Resumés and Reflections

There’s nothing like reading through resumés to make you polish up your own.

This blog, I take pains to emphasise, is a personal blog, not a work one. Bu I’ve been at my new job for just over 13 months now. And reading resumés for a vacancy in my team has made me reflective.

A friend of mine updates his resumé after every performance review. His uses it not just as a tool to get a job, but as a tool to record what he’s achieved.

I’m taking it a step further, and thinking about what I want my resume to look like in the future. What dot points do I want to add to it? And how can I achieve them?

My boss in my last job gave me a great piece of advice for building your career. He recommended approaching people and companies that you want to work for, and ask them “What skills and experience would you recommend I acquire, if I want to work here in 2 or 3 years time?”

A bit over 13 months ago, I put that advice into action.

I asked the Regional Manager for an international library software vendor if I could have a casual chat. I asked him what skills and experience I should acquire if I wanted to work for them in the future. And it turned out they needed someone right then to lead their customer support team right, and my background as an IT manager studying a LIS degree made me the perfect fit.

If I had to sum those 13 months up in one word, it would be “hectic”. Three overseas trips. Two international projects. And a major restructure that happened one month after I started that completely threw out my plans for my first year.

What have I achieved in my first 13 months?

I’ve brought structure and direction. I’ve collaborated on international projects. And I’ve led my team through significant changes. A lot of what I’ve done can feel nebulous, hard to distill down to a one sentence dot point on a resumé.

What do I want to achieve in my next 13 months?

I want hard, numerical proof that my team are more efficient. To do that, I need to step down from the big-picture thinking that’s dominated my last year, and dive deep into the day-to-day details of what my team are doing and the problems that they face.

I want to collaborate on more international projects. There are some exciting company-wide projects coming up in the next year that will directly benefit my team. I want to be part of them, to help bring that benefit to fruition.

I want to engage more with the library community. All the internal changes that have happened in the last year have meant my focus has been directed towards my organisation more than towards the libraries that we serve. I want to shift that balance and engage outwards more. I want to better understand their work and their needs, and how my team can help them.

Outside of work, I really, really want to get involved in a digitisation project. I’m not sure how that will happen, given I work full time and I’m studying. But making collections available digitally is a big part of how IT helps libraries help their communities, and I’d love to have some hands-on experience with how it works.

So. Those are the four dot-point I want to add to my resumé in the coming year.

I should link here to Sally Turbitt’s recent article 10 career building tips for library students and new graduates, which seems relevant.

And I need to update my Toolkit article Writing Job Applications.

I wrote that when I was job hunting. Now that I’m on the recruiting side of a CV, my advice is : be concise! I have dozens of job applications to read! Hit me over the head with proof that you have the skills we need, and do it with one sentence dot points!

This is the current template I’m using for my own resumé:

  • [Skill]: [verbed] [bad situation] into [good situation] by [doing this].

Some (made up) examples:

  • Leadership: transformed a stressed and overwhelmed team into one with engagement and high morale by providing clear priorities and achievable “one-step-at-a-time” goals.
  • Process Improvement: reduced average resolution time from 10 days to 8 days by streamlining processes and implementing Knowledge Centered Service.

Obviously, the Skill bit in bold should match up to the skills required by the job ad (that’s the “hit me over the head” bit), and the description of your achievement that follows is the proof you have that skill.

And don’t go into any more detail than in my examples. That’s what the interview is for.

Okay. Enough navel-gazing. I better get back to reading these resumés…

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Lest We Forget: GLAMR and ANZAC Day

I’ve just returned from three weeks in the UK and the Netherlands. This trip included visits to lots of different galleries and museums, and it especially included the British Library and the National Library of Scotland.

But it’s ANZAC Day.

And I have lots of complicated thoughts and feelings about ANZAZ Day.

I splurted most of my feelings out in a thread on my Twitter account. So I’ll use this blog to be more analytical.

Mostly I want to talk about how museums and memorials are used in the act of remembering, and how what we choose to remember defines what we choose to forget.


The Sir John Monash Centre

Australia has opened the new Sir John Monash Centre in northern France. In the words of their website:

The Sir John Monash Centre tells Australia’s story of the Western Front in the words of those who served.

Set on the grounds of the Villers-Bretonneux Military Cemetery in northern France, and adjacent to the Australian National Memorial, the Sir John Monash Centre is the hub of the Australian Remembrance Trail along the Western Front, and establishes a lasting international legacy of Australia’s Centenary of Anzac 2014-2018.

Journalist David Marr has written about the opening for the Guardian. In his description of the Centre, he notes what is left out as much what is remembered:

But the Monash Centre is not for scholars. This is entertainment, cutting edge and thrilling in its way, but entertainment. Crowds will no doubt come. Tour operators are already rejigging their itineraries to fit an hour or so for their customers in this dazzling maze.

But war buffs should stay out in the battlefields. Devotees of the great general will learn nothing new about their hero here. True, war isn’t glorified. But there’s hardly a breath of politics in the exhibition. It’s all battles and no scandal.

That’s by design. That Australia was being torn apart by conscription campaigns isn’t explored. That old Keith Murdoch tried to have Monash sacked as an uppity Jew goes unmentioned. Dud generals who slaughtered their men hardly get a guernsey. Addressed only by implication is the great question of what this war was really all about.

The Centre’s website touts the SJMC App which “downloaded on each visitor’s personal mobile device, acts as a ‘virtual tour guide’ over the Villers-Bretonneux Military Cemetery, the Australian National Memorial and the Sir John Monash Centre.”

I’m reminded here of MONA’s the O. One of the moments I fell in love with MONA was reading about a David Hockney painting. After a lengthy essay from David Walsh about the piece, I flipped over to read the essay by the curator. “I have no idea why David bought this piece,” she wrote. “I think it’s shit.”

Will the SJMC App allow room for that sort of questioning?

The Australian War Memorial

Perhaps we can’t expect a government-funded institution to question the government line.

No. That’s bullshit. Of course we should expect government-funded institutions to question the government line. This isn’t a dictatorship. It’s the role of public institutions to question governments past, present and future. And it’s the role of governments to suck up that criticism and keep funding those institutions.

And it’s the role of the public to challenge those institutions if they don’t.

In 2016, Honest History produced an Alternative Guide to the Australian War Memorial, which includes this explanation of why they thought it was necessary:

Honest History often says the Australian War Memorial is the best in the world at what it does. Then we go on to say it could do so much more and do what it does differently. This Alternative Guide hints at what we mean by statements like that.

The Guide recognises the Memorial’s aims – and comments occasionally on how well these aims have been met – but it is primarily intended to encourage critical thinking and questioning. Honest History vigorously advocates the ‘contestability’ of history. Contestability is a key concept in the Australian Curriculum: History for Years 7-10 and is at the core of the historiography issues tackled in senior years.

In the same way that MONA’s the O reveals the usually hidden debate and disagreements that go into curating an art museum, the Alternative Guide deliberately raises the different agendas that have shaped the Australian War Memorial:

The Memorial is a national cultural institution, a creation of governments. It also has close links to Australia’s defence establishment, both current (the Australian Defence Force,which is strongly represented on the Memorial’s Council) and former (the Returned and Services League, the Memorial’s volunteer guides and ‘friends’ groups). This has been so since the Memorial’s foundation. Then, in more recent years the Memorial has sought and received large donations from the defence industry, the manufacturers of the tools and weapons of war, as well as from other benefactors.

These connections have influenced the ‘style’ of the Memorial. It is important, however, to recognise that the support of the public has helped to maintain this style basically unchanged for three-quarters of a century.

I’m going to come back to MONA here again, because MONA was the first time I’d experienced a museum stop pretending to be the impartial, authoritative voice of Truth.

Art galleries are one thing. War Memorials are something else. “Lest We Forget” is the mantra we chant on ANZAC Day, and war memorials are supposed to be part of how we do not forget.

But is remembering some things a way of forgetting others?

There was huge resentment during the Great War towards the businessmen who grew rich selling armaments while soldiers died. Apparently even Fortune magazine ran an article in 1934 naming and shaming those who profited from death. (I say apparently, because I am a bad librarian and haven’t been able to track down the original article.)

And yet: in 2015, American arms company Northrop Grumman used the Australian War Memorial to celebrate its expansion into the Australian market. The War Memorial proudly displays its sponsorship arrangements with BAE Systems Australia, Boeing Australia, and Lockheed Martin.

What is being remembered here? What is being forgotten?

The Director of the Australian War Memorial, Dr. Brendan Nelson, has proposed that the memorial should include the stories of military personnel who participated in the “stop the boats” Operation Sovereign Borders.

Is it appropriate for a war memorial to commemorate peacetime activity?

Is this a way of white-washing a highly controversial piece of government policy?

What is being remembered here? What is being forgotten?

While I was writing this blog post, I read author Richard Flanagan’s recent speech to the National Press Club. It covers ANZAC Day the Sir John Monash Centre and the huge sums being spent on Australian war memorials. It covers the disgraceful fact that Australia still does not have a national museum dedicated to our Indigenous cultures. And it makes the same point I did about remembering and forgetting:

And yet the horrific suffering of so many Australians for distant empires has now become not a terrible warning, not a salient story of the blood-sacrifice that must be paid by nations lacking independence, not the unhappy beginning of an unbroken habit, but, bizarrely, the purported origin story of us as an independent people.

The growing state-funded cult of Anzac will see $1.1bn spent by the Australian government on war memorials between 2014 and 2028. Those who lost their lives deserve honour – I know from my father’s experience how meaningful that can be. But when veterans struggle for recognition and support for war-related suffering, you begin to wonder what justifies this expense, this growing militarisation of national memory or, to be more precise, a forgetting of anything other than an official version of war as the official version of our country’s history, establishing dying in other people’s wars as our foundation story.

And so, the Monash Centre, for all its good intentions, for all the honour it does the dead, is at heart a centre for forgetting. It leads us to forget that the 62,000 young men who died in world war one died far from their country in service of one distant empire fighting other distant empires. It leads us to forget that not one of those deaths it commemorates was necessary. Not 62,000. Not even one.



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Libraries I would like to visit

I’ve been meaning to start a list of libraries that I would like to visit. A blog post seems as good a place as any to make it.

I’ll be revisiting and updating this post as I find new libraries, and cross old ones off the list.


The National Library of Australia: the home of Trove. My book is in their archives (via legal deposit).


The British Library: the national library of the UK. I actually visited the British Library back in 1995, and spent time drooling over the original Lewis Carroll and Samuel Taylor Coleridge manuscripts. But that was long ago…

The National Library of Scotland: I’m hoping to do the placement for my Masters course here.

Gladstone’s Library: a library in a stately home that includes bed and breakfast accommodation, so you can read late into the night. Located in Flintwick, Wales.

The Library of Mistakes: this library is a collection of business and finance works, dedicated to preventing us from repeating past mistakes. Libraries as activism. Located in Edinburgh, Scotland.

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The New Wave of Wunderkammers: the ‘Inside Out’ exhibition at the Melbourne Museum

We went to the Inside Out exhibition at the Melbourne Museum today.


It’s a dreamlike, theatrical, slightly creepy experience. The Museum has essentially pulled a hodge-podge of items from their collection, and arranged them to create something that feels more like art than education.

It feels weird to put a spoiler tag on an exhibition review, but: mild spoilers below…

Visitors are guided through the exhibition via a voice-over on an iPhone. The voice is warm, chatty,  a little bit flirtatious. It acknowledges that it is a disembodied voice, and that we the listeners are living creatures. Then it takes us on a tour: of taxidermied animals arranged in a Victorian salon, of a disco dancefloor beneath model pteranodons, of coral skeletons next to an Egyptian funeral casket.


“We always took into account the past, the present and the future,” fashion designer Prue Acton says in a recorded interview about one of her gowns, “And a really good, beautifully designed garment should be able to be worn again and again, decade after decade. Why not?”



It’s a theme the disembodied voice comes back to. Beauty is timeless. The past and the future are one.

Wouldn’t you like to be timeless? To be still and eternal in the Museum’s collection?


The exhibition finishes with a wall of vintage motorcycles and an engineer expressing her frustration that these machines built for movement have to remain still if they are to survive.

There’s a subtext here: flee while you still can!

The very final item is the first black-box flight recorder, invented here in Melbourne. But this scientific instrument, invented to improve air safety, is described by the disembodied voice in almost Buddhist terms as bearing witness as passengers and crew cross over from their mundane lives into eternity.




The narration ends. You take off your headphones. You blink. The glass-lined foyer of the Museum is bright after the dimly lit exhibition. Small children run about, pigeons steal crumbs from the cafe, and in the courtyard outside young men are pulling stunts on their bikes.

Perhaps you flex your hand, just to check you’re still one of the living.

Or perhaps not.


The first thing that struck me about Inside Out was the debt it owes to MONA.


There’s the obvious details: the iPhones replacing wall labels, the red velvet curtains. There’s that hint that you too could become part of the exhibition (for a hefty “lifetime membership fee”, MONA will interr your ashes in a Julia DeVille funerary display).

Above all, there’s the attitude: the post-modern rejection of the cool, authoritative gallery voice in favour of–as I once put it— the “bugfuck insane”.

It’s the new wave of wunderkammer, the cabinet of curiosities designed as much to astonish and delight as it is to educate and inform.

The Museum proper is still there, above the special exhibition hall, still providing facts and context and history.  Inside Out is the literal underside of a museum: the messy emotional connection we form with collections. (Another tie to MONA, perhaps? MONA’s founder David Walsh was inspired to start collecting by his visits to the Tasmanian Museum and Art Gallery as a child.)

I said there’s something slightly creepy about Inside Out. I meant that as a complement. I remember visiting the Museum as a child, and feeling there was something eerie and dreamlike about dinosaur skeletons and taxidermied beasts.

Inside Out is a celebration of that feeling. Museum artefacts are not just preserved in displays and storerooms: they are preserved in our memories, and our hearts.


There’s an interview with the Inside Out Experience Designer Zoe Meagher over on Design Files, in which she talks about her role in creating the exhibition, and how her background in creative arts informs her work.



So. What can we steal?

The first stealable idea is emotional connection — designing an exhibition to make people feel as much as learn.

The second is narrative — leading visitors through an exhibition by telling a story.

The third is artistic design — creating displays that are exciting and beautiful.

The fourth is unexpected connections — engage your audiences by making them rethink how they see the items.

And finally: steal. The iPhones are from MONA. The disembodied voice is GLaDOS from the Portal video game. The design is from the stage. Inspiration is everywhere. Steal it and make something new.




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In the Library, with a Board Game

Cluedo Library card

There’s nothing like real-world situations to reinforce classroom learning.

A friend posted a picture of his board game collection to Instagram today, and asked for people’s advice on how to shelve them. I, being a librarian-in-training, immediately turned to Google.

A different friend (Alissa McCulloch,  aka @lissertations on Twitter) had recently written an article about cataloguing  board games, complete with a literature review and some very detailed MARC instructions. Alissa is a cataloguing mega-nerd, and her instructions are awesome.

But they don’t cover shelving.

I found a post on the LITA Blog by Lauren Hays from 2014 that again discussed MARC records for board games (in much less detail than McCulloch’s paper). It’s the first comment by Christopher Harris, though, that’s much more interesting when it comes answering my friend’s question:

Game authors have followings like book authors with titles that will be published from multiple sources. Shelving by author as opposed to title allows a single author’s body of work to be considered as a whole for comparisons and as a source of next-play recommendations.

And finally: this post by Wyatt Fertig on Stuffy Library discusses 6 Lessons From the Library: Circulating Board Games (One Year Later). A throwaway comment on one of the photos states “We use face out shelving to make the collection look more appealing.”

It’s a short article, but worth a read. The six lessons, by the way, are:

  1. Board Games DO Get Broken
  2. You Are Probably Not the First at Anything
  3. Ask For Help
  4. Buy Local (if it makes sense)
  5. Who is Your Audience?
  6. Support a Collection Through Programming

Back to shelving: many libraries find Dewey Decimal Classification too archaic and confusing to their patrons, and are shifting to shelving material by subjecting groupings such as BISAC or PIM.

Presumably, a dedicated librarian could use something like the Boardgamegeek categories to create similar shelving classifications.

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2017 in review

yarrabridgeI woke up at 6:30 this morning, took three plump strawberries from the fridge, and went for a walk along the Yarra.

Back when I was at uni, I had a New Year’s Day ritual. I would travel to the Botanic Garden or somewhere similarly verdant, and leave a small offering for the new year.

I went back to uni last year, to study my Masters in Information Management. And when I woke up at 6:30 today, I decided to revisit my old ritual.

The streets were almost empty. The river was quiet. I left the strawberries in the crook of a tree. As I stood up. I heard a loud *CLOMP* in the water, and an Eastern Water Dragon startled away.

I don’t believe in omens. But a dragon was a lovely way to start to the year.


2017 was a year of change. I started my Masters in library science. I left my employer of 18 years. And I self-published a novel.

2018 will be the year of working hard to make the most of all those changes.



I went into 2017 knowing that I would be made redundant at the end of June. I’m really proud of the work my team and I did in wrapping up our department. We could have just phoned it in. Instead, we worked our guts out and walked out with our heads held high.

I started my Masters of Information Management at RMIT in February. Returning to academic study after 20 years was challenging but invigorating. It convinced me that I’m on the right track.

I applied for a 12 month Project Management contract with the National Library Australia, and was interviewd for the role, but was not successful.

I did some contract work for my old boss.

And then the Regional Manager for OCLC was a guest speaker in my class.

I’d first heard of OCLC in first semester. They sounded like a company that I might want to work for one day. So I asked their Regional Manager if I could chat with him about working for OCLC one day in the future.

It turned out they needed someone to manage their customer support team straight away. After a couple of weeks of interviews, I had a new job that was the perfect overlap between my past as an IT manager and my future in libraries.

It’s been intense, not least because the Regional Manager position was made redundant on my one month anniversary, and the team leaders have had to take on that responsibility.

But I’m thriving. There’s a lot of good I can do at OCLC, and there’s a lot I can learn about the library world while I’m there.


I made the decision to self-publish my grunge-rock ghost novel The Stray Swans in 2017. My plan was to have it out by April. It was actually launched in November. Again, it was a lot of work, but it was worth it.

We book a table for the Festival of the Photocopier this year too. I wrote a new zine for it: TALL SAD GIRL AND SHORT PUNK GIRL ARE FRIENDS. It started as a joke on Twitter and turned into something I’m really proud of.

It was great finally get The Stray Swans out too, and the book launch was lovely. But I’ve been itching ll year to start writing something new. That will be one of my goals for 2018.


I only went to one event at the Emerging Writers Festival: a workshop on writing fantasy run by C. S. Pacat. Who is both charming and sharp as a sabre.

I attended my first Reading Matters, which is a delightful mash up of my interest in writing YA and my interest in libraries. I bought a pile of novels there, only one of which I actually managed to read.

At the end of September, I flew up to Sydney for the ALIA Library Technicians Symposium. I’m not a library technician, but it was a cheap conference, and a good excuse for a holiday in Sydney, and I got to meet lots of lovely lib techs.

FInally, this year was Lisa Dempster’s last year directing the Melbourne Writers Festival. I’ve been following Lisa’s career for about 8 years now. Every festival she manages to include one or two guests that feel like they were booked just for me. This year, she did it again: Laurie Penny was back. I got to chat with her, and give her some zines, and she even gave me a quick hug on the last night.

Which is pretty much what I want out of a writer’s festival.


  • Amanda Palmer (Jan 19 at the Gasometer, Mar 10 at the NGV Friday Night, also in conversation with Missy Higgins at the Astor Theatre)
  • Nick Cave (Jan 27 at the Sidney Myer Music Bowl)
  • The Damned (Mar 12 at 170 Russell)
  • The Mountain Goats (Apr 12 at The Corner Hotel)
  • Ulver (Jun 15 at The Odeon Theatre, as part of Dark Mofo)
  • Einstürzende Neubauten (Jun 16and 17 at the Odeon Theatre, as part of Dark Mofo)
  • Grouper / Allesandro Cortini / Klara Lewis / Andrew English (Jun 17 at the Odeon Theatre, as part of Dark Mofo)
  • Miles Brown (Jun 18 Scotts Memorial Uniting Church, Hobart, as part of Dark Mofo)
  • Xiu Xiu and Allesandro Cortini (Jun 22 at the Substation)
  • Steve Gunn (Jul 07 at the National Gallery of Victoria)
  • Jack Ladder and the Dreamlanders (Aug 04 at Howler)
  • Snog / Severed Heads (Nov 5 at The Corner Hotel)
  • Plum Green (Nov 12, The Stray Swans book launch, then Dec 17 at the Bendigo Hotel)
  • Lorde (Nov 26, Sidney Myer Music Bowl)


Ha! According to my Goodreads list, I read 3 books last year. Just 3. (4 if you include Lyra’s Oxford). Usually I read 20. Something else to work on in 2018.

  • Wolf in White Van, John Darnielle
  • The Hate U Give, Angie Thomas
  • Still Life with Tornado, A. S. King
  • Lyra’s Oxford, Philip Pullman


  • Hobart for Dark Mofo
  • Queenscliff, to celebrate my redundancy
  • Sydney in September for the ALIA Library Technician’s Symposium
  • Sheffield (UK), Leiden and Texel (Netherlands) for work
  • (We also spent Christmas and Boxing Day at my sister’s new house in Healesville, which felt like a holiday)
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The Ethics of Digitisation

I’ve been thinking about digitisation projects recently.

Digitisation (scanning physical texts and objects so they can be accessed online) and digital preservation (ensuring “born digital” documents can be stored and accessed into the future) are two big areas in the GLAMR sector at the moment, and they match my interest in the overlap between technology and libraries.

Trove is the most famous digitisation project in Australia: a central access point for hundreds of digital collections across the country.

Collections Victoria is a similar portal, but this time focussing on Victorian collections.

The Digital Access to Collections project is a national initiative to establish a toolkit and a national framework for digitising collections. It’s run by GLAM Peak, the peak representative bodies of the galleries, libraries, archives and museums sectors in Australia.

I don’t have much experience with digitisation, so I’ve been idly thinking of projects I might run to correct that.

One thought I had was to digitise my personal collection of zines. I did some Googling tonight, looking to see if anyone had written up similar projects that could provide me with some technical instructions.

What I found was much better than that. I found discussions about the ethics of digitising zines.


Why We’re Not Digitizing Zines

First: Why We’re Not Digitizing Zines by Kelly Wooten, from 2009.

Wooten is the curator of the zine collections at the Sallie Bingham Center for Women’s History and Culture in the Duke University Libraries.

She states four reasons the Bingham Center chose not to digitise their zine collections:

  • Permission: it is often difficult to impossible to track down the creators of zines to ask their permission to digitise their creations.
  • Copyright: zines are subject to copyright like any other creative work. Reproducing them, even for research purposes, may fall outside fair use provisions.
  • Privacy: zines are often intensely personal in subject matter, and their creators may not have anticipated their intimate thoughts being shared with a vast audience.
  • Print culture: zines are created to by physical objects, and their physicality is part of what makes them so special. As Wooten writes: “The experience of handling zines in person, turning each page to reveal intimate secrets, funny comics, and poetry, can’t be duplicated on-line.”

Wooten’s point about privacy is especially interesting to me. Zine-making is something of a subculture. Zine makers make zines to share with other zine enthusiasts who share an understanding of the history and culture of zines, and will treat the maker’s content with a certain amount of respect.

It’s an example of what I call contextual privacy: where people are happy to share information in one context, but not in another. We may be happy to share health details with our doctor, for example, but not with our employer. Or we may be happy to share holiday selfies of us in our swimwear with our friends on Facebook, but would be appalled and angry if the Daily Mail reprinted those pictures.


digitization: just because you can, doesn’t mean you should

Tara Robertson’s blog post digitization: just because you can, doesn’t mean you should discusses the privacy implications of Reveal Media digitising issues of the late feminist porn magazine On Our Backs.

Although not strictly a zine, the contextual privacy issues are similar. Many of the models may have been happy to pose for an underground magazine with a primarily lesbian readership back in the pre-world wide web days of the late 80s and early 90s, but that does not mean that they would happy for their images to be available now, decades later, to the internet-at-large.

Robertson argues that there is a real danger of harm to the models here, and that at a minimum Reveal Media have an ethical obligation to provide a clear takedown process.

In making her argument, Robertson quotes from the final document I want to link to: the Zine Librarians Code of Ethics Zine.

Because of course there’s a zine about the ethics of zine librarianship. 🙂


Zine Librarians Code of Ethics Zine.

Everything in this document is 100% gold, if you’re a library nerd like me. The printable PDF is a bit hard to read on-screen. Fortunately, there’s a web-readable version too.

The authors make the same point about contextual privacy that I did:

2. Zine usage has a particular context or contexts associated with it.

In our experience, reproducing or sharing zines involves not just copyright law and practices, but also zinesters’ inherent right to decide how their work is distributed and how widely, and how it is contextualized. In sum, it is about community, about respect, and about the simple act of being a considerate person and information professional.

Zines are not mass-distributed books. They are often self-published and self-distributed, printed in very small runs, and intended for a small audience. Zinesters may feel differently about having their work openly available on the internet or in print, made available to a much wider audience.

Some zinesters also feel that context is important. This can mean the format – that it was meant to be on paper, and held in the hands – or it can mean that the zine “works” best when it is read as a whole product, rather than having one or a few pages excerpted or reprinted. These are among the considerations that the zine librarian/archivist should observe when deciding how or whether to reproduce an item for use.

There’s many more great ideas in this zine, including an order-of-preference list of ways to obtain zines, creating an inclusive and respectful space for the zines to be read in, and notes on cataloguing.

The rest of the website is worth reading too.



I set out to find some technical guidance on digitising zines. What I found was a much richer discussion that suggests the best approach may to be not digitise my zines after all.

Which I haven’t done. So: project successful!

Now I just need to find a way to add this to my resume…


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