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Sifting through the aftermath of a disastrous blaze. The romance that launched a thousand Supreme Court opinions. A poetic ode to a simple life, well lived. Tracing the arc of food writing. And examining the hidden costs of a particularly sensitive surgical procedure. Our favorites of the week, pulled from all of our editors’ picks.
Megan Greenwell | Wired | June 27, 2023 | 7,987 words
Megan Greenwell’s piece does what the best longform features do: It mesmerizes you with an opening so powerful and a story so compelling that you deliberately read it slowly, just to make it last. This piece—about a devastating fire at a branch of the National Archives and Records Administration that happened to contain records belonging to Greenwell’s grandfather—is nearly 8,000 words long, but the prose is so sharp and cinematic that you’ll wish it was longer. “The National Personnel Records Center fire burned out of control for two days before firefighters were able to begin putting it out,” she writes. “Photos show the roof ablaze, a nearly 5-acre field of flame. The steel beams that had once held up the glass walls jut at unnatural angles, like so many broken legs.” Even were it not set against a backdrop of the U.S. government, this would be a fascinating mystery: What or who started the fire and how do workers attempt to uncover precious facts from seriously damaged files? Did Greenwell’s grandfather’s records survive the blaze? Be sure to take it slow and let this story smolder. I’m certainly glad I did. —KS
Kerry Howley | New York | June 21, 2023 | 7,555 words
My husband sent me this story while I was reporting in Idaho last week, with a message that said, “Isn’t this by that writer you like?” The answer, reader, is yes. Kerry Howley’s 2022 story about anti-abortion activist Marjorie Dannenfelser was rightly named a finalist for a National Magazine Award—one of several nominations Howley’s work has received in the last several years—and I suspect this piece about Clarence and Ginni Thomas will be in the running for many, many honors. Whereas with Dannenfelser, Howley was shedding light on a powerful person who isn’t a household name, here she tackles two of the better-known political (yes, SCOTUS justices are political) figures in America. She does it without access to them, instead surveying pre-existing material on the Thomases with remarkable facility, mustering everything she needs, and nothing she doesn’t, to tell the story of their marriage. Take the seemingly mundane detail of Ginni telling a bunch of right-wing youth that her favorite charm on a bracelet Clarence gave her is a pixie because, to her husband, she is “kind of a pixie…kind of a troublemaker,” which Howley convincingly positions as a metaphor for the havoc Ginni has wreaked on American democracy. Consider this brilliantly constructed sentence: “They take, together, lavish trips funded by an activist billionaire and fail, together, to report the gift.” And that’s just in the first section! This piece is one for the ages in both substance and style. I mean, damn. —SD
Jeremy B. Jones | The Bitter Southerner | June 6, 2023 | 1,580 words
I have never before picked an obituary for our Top 5, but Jeremy B. Jones’ ode to his grandfather deserves recognition. At just over 1500 words, it’s not a particularly long piece, but it’s a particularly poetic one, and is enough to get to know—and respect—Jones’ Papaw. Ray Harrell lived a simple life on a little bit of land in Fruitland, North Carolina. To many, it would not be enough; for Harrell, it was plenty. After all, as Jones writes, he had “a reliable tractor and a fiery woman.” It was a good life because he appreciated what he had, was contented with his lot. Jones notes that these quiet lives often slip past unnoticed, “yet those are the lives in our skin, guiding us from breakfast to bed. They’re the lives that have made us, that keep the world turning.” A small essay about a simple life that I found hugely moving. —CW
Marian Bull | n+1 | June 15, 2023 | 3,978 words
In reviewing Rebecca May Johnson’s Small Fires, Marian Bull looks at how infusing recipes with introspection and experience begat the cooking memoir. What I loved about about this piece—besides spurring me to pick up Small Fires, which also appeared in our recent feature “Meals for One”—is that while Bull surveys chef memoirs, she hails Johnson’s book as one for the home cook, the self-trained enthusiast. “Johnson has inverted this form by writing a memoir of a recipe, rather than a ‘memoir’ with recipes,” she writes. Johnson looks at cooking as translation and recipes as a form of performance, which is comforting for someone like me who views a recipe as a guide: “The unpredictable ‘I that cooks,’ who resists the recipe again and again, generates new translations.” How inspiring and affirming to be invited to take a seat at this generous table where nothing is lost and everything is gained in translation. —KS
Ava Kofman | ProPublica and The New Yorker | June 26, 2023 | 8,601 words
It’s easy to think that “men trying to upgrade their dongs” is a journalism cheat code of sorts. Having written about them myself many years ago, I can assure you that it’s not. Pitfalls abound. Tone is everything. Jokes are easy; reserve is hard. (So is avoiding double entendres.) Yet, Ava Kofman manages to thread every needle in her stunning examination of the state of penile-enlargement procedures, which focuses primarily on issues surrounding the popular Penuma implant. She writes compassionately about the patients, not dismissing the complex psychological situations that led them to pursue surgery. She writes unblinkingly about the doctor who popularized the procedure, and whose practice seems at times to operate with all the care of a 30-minute oil change joint—and about the surgeon who “was doing such brisk business repairing Penuma complications that he’d relocated his practice from Philadelphia to an office down the street.” And speaking of unblinking, I dare you not to wince as she plays fly on the wall during an implantation; you may never hear the phrase “inside out” the same way again. This story may have drawn you in with its imagined salaciousness, but it delivers something far better: truth. —PR
What piece did our readers love most this week? One that makes clear that the kids are not all right.
Joseph Cox | Vice | June 20, 2023 | 2,111 words
Those looking for dirty deeds to be done seem to be going no further than the Comm, a series of Discord communities in which people order violence, including commissioning robberies for bitcoin, and organizing swats against vulnerable people for perceived slights and insults. For Vice, Joseph Cox infiltrated this vile, testosterone-fueled world of crime. —KS
Every artist explores dimensions of space and place, orienting themselves and their works in the world, and orienting their audiences. Then there are artists like Vincent van Gogh, who make space and place a primary subject. In his early paintings of peasant homes and fields, his figures’ muscular shoulders and hands interact with sturdy walls and gnarled trees. Later country scenes—whether curling and delicate, like Wheatfield with a Reaper, or heavy and ominous, like Wheatfield with Crows (both below)—give us the sense of the landscape as a single living entity, pulsating, writhing, blazing in brilliant yellows, reds, greens, and blues.
Van Gogh painted interior scenes, such as his famous The Bedroom, at the top (the first of three versions), with an eye toward using color as the means of making space purposeful: “It’s just simply my bedroom,” he wrote to Paul Gauguin of the 1888 painting, “only here color is to do everything… to be suggestive here of rest or of sleep in general. In a word, looking at the picture ought to rest the brain, or rather the imagination.”
So taken was the painter with the concept of using color to induce “rest or sleep” in his viewers’ imaginations that when water damage threatened the “stability” of the first painting, Chicago’s Art Institute notes, “he became determined to preserve the composition by painting a second version while at an asylum in Saint-Rémy in 1889,” then demonstrated the deep emotional resonance this scene had for him by painting a third, smaller version for his mother and sister.
The opportunity to see all of Van Gogh’s bedroom paintings in one place may have passed us by for now—an exhibit in Chicago brought them together in 2016. But we can see the original bedroom at the yellow house in Arles in a virtual space, along with 1,500 more Van Gogh paintings and drawings, at the Van Gogh Museum in Amsterdam’s site. The digitized collection showcases a vast amount of Van Gogh’s work—including not only landscapes, but also his many portraits, self-portraits, drawings, city scenes, and still-lifes.
One way to approach these works is through the unifying themes above: how does van Gogh use color to communicate space and place, and to what effect? Even in portraits and still-lifes, his figures compete with the ground. The scored and scalloped paintings of walls, floors, and wallpaper force our attention past the staring eyes of the painter or the finely-rendered fruits and shoes, and into the depths and textures of shadow and light. We begin to see people and objects as inseparable from their surroundings.
“Painting is a faith,” Van Gogh once wrote, and it is as if his paintings ask us to contemplate the spiritual unity of all things; the same animating flame brings every object in his blazing worlds to life. The Van Gogh Museum houses the largest collection of the artist’s work in the world. On their website you can read essays about his life and work, plan a visit, or shop at the online store. But most importantly, you can experience the stunning breadth of his art through your screen—no replacement for the physical spaces of galleries, but a worthy means nonetheless of communing with Van Gogh’s vision.
Note: An earlier version of this post appeared on our site in 2018.
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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness
Is there value to be found in national, or language based preprint servers? Matthew Salter discusses lessons learned from the first year of Japan's Jxiv.
The post Guest Post — A Year of Jxiv – Warming the Preprints Stone appeared first on The Scholarly Kitchen.
If you spend any time at all in archives of early American material, you will stumble over genealogies. Lots of ways and types of producing genealogy. What I call “vernacular genealogy.” (And you can see lots of examples on my Instagram, where my handle is VernacularGenealogy.) Although the John Carter Brown Library is known as a world-class collection of early American printed materials (books, maps, prints about the early Americas and the Caribbean), with one major archive, the Brown Family Business Papers, we do also have a few codices. And last week I stumbled over one I hadn’t read before, an account of the Kimber family of England, New York and Pennsylvania. This notebook of family history was written by multiple hands, from the mid- 18th into the mid-20th century.
There’s a lot that’s interesting in this volume, lots of ways it echoes other like family histories, but one thing caught my eye immediately. There are pages missing. Right at the start of the volume, one page is torn, and one is cut. I can see some letters from words in the gutter of the latter, nothing of the former (torn too close). I always wonder what could possibly have been there to warrant its removal. It could be sensitive material. Or it could be that, like many of us and like many of their contemporaries, the authors of the volume started to use it one way, then decided on another purpose and just got rid of the first few pages.
What’s helpful about these kinds of material observations is they remind me to stay close to the purposes of the work–even when that’s obscured. Someone had intent here in the production of these texts, the full volume itself, and even in the pages torn and cut away.
The post What’s Missing appeared first on Karin Wulf.
Beaumarchais and <em>Electronic Enlightenment</em>
The addition to Electronic Enlightenment (EE) of nearly 500 letters from the Beaumarchais correspondence is a significant event in eighteenth-century studies. Drawn from the second volume of Gunnar and Mavis von Proschwitz’s edited collection, Beaumarchais and the “Courrier de lÉurope”, first published thirty years ago in Studies on Voltaire and the Eighteenth Century, these letters join with 175 letters from the first volume (previously included in EE). The total of 660 letters in this collection include a combination of letters printed in that periodical and letters from public and private collections. (In 2005, von Proschwitz published a selection of 107 of these in a French edition, entitled Lettres de Combat.)
Collectively the letters being published by EE represent the largest tranche of Beaumarchais letters available for online research; moreover, they constitute approximately one third of Beaumarchais letters published to date and over one sixth of all known Beaumarchais letters in existence.
In the context of eighteenth-century correspondences, the Beaumarchais archive stands out for several reasons. The first is the volume of the archive. The known portion of the Beaumarchais papers is over 4,500 documents, constituting one of the largest corpora of eighteenth-century papers known. The full archive, if ever fully inventoried and edited, would run somewhere between 6,000 and 20,000 documents. At the upper range it would become among the largest known archives of personal papers of the period.
The second is geographical breadth—from Vienna to Madrid to the Netherlands to England and North America, the Beaumarchais correspondence is important because it shows how actually we limit our understanding if we focus on solely “French” or “Francophone” correspondence networks.
The third is sociological breadth—Beaumarchais as an historical figure offers us insights into the eighteenth century that stand apart from the major figures whose correspondence has been edited and studied. He was an artisan, a musician, a financier, commercial entrepreneur, printer, investor, politician, judge, diplomat, spy, litigant, criminal (he was imprisoned in at least four capitals), husband, lover, brother, father and, of course, a playwright. His correspondence, and thus the network of correspondents connected him to a wider swath of eighteenth-century European and North American society than almost all personal correspondences studied to date, rivaling and perhaps exceeding the Franklin and Jefferson papers in this respect.
The editorial history of the Beaumarchais correspondence extends over two centuries of literary and political history. Since 1809, when the first edition of Beaumarchais’s Oeuvres was published, over 1,500 letters have been edited—though most of them not with the critical apparatus of the Proschwitz letters published by EE—over the course of more than two centuries.
Nearly 500 letters were printed in partial editions of Beamarchais’ work or correspondence, from 1809 to 1929. The first edition of his complete works edited by his amanuensis, Gudin de la Brenellerie (seven volumes, 1809), included 55 letters that Gudin had transcribed. A second edition, by the journalist, historian and politician Saint-Marc de Girardin in 1837 included 53 additional letters. A collection of 29 letters from the Comedie Francaise archives were published in the Revue Retrospective (1836). In his two-volume biography, Beaumarchais et son temps (1858), Louis de Loménie, referenced and included partial transcripts of hundreds of letters, but included in the appendix only 35 complete texts of previously unedited letters. A second biographer, Eugène Lentilhac, in his Beaumarchais et ses oeuvres (1887), included 12 partially transcribed letters not previously published. In 1890, Louis Bonneville de Marsagny published a biography of Beaumarchais’s third (and longest lasting) wife, Marie Thérèse Willermalauz, and claimed to have consulted “sa correspondance inédite” though no letters are reproduced or directly referenced.
In the early twentieth century, the first effort to produce a complete edition of the correspondence was made by Louis Thomas; however, as he explains in the preface to his edition entitled Lettres de Jeunesse (1923), his military service during the Great War put an end to his research; so in 1923 he published 167 letters from the first two decades of Beaumarchais’ adult life, some of which had been previously published. Several years later, in 1929, the eminent French literature scholar in the United States of the day, Gilbert Chinard, edited a collection of Lettres inédites de Beaumarchais consisting of 109 letters acquired by the Clements Library at the University of Michigan; these consisted of letters to his wife and daughter.
In more recent decades, over 1,000 additional items have been published, between the edition launched by Brian Morton in 1968, continued by Donald Spinelli, which added an additional 300 previously unpublished letters over four volumes of Correspondence, and then in 1990, the Proschwitz edition.
Proschwitz, a noted philologist, added to these letters the most extensive critical apparatus associated with any edition of Beaumarchais letters. He did not seek to produce a critical edition or a material bibliography of these letters, approaches that are difficult to apply to eighteenth-century correspondence in general and to the Beaumarchais archive in particular. Rather, Proschwitz in his notes emphasized the significance of these documents for our understanding of Beaumarcahis’ life and of the eighteenth century. In these letters, we see Beaumarchais not only as a playwright seeking to circumvent censorship to have Marriage de Figaro finally staged, but also as an entrepreneur, a printer, an urban property owner, an emissary, and a transatlantic merchant. Through this window we have a window on the eighteenth century that is geographically, socially, and culturally much broader and more diverse than what we generally encounter through the correspondences previously published in EE.
With the appearance of these letters and the launching of the first new projects on Beaumarchais’s correspondence in 50 years, including the effort spearheaded by Linda Gil to produce a definitive inventory with a material bibliography, and my own work to analyze the network of correspondents from the known correspondence, this publication in EE offers eighteenth-century scholars new reason to consider a longstanding, but still little understood, figure of the age.
A version of this blog post was first published on Electronic Enlightenment.
Featured image by Debby Hudson on Unsplash (public domain)
Handwritten manuscript page from The Bluest Eye, and other Morrison papers. Toni Morrison Papers, Special Collections, Princeton University Library. Photograph courtesy of the Princeton University Library.
Visiting Toni Morrison: Sites of Memory, on exhibit at Princeton University’s Firestone Library from now through June 4, 2023, is like going to a sauna. You enter a warm, windowless space, and as you rotate your way through each experience, you find you’re dunked suddenly into something that barrages the senses—fire-singed early drafts, a detailed map, alternate endings for Beloved, the photograph that inspired Jazz. But it’s also like taking a cold plunge: you’re carried along on the continuous current of Morrison’s voice and work, and you duck out refreshed, tingling, alive with more possibilities than you’d realized there could be.
The exhibit pays careful attention to the geography of imagined space, as well as the processes by which Morrison’s novels—which seem so inevitable in their final form—took years of wrangling, revising, discarding, drafting, and re-forming. In her essay “The Site of Memory,” Morrison writes:
All water has a perfect memory and is forever trying to get back to where it was. Writers are like that: remembering where we were, what valley we ran through, what the banks were like, the light that was there and the route back to our original place. It is emotional memory—what the nerves and the skin remember as well as how it appeared. And a rush of imagination is our “flooding.”
Curated by Autumn Womack, assistant professor of English and African American Studies at Princeton, the exhibit is divided into six sections that flow chronologically but are meant to be experienced in a Morrisonian infinity knot, snaking in and around each other, distinct yet inextricably interlocked. “Beginnings,” “Writing Time,” “Thereness-ness,” “Wonderings and Wanderings,” “Genealogies of Black Feminism,” and “Speculative Futures”—each of these titles bears multiple meanings. “Writing Time,” for instance, refers not only to the interstitial moments in which Morrison squeezed novel-writing into her full-time job as an editor, around her off-the-clock family and social life—but also to her writings that are of and about time. Morrison took copious notes in the blank pages of her day planner, inscribing a kind of ancestral time into the calendrical present.
“Paradise,” visual schematic. Toni Morrison Papers, Special Collections, Princeton University Library. Photograph courtesy of the Princeton University Library Digital Imaging Studio.
Princeton itself is a site of Morrisonian memory. She taught at the university for seventeen years. In 2008, I had the insane good luck to take one of her final literature courses. The seminar was called “The Foreigner’s Home,” its apostrophe bearing layers: the foreigner who is home, the home that the foreigner possesses, and the paradox of the foreigner by definition both having a home and not being there. Morrison spun a master class on the interconnectedness of exile and writing, on the nature of “home” and “possession” in literature, and—ultimately—on how to be a human being. As we read authors Morrison loved—Coetzee, Hemingway, Ondaatje—she kept us grounded in the troubled site of Princeton, our own foreign home.
My primary sense memory from that class is the sound of Morrison’s voice: that throaty purr sure as a mountain spring. Her hypnotic tones were best when we could coax her into reading aloud from whatever text we were discussing that week, and better still when we could get her to read from her own work. For Womack, a crucial component of “Sites of Memory” is that Morrison narrates the experience. Morrison’s voice provides the soundtrack—no matter where you are in the space, you hear her speaking. A screen at the omphalos of the exhibit plays a continuous loop of two hours of footage that Womack culled from an eight-hour interview conducted with Morrison in 1987 at Boston University, just before Beloved was published. Drop in at any point and you’ll be mesmerized—I caught, for example, Morrison describing her oldest son spilling orange juice on the pages of something she was writing. Instead of stopping to clean it up, she wrote around the stain. “I wasn’t sure the sentence would last,” she said, “but I knew there would be more orange juice.” As you get closer and farther from the site of her voice, you experience a kind of Doppler effect: her words fade in and out of intelligibility, but her cadences concatenate.
Womack confessed to me, “I have two favorite children [in this exhibit].” One is personal: because her favorite Morrison book is Paradise, she loves the point-of-view diagrams for the novel, which resemble schematic galaxies. The other is a feat of pure archival magic. Morrison’s physical legacy does not lack for breadth—Womack and her team combed over two hundred linear feet of material—but a 1993 fire in Morrison’s upstate New York house damaged or destroyed many more papers. Until recently, scholars believed that all early notes for Song of Solomon had been lost in that fire. But in August 2021, as Womack and her team were finishing their research, they came across singed day planners that included mentions of characters from that novel: scrawled meditations on Milkman Dead’s name, in the forms both of memos and of preliminary dialogue, in blue ink and in black. Practical details from Morrison’s life bleed through the paper, a palimpsest of her life and the book’s timeline. These cherished documents appear as a spine down the center of the exhibit, laid out carefully like dinosaur bones, in the shape of the animal.
My own favorite child lives in the “Speculative Futures” section: it is an outline in which Morrison envisions Beloved as a nine-hundred-page trilogy spanning from the mid-nineteenth century up to the eighties. What if the finished novel itself is just a scrap in the Morrison archive, one that somehow continues to expand? Sites of Memory shows us that the finished products are but one form that her writing could have taken. The Bluest Eye began as a potential play or short story; Paradise first existed as architectural blueprints—the books weren’t the stories’ only possible manifestations. The forms they ultimately took are perfect and decisive, but what this exhibit reminds us is that perfect isn’t inevitable, decisions aren’t made in isolation, and fixed doesn’t mean locked. These might be the forms of the works we have today, but they exist in context, and they continue to live and breathe, as organisms with pasts, presents, and futures.
I also love a piece that’s not in the Sites of Memory exhibition but just across the hall. Princeton’s Firestone Library also houses the Cotsen Children’s Library, an amazing magical space complete with a Narnia lamppost and climbing tree, which has organized a small parallel exhibit, They’ve Got Game: The Children’s Books of Toni and Slade Morrison. They’ve Got Game showcases the eight children’s books that Morrison wrote in collaboration with her son. Among the items is a delicious correspondence with the illustrator Pascal Lemaître, in which Slade suggests that the early sketches of a lion looked like Toni. Both exhibits not only permit but demand the freedom to immerse oneself in Morrison’s work on all levels: to, rather than be afraid of the titan of letters she symbolizes, understand her legacy as one of attention and engagement, of rigorously breaking down assumptions and paying closer attention, of remembering to create time and space so that joy can flood back in.
Women in the history of linguistics—from marginalization to recognition
Women’s History Month raises issues of erasure and marginalization, authority and power which, sadly, are still relevant for women today. Much can be learnt from the experience of women in the past. We find inspiring stories of women who overcame prejudice and constraints of all kinds and who sometimes managed to gain recognition from their peers, only to be excluded from the history of their discipline.
In the field of linguistics, this marginalization relates to some extent to what is today considered part of linguistics and the current valuing above all of theoretical work. Words matter: a broader definition of linguistics allows women across the centuries to be included in this scholarly field. Given the cultural and practical limitations imposed on their access to education across all cultures, we need to look outside more institutionalized and traditional frameworks to discover the contributions made by women to the study of language structure and function.
“Words matter: a broader definition of linguistics allows women across the centuries to be included in this scholarly field.”
Classic histories of linguistics, very rarely, if ever, include women scholars. We set about uncovering the contribution of women linguists—from European and non-European traditions— and their ideas and writings to give them the recognition they deserve. A group of equally motivated and determined scholars joined us in our quest. We looked for names, works and ideas, especially in those liminal spaces not reached by official historiography, that is, outside institutions, universities, and academies in more private and domesticated spaces. We decided to challenge categories and concepts devised for male-dominated accounts and expands our field of enquiry: we turned our attention not only to pioneers and exceptional women, but also to those non-exceptional women who nevertheless quietly moved forward our knowledge of languages, their description, analysis, codification and acquisition. Painstaking research in archives and libraries, looking at manuscripts and printed sources, gradually unearthed rich, fascinating, and often unexpected evidence of women’s contribution.
For the earlier periods, it was difficult to find women who published grammars or dictionaries, but they did exist. Marguerite Buffet in seventeenth-century France wrote a volume of observations on the good usage of French specifically aimed at women (Nouvelles observations sur la langue françoise, 1668). Similarly, in 1740, Johanna Corleva published a Dutch translation of Port-Royal’s celebrated general and rational grammar. In Portugal, in 1786, Francisca de Chantal Álvares produced a compendium of Portuguese grammar for female pupils in convent schools, the Breve Compendio da Gramatica Portugueza para uso das Meninas que se educaõ no Mosteiro da Vizitaçaõ de Lisboa, at a time when the majority of women did not have access to formal education. Further afield, women missionaries were also active in the field. Gertrud von Massenbach joined the Sudan Pioneer Mission in 1909, as a teacher of mathematics in Aswan, in Nubian territory. Her linguistic interests led her to publish a dictionary with a grammatical introduction of Kunûzi Nubian (Wörterbuch des nubischen Kunûzi-Dialektes mit einer grammatischen Einleitung, 1933) and a collection of Nubian texts (Nubische Texte im Dialekt der Kunuzi und der Dongolawi, 1962).
“We need to look outside more institutionalized and traditional frameworks to discover the contributions made by women to the study of language.”
But there is much more. Women were, for instance, the intended audience or dedicatees of some of the earlier vernacular grammars in Europe. The Gramática de la lengua castellana (1492) by Antonio de Nebrija, the very first printed grammar of a vernacular language in Europe, was commissioned by Queen Isabella I of Castile and, according to Juan de Valdés, was meant to be of benefit, “para las damas de la sereníssima doña Isabel” (“for the ladies-in-waiting of Her Very Serene Highness Queen Isabel”). Women were translators, language teachers, collectors of data on endangered languages, and creators of new scripts. In Jiangyong county (Jiāngyǒng xiàn) of Hunan (Húnán) province in China, a rural territory surrounded by mountains, the nǚshū script (“female script/writing”) was used and transmitted among village women for at least one and a half centuries: a variant of the Chinese script, it represents a significant example of Chinese women’s contribution to character invention and development.
Women also assisted male members of their families, or male colleagues, in their work as linguists. Lucy Catherine Lloyd (1834-1914), the sister-in-law of the German linguist Wilhelm Bleek, was his most important collaborator. Together they created the nineteenth-century archive of ǀXam and !Kung texts (today called the Digital Bleek and Lloyd), an invaluable resource for linguists working on Khoisan languages. Cinie Louw followed her husband Andrew Louw to South Rhodesia (today Zimbabwe) to work on the Morgenster Mission, learning the local language, Karanga, a Shona dialect, and becoming a fluent speaker. Their 1919 translation of the Bible into Karanga was a joint effort, preceded in 1915, by an important manual of the Chikaranga Language.
Other women’s linguistic work has been neglected or overshadowed, the men with whom they collaborated reaping the benefit of their efforts. The young Chiri Yukie (1903–1922) helped codify the oral tradition of the Ainu people of Hokkaido in northern Japan. Thanks to her bilingual and bicultural knowledge she was able to collect a wide range of oral performances, preserving them for posterity and making them accessible by translating them into Japanese. Her invaluable work ultimately ended up promoting, instead, the career of a prominent male academic who was awarded the Imperial prize for his work on the Indigenous language.
“Women’s personal and professional life cannot be separated in a way that has been possible for male scholars across the centuries.”
What came to light, piece by piece, through reading their personal stories, was the challenges women had to face in male-dominated academia. Women’s personal and professional life cannot be separated in a way that has been possible for male scholars across the centuries. Theirs are often tales of perseverance and determination. Take the example of Mary Haas, a stalwart of twentieth-century American Indian Linguistics and a central figure in the Boas-Sapir tradition, which laid the foundation for current language documentation practices. Haas found her marriage in 1931 to Morris Swadesh limited her opportunities both within linguistics and with respect to employment generally. Given the scarcity of academic appointments, she considered getting a teaching certificate to teach in public schools in Oklahoma to support herself and her fieldwork on Native American languages. However, as a married woman she was unlikely to get hired in a public school. Undeterred, she wrote to Swadesh asking for a divorce so that she might be able to support herself. Swadesh agreed. Their divorce was meant to allow Haas to pursue more avenues of employment, although her plans were ultimately interrupted by World War II.
Uncovering such stories proved complicated, but extremely rewarding. And the more we found, the more we have become convinced that there is still so much more to discover.
Read a free chapter from Women in the History of Linguistics on Oxford Academic.
Featured image from the cover of Women in the History of Linguistics by Wendy Ayres-Bennett and Helena Sanson.
Don’t question Angela Davis’ manuscript, Toni Morrison warned her publishing colleagues. Davis was not “Jane Fonda” but, rather, “Jean d’Arc.”
The post Morrison and Davis: Radicalizing Autobiography appeared first on Public Books.
The Pacific nation of Tuvalu is replicating itself in the metaverse in an innovative bid to safeguard its culture and sovereignty in the event of territory loss and displacement due to climate change.
The low-lying islands could become uninhabitable by 02100 due to rising sea levels, according to a study cited by the UN’s Intergovernmental Panel on Climate Change. By migrating governance and administrative systems to the metaverse, Tuvalu hopes to continue functioning as a state, regardless of where its government or people are located in the world. This works alongside Tuvalu’s current efforts to legislate permanent statehood and maritime boundaries, which climate change threatens under current international law.
“Our hope is that we have a digital nation that exists alongside our physical territory, but in the event that we lose our physical territory, we will have a digital nation that is functioning well, and is recognized by the world as the representative of Tuvalu,” Simon Kofe, the leader of the project and Minister for Justice, Communication, and Foreign Affairs of Tuvalu, told Long Now.
Tuvalu’s physical landscapes will be preserved through virtual twins, beginning with the small islet of Te Afualiku, one of the first places in Tuvalu likely to be submerged due to rising sea levels. In efforts to preserve cultural heritage, stories, traditional songs, historical documents and recorded cultural practices will be cataloged and digitized.
“We want to be able to take a snapshot of what culture is today, and allow my children and grandchildren to have that same experience wherever they are in the world,” Kofe said.
“So even if the physical territory is lost, we would never lose the knowledge, culture, and way of life that Tuvaluans have experienced and lived for many centuries.”
[Watch: Wade Davis’ 02010 Long Now Talk, “The Wayfinders: Why Ancient Wisdom Matters in the Modern World,” which explores in part how Polynesian navigators mastered the Pacific Ocean without writing or chronometers.]
Guy Jackson, a human geographer and researcher specializing in climate-driven non-economic loss and damage, says that the biggest risks climate change poses to cultural heritage in Tuvalu are territory loss and changes in seasonality.
Small island nations are deeply connected to their sense of place, and as seasonality changes due to climate impacts, knowledge of the availability of species, foods and migratory patterns change, which Jackson says leads to a massive loss and sense of grief.
He says that while a preservation project such as this cannot arrest the mental health impacts of losing one’s territory, for those displaced, knowing that there is a record of land, important sites, and stories, could come with positive benefits.
“I imagine within the metaverse there will be stories linked to particular places so you can imagine as a young person, being displaced from your home due to climate change, it would be a way to stay grounded in your particular culture while obviously, things will still change. Having this as a place that could probably evolve and grow will give people a sense of continuity, despite all of the changes and uncertainties,” Jackson said.
“For diaspora communities, and with Tuvalu having a lot of people living outside of the country, even for people like that who aren’t technically displaced by climate change, having a record like this will be a great place for people to go to and consider and enjoy their heritage, and then use that to help the next generations that might not have access to that land.”
The use of digital twins for cultural heritage has predominantly focused on capturing the visual appearance of objects, collections, and sites, with a suite of historical buildings and museums becoming digitized.
Horizon 2020, the European Union’s research and innovation program, cited a need for a more holistic approach to cultural heritage digitization, expanding beyond the recreation of visual and structural information to capture stories and experiences, and their broader ‘cultural and socio-historical context’.
In this way, Jackson sees Tuvalu as a forerunner, and believes that their approach will spark other countries to use similar methods to preserve their ‘important landscapes, memories, and stories.’
Kofe says that beyond its future applications, having a virtual copy of Tuvalu has immediate benefits that will help the government be more efficient for its people.
“Anything that you can think of in terms of data that is collected in Tuvalu, it can all be uploaded onto the digital twin,” he said. “We can track the impacts of climate change on the islands, entering data that we’ve collected for many decades, and make projections into the future. With a lot of commercial fishing activity in Tuvalu, you can have real-time data showing the vessels, the fishing locations, the amount of fish, and the species that are being caught.”
In the event that Tuvalu loses their islands, having a virtual copy could also assist them in reconstructing their land.
While unique in its scope and connection to climate mobility, Tuvalu is not the first nation to commence a digitization project within the metaverse. Barbados is building a virtual embassy with the development of infrastructure to provide services such as ‘e-visas’ and a ‘teleporter’ that will allow users to travel through all meta worlds. The South Korean capital of Seoul aims to have a metaverse environment for all of its administrative services by 02026.
James Cooper, an international law expert and Director of International Legal Studies at California Western School of Law in San Diego, says that these moves within the metaverse raise issues of jurisdiction, liability, sovereign immunity, and human rights.
He believes these should be answered and regulated before technology and events outpace lawyers' ability to do so.
“Whose laws apply?” Cooper asks. “How do you address the rights of a citizen from another country who might be in the metaverse on your government services platform or space within the metaverse?”
“What do you do for people who may be hearing or sight impaired and not able to fully access the metaverse or have the financial means or the connectivity? Are they being placed in a compromised role or limited in the same access that they would otherwise get?”
Cooper says that Tuvalu’s small population of 11,000 people will give them an advantage in addressing these issues compared to a larger nation.
As the project enters its beginning stages, Kofe stresses that preparing for a worst-case scenario by no means indicates a reduction in the nation’s climate advocacy or fight for a just future. He says the government is and will continue to work to protect its islands by building sea walls, reclaiming land, raising the islands in different parts, and calling for international mitigation measures.
“You could say the project is a Plan B, because the ordinary Tuvaluan, if you talk to them on the streets, none of them want to actually leave the islands,” Kofe said. “My hope is that there’s a strong message that people can see when we are doing this. I’d like them to imagine if they had to plan for relocation because of climate change.”
According to Kausea Natano, the Prime Minister of Tuvalu, Pacific Island nations contribute less than 0.03% of the world's total greenhouse gas emissions.
Kofe says that the primary solution to climate change is for bigger countries to reduce their emissions, and he hopes that this project will inspire the public to rise up and put pressure on their leaders to do exactly that. In his COP27 address he emphasized that while Tuvalu could be the first country in the world to exist solely in the metaverse, if global warming continues unchecked it won’t be the last.
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