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This study aims to examine the imagining of libraries and the depiction of library services in contemporary science fiction novels. Analyses of libraries in contemporary science fiction may reveal expectations of libraries and the roles they play in future societies. These may, in turn, be used by the library profession to innovate and to discover opportunities to design and improve library services that meet the expectations of library users now and in the future.

This research applied a content analysis approach to examine references to libraries in a purposeful sample of science fiction novels published between 2009 and 2019. The sample consists of 29 novels selected from the 2010–2020 winners of the Hugo Award for Best Novel, The Nebula Award for Best Novel, the Locus Award for Best Science Fiction Novel, The Philip K Dick Award and the Arthur C Clarke Award.

This research finds that libraries are a common feature within contemporary science fiction novels, primarily as part of the background setting of the narratives. Libraries are particularly common in peri-apocalyptic novels, often as “reinvented” libraries. This research identifies considerable differences in the way libraries and information access and use are depicted and documented in science fiction worlds of plenty, compared to those of scarcity. Other key themes discussed include freedom of access to information, and the supposedly common negative stereotyping of libraries.

Existing literature indicates anxiety about the future of libraries which the findings of this research do not support. The insights gained suggested instead, the emergence of an image of libraries as being embedded in the fabric of societies. This indicates the expectation of the place and role of libraries in contemporary societies. Libraries and their services must be adeptly placed and woven into the many facets of the societies they serve.

Almost all libraries collect fiction. Of course the nature, scope, and organization of the collection varies with the type of library and its clientele. In this column scholars, fans, and just plain readers of diverse fiction formats, types, and genres will explore their specialty with a view to the collection building needs of various types of libraries. In addition to lists of “good reads,” authors not to be missed, rising stars, and rediscovered geniuses, columnists will cover major critics, bibliographies, relevant journals and organizations, publishers, and trends. Each column will include a genre overview, a discussion of access to published works, and a core collection of recommended books and authors. Janice M. Bogstad leads off with a discussion of science fiction. In the next issue of Collection Building, Ian will focus her discussion on the growing body of feminist science fiction with an article entitled, “Redressing an Interval Balance: Women and Science Fiction, 1965–1983.” Issues to follow will feature Kathleen Heim on thrillers, and Rhea Rubin reviewing short story collection building. Should you care to suggest an area or aspect of fiction collection building for discussion or try your hand as a columnist contact the column editor through Neal‐Schuman Publishers.

Science fiction is that demonic creature lurking in the depths of every human subconscious waiting for the chance to emerge and destroy, with ecstasy, mankind's literary taste. It condemns the reader to an endless array of spaceships, hyperdrive, alternate universes, and alien beings — the really fun things in life. Unfortunately, not all readers or critics hold this view. To many literary critics, science fiction is something to keep in the closet, ignore, and generally not discuss in front of frail women or young children.

IN The verdict of you all, Rupert Croft‐Cooke has some uncomplimentary things to say about novel readers as a class, which is at least an unusual look at his public by a practitioner whose income for many years was provided by those he denigrates.

This paper aims to problematise the basis of the use of non-fiction as an explanatory category in libraries that have mandates to deliver information to civil society users to initiate debate on its ongoing value.

A range of literature from the fields of information science, philosophy, literary studies and the sociology of knowledge was critically surveyed to uncover reasons for the use of the non-fiction concept when librarians are dealing with documentary knowledge. A process of thematisation of relevant material was then conducted using a methodology informed by historicist and hermeneutic-phenomenological approaches to social scientific inquiry.

The extreme simplicity of the concept of non-fiction masks a complex range of factors associated with common sense understanding of life and our conceptualisation of what constitutes knowledge in civil society information environments. By restricting the nature of questions associated with knowledge and documentary knowledge the non-fiction concept contributes to a far too narrow view of how these concepts interrelate.

Preliminary reasons are offered for why the non-fiction concept is problematic, and an alternative discursive formation is put forward which may enable more fruitful caretaking of documentary collections in school and public libraries.

This paper helps to open discussion among collection management theorists and practitioners regarding how the concept of documentary knowledge can be more usefully theorised so that it is better able to support the epistemic learning and socialisation goals of libraries characterised by their civil society setting.

In light of the place of popular fiction in world cultural history and in the context of the broader debate of “high culture versus popular culture”, this article addresses the importance of popular fiction in the academic library. The article compares the attitude of Israeli academic libraries towards popular fiction to the attitude of parallel American university and research libraries. A survey of a sample of academic curriculi and libraries in Israel suggests no established policy related to collection development and the acquisition of popular fiction. While leading American academic institutions adopt such policy, no such trends are evident in Israeli institutions. According to the polysystem theory of literature, popular fiction should have a status of its own as one of various systems within a structured whole. As such, it is a legitimate subject of literary research. Popular fiction as an interdisciplinary subject may interest researchers from different fields of study in the humanities and the social sciences. The need to establish a collection development and acquisition policy for popular fiction in order to facilitate systematic and continuous research in this field is thus indicated. This endeavour should be coordinated both regionally and nationally.

The purpose of this paper is to evaluate characters and scenarios reflecting varied lesbian, gay, bisexual, and transgender (LGBT) identities in fiction in two library acquisitions platforms: a traditional library vendor (Coutts’ OASIS) and a freely available platform for self-published eBooks (Smashwords).

Using intersectionality as an approach, 200 LGBT fiction titles were examined in OASIS and in Smashwords with the goal of assessing the characters and scenarios represented. The hypothesis was that Smashwords’s titles, because they were self-published, would include more variety.

The titles in both platforms were roughly similar, with a pronounced focus on white gay males.

This research relied on limited metadata provided in each system. Additional research should evaluate the quality of the titles and the nature of the publishers.

Although the Smashwords eBook platform provides access to eBooks, a convenient way to consume genre fiction, the titles available do not represent more diverse LGBT identities than the titles available through a traditional library vendor platform, OASIS.

As libraries struggle with practical implications for selecting materials representing varied viewpoints, the question of self-published or indie eBooks has emerged as a potential option for providing these perspectives. The findings of this study indicate, however, that instead of reflecting a more diverse readership, the sample of Smashwords LGBT fiction eBooks examined largely resembles the materials that a library vendor provides.

Reports on two recent surveys carried out by the IFLA Office for International Lending. The first, in 1991, showed fiction to be the poor relation in interlending. Reasons for this include slight demand, poor representation in union catalogues and the association of fiction with “frivolous” leisure reading. Nothing seems to be known about the nature of demand for fiction, some of which may be for serious research. There are several possible systems for access to, and the supply of, fiction for interlending. The second survey, in 1993, revealed that the great majority of countries have no policy on the interlending of fiction. Ideas on a policy were invited though some thought that no separate policy was needed. Recommends that any country trying to develop a policy should go about it in a systematic manner, starting with the collection of information on the acquisition of fiction and its use, and working out a policy in the light of relevant national legislation and practices and in consultation with participating libraries. Although most libraries responding to the survey thought that all fiction should be made available for interlending, the question of what, if any, restrictions should be imposed is a key area for consideration.