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CreativeReadingYoung people, readingand public libraries

John Holden

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Contents

Acknowledgements 9

Foreword 11

Preface 13

Introduction 15

1. Reading 20

2. Creativity 24

3. Creativity, reading and public libraries 29

4 . Nurturing creativity 43

5. Public libraries and schools 51

6. Conclusion 56

Relevant websites 62

Notes 63

Acknowledgements

Demos 9

This report was made possible by the support ofThe Reading Agency. My sincere thanks go toMiranda McKearney, Debbie Hicks and RuthHarrison who have been a consistent source ofgood ideas, support and assistance. I would alsolike to thank all those who were interviewed forthe project and all of those who gave commentson work in progress, including Abigail Campbell,Jonathan Douglas, Mairie Gelling, Patsy Heap,Rebecca Hunter, Sue Jones, Charles Leadbeater,Gary McKeone, Neil McLelland, Chris Meade,Andrew Stevens, Sarah Wilkie, Sue Wilkinson andAlec Williams.

My thanks also go to my colleagues at Demos,in particular to Tom Bentley, Eddie Gibb, RobertHewison, Masanari Koike, Charlie Tims, BobbyWebster and Shealagh Wright.

The people mentioned above provided helpand assistance, but all errors and omissionsremain my own.

John Holden June 2004

10 Demos

Creative reading

Foreword

Demos 11

The debate about libraries rages. Are theyfailing or changing? The recent rise in visitorfigures and the energy and innovation of theirwork with readers suggests the latter.

The debate needs to move to a new level, basedon a better understanding of the twenty-first-century role that public libraries can play, not juston book issuing statistics. This role must have theencouragement of reading at its heart.

We are delighted to have commissioned thisDemos paper about creativity, libraries andreading to move the debate on and are mostgrateful to the Department of Culture, Media andSport for the support that has made this possible.

We hope the paper will focus attention onlibraries as creative institutions and on theunderplayed potential of their work with young

readers. It is time for libraries to be much morefully recognised as part of the creative world, withan important role to play in the emergingcreativity and cultural entitlement agenda.

The library service faces huge challenges, but isworking in new ways to reach and inspire youngreaders. This work injects creativity intocommunity in a big way, and deserves muchgreater attention. Its power to help achieve ournational ambitions should not be under-estimated.

Miranda McKearney Director, The Reading Agency

Creative reading

12 Demos

Preface

Demos 13

This report examines how reading and publiclibraries connect with the creative potential ofyoung people. Consequently it has a broad range,looking at the interaction of institutions (forexample, between schools and libraries), concepts(for example, between creativity and reading) andother factors (for example, the attitudes of youngpeople), rather than examining any one aspect indepth. It is meant to be provocative and thought-provoking, and to raise questions for thoseinvolved to answer for themselves. I hope that itwill be of interest to librarians, teachers, policy-makers, local authorities and school libraryservices among others.

John HoldenDemos

Introduction

Demos 15

� Creativity is widely accepted as amajor driver of economic growth andprosperity. It is also important interms of realising human potential.The importance of creativity ineducation is gaining currency.

� Reading, though often perceived aspassive and receptive, is a creativeactivity in itself, and frequently animportant element in other creativeprocesses.

� Young people need to be equippedwith high-level reading skills to get themost out of cultural and social lifeand to meet the challenges of thetwenty-first-century job market.Research shows that life chances are

improved by reading. We need to gobeyond literacy so that young peopleenjoy reading and cultivate a range ofreading abilities.

� Public libraries already play a vital rolein nurturing reading, but they areforgotten players in the creativity debateand their potential is vastly underrated.

� Libraries themselves need to recognisethat they are part of the creativeworld, and to understand more fullythe role that they can play in helpingyoung people to be creative.

� Libraries can offer creative spaces,activities and programmes, but alllibraries need to reach the standardsof the best.

� Harnessing the power of libraries towork with young people outsideschool, and forging better connectionsbetween schools and libraries are bothneeded in order to release youngpeople’s creativity.

Creative reading

16 Demos

We are boxed in by clichés when we start to thinkabout reading. People ‘curl up with a good book’or they ‘have their noses in a book’. The quiettypes are ‘bookish’ or ‘bookworms’. Readersalways seem to be on their own, self-absorbed andsilent. From the odious Mr Casaubon inMiddlemarch via Billy Bunter to the archivist inPolanski’s Chinatown, those who spend their liveswith books are depicted as antisocial, withdrawnand dull.

This study sets out to explode the myth thatreading is a personal and essentially passivepursuit. It concentrates on looking at reading as acreative activity, and addresses how reading,assisted by public libraries and their links withschools, helps young people to become creativeindividuals. It argues that libraries, schools andthe cultural sector, working individually and inpartnership, can play an increasingly importantrole – both in helping the next generation to leadricher lives and by preparing them for their role inthe creative economy.

Reading is our most popular cultural activity.

Introduction

Demos 17

Fiction and non-fiction together are read in 90per cent of the nation’s households and book saleshave risen by 30 per cent over the last four years.1

Some of those will be reference or cookery books,rather than bought for reading, but the trend isundeniable. More importantly, reading is a vitallyimportant gateway to economic, social and civiclife. As the Department for Culture Media andSport (DCMS) notes in Framework for the Future:‘People cannot be active or informed citizensunless they can read. Reading is a prerequisite foralmost all cultural and social activities’.2 Lifechances are improved when you can read.Research from the Organisation for EconomicCo-operation and Development (OECD) showsthat a love of reading is more important for achild’s educational success than their family’swealth or class3, and in that sense reading can be aticket out of deprivation.

But while basic literacy and the needs of thesocially excluded are important, we must also beaware that reading is a vital skill throughoutsociety. Most of us will change not just our jobs,

Creative reading

18 Demos

but our careers and our leisure activities duringour lives. The need for individual, regular re-invention is no longer confined to Madonna andBowie but is already affecting vast numbers ofpeople. High-level creative reading skills, coupledwith an ability to navigate information sourcesand to synthesise experience into learning, nowform part of the toolkit that young people need inorder to get the most out of their lives.

Introduction

Demos 19

1. Reading

20 Demos

What is reading then? The answer is notsimple, as the act of reading is variable notabsolute. In its most general moderndefinition, reading is of course the ability tomake sense of written or printed symbols.

Steven Roger Fischer4

Reading has a history. It has changed from being anelite preserve to become, in the West at least, analmost universal capability. Philip Pullman recentlyreferred in a speech to ‘the greatest achievement ofhuman culture, the democracy of reading’, and hiscomment points to the fact that reading is not justpersonally liberating, it is politically important.Dictators and bigots often burn books as part oftheir efforts to suppress free thought.

Somewhere in the eighteenth century the act of

reading gradually became internalised. Boswellwas amazed to find Johnson reading noiselessly tohimself. Now we live with a view of reading asessentially passive, something that people doquietly by themselves, their own private andsolitary concern. In public places, reading is anescape from one’s surroundings.

Reading also has a future and that future maybe more social. We now have mass reading, wherechildren talk about their shared experience andinterpretation of books just as avidly as theydiscuss the latest soaps. We have book clubs andreading groups, and public readings have been re-invented. Crossovers between different media,with TV and film promoting obscure texts intobestsellers, and screenplays turned into books, arean important cultural phenomenon.

What is going on when we read?So what is going on when we read? Far from beingan act of passive consumption, where the readerabsorbs the writer’s words like a sponge, readingin itself is a creative process. No two people read

Reading

Demos 21

the same text in the same way. Everyone bringstheir own set of expectations, experiences andviewpoints; what occurs is a dialogue betweenreader and writer, what emerges is a changedperson. We take what a writer gives us and we makeit our own. We do not only gain knowledge fromreading, we acquire emotional depth and subtletyof response. We can become more empathetic,and we can also heal ourselves: the therapeuticvalue of reading in hospitals is well established.

There are different levels of readingaccomplishment. In the contemporary knowledgeeconomy, multiple reading skills are needed. Basicliteracy is not enough. Readers must be able tonavigate different sources of knowledge, knowwhere to go looking for what they need, and beable to analyse, interpret and synthesise. Theyneed to be self-reflective and self-aware.Sometimes they have to scan texts to pick outnuggets of useful data, at other times they have toconcentrate hard to uncover deep and complexmeanings. The possession of these high-levelcritical reading abilities is not only useful for people

Creative reading

22 Demos

in their working lives, but just as importantly itadds texture and depth to the whole of life, fromsocial relationships to the enjoyment of culture.The question for most people today is notwhether they can read, but how well they canread: ‘A developmental view of reading permits usto picture the trajectory of our reading experienceas a movement from unreflecting engagement todeliberate choice about the kind of readers we willbe and the uses to which we will put our reading’.5

In this sense, then, reading is complex and it iscreative: what we start with is not what we endwith. When people read they make words real,they put themselves in the places and situationsthat are described in the text, they play withmeanings and act out scenes in their heads. Thisimaginative engagement is a creative endeavour.But does reading really fit with the ways that wethink and talk about creativity? Are we stretchingthe language too far in using the phrase ‘creativereading’, when most people’s notion of creativityis that it is something that takes place in anartistic or scientific context?

Reading

Demos 23

2. Creativity

24 Demos

One must be an inventor to read well.Ralph Waldo Emerson6

In various interviews for this project, I repeatedlyheard that ‘Reading is not seen as being creative’,and ‘I think reading is creative, but most peopledon’t. They think creative means theatre andpainting’.

Creativity is a concept that is difficult to define. We have been struggling with it ever since Socrates’ dialogue with Ion. The NationalAdvisory Committee on Creative and CulturalEducation (NACCCE) came up with the followingdefinition: ‘imaginative activity fashioned so as to produce outcomes that are both original andof value’.7 This is a useful start but, like all previousand subsequent attempts, no one sentence can

Demos 25

encompass all the subtleties and nuances of whatwe mean when we talk about creativity.

Later on we will look at how reading connectswith aspects of creativity such as autonomy, risk-taking, stimulus and experimentation, and howlibraries engage with some of the characteristicsof creativity, but for now one nettle needs to begrasped. Reading is often seen as ‘not creative’because it has no physical output. There is noproduct, no performance, nothing that the readercan point to and say ‘There!’ Our most deep-rooted and fundamental belief about creativity isthat it is an act with a product. It goes back to thevery beginnings of monotheistic religion whenGod created the earth. But the NACCCEdefinition carefully and helpfully uses the word‘outcome’ instead of ‘product’ and while the act ofreading may produce no physical outcome, it doesproduce an outcome of value – a changed person,with more knowledge or more emotional depthor both.

The most successful economies and societies

Creativity

in the twenty-first century will be thecreative ones. Creativity will make thedifference – to businesses seeking acompetitive edge, to societies looking fornew ways to tackle issues and improvequality of life.8

More and more, creativity is being regarded as theengine of economic growth. The application ofknowledge to make improvements in products,services and processes is seen as vital if we are tobe a successful and thriving nation. Writers suchas Tom Bentley, Richard Florida and CharlesLeadbeater have demonstrated that an ever-increasing proportion of GDP is generated in the‘creative economy’ and that it is growing fasterthan the rest of the economy. Florida has furthershown that, in the US, those people who work inthe creative economy, those he calls ‘the creativeclass’, are earning more than others and taking agreater share of the overall cake. So, although theadvantages that come with creativity are a drivingforce of prosperity, those that lack them are

Creative reading

26 Demos

Demos 27

falling further and further behind. In this way,while creativity is producing richer individuals –in every sense – and a growing economy, it mayalso be contributing to increased inequality.

Not surprisingly, for all of these reasons –economic, social and quality of life – creativity ishigh on the agenda in policy circles andgovernment. The NACCCE report identified a setof economic, technological, social and personalchallenges faced by young people and called for ‘amuch stronger emphasis on creative and culturaleducation’.9

This climate of interest in creativity is reflectedin ministerial pronouncements, such as CharlesClarke’s statement that ‘Creativity isn’t an add-on.It must form a vital and integral part of everychild’s experience at school’.10 New initiativesincluding Creative Partnerships, the NationalEndowment for Science Technology and the Arts(NESTA), the Museums and Galleries EducationProgramme (MGEP) and the New OpportunitiesFund (NOF) all reflect an interest in finding outmore about how young people can become more

Creativity

creative and how they can be equipped to leadfulfilling lives in the twenty-first century.

Public libraries also have an important role toplay in the creativity agenda, They have long beenseen as repositories of knowledge and places oflearning, but there is much new work going on interms of programmes, organisational innovationand ways of working in partnership. What exactlyare they doing, and could they do more? In whatways can they help young people to becomecreative thinkers and doers?

Creative reading

28 Demos

3. Creativity,reading andpublic libraries

Demos 29

The reason for believing that library servicesdo indeed have a future is simple. Now, andfor the foreseeable future, people will need toupgrade their skills or learn new ones manytimes in the course of their working – andeven domestic and recreational – lives.Education will no longer be a once and for alloperation at the outset of life, but acontinuous process of adaptation, self-development and vocational re-skilling.

Building Futures11

In order to understand the role of public librariesin nurturing creativity we need to work with aconceptual framework that untangles creativity

30 Demos

into a number of elements that form recognisablefeatures of the creative process. We need a way ofthinking and talking about creativity that willhelp libraries to appreciate their role andunderstand where they can make beneficialchanges.

Creativity is in some ways mysterious, and it ishighly individual – one person can use a set ofcontexts and inputs to produce something that isnew, while another is left uninterested andunmoved – but this element of mystery shouldnot blind us to what we do know. Certain thingslike stimulation, enjoyment, experimentation andpeer group acceptance help to promote creativity.Equally repetition, risk-aversion and peernegativity tend to destroy it.

We understand that some places provideenvironments that are more conducive to creativethought than others. Individual buildingssometimes have a genius loci that both reflects andpromotes an organisational culture of creativity.Certain areas of cities develop ‘creative clusters’where a subtle blend of competition and

Creative reading

cooperation between the elements maintains aclimate of invention and innovation. Publiclibraries should be part of such creative clusters.

These elements – experiences, attitudes, skills,environment and place – work together toprovide a complex mix that produces a creativeindividual – someone with the right ingredientsof confidence, originality, persistence, knowledgeand motivation.

What follows is an attempt to ‘map’ publiclibraries against creativity by looking at aspects ofthe creative process under the broad headings ofcognition, knowledge, attitudes and motivation.In other words, how do libraries help people tothink and act differently in order to produce newoutcomes?

CognitionThe starting point for the creative process is theability not to solve a problem but to define aproblem. It begins with asking questions. AsOfsted emphasises: ‘In successful teaching forcreativity, teachers…provide pupils with challenges

Creativity, reading and public libraries

Demos 31

where there is no clear-cut solution’.12 At the heartof this mental process is curiosity, a desire to findout how to do something in a different way, andlibraries are par excellence places to satisfycuriosity. But in the creative process satisfyingcuriosity on one matter simply leads to morequestions. Curiosity stimulates a flow of interest,connecting one thing with another.13

One of the most interesting things aboutreading and the use of libraries is their ability toconnect one piece of information or experiencewith another. Forging connections – makingmental leaps between one thing and another –can be deep when reading the entire works of oneauthor, or every book on a particular subject, andit can be broad – following a chain from works oncanal boats to eighteenth-century history toclassicism to Greek architecture, for example. Thepath of a reader is not a runway but more a hackthrough a forest, with individual twists and turns,entanglements and moments of surprise.

The crucial point here is that skilled readersrelentlessly question the text. They scan

Creative reading

32 Demos

bibliographies and indexes, put together whatthey know with what they are discovering, createnew formations from their explorations, and lookfor ways to add to their knowledge and learning.

This ‘ability to connect’ is not confined tobooks. Many young people use a combination ofreading, music, web searches and pictures tosatisfy their curiosity and libraries can meet thisneed with their increasing range of resourcesacross different media. A variety of media alsohelps to satisfy different young people’s individuallearning styles.

The writer on creativity and education ArthurCropley identifies as one feature of creativity thereadiness to be open to subconscious material.14

We are all aware that many ideas occur when weappear to be ‘coasting’, and one interviewee forthis project noted that ideas ‘tend to pop into themind’ when reading. A random word or sentencecan prompt original thought or the recognition ofa connection.

Cropley also sees the mental capacity toabstract from the concrete as a feature of

Creativity, reading and public libraries

Demos 33

34 Demos

creativity. Taking general principles fromparticular occurrences and events is at the heartof reading, particularly reading fiction, whereindividual characters and their stories point tomore general truths about the human condition.An ability to conceptualise and to discriminatebetween the general and the particular are bothhelped by reading.

KnowledgeIn the creative process knowledge is applied innew ways to provide original solutions. Creativitydoes not occur in a vacuum, but always resultsfrom standing on the shoulders of our predecessorsand adapting and changing existing knowledge.Public libraries are the richest repositories andstores of knowledge that we have – and they arefree. As Framework for the Future says, ‘librarieshave a central role to play in ensuring everyonehas access to the resources, information andknowledge that they need’.15

Knowledge content is accessible in librariesthrough books, periodicals, videos, CDs and online

Creative reading

through the People’s Network and Learndirect.There is no limit to the availability of the raw sumof human knowledge via libraries. But rawknowledge is in itself of little value. It needs to becontextualised, linked to other forms of knowledge,internalised and manipulated. Libraries offermultiple entry points into the world of knowledgefor young people, and the guidance of librarians inencouraging connections is vital. The ‘If you likedthat, then you may like this’ tactic adopted byinternet booksellers was invented in libraries.

Libraries need to be adventurous in theirapproach to creating a variety of entry points toknowledge. They should all, for example, stock arange of teen magazines, and try to engage withplaces where young people are, rather thanexpecting young people to find them.

An important feature of knowledge in thecontext of creativity is the way that it acts as astimulus to imagination, enquiry and curiosity.This stimulus is often helped by an element ofrandomness, which libraries can create in the waythat they display and arrange some of their

Creativity, reading and public libraries

Demos 35

material. ‘Creative browsing’ – which is observablein bookshops as well as libraries – should beencouraged. Browsing the shelves is in fact theoriginal model for web-surfing. There are manyexamples of how creative browsing can bestimulated, from Leeds public library displaying arange of books by their colour to Norwich publiclibrary having an express, bookshop-style choiceof books for a speedy checkout.

AttitudesCreative people display a set of attitudes thatenables them to apply their knowledge ininnovative ways. They tend to have a willingnessto experiment. They accept a degree of risk anduncertainty that inevitably flows from originality.They also tend to be happy with complexity, andresist the pressure to close down possibilities in anattempt to simplify. They ask questions, andchallenge the status quo and accepted ways ofdoing things.

In many cases these are also the characteristicsof high-level critical reading. Confident readers

Creative reading

36 Demos

will manifest all of these traits. It would beinteresting to research the correlation betweenapproaches to reading and creative thinking skills,but it would not be unreasonable to expect avirtuous circle between what the OECD calls ‘theactive and interactive role of the reader in findingmeaning from written texts’16 and the productionof original work.

Creative people also display a belief thatlearning is incremental. Their quest for findingbetter ways of doing things is infinite, and theyconstantly increase their knowledge and theirsophistication in using, adapting and applyingthat knowledge. The public library systemimplicitly and explicitly recognises that learning isa process that has no end. The underlying ethos ofpublic libraries, there from the very beginning, isthat reading helps us all to become better peoplewith more fulfilled lives. Libraries can, and in manyplaces do, provide platforms for development, orstaging posts, to assist young people on theirjourney. Bookstart, library cards and book packsfor the newborn, links to Sure Start, homework

Creativity, reading and public libraries

Demos 37

38 Demos

clubs, teenage reading groups, and help withbecoming proficient in IT are just some of theexamples of the ways in which libraries candevelop broad reading skills.

A further attitudinal characteristic of creativethinkers is their enjoyment of learning. OECDresearch shows that while young people’s literacyin the UK is improving (indeed British childrenare highly literate by international standards,seventh out of 31 countries in an OECD survey in2001) large numbers do not read for pleasure – 36per cent of boys and 22 per cent of girls said thatthey never read for enjoyment (the OECDaverages are 40 per cent for boys, 13 per cent forgirls).17

Public libraries provide reading for fun, notjust material to help pass exams, and reading forpleasure is important:

It is not clear to what extent reading forenjoyment leads to higher reading literacy,or the other way round, or to what extentsome other aspect of students’ background

Creative reading

contributes to both. Nevertheless, theassociation between engaging in readingand being good at it is an important one,indicating that it may be productive toencourage both’.18

A recent statement by the Secretary of State forEducation, announcing funding for the nationallibrary programmes Summer Reading Challengeand Orange Chatterbooks, welcomes attempts toincrease the enjoyment of reading and sees theseprogrammes as part of ‘our wider campaign tocultivate children’s enjoyment of reading andwriting and to promote creativity across thewhole curriculum’.19

MotivationIn addition to factors of cognition, knowledgeand attitudes, motivation plays a part in theachievement of creativity. Creative work is hardwork and requires persistence. Reading is one offew areas of contemporary life (sport and musicare others) where young people voluntarily apply

Creativity, reading and public libraries

Demos 39

themselves in depth and over time. Many havecommented on the recent phenomenon ofchildren reading blockbuster novels in one sitting,although there is nothing new in this. Readingseems always to have captivated some children,from those who read the whole of the Bigglesseries to those who now read Philip Pullman.

Motivation can be improved through peoplefeeling in control of things and from their gaininga sense of achievement. Libraries can help withboth. Involving young people in stock selectionand display provides a sense of involvement and,as the Chartered Institute of Library andInformation Professionals (CILIP) report Startwith the Child notes, young people have ‘a desireto be listened to and offered the chance tocontribute ideas…and to exercise a degree ofpower over their environment’.20

The Summer Reading Challenge is an exampleof a programme that encourages autonomy(readers select their own pace and range) and thesense of achievement born of attaining a goalthrough application. It also generates 35,000 new

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40 Demos

library members each year. Homework clubssimilarly help young people to work and toachieve.

Creative acts and creative people exist within acontext. New ideas and new things have to gainacceptance. For this to happen the outcome of thecreative process must be communicated to andvalued by others. Creative people thus have tohave the ability and above all the confidence tocommunicate their innovations to others. If ideasare to be adopted they need to be accepted bysome (even when challenged by others),particularly by peer groups.

There is growing evidence that libraries’ workwith young people can affect all these areas:cognition, knowledge, attitudes, motivation andconfidence. Evaluations of a number ofprogrammes, notably Reading the Game,Chatterbooks, YouthBOOX, Summer ReadingChallenge and Young Cultural Creators, containcase studies demonstrating changes in confidenceand motivation. So does research undertaken in2001 by the University of Surrey.21 The recently

Creativity, reading and public libraries

Demos 41

methodology and toolkit created by theMuseums, Libraries and Archives Council (MLA),Inspiring Learning for All22, should help to extendand strengthen the evidence over time. Thegeneric learning outcomes looked for in thatframework include ‘creativity, attitudes andvalues’. With this new way of assessing andcapturing the ‘soft’ outcomes of their work,libraries should be able to make a strong case fortheir role in the creativity agenda.

Creative reading

42 Demos

4. Nurturingcreativity

Demos 43

Public libraries are rich in resources and potential.There are three fundamental characteristics uniqueto public libraries that act as the foundations forbuilding a creative reading nation:

� Public libraries are ubiquitous – thereare 3,949 library sites and 655 mobilelibraries.

� Public libraries are free.� Public libraries are widely trusted; for

example, they are used by 61 per centof Asian or British Asian, and 57 percent of Black or British Black peopleaged 16–44.23

But beyond these basic features, the points ofcorrespondence between the activities of public

44 Demos

libraries and the development of creative thinkingare many.

Library spaceFirst, there is the library space, not just a physicalspace but a mental and psychological space.A frequent criticism of public libraries is that the condition of buildings leaves much to bedesired.24 Although this is not universally true –there are many examples of fine new orrefurbished buildings – and although much isbeing done to improve matters, it remains thecase that many people do not see libraries asphysically attractive places. In terms of creativity,libraries need a variety of spaces. Areas of quietare required: ‘The biggest demand in publiclibraries over the past decade has been for quiet,secure study space’25 but so are areas of visual andaural stimulus. It would be good to have places inall public libraries where ideas can be recordedwith white boards, flipcharts, pens and paper,computer discs and tape recorders.

Public libraries can offer ‘raw’ space to help the

Creative reading

creativity agenda. For example, Creative Partner-ships in Kent is working inside a theatre space inDover library. They can also link with othercreative resources, as in the case of Hampshire’sDiscovery Centres.26

CILIP’s report Start with the Child highlightsthe need for ‘spaces which support diverse activitiesand provide a haven for users of different ages’27,but the report also emphasises young people’s‘tendency to become increasingly consumeristand materialistic at a younger age’. In terms ofstimulating, creative spaces, we can expect youngpeople to be demanding. They are used tocommercial spaces with high standards of finishand regular refits.

The psychological space that public librariesprovide to young people in terms of creativity isespecially valuable. Neither home nor school,neither shop nor street, it offers millions of youngpeople a safe place for informal, self-directedactivity. The intellectual exercise available isplayful or rigorous by choice. When young peopleare in libraries they are not told what to read or

Nurturing creativity

Demos 45

what to choose. There are no demands of thecurriculum and no exams to be passed. In thissense libraries can provide a relaxed space. But thespace should not be neutral or anaemic. Rather itis a positive place where mental comfort andchallenge are both available. A place in otherwords that corresponds with the creative needs of stimulation and reflection, a place thatencourages exploration and intellectual risk.

The special niche that public libraries canoccupy in young people’s lives should not beunderestimated. The challenge is to maintainlibraries’ difference and distinct features whilemaking connections with other aspects of youngpeople’s lives and enabling them to make themost of what’s on offer. Librarians need toencourage young people’s exploration withoutimposing their own ideas, and libraries need towork in partnership with schools, youth servicesand social services while maintaining their ownsense of identity. It is, and will continue to be, adifficult balancing act.

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The personalised approachSecond, there is the importance of thepersonalised, individual approach. In a world ofmass provision and standardised services, librariesare very much tailored to the needs of theindividual and, as was noted earlier, the stimulationof creativity is an individual phenomenon. Youngpeople given identical experiences will reactdifferently. The creativity of one may be stimulatedby science, of another by music. Librarians havethe opportunity to advise and guide library usersby starting from the existing interests of thereader. A young person’s interest in anything fromfishing to hip-hop can be deepened and widenedwith sympathetic advice. The engagement maycome through magazines or CDs in the library –it doesn’t matter – but once started the connectionscan lead anywhere and result in an autonomous,engaged, creative reader.

The benefit of using the reader’s interests as astarting point applies not only to the content ofthe interest, but also to the means of access withwhich the reader is most comfortable. Public

Nurturing creativity

Demos 47

libraries have recognised the importance of IT,and the ability of libraries to offer free computingand web time to young people is now one of theirgreatest strengths.

The YouthBOOX programme offers a model ofhow reading can be encouraged using theparticular interests of individuals as a startingpoint. Their principle of ‘start with the reader’ hasenabled the programme to bring into librariesyoung people who otherwise would never havecrossed the threshold.

Creative spacesThird, libraries are the locus of a number ofprogrammes specifically allied to the creativityagenda where young people undertake creativeactivity themselves and are stimulated by contactwith creative professionals. These programmesinclude:

� Young Cultural Creators – a library-led visual literacy project that linkslibraries with schools, brings children

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into libraries, museums and galleriesto meet authors, and encourages themto produce their own creative work.

� Creative Partnerships – a closeworking partnership developedbetween Creative Partnerships inSlough and Slough public library, usinggraphic novels as a way into developingcreative work, and resulting in morechildren using their local library.

� Books Connect – a library led, cross-domain programme that uses readingas a launch pad for creative activityexpressed through the arts; itcombines reading with the creativeresources of museums and archives.

� YouthBOOX – a project wherereluctant readers are shown thatreading can be empowering, relevantto their lives, and fun; it promotescreativity through the production ofvideos, cartoons, magazine writingand theatre trips among other things.

Nurturing creativity

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(Further information about these programmescan be found on their websites listed in thebibliography.)

An experience of the creative worldFourth, many libraries work with creativeprofessionals in order to provide children with arich experience of the world of creativity.Storytellers, authors, illustrators and actors are allinvolved working with children inside publiclibraries.

Given the number and variety of the creativeactivities going on in libraries, they should beseen as one of the primary means by which thegovernment can fulfil the cultural pledge given inthe green paper The Next Ten Years: ‘We want togive a cultural pledge so that, in time, every pupilwill have the chance to work with creativeprofessionals and organisations and thereby toenrich their learning’.28

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5. Public librariesand schools

Demos 51

Every child has the right to read and writecreatively and we believe that creativityshould become a central part of formaleducation. All children should have atreasure trove of references, keepsakes,diversions and enrichments – touchstoneswhich will be a source of inspiration for life.

Booktrust29

There is a lack of co-operation across publiclibraries, libraries in schools and schoollibrary services.

CILIP30

Many of the people interviewed for this projectpondered on how public libraries, school librariesand school library services could best coordinatetheir efforts in relation to young people’s

creativity. As Sarah McNicol comments, ‘schooland public libraries…have different emphases fortheir work. This means that there are likely to bebenefits for both in collaborating and drawing oneach other’s strengths’.31

Given the need for individual responses to androutes into creativity, it seems that the variouselements should offer a variety of complementarybut coordinated responses. All school libraries, forexample, should contain imaginative fiction,poetry and non-fiction relevant to young people’slives and interests, extending beyond the needs ofthe curriculum. Teachers should be activeadvocates of public libraries to their pupils, andshould know their local librarians. Public librariesin turn need to make schools aware of what theycan offer. More impact research is needed on howgood school libraries, and partnerships betweenpublic libraries and schools, can improve creativecapacity.

One area of particular strength of publiclibraries in relation to formal education is their‘backlist’. The range of material that they can offer

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52 Demos

Demos 53

to young people will always be greater than thatavailable in school libraries or in bookshops,though it must be swiftly and easily accessible if itis to be of use. Teachers need to know howlibraries can extend and deepen the learning thattakes place in schools, and should use theexpertise of librarians who are best placed tonavigate the learning resources that they areresponsible for.

Supporting learning in schoolsThere are many ways in which public librariessupport learning in schools – through the waythat librarians help children find materials forprojects to homework clubs. Libraries can play aparticular role in making the curriculum comealive. Historical romances can illuminate a youngperson’s understanding of history and librariescan provide biographies of musicians, for example.It is these kinds of exploration that broaden anddeepen understanding and demonstrate theconnectivity of knowledge that is so vital increative thinking. Charles Clarke’s endorsement

Public libraries and schools

for pleasure in reading is further strengthened byOfsted’s recent inspections relating to widerreading and reading for pleasure, which giveschools the validation for joint working withlibraries.

Framework for the Future notes that ‘Manylibrary services are developing closer relationshipswith school age children to support the work ofschools’,32 and there is an obvious need forprofessionals in schools, public libraries andschool library services to work together tosupport the creativity of young people. In someareas this is already happening, with strong linksand working relationships established betweenthe various parties (joint school and publiclibrary book-buying trips for example), but inothers the connections are less well established. Itseems clear, however, that the relationshipsdevelop differently from place to place, and thatproviding hard and fast definitions of the roles ofthe different partners would be likely to becounterproductive. Cooperation and partnershipworking need themselves to be creative activities.

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54 Demos

There is nothing wrong with differing models ofpractice, or with blurred boundaries betweenroles, but in order to work well, professionalbarriers and professional mystique need to beabandoned.

Effective partnerships are productive, yet at thesame time it is vital that when public libraries areworking with others they do not lose their specialstatus as sites of informal, autonomous learning.As creative spaces they need to maintain aseparate identity for exploratory freedom, a spacedistinct from the formal education system.

Public libraries and schools

Demos 55

6. Conclusion

56 Demos

Reading is a creative activity in and of itself. Itencourages connections and provides stimulus. Itlinks to other types of cultural expression andother art forms. It helps young people to explorethe world and enriches them educationally andemotionally.

By providing free access to reading, publiclibraries play a unique and important role in thedevelopment of a creative nation. Public librariescan provide many of the ingredients for creativeexploration, including stimulus, knowledge, self-directed activity, zones of freedom away from thestructures of home and school, links tocommunities of interest via clubs and the web,and putting enjoyment and pleasure into readingand learning.

But there are challenges in making the most of

what public libraries can offer young people interms of developing their creativity. Many of theseissues are well known and apply at a more generallevel: opening hours, local variations in serviceand the lack of a national quality framework,badly located buildings in poor repair, joiningprocedures, problems with stock and questions ofhow to bring in non-users. These are all welldocumented33 and in parts of the country actionis being taken to make beneficial changes. Theapproaches taken in some of the national libraryprogrammes that relate to creativity in fact helpwith these issues. Giving young people a creativerole in stock selection, engaging with them bystarting from their own interests, doing outreachwork with schools and creative professionals allhelp to build a better library service as well as toencourage young people’s creativity.

There is also a set of wider systemic andsocietal issues that affect the ability of youngpeople to use libraries freely: parental fear ofallowing their children to make the journey tolibraries alone, problems with transport, out-of-

Conclusion

Demos 57

town shopping moving the focus of the familyweekend away from town centres. Fewer childrencan walk or cycle by themselves to a local branchlibrary than in the past. Paradoxically, whilelibrary buildings are getting better, the stock ofchildren’s books is much improved and specialistchildren’s librarians can be found in many places,it can be harder for children, particularly childrenwhose parents have no interest in taking them tothe library, to gain access to these improvements.Libraries cannot control these factors, but theycan adapt to meet the challenge, for examplethrough outreach work and changing openinghours.

In relation to creativity, the particular issuesare:

� When bringing buildings up to thebest standards, attention needs to bepaid to creating a variety of spaces toreflect different user needs and desires.

� New-build and refurbished librariesshould make connections with other

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58 Demos

creative resources both in the publicsector – such as being located neararchives, museums, arts centres ortheatres – and in the private sector,where libraries can be part of ‘creativeclusters’.

� The furnishing and layout of librariesshould take account of the creativeprocess, providing stimulus, surprise,random connections and differentmeans of recording ideas.

� Stock selection and display should bea conversational process taking intoaccount the wishes of young people,the needs of teachers and theprofessionalism of librarians. Theresult should be stock that stretchesthe imagination and opens up newpossibilities. Librarians should takerisks in selecting periodicals and bookstock and be adventurous with displayand arrangement.

� Schools, homes and public libraries

Conclusion

Demos 59

need to be linked in a virtuous circlewithout losing libraries’ difference anddistinction.

� Young people should be involved notonly in stock selection and librarydesign, but can play a role on the frontline and behind the scenes in publiclibraries. Public libraries should offerwork experience, volunteer schemes,and adopt recruitment procedures tostimulate this.

� Library staff need to understand theirrole in the creativity agenda, haveconfidence that they are part of thecreative world and determinestrategies to engage with creativity.

� All young people, not just some,should be given the opportunity toengage with creativity throughprogrammes and activities offered in alibrary context.

� Policy-makers and libraries need towork together to determine libraries’

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60 Demos

role in the emerging debate aboutcultural entitlement.

� Teachers and others in the formaleducation sector need to understandthe benefits of working with publiclibraries on the creativity agenda andto make young people that they teachaware of what public libraries offer.School library services can play apowerful bridging and brokering rolein building school–public librarypartnerships.

� Continuous investment in ICT will beneeded in order to keep libraries’ offerto young people current and fresh.

Conclusion

Demos 61

Relevant websites

62 Demos

www.artsandlibraries.org.ukwww.booktrust.org.uk,www.branching-out.org.ukwww.creative-partnerships.comwww.inspiringlearningforall.gov.ukwww.mla.gov.ukwww.pisa.oecd.orgwww.readingagency.org.uk (also forBooksconnect and YouthBOOX)www.readingmaze.org.ukwww.whatareyouuptotonight.comwww.youngculturalcreators.com

Notes

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1. BML, Reading the Situation: Book reading, buying andborrowing habits in Britain (Book Marketing Ltd andThe Reading Agency, 2000).

2. DCMS, Framework for the Future: Libraries, learningand information in the next decade (Department forCulture, Media and Sport, 2003).

3. OECD, ‘What PISA tells us’ (OECD, 2001). Available atwww.pisa.oecd.org/knowledge/summary/e.htm.

4. S R Fischer, A History of Reading (Reaktion, 2003).5. S Appleyard, Becoming a Reader: the experience of

fiction from childhood to adulthood (CambridgeUniversity Press, 1991).

6. R W Emerson, The American Scholar (1837), quoted in A Manguel, A History of Reading (Flamingo, 1996).

7. NACCCE, All Our Futures: Creativity, culture andeducation (National Advisory Committee on Creativeand Cultural Education, 2000).

8. DCMS, The Next Ten Years: Culture andcreativity(Department for Culture, Media and Sport,2001).

9. NACCE, All Our Futures.10. Speech by Charles Clarke, 3 June 2003.

11. Building Futures, 21st Century Libraries: Changingforms, changing futures (Building Futures, 2004).

12. Ofsted, Expecting the Unexpected: Developing creativityin primary and secondary schools (Office for Standardsin Education, 2003).

13. M Csikszentmihalyi, Flow (Random House, 2002).14. A J Cropley, Creativity in Education and Learning:A

guide for teachers and educators (Kegan Page Ltd, 2001).15. DCMS, Framework for the Future.16. OECD Programme for International Student

Assessment (PISA), ‘Reading literacy’ in The PISA 2003Assessment Framework: Mathematics, Reading, Scienceand Problem-Solving Knowledge and Skills (OECD,2004).

17. OECD, ‘What PISA tells us’.18. Ibid.19. Statement by Charles Clarke at Museums, Libraries and

Archives Council conference, 2 March 2004.20. CILIP, Start with the Child (Chartered Institute of

Library and Information Professionals, 2002).21. MLA press release ‘Libraries lead the way in inspiring

children to read’, 9 July 2003.22. Available from www.inspiringlearningforall.gov.uk/

utilities/download_library/index.aspx.23. ACE, Focus on Cultural Diversity: the arts in England –

attendance, participation and attitudes (Arts CouncilEngland, 2003).

24. CABE, Better Public Libraries (Commission forArchitecture and the Built Environment, Museums,Libraries and Archives Council, 2003).

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64 Demos

25. Building Futures, 21st Century Libraries.26. Hampshire County Council leaflet ‘Introducing the

Discovery Centre Concept’ (Hampshire CountyCouncil, 2002).

27. CILIP, Start with the Child.28. DCMS, The Next Ten Years.29. Booktrust, ‘Writing together: literature entitlement’

(2004). Available to download fromwww.booktrust.org.uk.

30. CILIP, Start with the Child.31. S McNicol, Reader Development and Reading Promotion

in School Libraries and Public Libraries (Isle of WightCouncil, 2003).

32. DCMS, Framework for the Future.33. Ibid. See also C Leadbeater, Overdue: How to create a

modern public library service (Demos, 2003), and T Coates, Who’s in Charge? Responsibility for the publiclibrary service (LIBRI, 2004).

Notes

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