Read my lips

Cheshire’s Literature and Reader Development Officer is based in the county arts service, working in partnership with the library service. Occasionally there is tension between the roles of arts officer and librarian. This was highlighted at a National Association for Literature Development seminar, when a literature project provoked differing responses from arts officers and librarians. ‘Literature Laboratory’ was a cross-artform week of experimentation looking at how literature can work collaboratively with a visual artist, sound artist and an international artist, and resulted in the creation of a machine to project images through water, a sound piece including underwater recordings and poetry, and a film on the theme of turbulence that combined poetry, music, sound, video and animation. The innovative approach and use of different media appealed to me; as an arts officer I look for new ways of working to raise the profile of literature, to experiment with taking words off the page, and to help local writers to work with other artists. Library colleagues were less enthusiastic – “sounds a bit barmy!” Our remits were at cross purposes: a reader development officer promotes new books but rarely has the arts officer’s opportunity to commission new work; their role is to strengthen the link between published author and reader. A poetry book promotion found more favour with the librarians: this project funded posters and leaflets for libraries, additional poetry stock, a subscription to the Poetry Book Society and staff access to poetry magazines, building specialist knowledge and positioning staff to advocate for poetry. The emphasis was on provision of resources and staff development, reinforcing the librarian’s role as facilitator for the readers.

Overlapping roles?

Would these projects have benefited by including elements of both literature and reading development? Quite possibly. Poets can work with librarians to promote the spoken word. Although new writing is well represented on library shelves, active promotion to readers through author events and work with reading groups can add so much value. Library venues can host performance pieces, introducing new work to readers and potentially drawing in a younger arts audience. The common ground is in the provision of ‘cultural services’ and advocacy for literature. So, given the common ground, where are literature professionals, artists and reader development practitioners failing to connect?

Potential conflicts

Successful reader development is measured by its impact on users, but also by issues of books, footfall and increased library membership. Budgets fund tangible assets, such as books and improvements to buildings. Literature development is less visible, measured by levels of audience participation, success in reaching new audiences and the creation of opportunities for artists. Services offer immediate benefits and quantitative results are easily identifiable: making an impact on lives takes more time. A recent project involved over 100 members of library staff who received training for welcome sessions and art activities aimed at looked after children (LAC). The low take-up of free books and activities was disappointing for staff who had planned for 400 children. Numbers of new library members were also small. However, feedback from the children who did participate, working with a writer, a graphic artist and musicians towards a performance and celebration event, and the long-term measures put in place to make libraries more accessible for LAC, continue to make a small but significant difference for this group of users.  [[As an arts officer I look for new ways of working to raise the profile of literature]]

Creating good partnerships

We need to recognise our differences and allow for this in project planning. Reader development officers can build a culture of engagement with literature by enabling writers to interact with their readers. Participation in literature events is often more rewarding than passively listening to authors reading and detailing their writing regime. Libraries are reaching out to the reading group audience and building up audiences for reader events, with their value in this role given increased recognition from publishers. Readers do welcome challenging new work; there is a real hunger from reading groups to go beyond the Richard and Judy choices. A one-off arts event in the library space can be a memorable experience: it raises the profile of the library and can introduce the public to accessible arts events. Cheshire Libraries have hosted professional dance, theatre and music events, recently Rhubarb Theatre Company’s delightful tale of Librarian Lil and ‘Get it Loud in Libraries’ live music events. Library services should collaborate with arts development projects – but the mutual benefits must be clear from the start. Writers should work with librarians: former Cheshire Poet Laureate Jo Bell developed innovative events for libraries that attracted audiences of 60–70 and won over poetry-phobic staff.

There is a view that the rise of reader development work in recent years has been at the expense of literature development. How can a balance be maintained, and are we coming full circle to see a renaissance of literature development activity? Arts officers and librarians can continue to meet on common ground if they keep focused on what works for the service users, the readers and writers.