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What do James Frey’s A Million Little Pieces, Margaret B. Jones’ Love and Consequence and Wanda Koolmatrie’s My Own Sweet Time have in common? None of these popular books are what they appear to be. Frey’s fraudulent drug addiction “memoir” was really a semi-fictional novel, Jones’ chronicle of her life in a street gang was a complete fabrication, and Koolmatrie was not an Aboriginal woman removed from her family as a child, as in her seemingly autobiographical account, but rather a white taxi driver nam
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Book ID Asin: 0786497440
Book Title: Text, Lies and Cataloging: Ethical Treatment of Deceptive Works in the Library
Book Author: Jana Brubaker
Book Format and Price:
Book Format Name: Kindle
Book Format Price: $24.99
Book Format Name: Paperback
Book Format Price: $55.00
Book Price: $55.00
Book Category: Books, Reference, Writing, Research & Publishing Guides and unknown
Book Rating: 1 rating
Text, Lies and Cataloging: Ethical Treatment of Deceptive Works in the Library by Jana Brubaker Book Review
Name: Maria
Rating: 4.0 out of 5 stars
Title: You’ll Be Surprised How Much Nonfiction Isn’t True!
Date: Reviewed in the United States on August 2, 2019
Review: Jana Brubaker’s book, whose underlying message could be summed up as “reader beware,” is a timely study in the age of online fraud, raising the disturbing possibility that many of the books we read may be mislabeled and falsely marketed to us as readers. How this deception impacts academic scholarship as well as influences cultural attitudes towards issues like satanic ritual abuse and teenage drug abuse is something that Brubaker explores, using specific examples. Although its intended audience may be library science professionals, it would be equally useful for graduate students or high school teachers. It is structured as a series of case studies by genre. Unsurprisingly, the majority of “questionable books” are classified as memoirs and autobiographies, one of the most popular genres today, but also one of the most resistant to definition. After all, the boundaries between fact and fiction have been blurred many times in literary history, going back to early eighteenth-century novels. However, for Brubaker, a memoir or autobiography’s claim of authenticity is part of what a reader is buying, so for her, it does matter that the teen classic Go Ask Alice is not the nonfiction diary of a teen who died from a drug overdose, but the creation of an adult woman. The fact that Alex Haley’s Roots might be “a symbolic history” rather than a true genealogical account of his family is not trivial; instead of being classified as biography, Brubaker argues that it really should be catalogued as historical fiction, a different genre altogether. Another kind of deception, apart from the outright hoax, is the fictional or nonfictional work in which authors appropriate another ethnicity, race, or class, so that they are not really the person they purport to be. How we classify books matters to those who read them for their truth value and to writers who may rely on them for their own research. In the end Brubaker acknowledges the difficulty of correcting bibliographical records, and suggests that we need new classification terms, but provides a wealth of examples that should make publishers (and readers) more cautious about taking books at face value.
