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Recognizing that hate crimes and antisemitic attacks are increasing, the purpose of this article is to discuss ways The Assignment by Liza Wiemer, a contemporary young adult novel that depicts curriculum violence and its effects on students, acts as a “disruptor” in young adult literature. The authors present a rationale for using young adult literature on The Holocaust in high school classrooms to challenge the status quo and identify ways to become upstanders in the face of hate.

Through a content analysis using a critical literacy framework, the authors analyzed The Assignment for pedagogical ways to use the novel to challenge educators and students to examine and rethink how they feel about hate, bias and antisemitism.

Four ways the novel can be used as a disrupter were identified: text structure and language, pedagogical practices and curriculum violence, the student/peer/authority figure power dynamic and challenging accepted beliefs that can lead to bias, hate and antisemitism.

Although all individuals can be impacted by hate and antisemitism, this article focuses on young adults as they are the novel’s target audience. However, the authors believe people of all ages have the potential to disrupt societal practices and become upstanders and suggest ideas in this article be applied broadly to other novels and teaching situations.

A focus is on the ways the novel can build a community of allies and upstanders – students as agents of change rather than complacent bystanders. As bias, hate and antisemitism are on the rise, this article presents a unique way to combat it through literature and critical discussion.

In prior articles in both volume 8 (number 4) and volume 10 (numbers 3/4) of Collection Building, bibliographies of U.S. government publications on AIDS were covered. The first bibliography covered both executive branch and legislative branch materials from 1981 to September 1986. The second bibliography covered only legis‐lative materials from 1986 to 1989. This article complements the second bibliography in its coverage of executive branch materials from 1986 to 1989 and also updates the first work. While 1986 to 1989 is the framework, some items inadvertently omitted from the earlier work are included here.

If you are 30 or older, you are middle‐aged by someone's criteria. When the college students of the 1970s declared “Don't trust anyone over 30,” did you think they would be someday talking about you? And what about those who say “Life begins at 40”? Did you ever believe them?

This chapter focuses on ways libraries can ensure the services and collections they provide do not exclude bisexual people and indulge in the “bi erasure” that is otherwise so prevalent in society. The authors share best practices for public, academic, and school libraries to add bisexual/pansexual titles to their collections, as well as provide programmatic tips that include the larger bisexual/pansexual community. Most importantly, the authors highlight community partners, advocacy organizations, or non-profits that can serve as potential collaborators as librarians brainstorm programming for bisexual/pansexual patrons. This chapter also contains staff training guidelines and resources for creating a more welcoming environment for bisexual/pansexual patrons. The chapter concludes with a list of resources that will help librarians make more inclusive collections’ decisions and resource guides. It’s purpose is to help libraries better serve bisexual/pansexual patrons who are undoubtedly already library users.

The purpose of this paper is to pursue the themes of feminine identity, doubling and (in)visibility; first in terms of “signifyin(g)” as a cultural and literary strategy, and second, in terms of quilting seen from the fiction of Alice Walker to the quilting of Gee's Bend. In the background, there plays the relationship between art and commodification.

The paper examines “commodification” and “doubling” in the case of the Gee's Bend quilt makers. The quilts foreshadow the modernist aesthetic and are of the highest aesthetic quality. They were made in a traditional rural society by very poor uneducated black women. The quilts were not made to be sold, but were dedicated to familial remembrance and to immediate aesthetic pleasure.

Commodification doubles self and work, life and object, uniqueness and standardization, art and management. For the artist, the unicity, beauty, inspiration and creativity of art is doubled in the sale, marketing, display, distribution and mass production of “art works.” Making art is intimate, personal and individual; selling art requires public display, pleasing the all‐important customer(s) and dealing with many sorts of in‐betweens. What “commodification” is on the artist/art work level, is “doubling” on the I/me, self/persona, private/public, and in‐group/out‐group level.

The author proposes, from the example of quilt‐making, a wide‐ranging interrogation: “Is escape from commodification possible?”

Commodification doubles self and work, life and object, uniqueness and standardization and art and management. For the artist, the unicity, beauty, inspiration and creativity of art is doubled in the sale, marketing, display, distribution and mass production of “art works”. Making art is intimate, personal and individual; selling art requires public display, pleasing the all important customer(s) and dealing with many sorts of in-betweens. What commodification is on the artist/art work level is doubling on the I/me, self/persona, private/public and in-group/out-group level. This paper aims to examine the commodification and doubling in the case of the Gee’s Bend quilt makers. The quilts foreshadowed the modernist aesthetic and are of the highest aesthetic quality. But, they were made in a traditional rural society by very poor, uneducated black women. The quilts were not made to be sold but were dedicated to familial remembrance and to immediate aesthetic pleasure. But now that they are on display: is escape from commodification possible?

Reprint for special issue.

Doubling, in the original article below, was tendentious but artistically and politically to be overcome; doubling currently seems much more ominous, omnipresent and out of control. Signifyin(g) has become bomb throwing. Present day doubling apparently produces terror and not just commodification.

Invited for publication.