the novel's reception; antiheroes, justice and happy endings; open ended books that inspired her; and the types of plot lines that engaged her. The Readers' Advisory Guide to Mystery, by J. Charles, et al (2012). This handbook provided information on the history and appeal of mysteries. Several chapters explored individual subgenres in detail, such as amateur sleuths, private A REVIEW OF SELECTED GENRE 24 investigators, police procedurals, and genre-blended mysteries. The scope included annotated lists of mystery resources and bibliographies, and advice building and marketing the library mystery collection. There was also a discussion of readers' advisory interviews tailored to mystery patrons, such as special questions regarding their interest in stand-alone stories versus series, and their sensitivity to graphic violence. This text was one in a series of readers' advisory guides from the American Library Association. The Oxford Companion to Crime and Mystery Writing (1999). This book provided a collection of extensive articles and essays on authors and their works, the development of the genre, its subgenres and schools of writing, and the components of mystery writing. The Penguin Book of Victorian Women in Crime: Forgotten Cops and Private Eyes from the Time of Sherlock Holmes (2011). A collection of short stories or individual chapters, this book also contained related discussions and biographical sketches on authors and their forgotten cops and private eyes from the time of Sherlock Holmes Stop, You're Killing Me! This website of mystery, crime, and suspense had pages showing monthly additions to their archive, new releases by media type, book reviews, readalikes, genre lists, author and series character lists, character employment lists (!), story location lists, awards lists, and a site search engine. The site was easy to follow and appeared to be up to date and well maintained. URL: http://www.stopyourekillingme.com/index.html A REVIEW OF SELECTED GENRE NPR Books - Mysteries, Thrillers & Crime. 25 National Public Radio sponsored this site, which carried mystery book reviews of recent releases and news about the books and authors. URL: http://www.npr.org/books/genres/10114/mystery-thrillers-crime/ Blogging for a Good Book. A site from the Williamsburg, PA Regional Library, this resource had three archives for crime subgenres: high suspense, mysteries, and crime, in addition to reviews for each genre and booklists. URL: bfgb.wordpress.com/ Goodreads – Listopia: Crime Book Lists. As with other genre at this site, there were divisions by different attributes such as subgenre, appeal, and series, along with reviews and recommendations. URL: https://www.goodreads.com/list/tag/crime Because there was such a wide variety of crime/mystery genres and appeal factors, it appeared that there should be a book that could garner the interest of any fiction reader. The combination of suspense, pacing, characterization, and frequent use of a serial format by some of the most popular authors in the genre kept it fresh and allowed librarians to continually introduce new, exciting material to their readers. Reviews of Four Additional Genres Genre 4, Historical Fiction: Mrs. Lincoln’s Dressmaker, by Jennifer Chiaverini (2013) The skill of combining history with an interesting story helped successful authors in this genre bring the reader into the lives and motivations of people that might be otherwise unknown. Maatta (2010) noted that the reader assumed the author was being reasonably accurate about how people of the period and culture were likely to have lived, and had conducted thorough research A REVIEW OF SELECTED GENRE 26 in preparation for writing the book. Thus, background detail and accurate depiction of characters were major factors in historical fiction’s appeal, and helped to give substance to the drama that took place in the story (Kelly, 2005). Other appeal factors for this genre were a slow to moderate pacing, but with writing that retained the reader’s interest and evoked an emotional response to the people and periods portrayed (2005). Readers of this type of fiction were often trying to understand their own roots, discover historical facts, and learn about the people and events that shaped the world in which they live (Maatta, 2010). Kelly also indicated that readers were perhaps reading to escape into a different time and place, or to try and experience what the author indicated was happening during events in the text (2005). Storylines might be portrayed in any particular time before the mid-20th Century, and placed in any geographic area. Historical fiction was often written in the form of sagas (covering decades or centuries), epics (spanning centuries or millennia), and chronicles, and provided the reader with a sense of how events might impact the characters over time (Maatta, 2010, and Herald, 2005). It was also easily mixed with other genres such as women’s fiction, romance, adventure, and mystery (Maatta). In addition to sagas, as listed in Herald, subgenres of historical fiction were period-based and include prehistoric, ancient civilizations, middle ages, exploration and the Renaissance, exotic locations, the Americas (including subgenres of the Colonial period and Civil War), and the 20th Century. In Mrs. Lincoln’s Seamstress, the Civil War was the driving force in the lives of all the characters (an annotation that includes a summary of the plot for the book can be found in the Appendix). The protagonist, Elizabeth, like most of the other main characters, was a factual person, and she personified the freed former slave of the period. Her relationships with the A REVIEW OF SELECTED GENRE 27 women she served demonstrated the differences of race and class that made life difficult at the time; and also related how people reached around those boundaries in order to meet their wants and needs. The author described many examples of the constant fear that people of color endured in maintaining their free status, such as concern for the places where they walked that might pose physical danger, taking care in how they conducted themselves to the white ruling class, and even how they interacted with one another. Although the author did not take the reader directly into such emotions, the underlying terror of the age was understood by the reader. Much emphasis in the reviews was placed on the historical persona of the main character, Elizabeth, and her relationship to the Lincolns and the war. “Mrs. Keckley’s rise from slave to independent businesswoman for the elite would be fascinating had she landed in the White House next to Chester Arthur. That she was privy to the halls of power during the most fateful moments in the Union’s history makes her that much more compelling.” John Williams (2013) in The New York Times “Mrs. Lincoln’s Dressmaker vividly imagines how the Civil War touched daily life in Washington.” John Wilwol (2013) in Washingtonian “…an interesting perspective for viewing the cultural and social turmoil of the times.” Kirkus Reviews (2012) Additional information about this genre and other historical fiction titles was found in the following resources (see references for publisher information). Defining the Genre: What are the rules for historical fiction? by Sarah Johnson (2002). A discussion of what makes a novel historical, and some of the differences in how publishers view categorizing the historical novels they publish. A REVIEW OF SELECTED GENRE Read On - Historical Fiction: Reading Lists for Every Taste, by Brad Hooper was an annotated bibliography of recent and classical fiction categorized according to appeal, topics, and themes. Popular Genre Historical Fiction Books. From Goodreads, this site listed reviews, ratings, booklists, and recommendations for historical fiction. URL: http://www.goodreads.com/shelf/show/genre-historical-fiction Historical Novel Review. This web blog carried book reviews, book lists, and author interviews. There were breakouts by period, country, topic, and subgenre. URL: http://historicalnovelreview.blogspot.ca/p/about-us.html Historical Fiction: A Guide to the Genre, by Sarah Johnson. Part of the Genreflecting guide series, this was a comprehensive look at each subgenre, including some classifications that were broken out in ways other than by time period, such as Christian historical fiction and adventure historical novels. Historical Novels.info listed over 5,000 historical novels by subgenre including period and geographic location. The site also carried some reviews for listed novels. URL: http://www.historicalnovels.info/ Historical Fiction Daily was a daily news-style format of historical fiction related news stories, photos, videos, education and arts, all contributed by blog followers and participants. URL: http://paper.li/histnovel/1311169881 Provo City Library Historical Fiction Blog provided booklists by genre, suggested readings, readalike authors, and reviews by Provo librarians. URL: http://www.provolibrary.com/fiction-historical 28 A REVIEW OF SELECTED GENRE 29 Although this was a fictionalized account of the life of a historical figure, it was apparent the author had done considerable research of on Elizabeth and concerns of contemporary African Americans, the Lincolns and leading members of Washington society, particular military events that affected the Washington area, and the atmosphere following the assassination. That made the book an informative read of what it felt like to live in that time and place and demonstrated why this was such a popular genre. Genre 5, Fantasy: The Golem and the Jinni, by Helene Wecker (2013) To varying degrees fantasy was found to be comprised of several basic traits: a story that created a believable world with an urgent plot and a formidable conflict; characters that were generally like common people, but naïve, willing to engage in adventure, and able to evolve and grow; another world similar to our own, where the reader could immediately enter and live; a conflict between good and evil; a quest that was a spiritual, serious, life and death struggle that had to be surmounted; and a joyful ending (Herald, 2005). Genreflecting listed many subgenre of fantasy including classics; epic/sword and sorcery (a series of deeds over time in a quest); saga, myth and legend (based on historical myths e.g., Arthurian); fairy tales (drawn from traditional folktales); humor (satire and parody); bestiary (animal fables, dragons); faerie (humans versus elven); urban fantasy (faerie mixed with street violence); alternate and parallel worlds with their own history; shared worlds (settings borrowed from other authors); dark (magic between good and evil); and romantic, which was blended with fairy tales and paranormal (Herald, 2005). Of these, the characters of the golem and the jinni were primarily drawn from traditional European and Middle Eastern legends (an annotation that includes a summary of the plot for the book can be found in the Appendix). Bringing them into a fairly recent historical setting created A REVIEW OF SELECTED GENRE 30 a crossover, but the basic fantasy traits were still there. The plight of each character was a life and death urgency; the two were somewhat naïve about themselves and their surroundings; there was a serious spiritual conflict between good and evil with a satisfying ending; and the reader could immediately enter their familiar world. The background detail and accurate depiction of characters were major factors in historical fiction’s appeal, and in this novel it helped to give substance to the drama that took place in the story (Kelly, 2005). The book also had some of the slower pacing of a historical novel. Maatta reported that readers of fantasy fiction expected to encounter books with deep backgrounds and believable stories about the struggles of good and evil, which were developed over time, optimistic about the future, densely written with considerable detail, and often extended over a series of books (2010). In The Golem and the Jinni the struggle between good and evil took place not only between characters, but also within the two protagonists themselves. Both were slaves to their masters and to their own inherent natures. Because of this, they had to consciously exert all their effort to overcome their natural tendencies to destructively and instinctively react to events and other characters. Not a lot was found to be written thus far about the author’s use of creatures from Muslim and Jewish legends that ultimately end up joining forces and working together to understand one another and themselves. Should the popularity of the book endure, this theme might be expected to garner serious consideration and perhaps inspire other similar books. Meanwhile, the author’s underlying irony was so obvious as to be clearly detected by any reader. The reception to this fantasy novel was highly favorable from a very wide range of standard sources. “The interplay of loyalties and the struggle to assert reason over emotion keep the pages flipping ...there’s a satisfyingly neat complexity to what must be A REVIEW OF SELECTED GENRE 31 accomplished, and free will does come into play when virtually everyone from scholar to golem to bakery worker must decide whether and how much to submit to another.” Susann Cokal (2013) in The New York Times Sunday Book Review “...a treasure of a debut that demands attention, and deserves to be spoken of with reverence. It’s my pleasure to recommend it unreservedly.” Niall Alexander (2013) at Tor.com “…skillfully, nicely evoking the layers of alienness that fall upon strangers in a strange land.” Kirkus Reviews (2013) For additional information about this author, genre, or other Fantasy titles, the following resources provided interesting materials (see references for publisher information). Beyond the Wall: Exploring George R.R. Martin's A Song of Ice and Fire, from A Game of Thrones to A Dance with Drago, by James Lowder, et al. (2012). Bestselling authors and acclaimed critics offered up thought-provoking essays and compelling insights. Of Sex and Faerie: Further Essays on Genre Fiction, by J. Lennard (2010). This book contained studies on contemporary paranormal romance, fanfiction, and an extensive bibliography of genre and criticism. NPR Top 100 Science Fiction and Fantasy Books. This web site listed NPR audience picks for their favorite SciFi and Fantasy. URL: http://www.listchallenges.com/npr-top-100-science-fiction-and-fantasybooks. Abe Books Best Fantasy Books Series had a bookseller's list of popular fantasy series with links to extensive book reviews on each. A REVIEW OF SELECTED GENRE 32 URL: http://www.abebooks.com/books/features/best-fantasy-series.shtml Booklist Online Archive for Science Fiction/Fantasy carried reviews, booklists, blogs, site search engine, and webinar notices for historical fiction and other print. URL: http://shelfrenewal.booklistonline.com/category/fiction/science-fictionfantasy/ Macmillan Books - Fantasy, Futuristic, and Ghosts was a site with Publisher’s lists of new fantasy releases which could be sorted by title, author, and publication date. URL: http://us.macmillan.com/MacmillanSite/categories/General/Romance/FantasyFutu risticGhost Random House Science Fiction and Fantasy was an industry website with lists of the latest releases and synopsis. URL: https://www.randomhouse.com/category/scifi/ The wonderful thing enjoyed about fantasy fiction was that authors could create their own boundaries of possibilities for the powers their characters wield, unfettered by the demands of science and human vulnerabilities. That boundaries were set, however, gave the genre its believability, and allowed the reader to escape into a little more freedom between the pages of the text. Genre 6, Adventure-Spy/Espionage-Pol. Intrigue: The English Girl, by Daniel Silva Adventure novels were characterized by fast pacing, frequent action, and resourceful protagonists who were in extreme or dangerous circumstances and had to overcome a threatening situation or a more powerful adversary (Maatta, 2010). Herald described the purest form of this genre as having a hero or heroine who overcame “dangers to complete a journey or task” (2005, A REVIEW OF SELECTED GENRE 33 p. 207). But regardless of the type of adventure, whether a journey or mission, a natural disaster or war, or fending off a vengeful villain or spy, the hero would survive. There were many types of adventure subgenres, and each of these also had multiple layers. Herald’s subgenres include thrillers (ciphers, Nazis, technothrillers, financial intrigue, and biothrillers), spy/espionage (spy novels, female spies, political intrigue and terrorism); survival (lone survivor and disaster); perhaps the oldest form, the male romance (wild frontiers/exotic lands, soldier of fortune, male action-adventure); and military and naval adventures that were historical or set in the 20th century (2005). In addition to the fast pace of moving from one suspenseful danger to another, appeal included plot twists; a virtuous and skillful protagonist who was either turned from a normal person into a hero, or professionally performed heroic deeds; detailed and exotic settings, often in foreign locales; special details, including maps or a particular area of expertise (such as art); a dark or threatening mood; and a conversational presentation with some professional jargon (Saricks, 2009). In the action-filled life-or-death storyline there was a happy ending and the bad thing was defeated, although in some cases it had to be assumed the “ends justify the means” (Herald, 2005, p. 209). All of these characteristics were expected by readers of the genre, who enjoyed a story told in an exciting way and also appreciated some humor, a puzzling plot to solve, and details on story items such as battle plans and weaponry (Saricks, 2009). In one aspect, The English Girl had characteristics of the thriller subgenre (an annotation that includes a summary of the plot for the book can be found in the Appendix). In a thriller, the hero had to thwart the plans of an enemy, rather than solve a crime that had already happened, but in this book the hero, Allon, did both. Typically, thrillers also occurred on a grand scale: The crimes that had to be prevented were serial or mass murder, terrorism, assassination, A REVIEW OF SELECTED GENRE 34 or the overthrow of governments, and that was the situation for this book, which involved the British Prime Minister and a geographic span across much of Europe, the Mediterranean, and the Middle East. Jeopardy and violent confrontations found in the book were also standard plot elements of the thriller, as was the climax when Allon finally defeated the villain, saving his own life and the lives of others. However, what made The English Girl primarily an adventure was the point of view. Unlike the thriller, which took the reader into the mind of the villain, or even a suspense novel, which might give both the hero’s and villain’s points of view, this book only considered the protagonist’s viewpoint. Though he is not the narrator, only Allon’s point of view was revealed, and at several crucial points near the end, Allon’s thoughts were not known at all until he spoke. In that way, the story was very much like watching a film or television program. The reception to this book was very favorable, and reviewers seemed to be taken with the exotic locations. “…a well-detailed and expansive landscape—the action moves between Israel, England, Corsica, France, and Russia and comes to life in each location; and finally, wonderful secondary characters…” Neal Wyatt (2013) in Library Journal “As usual, Silva takes the reader hostage from page one with his canny mix of spy craft and suspense...Le Carre-like texture with high-energy plotting...chalk up another one.” Connie Fletcher (2013), Booklist Online. “Silva's plot and action don't strain believability, and his accomplished character sketches of players new and old are captivating...lacing the narrative A REVIEW OF SELECTED GENRE 35 with historical factoids and geographical minutia...Literate, top-notch action....” Kirkus Reviews (2013) For additional information about this genre or other Adventure titles, the following resources provided some interesting information (see references for publisher information). Encyclopedia of Adventure Fiction, by Don D'Ammassa (2009). Discussions included classic adventure fiction, authors, characters and subgenres in novels and short stories. Part of the Literary Movements series. Blood, Bedlam, Bullets, and Badguys: A Reader's Guide To Adventure/Suspense Fiction, by Michael B. Gannon (2004). This comprehensive guide for readers' advisory included genre history, definitions, criticism, booklists from 1941 to 2004, annotations, books that became films. Indices by author, title, subject, main character, page-turner, and film. The Novel and the Sea, by Margaret Cohen (2010). This book examined two centuries of the novel's rise from the perspective of the ship's deck and the allure of the oceans in the modern cultural imagination, overseas exploration and work at sea, transatlantic history of the adventures and risks of the maritime frontier through the best-selling nautical literature of the time by dramatizing remarkable conditions, from the wonders of unknown lands to storms, shipwrecks, and pirates. The Literary Encyclopedia had brief biographical sketched of classic adventure authors, with more information on books, authors and scholarly articles available to members. URL: https://www.litencyc.com/php/showgrouparticles.php?articlegroupid=86 A REVIEW OF SELECTED GENRE 36 NPR Books: Mysteries, Thrillers, & Crime. This web site provided a brief synopsis and listed reviews for the latest in these genres, and also had its own best seller list. URL: http://www.npr.org/books/genres/10114/mystery- thrillers-crime/ Double 00 Section was a blog that had news and reviews of all things espionage - movies, books, comics, TV shows, DVDs, and “anything else that comes up!” URL: http://doubleosection.blogspot.com/?m=1 Goodreads Genres Fiction - Thriller. This review, readalike, and booklist site’s breakouts for thrillers included legal, psychological, and spy thrillers. URL: http://www.goodreads.com/genres/thriller At a time when Russia and its leadership were once again in the headlines and behaving in a dangerous and provocative way, it was more unnerving than usual to reflect on this book. And in some ways it clarified the idea that although the imagination of a good adventure author may not be very different from national news coverage, they can at least provide the escape of a positive ending that would not be attainable in the real world. Genre 7, Nonfiction – Historical and Biography: George Washington’s Secret Six: The Spy Ring that Saved the American Revolution, by Brian Kilmeade and Don Yaeger (2014) As discussed at the beginning of this paper, readers’ advisors found that they needed to respond to circulation growth in nonfiction genres and subgenres that were written in narrative style, meaning the writing resembled fiction in terms of a book’s appeal. Saricks (2005) and Alpert (2006) listed the nonfiction genre designations in common use that included in part, biography and history. Appeal elements could be applied because nonfiction authors were setting A REVIEW OF SELECTED GENRE 37 scenes, developing multidimensional characters, and telling stories in a way that drew in a reader and produced responses and feelings about the material. In some instances genres such as science or medicine, might have appeal based primarily on the author’s writing style. But in other cases the elements of appeal in a nonfiction book could be similar to those in a fictional counterpart, such as in true crime or history. The Culper (secret six) spy ring was a good example of this (an annotation that includes a summary of the plot for the book can be found in the Appendix). The book fit into the nonfiction genre list as a mix of blend of history and biography, but because it was about espionage, it also borrowed much appeal from that fictional genre as well. Thus, rather than the measured pacing of historical fiction or nonfiction, the tensions of possible capture quickened the pace as spymaster Washington and his assistant, Benjamin Tallmadge pressed ringleader, Abraham Woodhull (code name Culper) and the frightened but most critical spy, Robert Townsend for desperately needed information. Characterizations retained the complexity and intriguing secondary characters found in both fictional and nonfiction history, such as the brash and taunting sea captain Caleb Brewster, and the equally daring newspaper owner and bibliophile, James Rivington. But the storyline had enough complex action, danger, and layered plot twists to keep the story in focus. Despite the colonial time period, the frame and tone of the book were not nostalgic because the primitive nature of parts of Long Island and Manhattan at that time made it somewhat exotic in comparison to today. The tone was suspenseful, just as a fictional spy story would be. The story was a good one, and well worth learning about. But the experience of reading the book was also marred by character conversations portrayed as verbatim that seemed immediately unlikely and out of place. And it was in the act of writing fiction as “fact” that “George Washington’s Secret Six” created controversy around the book. For although it was A REVIEW OF SELECTED GENRE 38 sold and cataloged as non-fiction biography (OCLC, 2014), an Authors’ Note following the table of contents stated that, “Much of the dialogue contained in this book is fictional, but it is based on conversations that did take place and wherever possible, incorporates actual phrases used by the speaker” (Kilmeade and Yaeger, 2013). Further, the book jacket indicated that one author, Mr. Kilmeade, was cohost of a television program on the politically conservative Fox News organization, bringing in issues of nonfiction objectivity. This then formed the basis for several ethical questions outside the scope of this review, but perhaps due some consideration in the future. Should libraries be cataloging and issuing this book to patrons as nonfiction or fiction? Or, should books with obvious issues of fact be cataloged and shelved in a different way, with patrons left to decide for themselves whether the works are fiction or nonfiction? Should issues regarding fiction or nonfiction be pointed out in annotations (as was chosen above) published in library catalogs and websites? These questions might prove similar to others considered by librarians, such as whether to shelve conservative science books that deny evolution, as science or religion. Perhaps it was the narrative style of writing that helped to enable this type of debate, in the spirit of a growing “crossover” genre mixing underway in fiction, and a popularization of fictionalized history in the media (such as Oliver Stone’s controversial 1991 film, JFK). As can be seen in the following, this discussion carried over into reviews of the book. The reception to this book was mixed, with enthusiastic responses from conservative resources and more critical comments from independent and academic resources. And yet despite the differences over fictionalized dialog, most considered this book to be a good read. A sampling of critical commentary follows. A REVIEW OF SELECTED GENRE “There are long stretches of dialogue, some stretching for more than a page. An authors’ note acknowledges that “much of the dialogue contained in this book is fictional, but it is based on conversations that did take place, and whenever possible, incorporates actual phrases used by the speaker.” Well, perhaps, but history purists will not be satisfied. These flaws aside, “George Washington’s Secret Six” is a tale of patriotism and daring that will make an excellent stocking stuffer.” Joseph C. Goulden (2013), in the Washington Times “It’s unquestionably a story that needs to be told, but Brian Kilmeade and Don Yaeger are not David McCullough, Thomas Fleming, or Harlow Giles Unger...Essentially, if the actual word-for-word conversation wasn’t related in a document then liberties were taken for the sake of drama and narrative progress. To contrive conversations regarding action or intention within a fictional context smacks of a drama unworthy of the true history surrounding it. More pointedly, some of the dialogue feels removed from the 18th century, another dismaying concern for authenticity hounds. Reservations aside, for American history buffs George Washington’s Secret Six is worthwhile reading. George Washington is well known as a “spy master,” but the ring he helped create and its profound effect upon the outcome of the Revolutionary War are often not given their due. Their contributions to the American cause deserve every consideration we can bestow.” J. W. Nicklaus (2014), New York Journal of Books. “While Kilmeade and Yaeger don’t provide deep analysis, the narrative should please enthusiastic fans of the upheaval surrounding the founding of the United States…In a slim, quick-moving book, the authors bring attention to a 39 A REVIEW OF SELECTED GENRE 40 group that exerted an enormous influence over events during the Revolutionary War.” Kirkus Reviews (2013) For additional information about this author, genre (including the debate on fictionalized nonfiction), or other nonfiction titles, the following resources provided interesting insight (see references for publisher information). Dinah Lenney interviews Judith Kitchen, David Biespiel, Scott Nadelson and Sven Birkerts (2013). This article continued the debate among interviewer and authors regarding fictionalized portions of nonfiction books such as biographies. Retrieved from Los Angeles Review of Books: URL: https://lareviewofbooks.org/interview/why-genre-matters The Creative Nonfiction Foundation. This was an educational and publishing organization that promoted nonfiction through Creative Nonfiction magazine and an associated website. The website carried their current booklists and synopsis. URL: http://www.creativenonfiction.org/about AllReaders. The Steve Gordon search engine on this website included nonfiction reviews searchable by title, author, plot, characters, setting, topic, or style. There were plot synopses and author lists for some categories, such as biography and history, and the website also had some book-to-movie reviews. URL: http://allreaders.com/ NPR Books: Nonfiction. This web site provided a brief synopsis and lists reviews for the latest in nonfiction, with any recent news on the book or author. URL: http://www.npr.org/books/genres/10115/nonfiction/ A REVIEW OF SELECTED GENRE 41 New York Journal of Books. This review resource focused heavily on nonfiction releases, and provided in-depth analysis of many books it reviews. URL: http://www.nyjournalofbooks.com/about-us Books in the narrative nonfiction style appeared to provide an enjoyable way to explore an almost endless variety of topics. But as this book demonstrated, the reader must be sure they are aware of how much credibility they place in those portions of their reading materials that are not actually factual. Limitations of the Reviews and Opportunities for Further Study Despite the ample number of texts and amount of materials provided for this course, to fully explore the current literature on the expanding role of readers’ advisory would require far more time and resources than could be read and absorbed over a three month period in a single course. Also, there appeared to be limited amounts of scholarly materials yet produced in the field for some aspects of genre and appeal studies, particularly in the area of nonfiction. Further study could be done to fully explore the resources already provided or accessible in libraries and on the web. And in a broader consideration, research could be done on the levels of success libraries are experiencing in establishing universal standards for the categories of nonfiction genre, and for the fiction and nonfiction elements of appeal; and the progress in establishing those standards into library cataloging. A REVIEW OF SELECTED GENRE 42 Appendix The following pages carry annotations that contain plot summaries and also lists of authors who may be considered as having similarities to the writer of the work reviewed, either because they are a leading author of the genre, have similar writing style or appeal elements, focus on similar subjects, or (such as for Chick Lit) place their stories in similar location settings. The annotation format used is adapted as assigned from J. Saricks, (2009), Readers Advisory Service in the Public Library, (p. 110), Figure 5.3 Book Notes Format. A REVIEW OF SELECTED GENRE 43 Annotation – Genre 1, Romance AUTHOR: Danielle Steel DATE READ: February 8, 2014 TITLE: The Sins of the Mother PUB DATE: 2012 GENRE: Romance PAGES: 354 APPEAL CHARACTERISTICS: PACING: Easy, deliberate. CHARACTERIZATIONS: Familiar, quirky, multiple points of view STORY LINE: Character centered, domestic, multiple plotlines, resolved ending. Geographical Settings: Primary: New York City and Northern Mediterranean. Secondary: Bedford, NY; Connecticut countryside; Princeton, NJ; Southeastern France (Provence). Time Period: Present day. FRAME AND TONE: Contemporary, exotic, psychological, melodramatic. PLOT SUMMARY: Olivia Grayson is a woman ruing her past as an absentee mother. Her approaching seventieth birthday, and the annual two week vacation she sponsors for her middle aged children and grown grandchildren, force Olivia to face their resentments toward her early choice of career travel over a daily presence at home. Leaving care of two sons and two daughters to a loving, now deceased husband and Maribelle, her own beloved and devoted mother, Olivia had built the business empire that supported and sustained them. Now, as the family yachts through an idyllic Mediterranean, each person undertakes a simultaneous journey through the group’s relationships. Afterword, the story continues as they return to the routine of home life; but the vacation has set each of them on a course for change and acceptance, some in love, others in their marriages or careers, but all to a better understanding of their mother, their siblings, and themselves. SIMILAR AUTHORS: Barbara Taylor Bradford Jackie Collins Tami Hoag Judith Krantz Debbie Macomber Lucy Monroe Chantelle Shaw SUBJECT HEADINGS: Businesswomen - Fiction Cancer - Fiction Domestic - Fiction A REVIEW OF SELECTED GENRE 44 Annotation – Genre 2, Chick Lit AUTHOR: Lauren Graham DATE READ: February 15, 2014 TITLE: Someday, Someday, Maybe PUB DATE: 2013 GENRE: Chick Lit PAGES: 352 APPEAL CHARACTERISTICS: PACING: Easy, steady pace. CHARACTERIZATIONS: Familiar, detailed, quirky, single point of view STORY LINE: Character centered, career oriented, resolved ending. Geographical Settings: Brooklyn, Manhattan, Connecticut, Los Angeles. Time Period: 1995. FRAME AND TONE: Contemporary, urban, breezy, humorous, psychological, upbeat. PLOT SUMMARY: Struggling actress Franny Banks is unwilling to give up her dream, but has trouble mastering basic steps that will help her succeed - such as getting out of bed, and preparing for auditions. Worries are piling up for this young woman in her mid-twenties, and most pressing is the self-imposed three year deadline she set for launching a career, which is due to expire soon after her scheduled performance before New York agents and critics at an acting class showcase. Then, there are those calls from her anxious Dad and her own memories of a former life that are gently tugging her back to a more conventional path. But Fanny is resisting the urge to abandon her Brooklyn apartment and roommates, the equally unsuccessful screenwriter Dan, and her best friend, Jane, an assistant producer. As she waivers, Fanny reaches out to a more experienced classmate, James. But is he really interested in Franny as she is, or just living out scenes from his acting roles? With humorous self-analysis and ever hopeful of getting her big break, Franny puts her heart into deciphering and developing those traits of her persona that attract the decision makers in her business and the men in her life, and finds that success in both acting and love begins with understanding herself. SIMILAR AUTHORS: Leslie Carroll Jennifer Close Laurie Graff Sophie Kinsella Robyn Sisman Lauren Weisberger SUBJECT HEADINGS: Actresses -- New York (State) -- New York -- Fiction Self-realization in women -- Fiction Humor - Fiction A REVIEW OF SELECTED GENRE 45 Annotation – Genre 3, Crime AUTHOR: Gillian Flynn DATE READ: February 22, 2014 TITLE: Gone Girl PUB DATE: 2012 GENRE: Crime PAGES: 419 APPEAL CHARACTERISTICS: PACING: Fast, compelling. CHARACTERIZATIONS: Dramatic, eccentric, vivid, two points of view STORY LINE: Domestic backdrop, complex, character driven, plot centered, plot twists, action oriented, open ended. Geographical Settings: Carthage, MO. Time Period: 2005-2012. FRAME AND TONE: Contemporary, suspenseful, edgy, menacing, dark, psychological. PLOT SUMMARY: He knows his marriage isn't going well, but when Nick's wife disappears and her diary is discovered, he finds out just how bad it really was - because Amy’s diary is a complete lie. He also knows that, after losing his job and moving from New York City to open a bar with his twin sister in his Missouri hometown, his wife Amy had no longer seemed like the woman he married, or her namesake in her idolizing parents’ books. But now he is in a race against time and the police, who are finding that Nick has a few unsavory and incriminating lies of his own. As Nick searches for his wife and digs through her past, he discovers the truth doesn’t help him much either. And as everyone follows the clues she has left for them, Amy opens her thoughts to the reader, and considers her options. No one can save Nick except his missing wife. Can Nick convince her to do that in time? This psychological drama chillingly depicts a cunning psychopathic mind that has years to plan and toy with the unsuspecting, and how madness can be found as easily as slipping back into bed. SIMILAR AUTHORS: Linwood Barclay Deb Caletti Sabine Durrant Louise Doughty A. S. A. Harrison Lisa Unger Lucie Whitehouse SUBJECT HEADINGS: Husbands -- Fiction Married people -- Fiction Wives -- Crimes against -- Fiction Mystery fiction A REVIEW OF SELECTED GENRE 46 Annotation – Genre 4, Historical Fiction AUTHOR: Jennifer Chiaverini DATE READ: March 1, 2014 TITLE: Mrs. Lincoln’s Dressmaker PUB DATE: 2013 GENRE: Historical Fiction PAGES: 352 APPEAL CHARACTERISTICS: PACING: Measured, sometimes slow. CHARACTERIZATIONS: Detailed, recognizable, single point of view. STORY LINE: Domestic, layered, character driven, issue oriented, resolved ending. Geographical Settings: Washington, D.C.; New York City; Chicago; Xenia, OH. Time Period: 1860-1901. FRAME AND TONE: Bittersweet, evocative, historical background, details of political events, philosophical. PLOT SUMMARY: Elizabeth has already purchased freedom for herself and her son through her skills a seamstress, and the reader meets Elizabeth soon after her arrival to Washington D.C., just before the Civil War. There, she creates and sews dresses for the Washington elite, but finds that many of her customers, wives of Southern politicians, are moving their families down into the Confederacy, and a new President is entering the White House. Elizabeth is called to be the seamstress for the First Lady, and garners a first-hand look at the daily life of Lincoln and his family during the war. As a servant and often confidant of Mary Lincoln, Elizabeth is witness to the frenzied spending habits that scandalize the Capital, the tragic deaths of both a Lincoln son and also her own, and eventually the overwhelming consequences of Lincoln’s assassination that engulf the family when they leave Washington. In the confusion, Elizabeth attempts to help the family out of their reduced circumstances by writing a sympathetic memoir, but she gains only notoriety and forever loses Mary’s friendship. The author’s interpretation of Elizabeth’s long life is a poignant and revealing look at the very personal relationships that evolved across racial and class boundaries during the war and in the post-war years of the 19th Century. SIMILAR AUTHORS: Tracy Chevalier Tara Conklin Robert Hicks Jean M. Humez David Margolick Molly Peacock SUBJECT HEADINGS: Keckley, Elizabeth, 1818-1907 — Fiction Lincoln, Mary Todd, 1818-1882 — Fiction Presidents' Spouses — Fiction Women Dressmakers — Fiction Female Friendship — Fiction Historical Fiction A REVIEW OF SELECTED GENRE 47 Annotation – Genre 5, Fantasy AUTHOR: Helene Wecker DATE READ: March 8, 2014 TITLE: The Golem and the Jinni PUB DATE: 2013 GENRE: Fantasy PAGES: 486 APPEAL CHARACTERISTICS: PACING: Measured, sometimes slow. CHARACTERIZATIONS: Detailed, recognizable, multiple points of view. STORY LINE: Character centered, layered, complex, resolved ending. Geographical Settings: New York City; Syrian Desert; Eastern Europe. Time Period: 1899, with flashbacks to the Middle Ages. FRAME AND TONE: Suspenseful, complex, historical background, detailed settings, philosophical. PLOT SUMMARY: The golem and the jinni are slaves brought to New York, the golem by her master and the jinni by circumstance. Both are unexpectedly released, the jinni from centuries of imprisonment in a vase where he has lost memory, and the golem by the death of her master. Both must learn to survive in the slums of lower Manhattan. Despite his freedom, the jinni has not been released from doing the bidding of the evil wizard who captured him, and the golem awaits any new master who can claim possession of her. That may be the shadowy Shaalman who created her from clay. Both protagonists try to harness their supernatural abilities and eventually they meet and are able to share the secrets of their powers to discover their pasts and survive into the future. Through this story, the author presents a sympathetic look at some of the very real difficulties that immigrants faced in coming to America at the end of the 19th Century. SIMILAR AUTHORS: Susanna Clarke Eowyn Ivey Erin Morgenstern Anna Lawrence Pietroni Rhonda Riley SUBJECT HEADINGS: Golem — Fiction Jinn — Fiction Friendship — Fiction Rabbis — Fiction Jewish mythology — Fiction Mythology, Arab — Fiction New York (N.Y.) — History — 19th century — Fiction. Fantasy — Fiction Historical fiction A REVIEW OF SELECTED GENRE 48 Annotation – Genre 6, Adventure - Spy/Espionage - Political Intrigue AUTHOR: Daniel Silva DATE READ: March 15, 2014 TITLE: The English Girl PUB DATE: 2013 GENRE: Adventure - Spy/Espionage - Political Intrigue PAGES: 496 APPEAL CHARACTERISTICS: PACING: Fast, engrossing. CHARACTERIZATIONS: Detailed, intriguing secondary characters, recognizable. STORY LINE: Character centered, plot focused, layered, action based, engrossing, plot twists, complex, geopolitical and art references, resolved ending Geographical Settings: Jerusalem, Corsica, Marseilles, Provence, London, Moscow. Time Period: Present day. FRAME AND TONE: Detailed Corsica settings, contemporary, complex, historical and political backgrounds, details of art, suspenseful, foreboding. Series: Gabriel Allon, Number 13 PLOT SUMMARY: Madeline, the mistress of the British Prime Minister, has been kidnapped and has only seven days to live unless the kidnappers' demands are met. To avoid any leaks outside 10 Downing Street, Gabriel Allon of Israeli intelligence is recruited to find the girl and those responsible. Because it first appears that organized crime is behind the abduction, Allon begins his search on Corsica and makes contact with the leading Don and his master assassin, English expatriate Christopher Keller. With Keller by his side, Allon hunts the country side of Southern France, only to discover that the captors will not keep to their deadline and that he must go to Moscow to follow a connection to oil interests now run by former KGB operatives linked to the Putin Kremlin. Allon has an unpleasant history with Moscow, so he faces the threat that he will also be captured before he can exact revenge on his targets. SIMILAR AUTHORS: Alex Berenson Lee Child Tom Clancy Charles Cumming SUBJECT HEADINGS: Thriller fiction Suspense Fiction Spy Stories Missing persons — Fiction A REVIEW OF SELECTED GENRE SIMILAR AUTHORS (continued): Alan Furst Graham Greene Joseph Kanon John Le Carre Olen Steinhauer 49 SUBJECT HEADINGS (continued): Murder - Investigation — Fiction Intelligence officers — Fiction Young women - Crimes against — Fiction Corsica (France) — Fiction Prime ministers - Great Britain — Fiction Art restorers — Fiction British — Crimes against - Fiction Allon, Gabriel (Fictitious character) — Fiction A REVIEW OF SELECTED GENRE 50 Annotation – Genre 7, Nonfiction – Historical and Biography AUTHOR: Brian Kilmeade and Don Yaeger DATE READ: March 22, 2014 TITLE: George Washington’s Secret Six: The Spy Ring that Saved the American Revolution PUB DATE: 2013 GENRE: Nonfiction – Historical and PAGES: 235 Biography, with fictionalized dialog APPEAL CHARACTERISTICS: PACING: Fast, engrossing. CHARACTERIZATIONS: Detailed, dramatic, intriguing secondary characters, realistic, recognizable. STORYLINE: Character centered, plot focused, engrossing, complex, thought provoking, resolved ending. Geographical Settings: Long Island, New York City, Connecticut, New Jersey Time Period: 1776-1790. FRAME AND TONE: Detailed settings, complex, dramatic, suspenseful, historical and political details, embellished style. PLOT SUMMARY: At the outbreak of the American Revolution, retaining occupation of New York City was pivotal for those who would control the progress of the war. After the unexpected British capture and hanging of Nathan Hale, George Washington worked through intermediaries to recruit a group of spies who would not be known to him or his staff by name until after the war, and in some cases were never identified. This group kept Washington informed of troop and ship movements in New York and Long Island throughout the revolution in the hope that Washington would somehow retake the City, and the group was instrumental in detecting and foiling Benedict Arnold’s plot to surrender West Point to the British. In this group of spies, only one, a woman, was ever captured, and because her identity was never revealed to anyone other than her recruiter, her ultimate fate is unknown. Most of the other spies in the group lived out the remainder of their lives in obscurity, and were never publicly recognized for their service during their lifetimes. Although this book is generally considered to be nonfiction history and biography, the authors note that they fictionalized the conversations related in the text. A REVIEW OF SELECTED GENRE SIMILAR AUTHORS (in subject): Richard Archer Howard Brinkley Charles Cerami Bruce Chadwick Thomas Fleming Michael Lanning Tony Williams 51 SUBJECT HEADINGS: Townsend, Robert, 1753-1838 Washington, George, 1732-1799 — Friends and Associates New York (State) — History — Revolution, 1775-1783 — Secret Service United States — History — Revolution, 1775-1783 — Secret Service Spies — New York (State) — History — 18th Century Spies — United States — History — 18th Century A REVIEW OF SELECTED GENRE 52 References Charles, J., Clark, C., Hamilton-Selway, J., & Morrison, J. (2012). The readers' advisory guide to mystery. Chicago, IL: American Library Association. Abe Books best fantasy books series. (2014). Retrieved from Abe Books.com: http://www.abebooks.com/books/features/best-fantasy-series.shtml Adkins, D. (2005). What is romance? In D. T. Herald, & W. A. Wiegand (Ed.), Genreflecting: A guide to popular reading interests (6th ed.). 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Defining the genre: What are the rules for historical fiction? Retrieved from Historical Novel Society: http://historicalnovelsociety.org/guides/defining-thegenre/defining-the-genre-what-are-the-rules-for-historical-fiction/ Johnson, S. L. (2005). Historical fiction : A guide to the genre. Westport, CT: Libraries Unlimited. Kaufman , J. (2013, May 3). Bookshelf: Screen Dreams. The Wall Street Journal. Retrieved from http://online.wsj.com/news/articles/SB10001424127887324235304578438840278004334 Kelly, G. (2005). Historical fiction. In D. T. Herald, & W. A. Wiegand (Eds.), Genreflecting: A guide to popular reading interests (6th ed.). Westport, CT: Libraries Unlimited. Kilmeade, B., & Yaeger, D. (2013). George Washington's secret six: The spy ring that saved the American revolution. New York, NY: Sentinel. Kirkus Media. (2012, October 30). Review: Mrs. Lincoln's dressmaker. Retrieved from Kirkus: https://www.kirkusreviews.com/book-reviews/jennifer-chiaverini/mrs-lincolnsdressmaker-chiaverini/ Kirkus Media. (2012a, December 24). Kirkus review: The sins of the mother. Retrieved from Kirkus: https://www.kirkusreviews.com/book-reviews/danielle-steel/sins-of-the-mothersteel/ Kirkus Media. (2012b, April 23). Kirkus review: Gone girl. Retrieved from Kirkus: https://www.kirkusreviews.com/book-reviews/gillian-flynn/gone-girl/ Kirkus Media. (2013, June 30). Kirkus review: The english girl. Retrieved from Kirkus Media: https://www.kirkusreviews.com/book-reviews/daniel-silva/english-girl/ A REVIEW OF SELECTED GENRE 57 Kirkus Media. (2013, September 16). Kirkus reviews: George Washington's secret six. Retrieved from Kirkus: https://www.kirkusreviews.com/book-reviews/brian-kilmeade/georgewashingtons-secret-six/ Kirkus Media. (2013, March 31). Review: The golem and the jinni. 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A., Abraham, D., Antonsson, L., Garcia, E. M., Cole, M., . . . Jones, A. Z. (2012). Beyond the wall : exploring George R.R. Martin's a song of ice and fire, from a game of thrones to a dance with dragons. Dallas, TX: BenBella Books, Inc. Maatta, S. L. (2010). A few good books. New York, NY : Neal-Schuman. A REVIEW OF SELECTED GENRE 58 Maslin, J. (2012, May 29). The lies that buoy, then break a marriage. The New York Times: Books of the Times. Retrieved from http://mobile.nytimes.com/2012/05/30/books/gonegirl-by-gillian-flynn.html Montgomery, R. (2006). What is Chick Lit. Retrieved from Chick Lit Books: http://chicklitbooks.com/what-is-chick-lit/ New York Journal of Books. (2014). Retrieved from New York Journal of Books: http://www.nyjournalofbooks.com/home Nicklaus, J. W. (2014). Review: George Washington's secret six. Retrieved from New York Journal of Books: http://www.nyjournalofbooks.com/book-review/george-washingtonssecret-six-spy-ring Novelicious. (2014). 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Herald, Genreflecting: A guide to popular reading interests (6th ed., pp. 3-14). Westport, CT: Libraries Unlimited. Williams, J. (2013, January 9). A strong thread in a torn union. The New York Times. Retrieved from http://www.nytimes.com/2013/01/10/books/its-elizabeth-keckleys-year-in-civilwar-history.html?pagewanted=all&_r=0 Williamsburg Regional Library. (2014). Blogging for a good book. Retrieved from Blogging for a Good Book: http://bfgb.wordpress.com/about/ Wilwol, J. (2013, January 28). Book review: “Mrs. Lincoln’s dressmaker”. Washingtonian. Retrieved from http://www.washingtonian.com/bookreviews/biographyhistory/bookreview-mrs-lincolns-dressmaker-by-jennifer-chiaverini.php Wyatt, N. (2013, July 25). Review: Silva's the English girl. Library Journal. Retrieved from http://reviews.libraryjournal.com/2013/07/readers-advisory/ra-crossroads/silvas-theenglish-girl-ra-crossroads/