Flamenco Nation

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Today we present a piece from author Sandie Holguín. Her recently released book Flamenco Nation explores how Flamenco dance became tied to Spain’s national identity. In this personal essay, Sandie details her journey of writing and researching the book, and the challenges of writing about a topic distant in regard to both geography and time.

If, as L.P. Hartley once said and historians like to quote, “the past is a foreign country; they do things differently there,” what happens when a scholar grapples with the history of a foreign country? Can an outsider twice-removed by time and place contribute meaningfully to a discussion of that place’s past? These are questions I have wrestled with over the years while trying to write about the history of Spain, especially about ephemeral cultural phenomena. My questions are really no different from those that underrepresented communities ask when mainstream historians write about marginalized groups, and yet as a historian, I have to believe that one can engage in historical analysis about people, places, and times far removed from one’s own experience—otherwise, why does anybody practice history? Still, there seem to be greater barriers to understanding a culture and its past when the country, society, and language are not part of your cultural patrimony. Overcoming those barriers, or at least recognizing how to maneuver around them, requires experience in historical practice, patience, a willingness to listen, and the help of insiders.

When I began to imagine a cultural history of flamenco in Spain, I was overwhelmed by the sheer amount that had been written on the subject, especially by people who were experts on the art form. Many scholars and flamenco aficionados could easily rattle off the names of performers, songs, rhythmic styles, and situate them in their places of origin. What could I, a North American with no background in music, have to say about something that seemed ubiquitous in Spanish culture (or at least in the culture that was presented to the world outside of Spain)? The only way for me to enter this study was to think in structural terms. How did cultural forms in various countries come to be dominant? For example, were there similar processes that made the tango popular in Argentina, the samba in Brazil, jazz in the United states, and flamenco in Spain? The answer was yes. Of course how those processes differed from country to country is what makes for engaging historical analysis. My grounding in nationalism studies and cultural history made it possible for me to begin to write something meaningful about flamenco and its role in Spanish history, despite the challenges present when speaking about a culture that is not one’s own.

The work of writing a history about a foreign country is fraught with danger, however.  Language might be the primary one. If one is not a native speaker, then one cannot always attend to the nuances of humor, metaphor, or slang. And although a place’s culture (or multiple cultures) may have changed over time, one imagines—wrongly, no doubt—that one’s own historical culture is accessible in a way that a foreign country’s historical culture might not be. Immersing oneself in the country’s native scholarship and culture helps to soften these barriers, but having friends and colleagues from that place help even more because they aid in cross-cultural translation and, sometimes, just literal translation.

I have begun to view the distance in time and space as an advantage to understand Spanish history.  Outsider status has granted me certain insights that might be harder to gain by those immersed within Spain’s many cultures, only because I am less personally invested in the national narratives that unfold in my research and writing and because I am at a remove from  such horrors as Spain’s civil war and dictatorship. The anxiety I feel about “not getting it right” is mitigated by the knowledge that I am trying to listen both analytically and empathetically to the voices of the past to make sense of them. It is this  journey toward cross-cultural, cross-temporal understanding that guides my work and gives me hope—however misguided—that the study of history can be used to understand our shared humanity, despite our many cultural differences.

Sandie Holguín is an associate professor of history at the University of Oklahoma, where she teaches European cultural and intellectual history and European feminist thought and gender studies. She specializes in Spanish history and is the author of Creating Spaniards: Culture and National Identity in Republican Spain.

 

University of Wisconsin Press welcomes Business and Operations Manager

The University of Wisconsin Press is pleased to announce that Lisa Learish has joined our staff as business and operations manager.

Photo by Paul L. Newby, II

Learish will serve as a key member of the management team at the press, overseeing the business and human resources processes in addition to coordinating budgets for books, journals, and publication services. An accomplished financial officer, she most recently held the role of senior accountant at the University of Wisconsin–Madison School of Business, where she provided direct fiscal support to departments, improved processes for data collection and audits, and created a unified budget.

In more than twenty years of service to the university, Learish has also worked in the Division of Recreational Sports, the Division of Business Services, and the Division of Intercollegiate Athletics.

“We are thrilled to have Lisa bring her wealth of experience to the University of Wisconsin Press,” says director Dennis Lloyd. “Her business acumen will be valuable as we embark upon a long-awaited review of our overall strategic plans.”

Says Learish, “I am really looking forward to becoming the newest member of the press family. I am so excited to work with each member of this amazing team!”

Also this month, the University of Wisconsin Press has moved back on campus for the first time in twenty-two years. The new offices are located on the fourth floor of Memorial Library. We look forward to seeing you around campus!

About the University of Wisconsin Press
The University of Wisconsin Press, one of the research and service centers housed within the Office of the Vice Chancellor for Research and Graduate Education at the University of Wisconsin–Madison, is a not-for-profit publisher of books and journals. With nearly 1,500 titles in print, its mission embodies the Wisconsin Idea by publishing work of distinction that serves the people of Wisconsin and the world.

In appreciation of mentors

This week’s blog tour celebrates our colleagues across the university publishing community. Dennis Lloyd, director of the University of Wisconsin Press, reflects on the early lessons he learned from his mentors.

Earlier this spring, the university press world was rattled when the news spread that we had lost Mark Saunders, director of the University of Virginia Press. I never had the privilege of working with Mark, but I’ve known him so long I can no longer remember when we first met. My earliest memory of an extended conversation with him—about publishing, yes, but also life, books we were reading, our kids—was during booth set up for BEA in the late 1990s.

At lunch we walked a few blocks down Eleventh Avenue (this was long before the High Line) and found a diner. I don’t remember the specifics of our conversation, but I do remember how intently Mark listened, how carefully he commented, how enthusiastically he replied, how wisely he offered advice. We ate, we paid, and it was only weeks later that I realized we had somehow each signed the others’ credit card receipt. Neither of us ever were charged on our bills; it was a gift from the universe. But the real gift, of course, was the time spent with Mark.

As so many friends and colleagues of mine prepare to gather this week for the Association of University Presses Annual Meeting, Mark’s premature departure from our community has me thinking of and remembering all those who helped me along the way, especially during the early years of my career, as I made the shift from PhD student (still proudly ABD by choice) to publishing professional.

In particular, I’m thinking a lot these days about my first two bosses at the University of Illinois Press, Judith McCulloh and David Perkins. Judy passed away a few years ago, and David left university publishing (though he has a book scheduled to appear soon), but rarely does a day pass that I don’t think about the lessons I learned from them.

My first job in university press publishing, which I started in June 1993, was as Judy’s acquisitions assistant. We had email, but most correspondence still took place via letter and snail mail. On my first day, I was assigned the daunting task of catching up on her filing when I was given a cubic foot of paper. I was told to read everything I filed, make sure I put things into the proper folder, and to take the time to read around in the files of anything that piqued my curiosity. I diligently set about doing so, and after two or three weeks reported that I had finally finished. She gently quizzed me about the task, asking what I thought about various projects at different stages of development, and eventually announced something to the effect of, “Good. Now you can answer any questions that might come up when I’m traveling.” It was years later before I realized this was my “Wax on, wax off” moment, and even longer before I fully appreciated how quickly, deeply, and easily she immersed me into the culture of university press publishing. I’ve never forgotten it—even though I’ve yet to find a way to perfectly emulate that experience for new acquisitions assistants in the era of email.

About a year later, I made the shift to sales and marketing, when I became the advertising manager at the University of Illinois Press. This was my first full-time job (apart from summers on the farm, weed-eating roadbanks at a country club, or waiting tables as a singing waiter), and David taught me many lessons large and small about working in an office, about finding my voice, about assuming agency, about making decisions—in short about making the transition from a student to an adult. I still remember him encouraging me to play the role of good cop and casting him as bad cop (when necessary) in negotiating for rates and discounts. He told the story—and he didn’t invent it, but it was the first time I had heard it—that if everyone in the world could put all their troubles in a paper bag, and set it on a fence at the far end of a field. But then we all lined up and were told we had to pick up a paper bag—then we’d shove, stomp, and run over each other to get our own bag back. He was also the first person I ever heard say, “Be kind, for everyone you meet is fighting a battle you know nothing about.” I don’t always succeed, but I strive to remember this every day.

So thank you, Judy. Thank you, David. Thank you, Mark. And thank you everyone else along the way (including the portions of the journey yet to come) who helped me become the person I am today.

Thank you to my mentors and to all mentors, for fostering the spirit, intelligence, generosity, curiosity, and passion that makes our corner of the industry a community—a whole greater than the sum of its parts.  Ours is an amazingly supportive organization, and at each Annual Meeting I look forward to seeing old friends and making new ones.

Language bites: grammar, consensus, and identity

Today we present a guest blog post by Diana Spencer, author of the book Language and Authority in “De Lingua Latina”, a compelling addition to our Wisconsin Studies in Classics series.

When things go wrong, children are often encouraged to solve problems with words, not violence. This is nothing new. Already, over 2,000 years ago, life advice was being framed through comparisons between the relative power of words and weapons.

Chalk wall with graffiti

The political, emotional, visual, and disruptive power of words still packs a punch, but the normalization of declaration (or protest) by graffiti also suggests a containment of its violence.

All languages are systems that enable communication. Long ago, when travel was difficult and communication media more limited, language was a common currency. But even “once upon a time. . .” things were much more complicated.

In the turbulent era when ancient Rome’s Republican governmental system was giving way to autocracy (first and second centuries BCE), investigating and policing of language was at the heart of the shake-down. Some of the dissonance reflected in surviving texts remains strikingly resonant. One study by Marcus Terentius Varro (116-27 BCE), de Lingua Latina, specifically tackles the crackling tensions involved in speaking and systematizing Latin during that time of intense cultural change.

In Rome’s expanding empire, the assertion “I am a Roman citizen” (“ciuis Romanus sum”) was spoken by peoples across the Mediterranean and beyond. In an era with increasing need for code-switching and linguistic flexibility—when slaves, tradesmen, intellectuals, soldiers, bureaucrats, and immigrants might speak very different native languages—Varro posed crucial questions: what then did it mean to speak Latin? To speak it “well”? And whose Latin was it?

Through Varro’s investigation, the era’s violence, electoral disruption, and corrupt politicians gained context from their language’s name: Latin. “Latin” embodied history and legends of early military aggression against local peoples (such as the Latins), and Rome’s dynamic assimilation of foreign voices and identities.

It is no coincidence that as Rome confronted new ways of thinking and speaking amongst allies, enemies, and conquered peoples, Latin was also contested. Language offered a testing ground for exploring some of the difficult ideas and challenges to beliefs around ethnicity, value, and identity which became evident when a citizen speaking Latin was no longer “like us”.

Latin inscribed in stone

Modern re-imagining (Piazza Augusto Imperatore, Rome) of Augustus’ publicly inscribed list of his own achievements as Princeps. Photo by Diana Spencer ©2019

Through study and systematization of the structures, intellectual heritage, and patterns of Latin and its cannibalization of local peninsular languages, lessons might be learned. Rome’s elites might, Varro suggested, look not just for a way of expressing consensus on what was important to them as individuals, or to their vision of civic identity, but for a balanced framework within which celebration of tradition and novelty was possible, baked into the structures and etymologies of language in use.

When the streets were running with blood, and gangs were disrupting elections, this solution had recognizable life-and-death potential—in the 20s BCE political evolution and revolution converged in Rome’s weary and relieved welcome for a radical-conservative solution: a reframed autocracy, new frameworks for remembering the past, and a new brand of leader. The “Emperor” Augustus, whose choice of an old title—Princeps, “First Citizen”—for a new role made an open secret of the revolutionary power of words.

Diana Spencer author photoDiana Spencer is a professor of classics and the dean of Liberal Arts and Natural Sciences at the University of Birmingham (UK). Her Recent publications include contributions to The Routledge Handbook of Identity and the Environment in the Classical and Early Medieval Worlds and the Cambridge Classical Journal Supplement 39, Varro Varius: The Polymath of the Roman World.

A Sense of Place

Our guest bloggers are Betsy Draine and Michael Hinden, authors of the Nora Barnes and Toby Sandler Mysteries. The fourth book in the series, The Dead of Achill Island, was published this week.

Plains of Achill Island and Mountain

Photo by Betsy Draine

In planning a mystery, we begin by asking: where? Our first novel, Murder in Lascaux, was set in southwestern France. The setting generated the plot, which focused on prehistoric cave art. A sense of place has been important in each installment in the series: northern California in The Body in Bodega Bay, the French Riviera in Death on a Starry Night, and the West of Ireland in The Dead of Achill Island.

We first visited Achill on the advice of Betsy’s cousin, an Irish nun. The West of Ireland, she told us, is where the old ways are best preserved. The largest of Ireland’s islands, Achill (rhymes with “cackle”) lies offshore above Galway on the Atlantic coast, as far west as an Irishman can go. Today the island is linked to the mainland by a causeway and a bridge. Even so, Achill feels remote. Denuded of trees, the landscape presents flat vistas of bogs and grasslands, steep mountains, and treacherous cliffs. Its megalithic tombs attest that the island has been inhabited for millennia, while church graveyards with broken headstones recall the dead of recent centuries. A soft rain falls more often than not. What better setting for a mystery?

Cottage rubble with mountain backdrop

Photo by Betsy Draine

At the base of Slievemore Mountain lies a string of ruined cottages known as the Deserted Village. These homes were abandoned in the 1840s at the time of the Great Famine. Inhabitants fled to the island’s shore, where they survived by fishing. They left behind an Irish ghost town. As we wandered through the lonely village, we imagined discovering a body in one of the ruined cottages, and that became the opening scene of this novel.

The title refers not only to a fictional murder but also to the victims of two historical tragedies on Achill that gave rise to legend. It is said that In the 17th century a prophet named Brian Rua O’Cearbhain foretold that carriages on iron wheels would come to the island, belching smoke and fire—and on their first and last journeys, the carriages would carry the dead. The prophecy was fulfilled when the first steam train came in 1894, returning the bodies of thirty islanders who had drowned en route to seasonal jobs in Scotland. The last run of the train before the line shut down in 1937 carried the bodies of twenty-three local boys who had died in a fire while working away from home. The haunting legend attached to these tragedies colors the atmosphere of the novel.

A well-rendered sense of place can immerse a reader in another world. In The Dead of Achill Island, we hope the reader is transported to the West of Ireland alongside Nora and Toby.

Draine and Hinden author photoBetsy Draine and Michael Hinden are are coauthors of the Nora Barnes and Toby Sandler Mysteries. They also coauthored the memoir A Castle in the Backyard: The Dream of a House in France and translated The Walnut Cookbook by Jean-Luc Toussaint. They are professors emeriti of English at the University of Wisconsin–Madison.

When Fiction is Based on a True Story

Our guest blogger today is Patricia Skalka, author of the Dave Cubiak Door County Mystery Series. The fifth book in the series, Death by the Bay, was published this month.

Of the five books in the Dave Cubiak Door County mysteries, Death by the Bay is the most personal.

In the first four volumes, both the characters and the plots were born in my imagination. The concept for Death by the Bay evolved from a true story that my mother told me when I was ten or twelve. She grew up on a small family farm in central Wisconsin in a community of Polish immigrants. Few spoke English and most had large families. One neighboring couple stood out because they had only one child, a daughter with a disability. One day, an itinerant doctor, or someone posing as such, told the couple that he could help their child. The specifics became blurred over time, but in one version, he talked of a special school where children like their daughter could learn to live independently. I remember my mother saying that he offered to provide free medical care, treatments that would alleviate her condition and even “cure” her.

The stranger was educated, persuasive. The desperate couple believed him. Thinking they were acting in the best interests of their precious only child, they allowed him to leave with her. They never saw her again.

I was horrified. I could not believe that such evil existed in the world. But there was more. Months later, the same predator or one of similar ilk came to my grandparents’ farm. His target was my mother’s younger sister, Rose, who’d been afflicted with polio and as a result was unable to speak or walk properly. Aware of what had happened to the neighboring family, my grandmother picked up a broom and chased the man out the door.

Before I became a novelist, I was a nonfiction writer. My stories about human drama, women’s issues, and medical advancements appeared in many print and online publications. The story I always wanted to write was the story of the couple whose daughter was stolen under false pretenses. But there was no paper trail, no way to research or document the events.

So, I did the only thing I could: I fictionalized the story. This tragic tale I heard decades ago became the seed for Death by the Bay. Though I shifted the locale, altered the circumstances, and developed a contemporary plot line, the basis of the story remains unchanged. Death by the Bay is a tale of the powerful preying on the weak, a tale of the educated taking advantage of the unknowing. It is a story that, unfortunately, continues to repeat itself in various ways throughout the world today.

Patricia Skalka Author

Photo by B.E. Pinkham

Patricia Skalka is the author of Death Stalks Door CountyDeath at Gills RockDeath in Cold Water, and Death Rides the Ferry, winner of a Midwest Book Award. She is president of the Chicagoland chapter of Sisters in Crime and divides her time between Chicago and Door County, Wisconsin.

Visit Patricia’s website to view her upcoming events and more: http://www.patriciaskalka.com/

29th Annual Midwest Book Award Winners for UW Press titles

We are thrilled to announce two Midwest Book Award winners from the University of Wisconsin Press! These awards from the Midwest Independent Publishing Association (MIPA) recognize quality in independent publishing in the Midwest (Illinois, Indiana, Iowa, Kansas, Michigan, Minnesota, Missouri, Nebraska, North Dakota, Ohio, South Dakota, and Wisconsin).

Death Rides the Ferry cover imageDeath Rides the Ferry by Patricia Skalka won the Fiction–Mystery/Thriller category. The fourth book in the Dave Cubiak Door County Mystery series finds Sheriff Dave Cubiak enjoying a rare day off as tourists and a documentary film crew hover around the newly-revived Viola da Gamba Music Festival, back after a forty-year hiatus. A passenger is found dead on a ferry, and longtime residents recall the disastrous festival decades earlier, when a woman died and a valuable sixteenth-century instrument—the fabled yellow viol—vanished. Sheriff Cubiak is sent on a trail of murder, kidnapping, and false identity. With the lives of those he holds most dear in peril, the sheriff pursues a ruthless killer into the stormy northern reaches of Lake Michigan.

Eleven Miles to Oshkosh cover imageEleven Miles to Oshkosh by Jim Guhl won the category for Fiction-Young Adult. The story centers on the coming-of-age of Del “Minnow” Finwick, whose small world in Wisconsin has blown apart. His father, a deputy sheriff, has been murdered by the unknown “Highway 41 Killer.” His mom has unraveled. And a goon named Larry Buskin has been pummeling Minnow behind Neenah High. When the sheriff seems in no hurry to solve the murder, Minnow must seek justice by partnering with unlikely allies and discovering his own courage.

 

Congratulations again to the authors and all involved! To celebrate, we are giving away a a copy of both award-winning books to one (1) lucky entrant:

An Interview with Poet Rae Armantrout

As National Poetry Month draws to a close, we present three interviews with living poets, originally published in Contemporary Literature journal. The interviews are freely available to access until May 1.

Our final poet is Rae Armantrout, a central figure of the Language poetry movement of the 1970s and 1980s who was nevertheless somewhat separate from that collectivity, crafting her own flavor of poetry that over time has remained “distinctive and distinctively fresh, particularly in its allegiance to a honed version of lyric that brings to mind the poetry of Emily Dickinson or George Oppen, and in its attention to the degradations—and the surprises—of American speech that permeate our consciousness and infiltrate even our dreams,” according to interviewer Lynn Keller. The conversation presented here touches on everything from physics to religion to ghosts to feminism. Armantrout discusses her cancer diagnosis and how it has impacted the practice and content of her writing, leading her to write poems more quickly and to dwell on mortality (though she says, “I’ve always had an attraction to the dark stuff anyway. I used to say I was channeling Kali. (Not so funny now.)”). When Keller asks Armantrout about the religious imagery in her recent work, she replies that though she’s not religious, she sees a parallel between religious practice and the act of creating a poem or other artwork:

Who are we talking to when we write? I don’t really think, in my case, that I’m talking to a specific audience; I think I’m talking to myself, but when I’m talking to myself, who am I talking to? It feels very much like when I was a child and I prayed, so it’s not that I actually believe there is an entity called God who hears what I say, but there is this desire to somehow perfect utterance. But make it perfect for whom, you know? I think in a way we are making something for the gods that we don’t believe in.

Read the full interview here, and then go read Armantrout’s poems!


And check out our other poetry month offerings:

An interview with Marge Piercy

An interview with Myung Mi Kim

An Interview with Poet Myung Mi Kim

As National Poetry Month draws to a close, we’re presenting three interviews with living poets, originally published in Contemporary Literature journal. The interviews are freely available to access until May 1.

Our second poet is Myung Mi Kim, in conversation with Lynn Keller. Kim, a Korean-American, refers to herself as “as a poet arrived at an uncanny familiarity with another language—or more precisely, as a poet transcribing the interstices of the abbreviated, the oddly conjoined, the amalgamated—recognizing that language occurs under continual construction.” As Keller puts it, in Kim’s hands, language

is subject to fracture and disruption, excision and rearrangement. It functions not as a means of gaining an illusory stability but rather as a register of the often jarring instability of human experience in time, and of the stumblings, the incoherencies, the polyphonic complexity of the immigrant’s experience in and between several cultures.

The wide-ranging discussion presented here touches on the poet’s process, childbirth and family, documentary poetry, poetic forms that privilege visual impact, the pastoral, geological time, the slipperiness of nostalgia, the generative power of silence, migration, and loss and mourning. Kim and Keller’s conversation bounces among so many different topics in part because Kim’s vision of poetry is so expansive and all-encompassing. As she describes it, “Poetry invites a practice of language/perception that embraces mutability, undecidability, the motion underneath and around what’s codified in conventions of language, grammar, syntax, semantics, and so forth. Poetry produces new ways of participating in perception, thinking, historical being and becoming.”

Read the full interview here, and then go read Kim’s poems!


And if you missed yesterday’s post, check out an interview with poet Marge Piercy.

An Interview with Poet Marge Piercy

As National Poetry Month draws to a close, we will be presenting three interviews with living poets, originally published in Contemporary Literature journal. The interviews are freely available to access until May 1.

Our first offering features poet, novelist, and memoirist Marge Piercy. Interviewer Bonnie Lyons describes Piercy’s poetry in this way:

Valuing usefulness highly, Piercy writes poems that are accessible to ordinary readers without sacrificing rich imagery and subtle sound effects. Her poetry embodies her belief in the importance of attention in her precise word choice and acute perception. Tikkun olam, Hebrew for “healing the world,” is central to her poetry, which works to awaken her readers’ passionate recognition of all that could and should be changed through human effort.

To date, Marge Piercy has written nineteen volumes of poetry, seventeen novels, and a memoir. When asked how she navigates multiple genres, she characterizes herself as “a poet who also writes novels.” She describes the benefits of her chosen genre:

You can write poetry when you are dying. The Plains Indians would try to have a final utterance. You can write poetry in a prison cell—you can scrawl it on the walls. You can memorize your poems. You can carry them around with you. A novel is a far more artificial construction, and it takes huge amounts of time to write one. If you were fighting as a guerrilla, you couldn’t write a novel, but you could write poetry. A novel is far less portable.

Lyons and Piercy discuss the writer’s long history of social and political activism. Piercy articulates how she has created a balance between activism and writing—two fields of activity that are often felt to be in conflict with one another. Piercy explains,

When I was a full-time organizer, I basically gave up sleeping to write. In my life since then, because I have been able to reach people through my writing, I feel much less of a conflict. In fact, it’s all of a piece with me. I don’t divide things up that way. I don’t make a value judgment that one type of poetry is more important than another—neither my poems about Judaism, or poems about love, or poems about the war in Iraq or the environment.

The interview also touches on the usefulness of poetry, the importance of reading in order to write, poetry as an act of attention similar to a religious practice, making a living as a writer, Piercy’s reputation as an “anti-academic” poet and how poetry can thrive outside of academe, and writing about sex, aging, and the body.

Read the full interview here, and then go read Piercy’s poems!