"This is a library, after all."- Kaisa, the librarian of Trolberg. On this blog, I review animation, movies, and other cultural mediums, attempting to counter stererotypes of libraries and librarians, while reminding people what libraries (and librarians) are all about.
In this third part, I am profiling Indian voice actors who voiced librarians, specifically in the series Mira, Royal Detective.
About the voice actors
Leela Ladnier voiced Mira in Mira, Royal Detective and was a librarian in the episode “The Case of the Missing Library Book.” In an interview in 2020, she talked about how she had been working on the show for two years (since 2018), how much goes into being a professional actor, have Mira come across as a good talent, sassy, intelligent, kind, compassionate, resourceful, everyone should be included. She also stated she had to change pitch of her voice, as she started when she was 14 years old, and isn’t a trained singer. She also noted that she does voice overs every other week and she still went to public high school. If she was 14 in 2018, that would mean that she is 18 years old now.
Aasif Mandvi voiced Mira’s father, Sahil in the same Mira, Royal Detective episode. He is much more well-known than her. He is known as British-American comedian and actor, a correspondent on The Daily Show. He has voiced a one-time characters for King of the Hill and Archer, King Raja in Elena of Avalor, to name a few.
They are the only two voice actors of Indian descent who I know, at this time, who voice librarians, even if only in one episode.
About the characters
(This is a video from the primary episode that features libraries in the series, although libraries also appear in other episodes)
In the episode, “The Case of the Missing Library Book,” Mira and her father Sahil work together on a bookmobile, with both serving as librarians of sorts. Mira serves as more of a librarian than Mira, however. I wrote about this episode for I Love Libraries, noting that the entire episode emphasizes the value of libraries, even proper etiquette for borrowing library books. Mira pedals a bike-powered bookmobile across Jalpur, trying to make sure that Jalpur has a movable library. Later in the episode, Sahil checks out books to patrons and says that the last step is returning the book after you are finished with it.
Mira does the same thing, helping to make Dimple understand the borrowing policies of a library, saying that she cannot just take books. Rather, she can have books, but only for a short period of time. This library is nothing like today’s libraries, however, as she stamps a book and has people full out a slip or the book, putting it in a box, which contains the names of everyone who have checked out books.
Today is National Coming Out Day, a day to celebrate the act of “coming out,” i.e. when an LGBTQ person publicly shares their gender identity and/or sexual orientation. In honor of that, I’d like to highlight some LGBTQ librarians I’ve written about on this blog, this year and years previously, and others on the List of fictional librarians that I put together in late 2021.
Lilith in Yamibou
She is the caretaker of the Great Library (after Adam), and travels through much of the series with a girl she has a crush on, Hazuki, going through book worlds, looking for Eve. The latter is later shown as another caretaker of the library, who loves Hazuki. Part of her duty is to make sure worlds within the books are secure, an interesting job as a librarian. Due to the fact she is one of the protagonists of this series, who has considerable knowledge and wisdom, it means that libraries are still a key part of the series.
Anne and Grea in Manaria Friends
Anne is one of the protagonists who is a soft-spoken girl, Princess, and honor student at Mysteria Academy, a prestigious magic school. Anne even ventured through the “forbidden” archives of the library in order to find something which would cure Grea of a fever. She and Grea appear to enter a relationship later on. Both work in the library as assistants, although not as full-fledged librarians.
Sophie Twilight in Ms. Vampire who lives in myneighborhood
One of the protagonists of this anime, she drinks blood, but only when refrigerated, and she is shown weeding through her books in one episode. She has a refined appearance and liked going to comic book conventions. She brings in a high school girl, Akari, to live in her house, and appears to have feelings for her. Another vampire girl, Ellie, clearly is romantically attracted to her as well.
Fumi Manjōme in Aoi Hana / Sweet Blue Flowers
In one episode, she weeds books and remembers her kiss with Sugimoto. Later in the episode, she later talks with other students about the role and influence the Literary Club has on the library. In another episode, Fumi and Sugimoto go to the library and kiss there. Ultimately, Fumi at least knows some library skills, in terms of weeding, which is an important part of library work.
Chiyo Tsukudate in Strawberry Panic!
She works at the school library at Astrea Hill, known as Maiden’s Garden, and is a member of the literary club. She looks up to her fellow students and undoubtedly has a crush on Nagisa, one of the show’s protagonists. She checks out books and does other library duties well and efficiently. The library is a key location in the series.
Azusa Aoi in Whispered Words
In the episode “Did You See the Rain?,” she serves as the librarian in this episode, while the Girls Club members go on a treasure hunt to find a message, coming in and out of the library throughout the episode. Later, Azuza joins them in their quest. Azusa is a studious person who reads during breaks and takes an interest in learning, perfect for a librarian. She is a fan of yuri and loves Masaka Orino, unaware it is Ushio‘s older brother.
Fumio Murakumi in Girl Friend Beta
Although she was originally introverted and lonely, she got more friends after meeting Erena. She works at the school library. Erena appears to be the closest one to her and both may be in a relationship with one another, although its implied.
George and Lance in She-Ra and the Princesses of Power
They call themselves historians, but run a family library/archives/museum. in a magical forest known as the Whispering Woods They are Bow’s dads. They are two middle-aged men and help the show’s protagonists translate an ancient message in the Season 2 finale. In a later episode, Bow and Glimmer meet George and Lance who tell them about an ancient rebellion and fail-safe on a superweapon. This information becomes vitally important going forward.
Desiree in Too Loud
She is a trans woman. In an episode which was supposed to end the show, according to series creator Nico Colaleo, she begins to explore her trans identity, as she had been a closeted in her usual workday. This episode, “Slumber Party Sneak-In” was praised by reviewers. Desiree works every day with her sister Sara and co-worker Sarah at the local public library, but has a voice which is so loud, hence the name of the series, smashing library stereotypes along the way.
Amity Blight in The Owl House
She is a librarian who works at the Bonesborough Public Library, is a witch, and a student at Hexside Academy. Over the course of the story, her relationship with a human witch named Luz Noceda develops and later they begin a romantic relationship.
Sabine in Sabine: an asexual coming-of-age story
The protagonist of this webcomic, Sabine works in the local school library as a part-time job, beginning early in the comic. She a fully committed asexual girl who tries to make friends and not have any romantic relationships, just like the comic’s author. The later also implies that she is, as a result, aromantic as well as asexual. Not all aromantic people are asexual, and vice versa. She is still learning more about herself all of the time, while she majors in history. As the comic’s author stated, Sabine is unaware of her asexuality, and isn’t sure she is aromantic, just that she isn’t ready for sex.
Mo Testa in Dykes to Watch Out For
As the protagonist of this comic, and later comic book, she is a graduate of library school who worked at a feminist bookstore named Madwimmin Books, and appreciated “literary connectivity.” She is a committed lesbian feminist who later gets a job as a reference librarian. She has a lover in college named Clarice, but her eventual partner is a woman named Sydney. The comic’s creator, Alison Bechdel, recognized she was a lesbian after checking out books from the library, stating that an apparent “a key characteristic of queer people [is]…shamed persons who are drawn to lonely stacks and secret research,” and she worked at the circulation desk as a librarian while she was a college student, influencing the comic itself. She also stated that Mo had been drawn into “the pitfall of vocational awe, believing that her public library job is a religious calling.”
It is undetermined if Azusa Aoi in Whispered Words is LGBTQ. You could also argue that Kaisa in Hilda, a feisty character with unmatched knowledge of mystical items and cemetery records, who is a mysterious witch, is asexual based on her color scheme. There will likely be other LGBTQ librarians in the future, since many anime series have characters who go into libraries. 
Recently, I began watching Kim Possible for the first time, apart from one episode: “Overdue.” I watched it before I began the series. When I first conceived this post, I thought that I would somehow change my opinion of Miss Hatchet. Long-time readers may recall I previously described her as a person who “rules the school library like a tyrant…[with] her own form of library organization.” After watching the episode, I feel no differently about her as I did before. However, I would argue that her character and the plotline says a lot more about libraries than I had previously guessed, meaning that Hatchet is more than a smorgasbord of librarian stereotypes, especially when it comes to library classifications of materials within libraries themselves.
There is no doubt that this librarian is “wound pretty tight” as Ron, a friend of Kim Possible, and series protagonist with her, remarks later in the episode. She has strict rules, like having a zero tardiness policy when it comes to overdue books. She has an enormous amount of power in the school as she is able to suspend Kim from cheerleading because she has an overdue book! Yikes. All the students seem to fear her and she acts like a villain throughout the episode, first by making Kim shelve stacks upon stacks of books based on her own, and more complicated, library classification system, known as the Hatchet Decimal System (HDS). Second, she takes away Kim’s communicator (equivalent to her cell phone) and makes her put adhesive labels on every book saying “property of MHS library.” In the end, Ron appears to come to the rescue, returning the book, but it turns out that this is the incorrect one, as it releases evil spirits which terrify her and cause destruction to the library. Her fate after that is unknown. Presumably, Kim and Ron save her life, although that isn’t shown on screen.
Even though she is one of the only Middleton High School staff employees shown in the show, Hatchet nothing much more than a basket of stereotypes harmful to librarians while acting like a supervillain of sorts, giving Kim busy work while in “library lockup,” as she calls it. Nothing about her is redeemable. However, I would venture that the episode is pointing to something more: the complexity of library classification. This has been an argument that has been rightly pointed out about the Dewey Decimal Classification system (DDC) have made in the past. This is despite the fact that this library classification system organizes to materials by subject. It can be hard for those who don’t know the intricacies of DDC, like ordinary library patrons, to understand how books are organized. 
In 2007, the Library of Congress warned of limiting the use of the number components field so that doesn’t become “confusing and complicated.” Some years earlier, scholars Luc Beaudoin, Marc-Antoine Parent, and Louis C. Vroomen described DDC as a huge and complex information hierarchy.  Additional classification systems have also been noted as complex. For instance, some said that the Library of Congress Classification System (LCC)  is more efficient and specific for new technical material and big collections but “more complex.” Others described the effort by Belgians Paul Otlet and Henri La Fontaine, who used the DDC as a basis, to create the “complex multidimensional indexing system” known as the Universal Bibliographic Repertory (UBR). 
To come back to the episode, I would say that the focus on a classification system that Hatchet made by herself is meant to point to the complexity of library classification systems in general and how they can be confusing for ordinary people, in this case Kim. Her system is clearly more complex than the DDC and perhaps that is part of the point of this episode, which was written by Jim Peterson, directed by Steve Loter (who directs many of the episodes in the series), and storyboarded by Eugene Salandra, Jennifer Graves & Robert Pratt. It is incredible that Hatchet has enough authority that she can create her own system for organizing books in the library, which has become “her natural habitat” as it states on her short Kim Possible fandom page. Many librarians would not have that ability as their actions would be hemmed in by school administrators, school boards, national and state library associations, which have their own codes of ethics.
As Anne Gooding-Call has pointed out, “librarians of color don’t necessarily have the same support that white librarians enjoy,” with the MLIS and middling wages as a barrier to many. This is undoubtedly the case for Hatchet, who the school probably would have treated differently had she been Black, Latine, or Asian, for instance, as most of the librarian field is composed of White female librarians. She would not have the social support of other White people, even if the students feared her. In one way, the library that Hatchet occupies appears to be a white space, meaning somewhere that Black people may be reluctant to ask questions or use resources. On another, since students generally fear her, no one, of any race, may be asking her questions or for any help. Instead, they are presumably trying to spend the least amount of time in the library as possible, as they are afraid of her. I would even argue that if she wasn’t White, she couldn’t be as mean and menacing to the students, at least I would hope that would be the case.
Beyond this, there is no doubt in my mind that Hatchet obviously blatantly violates tenets 1, 6, 7, 8, and 9, at minimum, of the ALA’s Code of Ethics. This is not unique to her, as others are even worse offenders.  For instance, Francis Clara Censorsdoll in Moral Orel dipped “objectionable” books in kerosene and set them on fire. Cletus Bookworm in Rocky & Bullwinkle had no problem with an armed man taking two patrons of the library hostage. In fact, he encouraged their capture and applauded it. That’s just two of the most egregious examples I can think of, although there are many others. Gooding-Call says that librarians are mostly “sincere people who mean well…eager to grow and improve” who can become “vehicles of empowerment.” Hatchet does not seem to be this at all. Instead, she seems overly strict and harsh, not wanting to improve. She is the female equivalent of Steven Barkin, a former U.S. Army Ranger, who has a gruff, no-nonsense, attitude, and is abrasive with students in the series. Unlike Barkin, it is unlikely she has PTSD from wartime experiences.
There is the additional issue that the DDC system and other cataloging approaches were “designed in a racist and white-centered system,”  building upon my post in May about fictional acceptance of the DDC. Hatchet probably didn’t care much about this. Instead, what matters to her was lording this power over other people in a menacing way, or at least it appears that way. She says as much, as she declares to Kim that “There will come a day when you forget to return a book and I’ll be waiting for you.” It gives you the chills. Was she so self-centered that she created her own classification system? Did she care that DDC is, as Emily Ruth Brown points out, built around adult disciplines, is proprietary, and is negatively affected by changes in technology? We can’t know for sure, as she is a one-time character who never re-appears in the series. This isn’t surprising, given that Western animation has a habit of easily playing into librarian stereotypes, although this may be changing, with libraries shown much more positively in anime.
As I expected, not one person has written a fan fiction about Ms. Hatchet in Kim Possible on Archive of Our Own, even though it could make an interesting story to see things from her perspective. Clearly her actions toward Kim, and presumed other students, are irredeemable. Even so, she may be under a lot of stress as the only librarian of the entire Middleton High School library, at least the only one we see as the audience. If she had been trying to get Kim to do extra work, like shelving books, then this was definitely not the way to go about it. There are the other library scenes in the series, but she never re-appears. She is never given a chance to redeem herself or for the audience to see who she is as a person. She is just a bunch of stereotypes all shoved into one person. I admit that I may be reading too much into this 11-minute episode. At the same time, this episode may be more than what it appears to be on the surface and interconnects with issues surrounding library classification systems and even broader issues within the library field itself.
When I first composed and finished this post in later February 2022, my last paragraph was the end of the article. However, I see Hatchet’s classification in a new light after reading a chapter by Rafia Marza and Maura Seale about White masculinity and “the technocratic library of the future” in Topographies of Whiteness. Although she is no technocrat, and neither are any of those on List of fictional librarians I have put together for this blog as most are either “old-school”, “traditional”, or “magical” for the most part, her complex HDS is akin to technocratic ideas. Marza and Seale note that as information technology has become a bigger part of librarianship in the 1990s and 2000s, the White female librarian has been replaced by ideas from Silicon Valley, with “technological solutions” which will supposedly free us. They further said that such a focus on technology as a “solution to complex social problems” is central to technocratic ideas, which is characterized by its “impartial, apolitical rationality,” with those who are technocrats interests in politics rather than efficiency, thinking that technological fixes can be universal. However, this ideology is bound up in White supremacy because White men have historically claimed rationality and White masculinity has been able to function as the “universal form,” while it can only claim to be neutral and objective due to Whiteness. At the same time it upholds patriarchy as well.  This interlinks with the historic investment of libraries in Whiteness and faulty notions such as rationality, objectivity, neutrality, and neoliberal tendencies. The latter is promoted by two ALA initiatives: Libraries Transform and the Center of the Future of Libraries (launched in 2015).
Such initiatives, Marza and Seale argue, engage internet-centrism, an idea described by Morozov as the idea that everything is changed and there needs to be fixes, while technology is permanent, fixed, has an inherent nature, and possess agency as it exists “outside of history.” They are interconnected to technological solutionism, the idea that all complex social problems can be neatly defined and have definite solutions or processes that “can be easily optimized,” even though this can undermine support for more demanding or stimulating reform projects.  This comes with the assumption that it is neutral and objective, even though it is anything but that. This is reinforced by a focus on digital and quantitative skills, with an individual and “entrepreneurial” worker as the default, who are often male and White, especially when it comes to those in Silicon Valley, who are used as a basis for these “necessary” skill sets. At the same time, care and emotion work, service work, manual labor, and so on are seen as “feminized labor” At the same time, libraries are seen as akin those businesses in the so-called sharing economy, with racial prejudice as ingrained in such an economy, and labor of people of color and White women not visible due to the emphasis on technology and de-emphasis on the labor behind the technology itself, with its deadly environmental and labor consequences. 
While labor of those causing the technological solutions to be workable is erased, so is any quiet or reflective work, like that portrayed in Kokoro Library, while fewer workers are told to take on more work, leading to burnout. Additionally, libraries are viewed as platforms, like the sites created by Silicon Valley, which ends up prioritizing monetization and obscures any libraries seen as “non-technological,” pay is low, and librarianship itself is devalued while technocratic ideology is risen, and the value of library degrees has declined while information technology is seen as even more paramount. This is only strengthened with a focus on “short-term results,” market demands, just-in-time services, efficiency, and “return on investment,” even as emotional labor of women and physical labor of people of color is needed to make sure libraries, and society as a whole, function. In the end, such technocratic ideas are embedded in systems of privilege, while technology itself is subject to the same inequities as the rest of the world, with a necessary situated and historic understanding of technology and librarianship, and ways that both of those concepts “intersect with dominant conceptions of white masculinity.” 
Hatchet clearly does not embody any of this technocratic ideology, nor has any librarian I’ve ever seen in any popular culture I’ve come across to date. However, her ideas would fit right in with today’s technocratic push in librarianship, with their own inherent complexity. In fact, if the episode was to be done again today, it would not be a stretch to see Hatchet using robots to shelve the books in their own complex way, or even sitting at her desk while she ordered a robot to snatch Kim and bring her to the library in punishment for an overdue book. That may be a bit extreme, but the point is that her ideas fit within those who espouse technocratic ideas about libraries at the present. Ultimately, I enjoyed reexamining this episode and I look forward to your comments, criticisms, and anything else you’d like to leave in response to this post. Until next time!
 Not the same as the Library of Congress Subject Headings (LCSH) which has “been actively maintained since 1898 to catalog materials held at the Library of Congress” and said to be the “most widely adopted subject indexing language in the world.” LCSH describes contents systemically, while LCC is a library classification system. Its also different from the Library of Congress Control Number (LCCN), a serially based system of numbering cataloged record.
 Discounting the shushers, the most extreme include the librarian in multiple episodes of Kick Buttowski: Suburban Daredevil, Rita Loud in a Timon & Pumbaa episode (“Library Brouhaha“), Mr. Snellson in a Mysticons episode (“Happily Never After”), Librarian in a Big City Greens episode (“Quiet Please”), Librarian in a Courage the Cowardly Dog episode (“Wrath of the Librarian”), and Bat Librarian in Rise of the Teenage Mutant Ninja Turtles episode (“Mystic Library”).
 Rafia Mirza and Maura Seale, “Who Killed the World?: White Masculinity and the Technocratic Library of the Future” within Topographies of Whiteness: Mapping Whiteness in Library and Information Science (ed. Gina Schlesselman-Tarango, Library Juice Press: Sacramento, CA: 2017), pp. 175-177. They also say on page 175 that in the early 20th century, librarians participated in “civilizing” and assimilating the “tired, huddled masses into American democracy” as long as those people could become White.
 Mirza and Seale, “Who Killed the World?”, pp. 177-181. Libraries Transform describes itself as “spreading the word about the impact libraries and librarians make every day…[and] advocat[ing] for the value of librarianship” but the about page almost reads like a corporate webpage, and not surprising as Overdrive is the lead sponsor, with other big sponsors including Capital One, Dollar General, Biblioboard, and SAGE Publishing. The same can be said about the webpage of the Center of the Future of Libraries.
Recently, when watching some currently airing anime series, I stumbled upon the slice-of-life 2021 anime, Let’s Make a Mug Too, otherwise known as Yaku nara Magu Kappu mo, which is based on a manga series of the same name, about high school girls making pottery together. With that, I was taken off guard when in one episode, “The Garden of Sky and Wind,” the protagonist, Himeno Toyokawa, visits a local ceramics museum with her teacher and the curator brings them inside to a library! Not expecting to see a library in series, so it made me very happy and more excited to keep watching it. In this post, I’ll examine the scene inside the library and whether the curator is a librarian, or not, and how this connects to libraries more broadly.
Early in the episode, the adviser of the Pottery Club, Mami, tells Himeno about the museum in Tajimi for local works behind the school is adding a section for youth pottery, hoping to inspire Himeno. They gather materials together, go up to a climbing kiln, and Himeno finds an interesting, majestic sculpture in the woods. Later on, Himeno and Mami meet Isomura, a woman who is from city hall, discusses plans to use the local museum space, until the year before when there was agreement to make it a youth pottery museum. Isomura explains that the monument was created by Tokigawa Himena, who happens to be Himeno’s late mother, a well-known pottery maker! This makes Isomura very excited (she geeks out), especially since Himeno is making pottery of her own, and notes how Himena’s sculpture was instrumental in the decision to keep and repurpose the building.
We then see the library in all its glory, with a screenshot of it shown as the beginning of this post, with Isomura laying out materials for them, noting the materials the museum collected. Himeno is excited to find, with encouragement from Isomura, her mom’s drawings and photographs of the ceramics she made, allowing her and her teacher to bond. Later, Isomura shows Himeno an article where her mom explained the sculpture project, reading her part of the article, making her connect with her mother that much more!
It seems evident to me that Isomura, is undoubtedly a curator, which the Dictionary of Archives Terminology defines as an “individual responsible for oversight of a collection or an exhibition” or the “administrative head of a museum or collection,” adding it often carries the connotation of an “individual who selects items based on artistic merit or connoisseurship.” More than that, she is a librarian, although not in the way of those in public libraries, as the museum has a special library which is geared toward those interested in ceramics. It is, as a public institution, open to the public, but only those in the town and makers of ceramics would come there. She seems to know where the materials are on the shelves very easily and with ease, making me think that she has been there before and likely helped organize the materials in the first place, continuing to shelve books and other records throughout the day. She is so nice, and cheerful, in contrast to many others in animation who are librarians:
Sadly, her character is uncredited from the listings on the official website and on Anime News Network. Isomura appears to be the only curator of this museum. As the Bureau of Labor Statistics notes, “in small institutions, one curator may be responsible for many tasks, from taking care of collections to directing the affairs of the museum.” That seems to be her role, rather than a museum technician or conservator, as the fact she is coming from city hall seems to indicate she has some position of authority in the museum, rather than someone lower on the hierarchy of this local museum. But, maybe I’m reading into that too much? Anyone who has watched this episode and has a different interpretation of her role, I welcome them to chime in.
The two roles of “librarian” and “curator” can overlap, so much so at times that there are even blogs, albeit dated ones like this one which ended in 2008, and a page on the Liturgy Institute London website about “library curators.” Of course, librarians and curators don’t have the same roles, for sure, but it appears that Isomura shares characteristics of both roles, all into one position. In fact, some curators directly oversee special collections libraries, and others work for libraries, like those who work for the Library of Congress.
I think it can definitely be said that Isomura is a librarian and as such, she is unique, because most of the Japanese female librarians noted on my list of fictional librarians are much younger, whether high school age or younger.  My guess is that Isomura is in her 20s or 30s. So that makes her a unique character in and of itself. And her experience in the museum inspires Himeno to make a sculpture the next day which is similar to what her mother made.
This has to be my favorite episode in the series and while I’m not sure if the library, or Isomura will continue, I have to say this one of the most positive depictions of libraries and museums that I’ve seen in a long time, with the Isomura being helpful, friendly, and courteous to her patrons, unlike many other librarians in animation. And that is laudable to say the least. I’d like hear your comments on this, including those which watched this series. Did you interpret her character the same way? What were your thoughts?
 This includes Myne in Ascendance of a Bookworm, Hisami Hishishii in R.O.D. the TV, Yamada in B Gata H Kei, Azusa Aoi in Whispered Words, Chiyo Tsukudate in Strawberry Panic!, Fumi Manjōme in Aoi Hana / Sweet Blue Flowers, Anne in Manaria Friends, Grea in Manaria Friends, Lilith in Yamibou, Iku Kasahara in Library War, Asako Shibasaki in Library War, Fumio Murakumi in Girl Friend Beta, Hasegawa Sumika in Bernard-jou Iwaku a.k.a. Miss Bernard said, Himeko Agari in Komi Can’t Communicate, Aruto, Iina, and Kokoro in Kokoro Toshokan a.k.a. Kokoro Library. While the age of Lilith in Yamibou is not known, the unnamed librarians in Cardcaptor Sakura episode (“Sakura and Her Summer Holiday Homework”), librarian in Little Witch Academia episode (“Night Fall”), are likely the same age while Sophie Twilight in Ms. Vampire who lives in myneighborhood is older. The same can be said, I think, about Hamyuts Meseta, Mirepoc Finedel, Noloty Malche, and Ireia Kitty in Tatakau Shisho: The Book of Bantorra.
In September of last year, I came across Kokoro Library, an anime series from the early 2000s. I watched it, it was apparent that librarians were likely consulted when this was produced because of the number of issues about libraries this animation raises. This was further buttressed by the fact that in March 2002, the Japan Library Association announced that copies of the Kokoro Library anime would appear in 500 libraries across Japan. Although all thirteen episodes are available in Japan on Amazon Prime Video, the series has not seen an official English translation. Luckily, there are fan translations, one of which I watched on the Internet Archive. Provided that there are many library-related themes in this anime, it would be wrong to cram them all into one post. Given criticisms of this anime  for possibly implying that all librarians have to do is “look cute and sit behind a desk” and that the series is “inconsequential”, I may reassess it in the future.
This slice-of-life anime, which is named Kokoro Library or Kokoro Toshokan, follows the daily lives of three sisters (Kokoro, Aruto, and Iina) who live in a remote, rural library, seemingly somewhere in Western Europe. Although the show is peaceful, cute, and relaxing, some people might be turned off by the art style, the slow pacing, or the fact that the librarians are wearing “frilly French maid outfits,” trying to fulfill their jobs, although they mostly do maintenance and groundskeeping. The library gets very few patrons, reportedly with very little “real” librarian work to do.
Kokoro remains optimistic and kind, serving as the “soul of the show,” and learns to become more confident. There are later stories about exotic stories about androids, but it said to not be about “anything important or deeply philosophical,” relying more on feeling than anything else, with the characters symbolic in their own way. Other reviewers praised voice acting in the series by Chiwa Saitō, who voices Kokoro, and said it is a type of anime that you watch when you get home after a hard day at work, comparing it to Read or Die. Viewers praised the opening and ending songs of the anime, and the anime itself was one of the most popular anime in February of 2002. 
The first episode, “I’ll Become a Librarian” begins with introducing the show’s three protagonists, and the library cat, Kit. Kokoro lives at the library with her sisters, a little like George and Lance in a few episodes of She-Ra and the Princesses of Power. Kokoro begins her first day at the library, isolated on a mountain and away from the city, working alongside her sisters Aruto and Iina. She learns that the library gets few users. All three sisters engage in library tasks like opening up the library’s windows, shelving books, checking the mail, data entry, cart pushing, and book arranging.
Apart from library itself which has old computers, some sort of classification system, tables, seats, and computers for people to use, there are many library-related issues covered in the anime. For one, Kokoro and Aruto differ on describing library patrons, with Kokoro describing them as “customers” and Aruto saying they are “users.”
She is helpful to patrons, helping patrons by finding them books they are looking for, or check out items, or giving someone a library card, all instances of “librarian work.” This is later described as a “reference” experience. She even later tracks down one user who came to the library, in hopes of retrieving a book, going on an adventure of sorts. Her sisters claim that the “job of a librarian…is to believe in people.”
When they talk about “reference,” they are likely not referring to a reference librarian. Instead to the idea of a reference interview, the process which “determines the information needs” of a patron, and tries to translate the questions of a patron into one that “can be answered with the library’s resources.” In this case, Kokoro clearly did a great job of helping a patron and felt fulfilled while she did it. It was a bit extreme, though, for her to go on a whole journey to find one book which wasn’t returned to the library, as libraries lose books all the time. I’m also not convinced that the job of a librarian is to believe in people, as sometimes you really can’t do that. I’d say the job is to help patrons in the best way you can, but not believe in people, as people can be wrong, hostile, or dangerous, depending on where you are a librarian.
In the show’s second episode, “What I Can Do At This Moment,” Kokoro begins asking herself what she is good at, knowing that her sister Aru likes to bake and sleep everywhere, Iina who likes taking photos and is good with computers. She later realizes she is good at singing. The episode features book shelving, a truck coming to deliver boxes of books, book cataloging, and carrying stacks of books. The library also appears to have a scanner, a laptop, and a printer, technology which was advanced at the time.
One of the more interesting parts of the episode when they worry about declining number of library patrons. During their discussion, Aru proposes they get rid of the “old, unpopular books” and replace them with new popular books and it will draw in users, gathering best sellers and popular comics, picture books, CDs, and videos. However, Kokoro isn’t sure about this and Iina agrees. She declares that library is a place to “deepen knowledge and education.” In response, Aru justifies her position by using the stats of declining patronage to the library, even saying that modern libraries should focus on entertainment, something which Iina calls “vulgar.” Aru later remarks that young novels and picture books can “cultivate knowledge and education” too. Poor Kokoro though, as she isn’t sure what side to take. She tells them both that if people knew about the library, then they would come, and she proposes advertising the library!
This makes me think of the difference between the collections of two libraries I know very well: the Baltimore County Library (BCPL) and the Pratt Library. From my experience as a patron who uses both systems, and as a person who worked at a Pratt Library branch, I can say with confidence that the BCPL tends to have more popular booksand weed old and unpopular books. On the other hand, the Pratt has vast collections, able to easily accommodate old and new materials which much more ease. This is not much of a surprise as the Pratt has 22 branches, with the Pratt itself saying that Maryland residents continue to “depend on the Pratt’s collections to supply materials that are not available elsewhere in the state or electronically.”  Compare this to BCPL, which has 19 branches and many other services, with goals asserted in their Strategic Plan focused on quality of life, education and lifelong learning, equitable access, and organizational wellness, which doesn’t provide much room for older materials, but much more for newer materials. Even so, we must acknowledge that the Pratt has a bigger budget, more support, and more storage space than BCPL, which undoubtedly affects which materials are chosen and kept within the library’s collections for users, or which are discarded.
Later in the episode, Kokoro tries to determine what she can do to bring in more patrons, while her sister Iina wants a music appreciation gathering, with a well-known artist, and inviting a well-known programmer. Aru rejects this, with an idea for super care of users like serving tea, reading books to them, and massaging their shoulders, but Iina worries about how this would affect Kokoro. Ultimately, all three sisters work together on a flyer to promote the library, and they are able to rope in their delivery driver in distributing the flyers.
While Kokoro is dispirited after her sisters say that she might have unreasonable expectations about the library, she returns to find a whole group of people at the library, a line of cars snaking down the road! This communicates the idea that library advertising does work. Weirdly, there is the idea that overnight work is ok “from time to time.” But, is that work really fine? I would have to lean toward no, as it can lead to burnout. After the end of the episode, we are all probably crying tears of joy like Kokoro at the end, as she accomplished her goals.
This makes me think of the Marketing Libraries Journal(MLJ), a peer-reviewed, independently published, open access scholarly journal which “focuses on innovative marketing activities libraries are engaged in,” trying to publish “research and practical examples of library marketing campaigns…tools used for marketing” and much more. Kokoro Library has to be the only animated series I have come across which has discussed library advertising or marketing as part of the plot! So that makes this series unique in that respect. When putting together this article, I thought back to my time in library school, when I wrote papers about marketing, library promotion, library engagement, target audiences, and many more topics. 
Kokoro clearly knew who the target audience she was trying to reach with this campaign: people from the nearby town. She believed she could influence them to come to the library, increasing the patronage, even though her sisters were not sure this would be a success. While you could say that, the library caused “miracles” to happen, as Iina put it, more accurately, people were intrigued by the poster and excited to visit it, coming to a place they didn’t know. It was a successful, but simple public relations campaign you could say, even though it has the downside of being completely based on the fliers, with no other way of the message being shared. This is exactly what Kokoro’s sisters were afraid of, they believed the fliers wouldn’t be enough to bring more people to the library. As I wrote back in 2018, “no one is immune to advertising and marketing.”
As Ned Potter, an information professional, put it, one-off marketing usually never works. Rather, libraries try to build awareness overtime of relevant services, appeal to people “at the right time,” as putting out too many messages at once means there is “nothing for anyone to hold on to.” He argues that marketing campaigns are what has an “impact and make[s] a tangible difference to the Library.” He concludes his piece by saying that such campaigns need to “the primary focus of your comms for a concerted period of time,” with the same message going out through multiple platforms, having a strong call to action, and measuring outcomes rather than outcomes, even if that takes time. During the time this series was set, in the early 2000s, there was no Twitter (founded in 2006), YouTube (founded in 2005), TikTok (founded in 2016), Facebook (founded in 2004), Instagram (founded in 2010), Reddit (founded in 2005) or Tumblr (founded in 2007), so using fliers makes sense, even though they could have used other methods, like their presumed dial-up internet to promote the library as well.
While there are many other marketing strategies, resources on library marketing, tips, and more, I believe I’ve given enough of an overview of this topic without getting too much in the weeds on this topic.  This post is one of the many which connects to library themes unlike other series out there, even with those which have librarians as supporting characters like Welcome to the Wayne or The Owl House. That makes the series unique and worthy of note, so much so that it can’t all be summarized in one post, making this the beginning of a series.
 This review also says that “it takes a whole lot more than minimum alpha brain waves to earn a degree in library sciences. Certainly Kokoro wouldn’t hack it in the ALA – she’d do good to make it to the Special Olympics” and goes onto say “for a much more exciting and interesting tour of the world of library sciences, we recommend Read or Die. Either that, or read a book. Both are infinitely preferable to this inconsequential series.” Harsh words! As of the writing of this post, I have only watched TWO episodes, so my opinion on it may change as I watch more episodes.
 “How Baltimore Chooses: The Selection Policies of the Enoch Pratt Free Library,” Eighth Edition, 2007, p. 6. According to the most recent annual report of the BCPL (see page 6), the library has over 1.2 million physical items and over 192,000 downloadable items. The Comptroller of Baltimore City notes that the Pratt Library system, in fiscal year 2020, had over 216 million in capital assets including “books,land, buildings, equipment, fine arts, and special collections” (see pages 5 and 28), while library books are said to have a short life, of only 10 years, less than the buildings or building improvements (see page 19). The library has over 2.3 million items, and 1 million database downloads in fiscal year 2020 (see page 36).
In February 7, in my weekly newsletter, I mentioned Valerie the Librarian, a character who appeared in 14 episodes of the Spidey Super Stories. Some described Valerie as defending the library she works at from villains, while working with Spider-Man and standing against many 1970s stereotypes in media of Black people, including Black women,and mimic’s Spider-Man’s crawling abilities with suction cups on her fingers. In that newsletter I also mentioned that her character appeared in the educational television series The Electric Company, with Hattie Winston voicing Valerie from 1973 to 1976. 
There is more to Valerie than her donning a Spider-Man costume and a lackluster page on the Marvel fandom site. She is shown as a side character in one issue. In another, she has a supporting role in a later comic which is based on a script of The Electric Company by Sara Compton.  The cover sets the scene for a battle with book worm. It begins with Valerie filing books in a box, while E.Z. Reader is reading a book, and they work together and uncover a book worm! One of my favorite parts is where Valerie says she heard about the bookworm in library school, meaning that she has a MLIS, often not acknowledged or recognized in many depictions of librarians, apart from Mo Testa in Dykes to Watch Out For. They work with Spider-Man, who is quietly reading in the library, to stop the bookworm, but it escapes.
In one issue Valerie notes that patrons, even villains, are only able to take out a certain number of books at a time, has fun with E.Z. Reader (who has a button saying “word power”) as she does her librarian work, like asking someone for a library card before checking out their books, facing a villain who takes books including those other people are using. She gets help from Spider-Man often and even use a card catalog in order to try and defeat the Vanisher, a villain who makes objects vanish, causing him to read a spell which traps him in a jail. 
In others, a trickster sprays her in the face with water and so she traps him under a pile of books, dons an outfit as Spider Woman, and reads a magical mystery book. Spider-Man is always willing to lend a helping hand, but she is not incapable, even without spider powers, making wise cracks along the way. She has supporting roles in other comics, adding to stories even when she isn’t in the library.  In one comic, she deals with someone, Wanda, who steals huge number of books from the library, completely emptying the shelves, without checking them out with a library card. Despite this, Wanda is later satisfied when Valerie gets her a library card. 
In later comics, Valerie is asked patron information about who had a book, gets her name in one comic on a placard at her desk, and realizes where she is a true hero: as a librarian, helping people. This is clear in one comic where the library is a mess when she isn’t there to help out, and it is noted that her job is important.  That’s not something you see in depictions of librarians every day. Her last mention in the Spidey Super Stories series is a comic in which she plays a secondary role, helping a detective, in some capacity, solve a case. She isn’t even seen in a library in that issue, which is unfortunate as its her last appearance in the comic, and it would have been better for her to go out on a better note than the last issue issue she appeared within.
So it makes more sense as to why she was not remembered, as Valerie does not have consistent secondary role in the comics, sometimes more in the background and other times having a more active role. At the same time, it appears, according to the Hattie Winston Wikipedia page, that Easy Reader (voiced by Morgan Freeman) was Valerie’s girlfriend in The Electric Company series, which explains their relation to each other a little more with how they interact with one another in the comics. Other sources show that Sylvia and Valerie, in the same show, are not the same, as I had previously thought. The Root said that Valerie’s actress joined the cast in the third season, playing a “groovy librarian” who sings a duet with Easy Reader in one episode while wearing sunglasses in a library for some reason. This really makes me want to watch The Electric Company, appearing in 520 episodes according to the listing on her IMDB page. 
There is more to Valerie the librarian than what I have previously mentioned. For one, she is the only one of Black female librarians that I have mentioned on this blog and I have found in animated shows, films, and comics that has a MLIS degree. Neither Lydia Lovely in Horrid Henry, a Black woman who is voiced by a White actress, nor Clara Rhone in Welcome to the Wayne, a Black woman voiced by Harriet D. Foy, are noted as having MLIS degrees, although it implied that both have such degrees. The same can be said about the unnamed Black male librarian in an episode of We Bare Bears. Unfortunately, some characters are not shown to have professional experience because they are in fantasy realms. This includes two gay Black men, George and Lance in She-Ra and the Princesses of Power, are self-declared historians who run a family library, making them de facto librarians, while O’Bengh / Cagliostro, a Nigerian man, in an episode of What If…?. As such, Valerie is the first Black librarian, male or female, that I have found who has a MLIS degree. And that it definitely significant!
People like Valerie are not common in the librarian profession, however. Currently the profession suffers from a “persistent lack of racial and ethnic diversity that has not changed significantly over the past 15 years,” with only 9.5 percent of librarians identified as Black or African American in the year 2020.  Despite this lack of diversity, there have been prominent Black female librarians who have their names etched in the annals of history. For instance, Catherine A. Latimer was the first Black librarian of New York Public Library. Dorothy Porter, who led Howard University’s Moorland-Spingarn Research Center, challenged the Dewey Decimal System’s racial bias and created her own classification system for Black scholarship. Marjorie Adele Blackistone Bradfield was the first Black librarian of Detroit Public Library, expanding the library’s Black literature collection. Belle Da Costa Greene was the personal librarian for J.P. Morgan, curating a collection of manuscripts, art, and rare books, but controversially passed as White. Alma Smith Jacobs was the first Black librarian in Montana, spearheading the construction of a modern library for the city of Great Falls. There are many more Black female librarians beyond the five mentioned in this paragraph, as these examples only scratch the surface of Black women’s impact on librarianship over the years.  In fact, one of the most outspoken Black female librarians in recent years is April Hathcock, who has been very prolific, passionate, and dedicated to librarianship. Her last post on her blog, to date, explains why she is leaving the American Library Association (ALA), calling it an organization “centered on promoting the ‘neutrality’ of white supremacy and capitalism.”
While the comic doesn’t show it, due to the fact that she is sometimes a background character and other times a secondary character, as a librarian who is a Black woman, she undoubtedly experienced racial microaggressions. This subject has been examined by scholars Shamika D. Dalton, Gail Mathapo, and Endia Sowers-Paige in a 10-page article in 2018 as it applies to Black women who are legal librarians, and more broadly by Caitlin M. J. Pollock and Shelley P. Haley the same year. In the latter article, they write that:
“Black women have always been integral to first literacy movements of the 1800s and later librarianship… literacy, social justice activism, and literary cultural production have always intersected for middle class, educated Black women…Activism, writing, and literacy have been interconnected in the history of Black women…These Black women [in the 1920s] were often librarians in white structures of power. They often had to struggle within those power structures that racialized and gendered them. For some of these women, they sought to contextualize their librarianship and libraries, some on a local level and some on a professional and national level. Regardless of the scope, these women had similar goals, to change, expand, and challenge libraries and librarianship…For some of these women, their work offered critiques of libraries that did not adhere to the ethos delineated by the laws…There were and are many more Black female librarians whose narratives are just as insightful and fascinating as the women described in this chapter…[but] these women do not have biographies written about them or their stories otherwise memorialized…Long before the practice became more accepted, Black women were critiquing and modifying the tools of library science, which were reinforcing the marginalization of Black Americans…we can infer that class and colorism played a role in which Black women were placed in librarian positions…One reason for the racial disparity is the continued structural whiteness and implicit racism in librarianship and libraries.” 
I wish some of this history informed the depiction of Valerie, Miss Lovely in Horrid Henry, or Clara Rhone in Welcome to the Wayne, to name the three Black female librarians I’ve written about on this blog. More likely than not, all three were drawn and conceptualized by White people, especially since one of these three characters, Miss Lovely, is voiced by a White person after all. On the positive side, there are resources like those provided by the Black Caucus of the ALA, the Free Black Women’s Library which “celebrates the brilliance, diversity and imagination of Black women writers,” and the Disrupting Whiteness in Libraries and Librarianship reading list. Hopefully, in the future, I come across media with Black librarians who challenge established power structures, but I’m not holding my breath for that. Unfortunately, stereotypes of librarians continue to remain plentiful in pop culture. Even those librarians who are prominent, tend to be White and female, as is the case for those in The Owl House, Hilda, and Too Loud, to give three examples of shows in the last few years.
 AFL-CIO Department of Professional Employees, “Library Professionals: Facts & Figures,” Fact Sheet, Jun. 10, 2021. Of course, being Black and a professional, as not stopped incidents like Stephanie Bottom, a Black female librarian in Atlanta, from being assaulted by police, who don’t care about professional credentials, seeing Black people through their racist mindsets.
 Evans, Rhoda. “Catherine Latimer: The New York Public Library’s First Black Librarian,” New York Public Library, Mar. 20, 2020; Nunes, Zita Christina. “Remembering the Howard University Librarian Who Decolonized the Way Books Were Catalogued,” Smithsonian magazine, Nov. 26, 2018, reprinted from Perspectives of History; Audi, Tamara. “Marjorie Bradfield: Put black history into library,” Detroit Free Press, Nov. 20, 1999; Bates, Karen Grigsby. “J.P. Morgan’s Personal Librarian Was A Black Woman. This Is Her Story,” NPR News, Jul. 4, 2021; Milner, Surya. “Honoring Montana’s first Black librarian,” High Country News, Feb. 15, 2021. Other examples of prominent Black female librarians include, as noted by Book Riot, Charlemae Rollins as head librarian at the Chicago Public Library, Clara Stanton Jones as the first Black president of the American Library Association, Eliza Atkins Gleason as the “first Black American to earn a doctorate in library science at the University of Chicago” in 1940, Sadie Peterson Delaney who was key in bibliotherapy, Annette Lewis Phinazee as the “first woman and the first Black American woman to earn a doctorate in Library Science from Columbia University,” Carla Diane Hayden as the current Librarian of Congress, Effie Lee Morris as the “first woman and first black person to serve as president of the Public Library Association,” Mollie Huston Lee as the “first black librarian in Raleigh, North Carolina,” Virginia Lacy Jones as the second black person to earn a doctorate in Library Science, Virginia Proctor Powell Florence as the “first black woman in the United States to earn a degree in library science from the Pittsburgh Carnegie Library School,” and Vivian Harsh became the “first black librarian for the Chicago Public Library where she passionately collected works by Black Americans” in February 1924.
Hello everyone! This is the seventh edition of my feature series, “Fictional Library of the Month” (see the ones for November, December, January, February, March, and April) which includes a post of one fictional library every month, prioritizing currently airing shows, but also including older shows. And with that, this post will focus on Blinky’s library in the Tales of Arcadia third-part series.
About the library
The library consists of books that Blinky has collected in one way or another. It is, like the rest of the troll dwellings, underground.
Role in the story
The characters come to the library on multiple occasions to find information to help them fight evil. Blinky is more than happy to oblige with this, loving to read books and share knowledge.
Does the library buck stereotypes?
Not necessarily. The order and organization of the library itself is haphazard and seems more like a book storage room than a library. It is a miracle the characters are able to find what they are looking for.
Any similarity with libraries in other shows?
It isn’t necessarily a magic library, like other shows, in that it seems to consist of books that Blinky either got from his brother, or are ones he collected on his own. So, in that way, it is not like other series.
Hello everyone! This is the sixth edition of my feature series, “Fictional Library of the Month” (see the ones for November, December, January, February, and March) which includes a post of one fictional library every month, prioritizing currently airing shows, but also including older shows. And with that, this post will focus on the High Guardian Academy library in High Guardian Spice.
About the library
The library plays an important role in some episodes, a place where people can study and learn more. It is filled with books and materials, although it is not known how many are within the library itself.
Role in the story
Apart from one episode where characters meet in the library, in the show’s twelfth episode, a villain lights it on fire. While the protagonists put it out at first, they are unable to do so later on as they chase him outside the school grounds. As such, the library is likely very damaged and needs repair after his attack.
Does the library buck stereotypes?
In the sense that it is a place that is well-lit, above-ground, and is used by people, I suppose so. However, unlike many of the other libraries on this site, apart from those in Read or Die / R.O.D. the TV and Mysticons, this library is literally burned and set on fire. So that makes it unique.
Any similarity with libraries in other shows?
It is presumably a magic library, so in that sense, it does have similarities with libraries in series such as Welcome to the Wayne, Hilda, What…If?, Lolirock, and Mysticons, all of which have magic libraries. On the other hand, it is unique in and of itself.
In recent years, librarians have become more prominent in animated series. Unfortunately, most of these librarians either only appear in one episode, like Wong and O’Bengh / Cagliostro in What…If?, and Mira and Sahil in Mira, Royal Detective, or are stereotypical and problematic. There are some exceptions. Librarians Sara, Sarah, and Desiree in Too Loud, Amity Blight in The Owl House, Naoufel in I Lost My Body, and Myne in Ascendance of a Bookworm all defy stereotypes in their own ways. Apart from these characters, one character shines through. She has become one of the best depictions of librarians in fiction, especially in animation for some time. Her name is Kaisa. She is a casually gothic, witchy librarian in Hilda, an all-ages animated series. This article will analyze this character, noting her significance in representations of librarians in fiction.
Although Kaisa’s character only appears in six of the show’s 26 episodes – not even 23% of the series – she has become a smash hit among fans. She even appeared in three graphic novels by Luke Pearson that the series is based on: Hilda and the Great Parade, Hilda and the Nowhere Space, and Hilda and the Ghost Ship. There is a subreddit for her, which has over 180 subscribers, voluminous fan art, and cosplays!
In the show’s first season, she remains mysterious, only appearing briefly. She is still shown as having an unmatched knowledge of cemeteries, the dead, and mystical items. At first, she helps Hilda and her friends, giving them books of interest and anticipating their questions.
At one point, she reminds Hilda that reference books are not taken from the hidden special collections room. She gives Hilda, who is a bit snobbish in how she treats a reference book in one episode, the right materials so she can raise the dead! At the end of the season, she is shown outside the library, walking across the streets of the city of Trolberg. According to a new interview, Kaisa was supposed to have more scenes in this initial season, but the crew and producers weren’t sure how to develop her character at the time. Despite this, by the end of that first season, she had become a breakout star.
Kaisa in the second season
In the second season, which aired in December 2020, Frida and Hilda help Kaisa find a missing book, with all three of them fighting beasts and finishing challenges on their way. Although they eventually find the book, the committee of three witches chastise them for not turning it in on time (it’s over 30 years late at that point) and they are sucked into a void, where a monster awaits them. This was the beginning of an expansion of plot points from season 1.
While Kaisa uses her witch powers to try and save them, she is helped by Frida and Hilda. They give her the right book so she can make sure the void is subdued, and all three escape unscathed! After all of that, she is still grateful to an elderly patron and powerful witch who was her mentor, a person who is pleasantly surprised to see her as a librarian. She is later shown outside the library in the same season, fighting Tide Mice who can take over people’s minds.
Kaisa in the new movie, Hilda and the Mountain King
Not surprisingly, Kaisa appears in the recent film, Hilda and the Mountain King, a continuation of the animated series. Although she only has a guest appearance, she has an important part in the film. Frida asks her for help in reversing a spell cast on Hilda which has made her swap bodies with a troll. At first, Kaisa agrees to help but stops when she realizes it wouldn’t work, having a “purely mechanical understanding of the situation,” as one fan put it. While Frida is annoyed by this, when she tries to use the spellbook anyway, it doesn’t work, as witch magic can’t be mixed with troll magic.
Kaisa is shown to be right all along, to the chagrin of Frida, and David, to a lesser extent. Reportedly, in early stages of the film’s development, the crew tried to incorporate Kaisa into the climax of the film. Acording to the movie’s director, Andy Coyle, the scene had Kaisa rebelling against the rule that witches shouldn’t interfere in a fight. Sadly, the scene was cut from the final film because of a “limited amount of screentime.”
Characteristics of the Trolberg library and Kaisa the librarian
The library where Kaisa works appears to be “ordinary” on the outside. It is grand inside, with secret passageways going through one special collections room after another. This ultimately leads to an inner chamber with a committee of three witches controlling the Witches Tower. There are so many resources that someone could stay there for hours and days, studying to their heart’s content. It is a magic library in more ways than one, and is amazing, as real-life librarians have recognized.
Kaisa is a principled librarian who likely has a MLIS degree and is an atypical librarian who has a life outside the library. Her portrayal fulfills what I’ve termed the “Librarian Portrayal Test.” She is twenty-something who wears headphones, like Kino does in Kino’sJourney, has a cassette player, and is skilled with magic. Despite this, Kaisa, like any librarian, is tasked with enforcing the roles. In one episode, she tells the show’s protagonists to “keep it down,” but never shushes them.
She has a unique appearance since the series is in an intentionally nebulous time frame. It has a setting that is something familiar, something foreign. The series and the film was described by the director of Hilda and the Mountain King, to be set, vaguely, in the early 1990s. The series, and the film, are also inspired by Scandinavian folklore. This makes it no surprise that the two-leveled Trolberg library has “outdated” elements like library slips and card catalogs, along with “newer” elements like copiers. Despite this, it is abundantly clear that she has experienced burnout as a librarian. In one episode, she argued that patrons who borrow books are liable to return them, tying into the debate among librarians and libraries over the role of patrons.
Some have argued that Kaisa might be asexual, basing it on her character’s colors (purple, black, grey, and white), even though this supposition has not been confirmed, or denied, by the show’s creator or anyone on the show staff. If this is the case, Kaisa would be one of the recent depictions of LGBTQ librarians in pop culture such as Desiree in Too Loud and Amity Blight in The Owl House.
Undoubtedly, Kaisa will reappear in the show’s next, and final, season, which will go beyond the graphic novel series by Luke Pearson that the series is based on, and likely into new, and exciting, places. The season, which may premiere later this year, will likely be 13 episodes long, allowing for Kaisa to, once again, get a chance to shine in the animated series, serving as an important depiction of librarians in popular culture.
Back in May 2021, I wrote about an April 2003 episode of Totally Spies! which begins with a scene in the Liverpool Library. A middle-aged White woman with a hair bun who is confronted by an irate patron who refused to pay fines for his overdue books, and she accepts this, not knowing what else to do. This changes when a pendant wielded by a man in the shadows causes her personality to change, resulting in her grabbing the patron, holding him the air and throwing him onto the ground, shocking the students. She follows this by laughing at his misfortune. As I joked then, “Don’t return books late to her! She’ll deck you!” Since I’m actually watching the entire series, episode-by-episode, it only seemed right to come to this with a new perspective, considering how much I’ve written since then.
The episode clearly is setting the expectation that librarians aren’t “supposed” to be this strong. Rather they supposed to be “wimps,” as the librarian herself remarks, and “mild-mannered” as Jerry, the head of WHOOP, head of the spy agency that Sam, Alex, and Clover work for, put it. Without a doubt, it is wrong for a librarian to assault patrons. Her reaction is understandable, though, as he was being a jerk. This is further reinforced when the spies go to the librarian’s apartment house in Liverpool, where she is weightlifting, and later says that in the past all she lived for was books and an afternoon cup of tea, but now there is so much more in her life. She says this as she starts jumping rope, can now bench 150 pounds, and is working on her abs, as the spies leave her be, even as they are puzzled.
While they are there, Clover seems to question that she is even a librarian, asking her, “Are you sure you’re a librarian because sister you are way buff?” After they leave the apartment, Clover then tells Alex and Sam, “what a freak show. How often do you meet a wrestling librarian?” Again, being a buff librarian is seen as a negative, something which isn’t “normal.” Alex makes a bad joke about how it is just as unlikely as being an international spy. Sam looks at a local paper and saws it can’t a coincidence that a pro-wrestler retired, so they go to a wrestling gymnasium, finding the wrestler who now likes to read books. It is then, with an idea from Alex, that Sam realizes they have switched personalities. On the one hand, Clover may be perturbed by this “different” librarian while Alex and Sam may find it weird. However, when it comes down to it, I would even venture that Sam, and maybe even Alex, are fine with this librarian being buff, as long as the librarian isn’t decking patrons of course.
Later on, doing their typical spy work, Sam, Clover, and Alex go into the Liverpool Library, dressing up in professional clothes so they can get in. For reasons not known, the librarian isn’t there, but this allows them to break into a locked drawer, find the date book of the librarian, hoping to find the connection between the wrestler and librarian. They find it is a man named Dr. Gray, a psychotherapist. He has a personality adjuster which he made because he tired of hearing people complain and wants people to walk in each other’s shoes if you will, in an extreme form of psychotherapy, but not to deviate from their set societal roles. In my original post I said that the actions of the spies seemed unnecessary as they could have “asked the librarian about it rather than stealing her book” and that this made them “bad spies.” When rewatching the episode, it is implied that Sam only opens the locked drawer to look at the date book, not to steal it. So, likely, the book was returned to the drawer and locked up again.
By the episode end, there is an open question as to whether those whose personalities have been switched are switched back. This is because the spies don’t have time to switch back the personalities of anyone, apart from Jerry and Clover. Did they switch the personalities of the librarian and wrestler? Or did they leave them intact? That is open to viewer interpretation, as WHOOP now possesses the behavioral adjuster and can use it if they want. It means, as I said in the original post, that it is possible that “the buff librarian is still out there.” In that post I also argued that this librarian seemed to fulfill the spinster librarian stereotype outlined by Jennifer Snoek-Brown on Reel Librarians, adding that when the librarian becomes buff, she becomes “scary,” arguing that when she throws the patron on the ground, it is a show of authority, making others afraid “to cross her.” I further asked if she is still hoarding information as a rule-monger, stated that she is not timid or meek anymore, might even possibly be comic relief, but is not flirtatious or sexy. I concluded that post by saying:
I hope that if her personality did change, she becomes more assertive and stands up to people who don’t follow library rules in the future. So, I have a mixed view of this buff librarian, although you could argue she busts existing stereotypes I suppose. For sure, her character is definitely different than the shushing librarians or anything else I’ve seen in any of the reviews on this blog, for sure!
I still believe that, but I’d like to go beyond that analysis. I would argue that by being buff, this librarian is going against usual depictions of librarians, often as those who are strict, elderly, and uptight, as Snoek-Brown explains. She shares some characteristics with the “Liberated librarian” character type, in that she undergoes a change in appearance, becoming more feminine and attractive, but she is still committed to libraries, although in a new way. Due to her age, probably in her 40s or 50s, she is not a spirited young girl. Although she can become violent, she isn’t shown to be sexually charged or flirtatious, like the naughty librarian character type, despite letting her “hair down” outside the conversation. She is just a librarian who likes to pump iron. She undoubtedly continues to be an information provider who provides information, highlights importance of rules, or engages in occupational tasks, but is not necessarily comic relief like some other librarians. I still think it is possible she was voiced by Janice Kawaye, an actress of Japanese descent who has voiced characters since 1983.
Although this librarian in Totally Spies! is the only fictional librarian that I am aware of who lifts weights, jumps rope, and does other exercises, there are actual librarians who are also weightlifters! One of these is Katie Montague, who worked Princeton Theological Seminary Library as a Manuscript Metadata and Quality Assurance Assistant and a Librarian for the Monmouth County Public Library System. She is also a weightlifter, saying on now defunct blog where she promoted what is close to her heart, like “reading and lifting, and…some pelvic floor awareness.” It was also noted that she lifts weights and enjoys “reading manuscripts in the library.” An interview with her in October 2017 claimed that she is “redefining the librarian cliché while simultaneously turning the lifting world upside down.”  It listed her full name, and low, and behold, she is still working at Princeton Theological Seminary Library, and has been a Manuscripts Metadata and Quality Assessment Assistant there since 2016, and a coach at Long Branch CrossFit according to her LinkedIn page.
More recently, there is Krystal Gagen-Spriggs, a lecturer in Teacher Librarianship and PhD Candidate. She works at Charles Sturt University as Lecturer in Teacher Librarianship, as she noted on her blog, Adventures of the Lifting Librarian. She currently has an Instagram with the username “theliftinglibrarian.” Unlike Montague, she lives in Australia, so that makes her experiences in librarianship different from someone who works in the United States.  Additional weight-lifting librarians include Fort McMurray Public Library directorCarolyn Goolsby, Episcopal High School library directorTiffany Whitehead, a librarian named Megan A. Brooks, otherwise known as Library Grrl, and former librarian (and current fundraiser) Kate Tkacik Sweeney. In 2013, Goolsby was interviewed by a local paper in Fort McMurray, which said she is “far from the soft-spoken, matronly librarians of yore.” There’s also a Salt Lake City librarian, Josh Hanagarne, who wrote a book, The World’s Strongest Librarian, and founder of a “popular blog” on books and weight lifting.” So, I suppose he is a weightlifting librarian too. He is still at the Salt Lake City Public Library and is a professional speaker. 
In writing this post, I really got into it and found that there are two wrestlers out there who compete using a librarian gimmick! Oft-cosplayer and streamer, Leva Bates, joined the women’s roster of an elite wrestling company as “The Librarian” in 2019, an idea that wrestler Cody Rhodes came up with and proposed to her as an idea, saying she chose the gimmick for fun and that it fits her personality. She competes with Peter Avalon, a Cuban-American wrestler, who debuted in the same wrestling company, with both wrestling each other who is the “librarian,” playing off one another. Avalon called it something “silly” and saying that the character needs good writing, seeming to retire from doing the gimmick sometime this year. Its a bit funny even as Bates gimmick is a bit stereotypical in its portrayal, as she uses books as weapons and comically shushes opponents during matches, even though some have grumbled that “nobody” cares about her character and snarled it is “not an interesting gimmick.” On the other hand, Bates has used her librarian gimmick to ask people to sign up for library cards at the East Orange Public Library, and has recommended comics in the middle of matches.  In addition to this, there is a now-defunct blog by Dante Namibia named Wrestling with Dewey which tries to combine wrestling and a “fledgling career as a school librarian,” a fictional character named Benjamin Cole, part of a fictional wrestling company, who was a librarian and is now a wrestler.
As one librarian, Siobhan, put it on Twitter, “every time someone expresses surprise to meet a cat-averse, weightlifting, comic book-reading, NIN-listening librarian, it’s sure sign they have never met an actual librarian. I clearly need to get a tattoo to complete the set.” I have to agree with this sentiment and the fact there are weightlifting librarians out there is pretty cool if you ask me. As Jon Michaud wrote in 2013, there is an inaccurate image of a librarian in popular culture, a “petite, humorless woman…dressed in dowdy clothes, spectacles on her face, [and] hair knotted in a bun.” A weightlifting librarian, or a wrestler-librarian in the case of this Totally Spies! episode, blows that completely out of the water, without question.