Excerpt

Excerpt from Library Work with Children, by Alice Isabel Hazeltine

Question 6. Can you show by citing cases that this picture work
is of sufficient practical use to the children to pay for time
and money spent?

One library--and this is an eastern one--gives us an encouraging,
inspiring reply: "Case after case, actually hundreds of letters
from teachers thanking us for the work." A general summary of
reports from all the libraries shows an increased demand for the
books on the subject posted. The perfectly evident pleasure of
the little ones in the mere looking, to say nothing of their joy
in telling at one time or another something they have seen
before, shows with what keenness they observe. At the Buffalo
Public Library there have been on exhibition some excellent
silhouette pictures made by cutting figures, trees, etc., from
black paper and pasting them on white backgrounds. "The pied
piper" was one subject illustrated. To appreciate this it should
be understood that the figure of the piper and of each little
rat, some not more than a half inch high, were cut with scissors,
without any drawing whatever. These were labelled "Scissors
pictures. Can you make them?" When they had been up a week, one
of the boys, 14 years old, brought in four, one of which was
better in composition than any of those exhibited. This was
posted as showing what one boy had done, and this boy is studying
drawing and designing this summer, with good promise. Another
library cites a case in relation to school work, where the
superintendent of schools offered rewards in each school of five
of Landseer's pictures for the best five compositions on Landseer
and his work. A collection of his pictures was gathered, a
bulletin made with lists, which at once attracted the boys and
girls, set many earnestly to work, who would not otherwise have
given it much thought, and finally received the hearty
commendation of the superintendent. Miss Clarke, of Evanston,
says: "We have no children's room, and have not done enough of
bulletin work to be able to speak very surely of results." Yet
she can give us this, which speaks for itself. "An Indian exhibit
which we gave, where among the Indian curios and Navajo blankets
I had all our books on Indian life and customs and our best
Indian stories displayed, aroused a great demand for the books. I
kept the list of Indian books and stories posted for some months,
and it was worn out and had to be replaced by a new copy, owing
to its constant use. Our boys at that time really read a great
deal of good literature on the subject, including Mrs. Custer's
books and those by Grinnell and Lummis." These are but a few of
the many interesting illustrations, yet we all know there is a
great part of our work of which we can see no results, but if
these bulletins beautify the room, offer some new thought to the
child and give pleasure, then the time and work spent on them is
a small factor, and even in that we are the gainers, as we
unconsciously acquire in the making of these bulletins much
general information, and an ability to present subjects in their
relative value to each other which is invaluable.

Question 7. Are these bulletins allowed to circulate?

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Explanation

Detailed Explanation of the Excerpt from Library Work with Children by Alice Isabel Hazeltine

Context of the Source

Alice Isabel Hazeltine’s Library Work with Children (1917) is a foundational text in early 20th-century library science, particularly in the emerging field of children’s librarianship. At the time, public libraries were expanding their roles beyond mere book repositories to become active educational and cultural centers. Hazeltine, a librarian and educator, advocates for engaging children through visual and interactive methods, such as picture bulletins, exhibits, and hands-on activities, to foster literacy, creativity, and intellectual curiosity.

This excerpt responds to two practical questions about the effectiveness and circulation of library bulletins—visual displays (posters, exhibits, or lists) designed to attract children’s interest in books and subjects. The passage provides anecdotal evidence from various libraries to demonstrate the value of such work, blending quantitative success (increased book demand, teacher feedback) with qualitative observations (children’s joy, creative responses).

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Themes in the Excerpt

1. The Practical Value of Visual Learning

   • The excerpt argues that picture-based and interactive library work (e.g., bulletins, exhibits, scissor art) is cost-effective because it yields measurable results: increased book circulation, teacher gratitude, and children’s engagement.
   • Example: The Buffalo Public Library’s silhouette exhibit inspired a 14-year-old boy to create his own art, later pursuing formal study in design. This shows how passive exposure to creative materials can spark active learning.

2. Child-Centered Librarianship

   • Hazeltine emphasizes observing children’s natural responses—their "pleasure in looking," "joy in telling," and "keenness to observe"—as proof of the method’s success.
   • The Indian exhibit in Evanston demonstrates how thematic displays (combining artifacts, books, and stories) can ignite curiosity and lead to deeper reading (e.g., Mrs. Custer’s memoirs, works by ethnographers Grinnell and Lummis).

3. Collaboration with Schools

   • Libraries are portrayed as extensions of formal education. The Landseer’s pictures contest shows how librarians and superintendents can align incentives (rewards for essays) to encourage research and writing.
   • Teachers’ hundreds of thank-you letters suggest that libraries were seen as partners in education, not just supplementary spaces.

4. The Intangible Benefits of Library Work

   • Hazeltine acknowledges that not all impacts are visible. Even if bulletins don’t lead to immediate checkouts, they:
     • Beautify the space (aesthetic value).
     • Plant seeds of thought (cognitive stimulation).
     • Give pleasure (emotional engagement).
   • She also notes that librarians benefit from creating bulletins, gaining general knowledge and curatorial skills.

5. Accessibility and Adaptability

   • The Evanston library’s limitation ("no children’s room") shows that even modest efforts (a temporary Indian exhibit) can yield high engagement. This underscores that resource constraints need not hinder creativity.

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Literary and Rhetorical Devices

1. Anecdotal Evidence

   • Hazeltine builds credibility by citing specific cases from multiple libraries (Buffalo, Evanston, an unnamed eastern library). Each example serves a distinct purpose:
     • Buffalo: Shows creative inspiration (scissor art → formal study).
     • Landseer contest: Demonstrates academic collaboration.
     • Indian exhibit: Proves thematic displays drive reading.

2. Rhetorical Questions

   • The excerpt begins with Question 6 ("Can you show...?"), framing the response as a defense of library practices. The structure implies: "Here’s the proof you asked for."

3. Contrast and Qualification

   • While most examples show clear success, Hazeltine includes Evanston’s humble admission ("We have not done enough...") to:
     • Humanize the data (not all libraries are equally resourced).
     • Highlight that even small efforts matter.

4. Sensory and Emotional Appeal

   • Phrases like:
     • "the perfectly evident pleasure of the little ones in the mere looking"
     • "joy in telling something they have seen"
     • "aroused a great demand"
   • These evoke warmth and excitement, making the argument persuasive beyond statistics.

5. Metonymy (Part Representing the Whole)

   • The worn-out Indian book list symbolizes high usage and interest, standing in for the broader success of the exhibit.

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Significance of the Excerpt

1. Historical Importance

   • This text reflects the progressive-era belief that libraries should be active, child-friendly spaces. Hazeltine’s work helped legitimize children’s librarianship as a profession requiring specialized skills (e.g., designing engaging bulletins).

2. Pedagogical Influence

   • The passage prefigures modern educational theories, such as:
     • Constructivism (children learn by doing—e.g., making scissor art).
     • Multisensory learning (combining visuals, texts, and hands-on activities).
     • Inquiry-based learning (exhibits spark questions, leading to deeper exploration).

3. Advocacy for Library Funding

   • By proving ROI (Return on Investment), Hazeltine makes a case for allocating time and money to children’s programs—a timeless argument for public library support.

4. Democratization of Art and Knowledge

   • The Landseer contest and silhouette exhibit show how libraries bring high culture (art, history) to everyday children, bridging gaps between schools, homes, and community spaces.

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Focus on the Text Itself: Line-by-Line Insights

1. "Case after case, actually hundreds of letters from teachers..."

   • Quantitative + qualitative proof: Numbers ("hundreds") combined with personal testimony (letters) strengthen the claim.

2. "the perfectly evident pleasure of the little ones in the mere looking"

   • "Perfectly evident": Asserts that the joy is undeniable, not subjective.
   • "Mere looking": Suggests that even passive engagement has value—children don’t need to "produce" something to benefit.

3. "The pied piper... cut with scissors, without any drawing whatever."

   • Emphasizes skill and creativity: The art was made freestyle, highlighting children’s ability to innovate without rigid instruction.

4. "Can you make them?"

   • Interactive prompt: The bulletin challenges children, turning observation into participation.

5. "set many earnestly to work, who would not otherwise have given it much thought"

   • Motivational power of libraries: Some children need a spark—bulletins provide that.

6. "Our boys at that time really read a great deal of good literature..."

   • "Really" and "good literature": Stresses that the reading was substantial and high-quality, not just superficial.

7. "there is a great part of our work of which we can see no results"

   • Honesty about limitations: Not all impacts are measurable, but intangible benefits (beauty, thought, pleasure) still matter.

8. "we unconsciously acquire... much general information"

   • Librarians as lifelong learners: The act of creating bulletins educates the educators, too.

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Answer to Question 7: "Are these bulletins allowed to circulate?"

The excerpt does not directly answer whether bulletins circulate, but we can infer:

• Likely not in a traditional sense: Bulletins were displayed in-library (e.g., posted lists, exhibits) rather than checked out.
• However, their content circulated indirectly:
  • Children took ideas home (e.g., the boy who made scissor art).
  • Teachers used them for assignments (Landseer contest).
  • Lists (like the Indian book list) were replaced due to wear, suggesting frequent handling—perhaps children copied titles to request later.

Hazeltine’s focus is on in-library engagement, implying bulletins were stationary tools to draw children into the space rather than takeaway materials.

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Conclusion

This excerpt is a persuasive, evidence-rich defense of visual and interactive library work for children. Hazeltine combines data, anecdotes, and emotional appeals to argue that such methods are practical, educational, and joyful. The passage reflects a progressive, child-centered philosophy that still resonates today, emphasizing that libraries are not just about books—they are about sparking curiosity, creativity, and lifelong learning.

Would you like a deeper dive into any specific aspect, such as the historical context of children’s librarianship or comparisons to modern library practices?