Author Archives: uwpress

Writing a mystery novel, together

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Betsy Draine and Michael Hinden are the authors of the Nora Barnes and Toby Sandler mystery series published by the University of Wisconsin Press. Death on a Starry Night, the third in the series, follows Murder in Lascaux and The Body in Bodega Bay. We talked with them about the new book and their process of writing novels together.

 

Nora and Toby solved their first mystery on vacation in southwest France and their second at their home in northern California. Why did you send them back to France?

Draine-Hinden-Death-on-a-Starry-Night-cMike: It was Vincent Van Gogh who lured us back! We read Steven Naifeh and Gregory White Smith’s new biography of the artist, which argues that Vincent didn’t commit suicide. Instead, they claim he was murdered.

Betsy: That made a great premise for a mystery. Who killed Van Gogh? Who kept the secret, and why? Since Vincent painted his most famous works and met his death in France, that’s where the trail led. We were happy to return there for our research—it’s where we started writing together. Our first book was a memoir about buying a summer home in the Dordogne (A Castle in the Backyard: The Dream of a House in France).

Why did you set the action in St. Paul-de-Vence, above the Riviera?

Mike: We’re always looking for colorful settings, but this one had special resonance for me. The summer after my junior year abroad in Paris, I got a job as a singing waiter in St. Paul-de-Vence, a beautiful walled village in Provence. I fell in love with the place and didn’t want to come home. My dream was to stay and become a writer, maybe write a novel set in the village. Well, my parents talked me out of it, and like a good son, I came home and finished college. It took a half-century to get a second bite of the apple, but this was it. As they say, it’s never too late.

Betsy: St. Paul isn’t far from Van Gogh’s territory, though Vincent never painted there. We created a link by setting the action at a fictional scholarly conference about Van Gogh held at the Maeght Foundation, an actual museum and research institute on the outskirts of the village.

What is it about Van Gogh’s death that remains a mystery?

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Vincent Van Gogh

Mike: He died of a gunshot wound, but beyond that, little is certain. Even at the time, there were questions about his death. What happened to the gun that was used? The police never found it. What’s more, they never found his easel and the other materials he was carrying with him on the day of the shooting, including the painting he was working on—they all disappeared. What became of them? Was someone else at the scene? If Vincent intended to kill himself, why did he shoot himself in the side rather than in the head, and why did he seek help afterwards? Why didn’t he leave a suicide note? There are enough gaps in what we know about the shooting to call for speculation.

Does your plot parallel the account of Vincent’s death given by Naifeh and Smith in their biography?

Betsy: No. We think they build a weak case against the person they name as a suspect, and there are better explanations, one of which we dramatize. Our novel has two narrators. The first is a contemporary of Van Gogh who gives his account of how the artist died. The second narrator is our character Nora. The art history conference she’s attending starts with the murder of the keynote speaker. Nora and Toby set out to unmask the killer. The two plot lines cross and come together in the conclusion. Working out the connections was fun and also a challenge.

How do the two of you write novels together without causing a divorce?

Betsy: We do a lot of talking first about ideas for settings, plots, and characters. Then Mike writes a chapter-by-chapter outline, and we tinker with that until we are in agreement. Then we take turns writing scenes. When I’m finished with a scene, I turn it over to Mike and he edits it. And vice-versa. We go back and forth until we’re satisfied that we’ve done the story justice and the voice of the novel is consistent. When two writers decide to re-write each other on a daily basis, you might say they’re asking for trouble.

Mike: So we made a rule that says we’ll accept the other’s edits without a fight. We call it our mutual non-aggression pact. If one of us says “it goes,” it does. By and large, the process works for us. We’re still married, and we’re still writing together.

Are you working on a fourth Nora and Toby mystery?

Betsy: We are! We can’t say much yet, except that our sleuths will go to Ireland.

It’s our 80th birthday! 1936-2016

80th-logo“Publication is as much a function of the university as teaching or research [and] an obligation that every great university owes to itself and to society.”
—The University of Wisconsin Committee on University Publications, April 13, 1936

In 2016, we mark the eightieth anniversary of the founding of the University of Wisconsin Press. Throughout the calendar year, we’ll be blogging about the history of the Press, as well as welcoming guest posts from our UWP authors and editors.

Subscribe to our blog (at right) to read more UWP history throughout the coming year.

Livia Appel

Livia Appel

1936    On April 13, 1936, the University of Wisconsin faculty senate enacts legislation to “publish particularly meritorious manuscripts as books using the imprint ‘The University of Wisconsin Press.’” Livia Appel is hired as managing editor.

1940s   Hit hard by the toll of war—paper shortages, staff shortages, and the near impossibility of finding printers with facilities for “non-essential” work, the Press nearly ceases operations.0469-165w

1950s   The Press publishes the two-volume Classics in Translation edited by University of Wisconsin faculty Paul L. MacKendrick and Herbert M. Howe. It will become our all-time bestseller.

1960s   The new Journals Division publishes its first volumes of Contemporary Literature, Luso-Brazilian Review, Slavic and East European Journal, Journal of early Contemporary LiteratureLand Economics, Arctic Anthropology, and Monatshefte. Five of these continue as UWP journals, joined by later acquisitions.

1970s   University budget cuts result in the Press reducing by half both its staff and the number of new publications.

1980s   The Press publishes its largest-ever book in a single volume: the 1056-page Fishes of Wisconsin, by George C. Becker of the University of Wisconsin–Stevens Point. (It’s nowUWP_Spring2011_catalog_12610 available free online.)

1990s   UW–Madison professor of art Warren G. Moon dies, leaving an endowment of $700,000 for the book series Wisconsin Studies in Classics. His legacy continues to support a thriving series.

2000s   The Press begins publishing journals and books in both print and electronic formats. Our bestselling e-book is Death in a Prairie House: Frank Lloyd Wright and the Taliesin Murders by William R. Drennan.

50612010s    Several new book series are launched: Critical Human Rights, the Harvey Goldberg Series in Understanding and Teaching History, and Languages and Folklore of the Upper Midwest. Three new journals in African Studies are added to the Press’s publications: Mande Studies, Ghana Studies, and African Economic History.

Visit the UW Press homepage.

 

 

 

 

Remembering Jean Sue Libkind

Jean Sue Johnson Libkind. Photo by Robert Libkind.

Jean Sue Johnson Libkind. Photo by Robert Libkind.

In Memoriam, Jean Sue Johnson Libkind, former marketing manager of the University of Wisconsin Press

JEAN SUE JOHNSON LIBKIND, retired publishing executive and literary agent, died Oct. 17, 2015 at Penn Hospice at Rittenhouse, Philadelphia. Mrs. Libkind, 71, had resided in Philadelphia since 1984.

Mrs. Libkind, born in Racine, Wisconsin, operated a literary agency in Philadelphia, the Bookschlepper, representing university and academic publishers in the management of subsidiary rights. After graduation from Park High School in Racine, she earned a bachelor of arts degree in journalism in 1966 from the University of Wisconsin-Madison. She attended the university on a scholarship from Western Printing of Racine, the publishers of Golden Books, where her father was a staff artist. She also attended summer school at the University of Oslo, Norway. While at the University of Wisconsin, she was managing editor of the student newspaper, the Daily Cardinal. She also served as a board member of the Daily Cardinal Alumni Association.

Before starting her own agency, she was director of publishing operations for the Jewish Publication Society in Philadelphia, and before that worked as a marketing manager for the University of Pennsylvania Press, the University of Georgia Press, and the University of Wisconsin Press. She had also served as managing director of Worldwide Books in Ithaca, New York. Her professional affiliations included Women in Scholarly Publishing, of which she was a founding member, the Philadelphia Publishers Group, Women in Communications, and the Madison Press Club.

She was among the founders and later president of Friends of Eastern State Penitentiary Park, which improved the neglected property outside the walls of the historic prison in Philadelphia’s Fairmount neighborhood. While a resident of Madison, Wisconsin, she was president of seven after school day care centers. She was a member of the Unitarian-Universalist Fellowship of Athens, Georgia, and was until her recent illness active with the First Unitarian Church of Philadelphia, including its women’s book club.

She was preceded in death by her son, Eric David Spradling; her father, John B. Johnson; her mother, Jean Barr Johnson; and step-mother, Loretta Richards Johnson. She is survived by her husband, Robert L. Libkind, as well as aunts and cousins in Wisconsin, Alaska and Norway.

In lieu of flowers donations may be made to the American Heart Association.

Jean Sue has asked that the following be sent to all her friends in the event of her death:

My apologia,

Like a bird on a wire, like a drunk in a midnight choir, I have tried in my way to be free. 

If I, if I’ve been unkind, I hope that you will just let it go by, and if I, if I have been untrue, I hope you know that it was not to you. 

I saw a man, a beggar leaning on his crutch. He said to me, “Why do you ask for so much?” There was a woman, a woman leaning in a door, She said “Why not, why not, why not ask for more?’

Like a bird on a wire, like a drunk in a midnight choir, I have tried in my way to be free.

— Leonard Cohen.

Here are some things you’ve heard me say; I call them “GienTsu-isms”—

  • It is not enough to survive. One must do it with a sense of style, a sense of grace and a sense of humor.
  • The mark of a civilization is how it treats its old, its young and its ill. We are barbarians.
  • “If you give a child a love of reading and teach him to read with ease, the child can learn anything.”
  • Romance doesn’t end in a marriage; the love evolves into something far deeper than mere romance with a bit of whimsy emerging every once in a while, just for fun.
  • It is not enough to practice what you preach; you must have the courage to preach what you practice.
  • It’s that damn “Y” chromosome: the leg of the Y gets caught in a man’s ear and he can’t hear what you’re saying.
  • There are twenty people in the world and everything else is done with smoke and mirrors.
  • The good news about the human race is that 99.9% of the people are doing the best they can; the bad news is that 99.9% of the people are doing the best they can.
  • A bird in the hand leaves a messy palm.
  • I earned every one of these wrinkles and gray white hairs.
  • I’m an old woman and I can do what I want.
  • The opinions of those who wish you well matter; the others can go to hell.
  • It is easier to ask for forgiveness than beg for permission.
  • Every time I see the light at the end of the tunnel, it’s some damn gnome with a lantern.
  • She’s got Bette Davis eyes; I’ve got Madelyn Albright’s hair.
  • Most policies are like fire hydrants. Everybody wants to leave his/her mark.
  • Subset: There is always a Chihuahua who thinks he is a Great Dane..
  • In case of an emergency, call an ambulance.
  • When the organic material impacts with the ventilating device, have a beer and remember the good times.

With love and affection—Jean Sue

  • Remember: No place is safe: Mrs. Elizabeth Anne Hewelett Hodges, 32, was asleep on the living room couch when a nine-pound meteor came through the roof of her Sulacauga, Alabama house, bounced off the radio and struck her hip (November 30, 1954). She was bruised; the radio did not survive.

Recent Book Awards and Honors

Click on the book covers for more information on each book.

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Rigoberto González, author of the UW Press books Butterfly Boy and Autobiography of My Hungers  *  Awarded the Bill Whitehead Award for Lifetime Literary Achievement by the Publishing Triangle

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The CitNava-picy of Palaces: A Novel by Michael Nava
Winner, International Latino Book Award for Latino Fiction, Latino Literacy Now  *  Second place, International Latino Book Award for Historical Fiction, Latino Literacy Now   *   Finalist, Gay Fiction, Lambda Literary Awards

Archiving the Unspeakable: Silence, Memory, and the Photographic Record in Cambodia by Michelle Caswell Caswell-pic
Winner, Waldo Gifford Leland Award, Society of American Archivists 5210-165w

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Understanding and Teaching U.S. Lesbian, Gay, Bisexual, and Transgender History, edited by Leila J. Rupp and Susan K. Freeman
Winner, Lambda Literary Award for LGBT Anthology

My FavorJoanne Diazite Tyrants by Joanne Diaz
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Winner, Midwest Book Award for Poetry, Midwest Independent Publishers Association

Otherwise Unseeable by Betsy Sholl
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Winner, Maine Literary Award, Maine Writers and Publishers Alliance

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The Sleeve Waves by Angela Sorby
Outstanding Achievement in Poetry Award, Wisconsin Library Association  *  Honorable Mention, Edna Meudt Poetry Book Award, Council of Wisconsin Writers

The Offense of Love:5302-165wHejduk-Julia-2014-165t Ars Amatoria, Remedia Amoris, and Tristia 2  by Ovid, translation by Julia Dyson Hejduk
Finalist, National Translation Award, American Literary Translators Association

5251-165wMcLean-Susan-2014-165t Selected Epigrams by Martial, Translated by Susan McLean
 Finalist, Literary Translation Award, PEN Center USA


Living a Land Ethic: A History of Cooperative Conservation by Stephen A. Laubach
Finalist, Midwest Book Award for Nature, Midwest Independent Publishers Association  *  5201-165w
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Finalist, Midwest Book Award for History, Midwest Independent Publishers Association

 

Assault with a Deadly Lie: A Nick Hoffman Novel of Suspense by Lev Raphael5306-165w  Raphael-Lev-2014-165t

Finalist, Midwest Book Award for Mystery/Thriller Fiction, Midwest Independent Publishers Association

Toni Gunnison named Journals Division Manager at University of Wisconsin Press

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Toni Gunnison (photo by Chloe Lauer)

Toni Gunnison
(photo by Chloe Lauer)

After a national search, Toni Gunnison has been appointed manager of the Journals Division at the University of Wisconsin Press. Gunnison first joined UWP as journals marketing manager in 2007. Since March 2015 she has served as interim journals manager, following the departure of Jason Gray, who left to join the staff of the Association of Writers and Writing Programs.

The University of Wisconsin Press currently publishes fifteen journals covering a broad range of humanities, social science, and STEM areas. Titles include American Orthoptic Journal, Arctic Anthropology, Contemporary Literature, Ecological Restoration, the Journal of Human Resources, Land Economics, Landscape Journal, Luso-Brazilian Review, Monatshefte, Native Plants Journal, and Substance. The newest journals, put under contract during Gunnison’s tenure as interim journals manager, are Constitutional Studies, African Economic History, Ghana Studies, and Mande Studies.

“Toni is a strong leader whose skills, experiences, and vision for the future will greatly benefit the University of Wisconsin Press,” says Dennis Lloyd, director of UWP. “I am looking forward to working with her. Her knowledge of what the Journals Division has been—and what it can be—is unparalleled.”

Over the past eight years, Gunnison has handled diverse assignments for UWP, including journal and books marketing, project management for website and database renovations, and serving as liaison to content-hosting platforms such as HighWire, JSTOR, and Project MUSE.

As chair of the Digital Committee of the Association of American University Presses for the last two years, Gunnison is well versed in issues facing academic publishers as digital content continues to evolve.

“Our journals are in a strong position to face the changes in academic publishing. We’re eager to use our expertise as publishers to help journal editors and their staffs adapt to new ways of working, as well as making journal content more accessible and visible,” Gunnison noted.

At the University of Wisconsin–Madison, Gunnison has served on several search committees and on the Equity and Diversity Committee of the Office of the Vice Chancellor of Research and Graduate Education.

Atticus Finch and Witnessing Whiteness

Reposted from the blog MoralesWrites by Jennifer Morales

Jennifer Morales

Jennifer Morales

Jennifer Morales is on a national book tour for her fiction collection, Meet Me Halfway: Milwaukee Stories (UW Press), and having conversations about race in America

Tuesday was the first time on the Meet Me Halfwaybook tour when the travel schedule, the weather, and our health aligned to allow me and Keren to get out with the “Please Talk With Me About Race” sign. The sign is about 4 feet tall and is painted with black lettering on a white background. We have a 1×4 to prop it up so passersby can read it easily.

We looked for an area of St. Louis that had two things: diverse foot traffic and a laundromat. (It’s Day 6 and we were running out of underwear …) While the clothes spun in the washer, we drove down S. Grand Avenue to find a good place to set up shop. There was a little pocket park in the middle of a row of restaurants, Ritz Park, run by the local business improvement district. It had concrete benches near the sidewalk where diners, students, and others were going by. So when the laundry was dry, we went back there.

I settled myself in on one of the benches with the sign next to me and put on my “door face” — the open, welcoming, cheerful face I used to wear whenever I rang a doorbell during voter outreach on the campaign trail.Meet Me Halfway

I took notes on each interaction we had — from the African American studies professor who outlined the racial divisions in St. Louis County for us, to the white man who flew by saying, “I’m late for a meeting but I’m so glad you’re doing this,” to the black homeless Army veteran who told us how he lived and worked odd jobs in this neighborhood “365 days a year” but was still regularly arrested by white police officers for no reason at all.

But I want most to talk about Gordon. He is a 30-year-old African American man, currently down on his luck and couch surfing. When I asked him if he would talk with me, he looked at my “Please Talk With Me About Race” and said, “Sure, as long as you’re talking about how to end it. As long as it’s for good.”

After he told me familiar stories about his dealings with cops — don’t gather in groups larger than two, try to stay by older folks if possible, walk away slowly if you see a white cop coming but don’t let him know you saw him — I asked Gordon if he thought the state of racial dialogue was better or worse since the death of Mike Brown in Ferguson.

Jennifer in a St. Louis pocket park with the "Please Talk With Me About Race" sign.

“Definitely worse,” he said. The people in the mostly white areas of the county were using the protests that followed Brown’s death as further reason to look down upon and shut themselves away from young black men like Gordon.

I asked him what he thought would change things for the better. He thought for a short minute and said, “It’s going to take time, all of us being human and all. It’s going to take time.”

He paused and then pointed to organizing. He called on the “old heads” to help the younger generations focus their protests in the most powerful and effective ways. But he acknowledged the importance of mass protest to make the case for justice, regardless. “Dr. Martin Luther King didn’t do it all himself. It was a lot of people over a lot of years.”

Finally, he mentioned white allies speaking up. He had recently seen an old movie about a black man charged with rape and the white lawyer who defended him.

“To Kill a Mockingbird?” I suggested.

“Yeah, that was it. White people have to get to the point of saying ‘This is wrong.’ That white lawyer knew the guy didn’t do it, so he stood up.”

Read more of Jennifer Morales’s blogs from her tour, talking about race in America at MoralesWrites.com.

Margaret Beattie Bogue named recipient of the first Frederick Jackson Turner Award

The Midwestern History Association this week announced the winner of its first annual Frederick Jackson Turner Award, bestowed on an individual for lifetime service to Midwestern history. The honor is conferred upon Margaret Beattie Bogue, professor emerita of history and liberal studies at the University of Wisconsin–Madison.

Margaret Beattie Bogue

Margaret Beattie Bogue

Bogue joined the University of Wisconsin Extension program in 1966 and later the Department of History at UW–Madison. Her research interests have included the fisheries and wetlands of the Great Lakes region as well as Midwestern agricultural and environmental history.

The Midwestern History Association was formed in 2014 to advocate and support greater attention to Midwestern history among professional historians. Bogue is the first recipient of this new award, which will be presented April 17th at the annual meeting of the Midwestern History Association in St. Louis, in conjunction with the Organization of American Historians conference.

“The Midwestern History Association is proud to confer the first Turner Award upon Professor Bogue, who has been a long-time leader in studying the American Midwest, especially its deeply agrarian character and the decisive role of the Great Lakes in the region’s development,” said Jon K. Lauck, president of the association.

BogueFishingBogue’s definitive history of the decline of the Great Lakes’ fisheries—Fishing the Great Lakes: An Environmental History, 1783–1933 was published in 2000 by the University of Wisconsin Press and received national and regional awards, including the Wisconsin Library Association’s Outstanding Achievement book award. She also brought the rich local histories of the Great Lakes region to the general public through two guides to historic sites: Around the Shores of Lake Michigan and Around the Shores of Lake Superior, also both published by UW Press. In her 2007 second edition of the Superior book, she added historical essays on the Ojibwe presence, French exploration, industry on and around the lake, and the impact of this human history on the natural environment, garnering that book several awards, including the Award of Bogue_LakeSuperiorLGMerit for Leadership in History from the American Association for State and Local History. Her first book, in 1959, was Patterns from the Sod: Land Use and Tenure in the Grand Prairie, 1850–1900 (Illinois State Historical Library).

“Margaret Bogue does meticulous research and analysis, but she makes her work accessible to general readers as well as scholars. She’s always been active in bringing history to the citizens of the Midwest and Great Lakes regions,” noted Gwen Walker, editorial director of the University of Wisconsin Press.

The Turner Award is named for the prominent historian Frederick Jackson Turner, whose famous 1890 lecture on the influence of “the frontier” on American identity considerably shaped the historiography of the Midwest and the broader field of U.S. history. Turner was born in Portage, Wisconsin, in 1861 and earned his BA from the University of Wisconsin in 1884. His essays on regionalism and the American Midwest won the Pulitzer Prize in history in 1933. As a professor at the University of Wisconsin and later at Harvard, Turner trained many historians and helped shape many fields of historiography. Perhaps his greatest contribution to the discipline of American history was his focus on Midwestern history, an emphasis that was carried on by his many students.

The members of this year’s Frederick Jackson Turner Award committee are Pamela Riney-Kehrberg of Iowa State University, Brian Hosmer of the University of Tulsa, and Jane Pederson of the University of Wisconsin—Eau Claire.

Christina Stoddard talks about poetry, Mormonism, feminism, gang violence, and revenge

Christina Stoddard is the author of the poetry collection HIVE, for which she is the winner of the 2014 Brittingham Prize in Poetry. Hive has just been published by the University of Wisconsin Press. We spoke with Stoddard about this fierce debut collection of poems about brutality, exaltation, rebellion, and allegiance.


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I needed to write a poem that was absolutely boiling over with rage.


Where did the title of the book come from? Why Hive?   Beehives are actually an important symbol in Mormon culture, and have been dating back to pioneer times. The exact reason why is not known for sure, but there are a few theories. One is that honeybees embody many qualities that the Church teaches its members to prize: harmony, industriousness, order, communal labor. Everyone performing their assigned role and everyone working together for the common good. Bees are cohesive and single-minded, not individual. Bees don’t deviate from the path they’re given—and thematically that is perfect for my book, which is about a teenage girl who is doing exactly that: deviating from the path she’s supposed to follow. Utah’s nickname is the Beehive State—even though they don’t really raise bees there and Utah doesn’t produce a lot of honey.

I gather from the book that you did not grow up in Utah, however.   No, I didn’t. I was born in the Pacific Northwest and grew up in Tacoma, WA, which is where the book is set. But my father is from Utah, and we visited relatives there often, so I’m familiar with a few cities in Utah.

How long did it take you to write the book?  That’s a little difficult to answer, because I spent many years

Christina Stoddard

Christina Stoddard

trying to write it and mostly failing. Originally what I produced weren’t poems, they were more like polemics. I was a very angry person in my teens and twenties, and I had to work through that anger first. A few of the poems have existed in some form for more than a decade. But most of the book was written over a period of three years, 2010 to 2013, after I had taken some creative writing workshops from poets Claudia Emerson and Ellen Bryant Voigt. Those women gave me the keys that unlocked everything else.

What sorts of keys?  I took a summer workshop at the Sewanee Writers’ Conference, from Claudia Emerson, and when she read the group of poems I had turned in for class, Claudia basically told me that it seemed like I was phoning it in. She said I wasn’t pushing myself in either form or subject matter, and she challenged me to do better.

Really?  Yes. That hurt at first, certainly, but I decided there were two options: I could either give up and go sulk in the corner, or I could fling myself off a cliff of experimentation and see what happened. I chose the cliff. I started trying to write lyric poems, whereas previously my style had been very chatty, straightforward and plain, very rooted in story, what are often called narrative poems. A narrative poem has a beginning, middle, and end, and there’s usually a lot of context about what’s going on.

I took that new lyrical work and applied the next summer to the Bread Loaf Writers’ Conference. I had no idea if the poems were any good—they were way outside of my comfort zone. But I got accepted, and I took a workshop with Ellen Bryant Voigt. Ellen once  . . .  Full interview continued here Continue reading

Jan Vansina, pioneering historian of Africa, receives lifetime achievement award from AHA

For reclaiming the “unknowable” history of Africa in seven landmark books from the University of Wisconsin Press

Jan Vansina.  Photo by Catherine A. Reiland / African Studies Program, UW-Madison. Used by permission. All rights reserved.

Jan Vansina. Photo by Catherine A. Reiland / African Studies Program, UW-Madison. Used by permission. All rights reserved.

Jan Vansina, one of the world’s foremost historians of Africa who literally wrote the book on using Oral Tradition as History, was honored at the January 2015 convention of the American Historical Association with its Award for Scholarly Distinction. The honor is awarded for outstanding lifetime achievements in the field of history. Vansina was cited in particular for his many innovations in scholarly methodology, institution-building, and mentoring.

Vansina is considered one of the founders of the field of African history in the 1950s and 1960s, a time not so long ago when there was still a widely held view that cultures without written texts had no history, or that their history was unknowable. Up to that point, “African” historiography focused entirely on the history of European colonizers in Africa, not on the history of Africans.

Vansina was an early recipient of the “Distinguished Africanist” award by the African Studies Association of the United States, and in 2000 he was elected a member of the American Philosophical Society.

In an interview with the University of Wisconsin Press, where he has now published eight books over the course of fifty years (seven on Africa and one on his Belgian childhood), Vansina looked back at how his books published by UWP have influenced the study of Africa’s history, both within Africa and around the world.

“My own case shows that the kind of specialized scholarly books published by university presses typically lead to further research by others and do so for a whole generation or longer. In a field that is new, such as African history was when I began, university presses publish specialized works of scholarship that commercial publishers take no interest in. And I have found that just placing research findings in archives is not enough: publication is absolutely essential to the advancement of research. Indeed, I would argue that university presses are as essential for research in the humanities and social sciences around the globe as are laboratories for research scientists.”

As a young employee of a Belgian research agency sent to the Congo in 1952, Vansina discovered that he could analyze the oral tradition stories he heard from Kuba informants by using the same methods he had learned for extracting historical information from European medieval dirges. This was a historiographical breakthrough that gave the study of pre-colonial African history both the scholarly justification and the self-confidence it had been lacking.

Vansina recalls the impact of his first book with UW Press in 1966, Kingdoms of the SavannaSavanna

“It was a preliminary historical overview of an area and period in Africa that was little known in academic circles at that point. It was quickly translated into French and published in Kinshasa, and it won the Herskovits Prize for best book from the African Studies Association.”

Although historians were accustomed to studying kingdoms, the book used a very innovative mix of oral and written sources to provide a history of pre-colonial kingdoms in central Africa. At the time, a review of the book in the American Historical Review recognized Vansina’s innovation:

“This signal contribution to African history, and the writing of history more generally, has emerged from the scholarship of one who is ranked by many as among the foremost of the contemporary historians of sub-Saharan Africa.”—American Historical Review

“Over the next twenty-five years or so,” Vansina remembers, “several scholars were inspired by the book to pursue their own research in the past of the various kingdoms I wrote about, so that by the year 2000, individual monographs had been written about nearly all the major kingdoms of the southern savannas (at least five in RD Congo, three in Zambia, and three in Angola).

The impact of Kingdoms outside academia was rather colorful, Vansina recalls. “In Central Africa many in the Congo read it, and it became coveted underground reading for those in the Angolan insurrection against their Portuguese overlords. Its popular impact was especially strong in the lower Democratic Republic of Congo (or RD Congo), where local demand has been strong enough to produce a translation in Kikongo around 1990 and another one in Lingala. In the 1970s there was even a local church calling itself ‘The Church of the Kingdoms of the Savanna.’ ”

In 1978, Vansina published a scholarly monograph, The Children of Woot, on the history of a single kingdom in RD Congo. He comments, “The one completely new feature for a history book was the inclusion of its long lexical appendix, as essential to the argument. A monograph like this is not expected to have a host of readers when it is published but it is expected to attract small numbers of researchers for many years thereafter. Thus even today this book and especially its data have not been superseded by anything else.”

Oral Tradition as HistoryOral Tradition as History, a methodological work published in 1985, is Vansina’s book that is most widely known and used in fields beyond African history. “It is a manual about how to handle a certain kind of oral history worldwide, not just in Africa. Some twenty-five years earlier as a young man, what I had written about oral tradition had made a splash and led to extensive debates. This new book was a complete reworking that took into account valid observations made by critics, but still showed the extent to which oral histories of this sort could be relied upon. It has had an active life. For example, it was recently translated into Indonesian Malay.”

Vansina continued to innovate with his book Paths in the Rainforests (1990), a historical overview built primarily on linguistic and archaeological data reaching more than two thousand years into the past. It attempted a history of the peoples in the Central African rainforests, a large area that had been written off as “without history.”

“But I wrote it as history, introducing new concepts, and included a very large appendix showing the results of comparativePaths linguistic data. No one had ever attempted anything similar, certainly not on that scale, and this book was therefore a bit of a gamble, but it convinced most social anthropologists and archaeologists. I am gratified that from that time onward it has served as an incentive for much further research by others. This year an archaeologist wrote me to say that his discoveries conformed to the predictions the book had made. The most important results of Paths in the Rainforests, though, have been in the field of history, where others have now used similar techniques in their own work, including very deep historical research on the Great Lakes region of East Africa.”

“Until the publication of Paths in the Rainforests, it was difficult to make more than superficial attacks on the widespread myth that Central African peoples live in ‘impenetrable jungles as their ancestors have lived for thousands of years.’ . . . Jan Vansina’s Paths makes a truly significant contribution to African history by providing a solid framework for the description and integration of a millennium of evolution of the many societies of the vast rainforests.”—Curtis A. Keim, African Studies Review

Living AfricaAs the field of African history matured, Vansina was one of the first to look back at it in a combination historiography and memoir, in his 1994 book Living with Africa. David Henige, longtime African studies librarian at the University of Wisconsin–Madison and co-editor of a UW Press book series in African studies, commented on the significance of the memoir.

“Jan Vansina’s academic career is virtually simultaneous with the field of African history itself. His centrality in the burgeoning field in the 1950s and 1960s was so intense that he was actually called a ‘Culture Hero’ in print, after the anthropological concept that a single figure epitomizes in the collective memory an entire epoch.” —David Henige, University of Wisconsin

Also in 1994, the horrific violence and mass killings in Rwanda returned Vansina’s attention to research he had done in Rwanda from 1957 to 1961. The rich and extensive documentation he had collected was available in an archive there, but no one had made use of it for publications.

Antecedents to Modern Rwanda“I knew from that research that Rwanda’s past, and historical memories of that past, were quite relevant to a fuller understanding of the genocide and people’s motivations. I also felt that knowledge of Rwanda’s pre-colonial history could contribute to political choices about its future.

So, I first wrote a book in French about the main social and political developments of the country, directed as much towards Rwanda’s governing elite as towards historians. But the new elite came mostly from Uganda and used English, not French. So I translated the work into English and UW Press published it as Antecedents to Modern Rwanda in 2004.”

“Though its narrative and its major interpretations have been accepted by most academics, and also led to the publication of two academic debates about its significance, in Rwanda there is official silence about the book. It has not been formally banned in Rwanda, but the history I present runs counter to the official ideology and now also to the official history the government promulgates. But I know that actually the book has been widely read in Rwanda, even discussed, but no one will publicly admit to this. I hope that it will eventually be recognized and lead to further research in Rwanda.”

Most recently, in 2010, Vansina experimented with another new approach to African history. “Being Colonized: The Kuba Experience in Rural Congo, 1880–1960VANSINA Revised Fronts.indd, was my deliberate attempt to write a book for undergraduates. It presents the history of a colony through the eyes of a colonized people. I used sidebars and illustrations, a format still rather uncommon in works of African history. I resisted reducing the historical complexity of the period to simple formulas. The anecdotal evidence so far has it that while most students like it, many find all those names and the very complexity of the history a bit overwhelming as well. But I hope it will inspire others to experiment further with approaches for undergraduates that will open new perspectives to them.”

Jan Vansina’s legacy also includes an extraordinary impact beyond academia. When the journalist Alex Haley was researching the family history that would become his famous book Roots, a powerful and groundbreaking story of enslaved African Americans, he could find no written documents that directed him to a point of origin in Africa. Eventually, someone suggested that he contact Jan Vansina, who had been doing innovative research on African oral traditions.

Vansina suggested to Haley that the few words, names, and stories that had been passed down to Haley from an enslaved African ancestor named Kunta Kinte might be from the Mandingo people in Gambia, a culture with a very rich oral tradition recited by trained griots. Eventually Haley’s quest led him to a griot in a remote Gambian village who had memorized the history of a large, extended Kinte family. Two hours into the recitation, the griot mentioned a young man, Kunta, who went away from his village to chop wood and was never seen again. This astonishing connection was the beginning of a great movement of reclamation of African heritage by African Americans.

Thru the DayNow 85 years old and professor emeritus at the University of Wisconsin–Madison, Vansina recently published his eighth book with the University of Wisconsin Press, departing from African history to write a memoir of his youth in war-torn Belgium: Through the Day, Through the Night: A Flemish Belgian Boyhood and World War II.

“Not only a personal narration about the Flemish struggle to achieve cultural and political recognition, Vansina’s Through the Day, Through the Night is also a lesson on how history and memory work.”—Bogumil Jewsiewicki, Université Laval, Canada

But Vansina is not done yet; the rich research notes and knowledge of primary sources that he’s accumulated over a lifetime of scholarship will doubtless result in continuing innovative and influential work on the history of Africa.

“the most conservative-minded revolutionaries that ever put through a successful revolution”?

Jason Knirck’s new book challenges the depiction of the 1920s as a period of political inertia in Ireland

Jason Knirck

Jason Knirck

Reposted from the IRISH TIMES

BY JASON KNIRCK, author of Afterimage of the Revolution: Cumann na nGaedheal and Irish Politics, 1922–1932

In March 1923, Ireland’s Cumann na nGaedheal government was criticised in the Dáil (Irish parliament) for allowing the military to seize cattle found trespassing on a landlord’s estate.  TJ O’Connell of the opposition Labour party claimed it was hypocritical for the government to insist on strict enforcement when Sinn Féin had openly encouraged disrespect for the law during the revolution.

In response, vice-president Kevin O’Higgins denied that his party had preached anarchy and famously said, “we are the most conservative-minded revolutionaries that ever put through a successful revolution.”

Kevin O'Higgins

Kevin O’Higgins

This rather disingenuous statement has come to define Cumann na nGaedheal and the postrevolutionary period in Ireland, as historians often depict the 1920s as an era of stultifying conservatism and inertia. John Regan has even labelled the government counter-revolutionary, with its main goal being the creation of the Irish Party’s imagined Home Rule state.

The common notion is that the promise of the revolution faded in the 1920s as a conservative government replicated the institutions and ethos of its colonial predecessor. While the achievements of the revolution undoubtedly disappointed many, and were largely carried out in an atmosphere of social and cultural conservatism shared by much of the Sinn Féin leadership, recent research has increasingly questioned the depiction of Cumann na nGaedheal as counter-revolutionary or static.

The revolution and its emancipatory rhetoric cast a deep shadow over the following decade, as members of the government Knirckand their anti-Treaty opponents generally defended their policies by invoking revolutionary principles. Although most Treatyites understood the importance of the transition from active revolutionaries to government ministers, this shift did not necessitate a wholesale abandonment of revolutionary ideals.

Like any postrevolutionary government, Cumann na nGaedheal emphasised some aspects of the revolution while downplaying others. Notions of self-determination, anti-imperialism, and Irishness inherited from Sinn Féin became the key points around which Cumann na nGaedheal policies pivoted.

Taking a closer look at the Free State’s relationship with the British Empire is crucial in this regard. Despite constant criticism that the government was pro-British or pro-imperial, Cumann na Gaedheal consistently sought to protect and expand the state’s sovereignty against British threats.

The broadest strokes of this policy are well-known, culminating with the 1931 renunciation of the British parliament’s right to legislate for the Dominions, but the government’s support for Irish sovereignty went beyond these major initiatives.

Shortly before his assassination, for example, O’Higgins represented Ireland at a naval disarmament conference in Geneva. Although Ireland had no immediate interest in naval matters, O’Higgins attended in order to prevent Britain signing any agreement on behalf of the “British Empire,” an entity that he claimed had no legal existence.

The Irish government also earlier turned down a British offer to pay the expenses of Irish delegates travelling to London for the 1926 Imperial Conference, seeing this as an infringement on Irish independence. In this case, the desire to protect sovereignty even triumphed over the tightfistedness of the Department of Finance.

The government also invoked the other Dominions in protecting its sovereignty. Treatyites claimed that existing Dominions would be guarantors of Irish freedom, as any British interference with the Free State would implicitly threaten other Commonwealth members as well. This reimagined the British Commonwealth as an anti-imperial empire: a collection of sovereign states united against the metropole.

continue to page 2, on the Irish Times site here