Episodios

  • As you may know, university presses publish a lot of good books. In fact, they publish thousands of them every year. They are different from most trade books in that most of them are what you might called "fundamental research." Their authors--dedicated researchers one and all--provide the scholarly stuff upon which many non-fiction trade books are based. So when you are reading, say, a popular history, you are often reading UP books at one remove. Of course, some UP books are also bestsellers, and they are all well written (and, I should say, thoroughly vetted thanks to the peer review system), but the greatest contribution of UPs is to provide a base of fundamental research to the public. And they do a great job of it.
    How do they do it? Today I talked to Kathryn Conrad, the president of the Association of University Presses, about the work of UPs, the challenges they face, and some terrific new directions they are going. We also talked about why, if you have a scholarly book in progress, you should talk to UP editors early and often. And she explains how! Listen in.
    Marshall Poe is the editor of the New Books Network. He can be reached at marshallpoe@gmail.com.
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  • With the threats of sea water warming and ocean acidification, coral reefs have become both a fire alarm and a barometer for the dangers of human induced climate change. We now face the possibility of a world without coral. In this cogent and timely work, Ann Elias interrogates how we came to know coral reefs in the way we do and the complicity of this knowing with the forms of modernity that now threaten to destroy them. Coral Empire: Underwater Oceans, Colonial Tropics, Visual Modernity (Duke UP, 2019) traces the work and lives of two iconic coral photographers of the interwar period – Frank Hurley and J.E. Williamson – who introduced Western audiences to (respectively) the Great Barrier Reef off Australia and the reefs off the Bahamas. Both self-fashioned men of science and entertainers with an eye for spectacle, Hurley and Williamson not only brought the “flowers of the sea” into consumer life, but also tethered them to the tropical exoticism that underpinned colonialism, racism, and the domination of nature. For audiences in Australia, Europe, and the US, their photographs primed postwar consumption of tropical nature through tourism and entertainment. By unweaving how these images were produced, Elias illustrates that how we know the sea is deeply entwined with the values, ethics, and logics of human politics.
    Ann Elias is Associate Professor of the History and Theory of Contemporary Global Art at the University of Sydney.
    Lance C. Thurner teaches history at Rutgers Newark.  His research and writing address the production of knowledge, political subjectivities, and racial and national identities in eighteenth and nineteenth-century Mexico. He is broadly interested in the methods and politics of applying a global perspective to the history of science and medicine and the role of the humanities in the age of the Anthropocene. More at http://empiresprogeny.org. 
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  • The things that make people academics -- as deep fascination with some arcane subject, often bordering on obsession, and a comfort with the solitude that developing expertise requires -- do not necessarily make us good teachers. Jessamyn Neuhaus’s Geeky Pedagogy: A Guide for Intellectuals, Introverts, and Nerds Who Want to Be Effective Teachers (West Virginia University Press, 2019) helps us to identify and embrace that geekiness in us and then offers practical, step-by-step guidelines for how to turn it to effective pedagogy. It’s a sharp, slim, and entertaining volume that can make better teachers of us all.
    Stephen Pimpare is Senior Lecturer in the Politics & Society Program and Faculty Fellow at the Carsey School of Public Policy at the University of New Hampshire. He is the author of The New Victorians (New Press, 2004), A Peoples History of Poverty in America (New Press, 2008), winner of the Michael Harrington Award, and Ghettos, Tramps and Welfare Queens: Down and Out on the Silver Screen (Oxford, 2017).
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  • What’s the first image that comes to mind when you hear the words “Paris” and “photography”? Is it a famous photo, perhaps an Atget, Brassai, or Doisneau? In her new book, Paris and the Cliché of History: The City in Photographs, 1860-1970 (Oxford UP, 2018), Catherine Clark explores the history of how and why photographic images have been central to understanding and imagining the city’s present and past, figuring profoundly in the representation and documentation of change over time in the French capital. In this beautifully illustrated and fascinating book, Clark recounts and analyzes the story of the collection, mobilization, and recollection of photographs as historical documents, a visual archive of urban transformation and memory.
    From the inauguration of the city’s first photo archives at the Musée Carnavalet, to the illustrated “photohistory” books that used images as documentary evidence, to the photographic museum exhibits, commemoration, and even a citywide contest, in which past and pictures were imbricated, the book looks at how photographs work, and takes seriously their biographies long after moments of capture. Moving beyond the work of key photographers, Clark examines how publishers, historians, public servants, and a range of other actors all participated in making Paris the quintessential capital of photography from the nineteenth century up to the 1970s. The book will be of great interest to anyone interested in the history of the city, of photography, of how the past is conceived and made in a field at once visual, technological, material, and affective.
    Roxanne Panchasi is an Associate Professor of History at Simon Fraser University in Vancouver, Canada who specializes in twentieth and twenty-first century France and its empire. She is the author of Future Tense: The Culture of Anticipation in France Between the Wars (2009). Her current research focuses on the history of French nuclear weapons and testing since 1945. Her most recent article, '"No Hiroshima in Africa": The Algerian War and the Question of French Nuclear Tests in the Sahara' appeared in the Spring 2019 issue of History of the Present. She lives and reads in Vancouver, Canada. If you have a recent title to suggest for the podcast, please send her an email (panchasi@sfu.ca).
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  • The images featured in Splashes (RVB Press, 2018) are characteristic of Gabriel Jones’ approach to making images by capturing the “backdrop”, things behind the original subject. There is a performative element to this series in that Gabriel invited friends to pretend to pose at a party, he focused his camera towards them but not on them which allowed him to actually photography the situations taking place in the background of the scene. The photographs were taken with early cellphone cameras, and have mostly been reframed to show only the situations and compositions that sparked the artist’s interest the most. This tight cropping resulted in highly pixelated images, and Jones applied some retouching techniques to further accentuate the strangeness of the scenes in his collections.
    Gabriel photographed the album cover The Suburbs, for Canadian Indie-Rock band Arcade Fire. The album won the 2012 Grammy Award for Best Record Packaging, and 2011Album of the Year. In 2010 and 2014, Jones curated an exhibition called The Pseudonym Project New York / Paris. A series of established and emerging artists– such as Robert Barry, Liam Gillick, Fouad Bouchoucha, Melanie Bonajo, Joseph Marzolla and Jonathan Monk–were invited to create new pieces under pseudonyms. Their real names were disclosed at the end of the exhibition. His photographs have been exhibited in venues such as Photo España Festival; Paris Photo; Galerie Le Château d’Eau, Toulouse; as well as Galleries Michèle Didier, Paris; Priska Juschka Fine Art, New York and Bugdahn und Kaimer, Dusseldorf. He is a faculty member at the Paris College of Art.
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  • Using a mixture of genres, Kent Gramm captures the voices of those past and present in his book, Gettysburg: The Living and the Dead(Southern Illinois University Press, 2019) Alongside stunning photographs by Chris Heisey, Gramm shares the experiences of the people at Gettysburg—both those historical figures who took part in the battle in some meaningful way and those of us today who return to the battlefield to try and make sense of such a tragic and mournful part of our history. Gramm’s writing style is eloquent and thought-provoking. By listening to the people who were at Gettysburg, he brings them back to life in a way that reveals the truth of the human experience and elicits empathy from his readers. Gettysburg: The Living and the Dead is emotionally stirring and absolutely essential toward helping us understand and heal from this tragic, watershed event in American history.
    Kent Gramm is an adjunct professor of English and Civil War Era Studies at Gettysburg College in Gettysburg, Pennsylvania. A Wisconsin native, Gramm has also taught at colleges in Germany, Illinois, and Indiana. He holds a PhD in Creative Writing and American Literature from the University of Wisconsin, Milwaukee, and studied theology at Princeton Theological Seminary at the University of Tuebingen, Germany. He has written books, plays, novels, and poetry about Abraham Lincoln, Gettysburg, and the American Civil War. His book, November: Lincoln's Elegy at Gettysburg, was nominated for a Pulitzer Prize, and the graduate writing program at LSU awards an annual Kent Gramm Prize in Creative Nonfiction. Finally, he is a lifelong student of the Civil War.
    Colin Mustful is the author of four historical novels about Minnesota’s settlement and Native history. He holds an MA in history and a MFA in creative writing. He is the founder and editor of a small independent press called History Through Fiction. You can learn more about Colin and his work at colinmustful.com.

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  • Along with the rapid expansion of the market economy and industrial production methods, such innovations as photography, lithography, and steam printing created a pictorial revolution in nineteenth-century society. The proliferation of visual prints, ephemera, spectacles, and technologies transformed public values and perceptions, and its legacy was as significant as the print revolution that preceded it. Consuming Identities: Visual Culture in Nineteenth-Century San Francisco (Oxford University Press, 2018) explores the significance of the pictorial revolution in one of its vanguard cities: San Francisco, the revolving door of the gold rush. In their correspondence, diaries, portraits, and reminiscences, thousands of migrants to the city by the Bay demonstrated that visual media constituted a central means by which people navigated the bewildering host of changes taking hold around them in the second half of the nineteenth century, from the spread of capitalism and class formation to immigration and urbanization. Amy K. Defalco Lippert, Assistant Professor of American History and the College at the University of Chicago, argues that images themselves were inextricably associated with these world-changing forces; they were commodities, but as representations of people, they also possessed special cultural qualities that gave them new meaning and significance.
    Visual media transcended traditional boundaries of language and culture that divided diverse groups within the same urban space. From the 1848 conquest of California and the gold discovery to the disastrous earthquake and fire of 1906, San Francisco anticipated broader cultural transformations in the commodification, implementation, and popularity of images. For the city's inhabitants and sojourners, an array of imagery came to mediate, intersect with, and even constitute social interaction in a world where virtual reality was becoming normative.
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    Ryan Tripp is adjunct history faculty for Los Medanos Community College as well as the College of Online and Continuing Education at Southern New Hampshire University.

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  • Shortly after its introduction, photography transformed the ways Americans made political arguments using visual images. In the mid-19th century, photographs became key tools in debates surrounding slavery. Yet, photographs were used in interesting and sometimes surprising ways by a range of actors. Matthew Fox-Amato, an Assistant Professor at the University of Idaho, examines the role of photography in the politics of slavery during the 19th century and the important legacies of those uses on later visual politics in his new book, Exposing Slavery: Photography, Human Bondage, and the Birth of Modern Visual Politics in America (Oxford University Press, 2019). The book examines the use of photographs by slaves, abolitionists, slaveholders, and Union soldiers to explore the rich complexities of the visual politics of the moment. He also considers the legacies of this use of the new medium.
    In this episode of the podcast, Fox-Amato discusses the ways these various groups used photography for individual purposes and to shape the debates surrounding slavery in the antebellum period. He explains how photographs also highlight how union soldiers were beginning to think about a post-slavery racial hierarchy during the war. The book demonstrates the importance of thinking about photographs as both visual images and material objects. In the interview, Fox-Amato discusses the research necessary to analyze the photographs in both these ways and the broader importance of studying visual and material culture in all their historical complexity.
    Christine Lamberson is an Associate Professor of History at Angelo State University. Her research and teaching focuses on 20th century U.S. political and cultural history. She’s currently working on a book manuscript about the role of violence in shaping U.S. political culture in the 1960s and 1970s. She can be reached at clamberson@angelo.edu.

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  • In one of history’s largest migrations, hundreds of thousands of Norwegians immigrated to North American during the 1800s and early 1900s. In addition to letters sent home, Norwegian-Americans often included photographs showcasing their new American lives. In her book, Pictures of Longing: Photography and the Norwegian-American Migration (University of Minnesota Press, 2018), Dr. Sigrid Lien keenly evaluates the photographs Norwegian immigrants sent home—including one of her own grandfather. Throughout the book, Lien delves into the lives of everyday people seeking a new and prosperous life in America. Using talented writing and skillful research Sigrid Lien brings the past to life without overlooking the important historical context in which the Norwegian-American migration took place. A new edition translated by Barbara Sjoholm, Pictures of Longing is an endlessly fascinating account of real people who, through photographs, sought to share their experience during a time of hope and change.
    Sigrid Lien is professor of art history and photography studies at the University of Bergen, Norway, and a leading authority on Norwegian photography. She has published extensively on modern and contemporary visual culture and is the author of the first extensive history of photography in Norway.
    Colin Mustful has an M.A. in history from Minnesota State University, Mankato, and is currently a candidate for an M.F.A. in Creative Writing from Augsburg University. You can learn more about his work at his website: www.colinmustful.com.

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  • In the information age, knowledge is power. Hence, facilitating the access to knowledge to wider publics empowers citizens and makes societies more democratic. How can publishers and authors contribute to this process? This podcast addresses this issue. We interview Professor Austin Choi-Fitzpatrick, whose book, The Good Drone: How Social Movements Democratize Surveillance (forthcoming with MIT Press) is undergoing a Massive Online Peer-Review (MOPR) process, where everyone can make comments on his manuscript. Additionally, his book will be Open Access (OA) since the date of publication. We discuss with him how do MOPR and OA work, how he managed to combine both of them and how these initiatives can contribute to the democratization of knowledge.
    You can participate in the MOPR process of The Good Drone through this link: https://thegooddrone.pubpub.org/
    Felipe G. Santos is a PhD candidate at the Central European University. His research is focused on how activists care for each other and how care practices within social movements mobilize and radicalize heavily aggrieved collectives.

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  • With Paris as the organizing locus of his new book, Du moyen âge à nos jours, expériences et représentations de la folie à Paris [From the Middle Ages to Today, Experiences and Representations of Madness in Paris], Benoît Majerus uses an impressively wide range of visual sources, from religious images and architectural photographs to neuroleptic advertisements and administrative maps. These images are integrated into the text and function not only as illustrations, but also as images with their own story to tell.  Majerus’ narrative arc follows the twists and turns of madness in a city long associated with mental pathogens and their cures and reveals how the history of psychiatry can be told differently through the lens of visual culture.
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  • McKenzie Wark’s new book offers 21 focused studies of thinkers working in a wide range of fields who are worth your attention. The chapters of General Intellects: Twenty-One Thinkers for the Twenty-First Century (Verso, 2017) introduce readers to important work in Anglophone cultural studies, psychoanalysis, political theory, media theory, speculative realism, science studies, Italian and French workerist and autonomist thought, two “imaginative readings of Marx,” and two “unique takes on the body politic.” There are significant implications of these ideas for how we live and work at the contemporary university, and we discussed some of those in our conversation. This is a great book to read and to teach with!
    Carla Nappi is the Andrew W. Mellon Chair in the Department of History at the University of Pittsburgh. You can learn more about her and her work here.
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  • In Portraits in the Andes: Photography and Agency, 1900-1950 (University of Pittsburgh Press, 2018), Jorge Coronado, Professor of Spanish and Portuguese at Northwestern University, examines photography to further the argument that intellectuals grafted their own notions of indigeneity onto their subjects. He looks specifically at the Cuzco School of Photography (active in the southern Andes) to argue that photography, in its capacity as a visual and technological practice, can be a powerful tool for understanding and shaping what modernity meant in the region.



    Ryan Tripp teaches a variety of History courses at Los Medanos Community College. He also teaches History courses for two universities. He has a Ph.D. in History from the University of California, Davis, with a double minor that includes Native American Studies.
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  • At the beginning of the 20th century, surrealists such as André Breton and Man Ray played a game called “Exquisite Corpse.” You can play it by drawing or by writing, and the rules are very simple. Let’s say you’re writing. You would write the beginning of a story or poem at the top of a piece of paper and, when you finished, fold the paper so that only the last line of the poem or story is visible. Then you’d hand the paper to another player, and this person would add to the story or poem knowing only that little bit of language. Then this play would fold the paper and pass it along. On the story or poem would go, jumping from topic to topic, from style to style, depending on how the next person added to it, until it’s done. That’s it.

    The result is usually highly fragmented and often fascinating. Things that aren’t normally put together are suddenly combined. Poems, stories, and, in the case of drawings, images that seem impossible are suddenly on the page in front of you, asking you to consider them as a connected whole. The name of the game purportedly came from a phrase one of them wrote the first time the surrealists played it: “The exquisite corpse shall drink the new wine.” I’ve played it numerous times, and it’s always fascinating to see what emerges, but I’ve new understood why it’s so fascinating until I had the pleasure of reading Erin Edwards’ new book, The Modernist Corpse: Posthumanism and the Posthumous (University of Minnesota Press, 2018). In her insightful study, Edwards examines the presence of the corpse in modernist literature and changes the ways we understand what a corpse is and even who and what counts as being fully alive.

    I finished Edward’s book with the startling insight that “Exquisite Corpse,” far from being just an odd surrealist experiment, might be a more accurate way for art to capture our world and the things that live in it with us than more traditional stories, poems, and paintings. To say it another way, Edwards shows us that, in the work of modernist artists, the corpse, whether exquisite or not, might be the best way to show us what it really means to be alive.



    Eric LeMay is on the creative writing faculty at Ohio University. His work ranges from food writing to electronic literature. He is the author of three books, most recently In Praise of Nothing: Essay, Memoir, and Experiments (Emergency Press, 2014). He can be reached at eric@ericlemay.org.
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  • Singular Spaces: From the Eccentric to the Extraordinary in Spanish Art Environments (Raw Vision, 2013) is an audacious tome. A comprehensive survey of 45 art environments on the Spanish mainland, it weighs just over eight and a half pounds and contains over 1300 color photographs (with over 4000 more plus site plans on the accompanying CD). Its author, Jo Farb Hernandez, is the Director of SPACES, a non-profit focused on art environments around the world. She first became interested in place-based creative constructions when she was an undergraduate in Wisconsin. In her introduction to Singular Spaces, she recounts how this particular book began: she and her husband were in the process of renovating an old farmhouse they’d purchased in Catalonia. They took a short road-trip to explore the area around their new home and chanced upon “the enormous roadside construction of Josep Pujiula I Vila, at that time one of the largest and most idiosyncratic art environments found worldwide” (16). Shortly thereafter Farb Hernandez began documenting Pujiula’s work while writing another book. In the process she came across more and more such endeavors that demanded her attention. Singular Spaces is devoted to those sites and like them, the book is the product of years of labor and dedication.

    Singular Spaces features the work of 45 artists, all men. Alongside the photographs and descriptions of the art environments, Farb Hernandez also tells the stories of their creators’ lives, and details the history and development of each project. She also describes the challenges that many of the artists have faced, not least those posed by unhappy neighbors and unsympathetic municipal authorities. In fact, helping the men deal with local adversities has led to Farb Hernandez frequently taking on the role of advocate on behalf of her interlocutors.

    A recent review in the Journal of American Folklore described Singular Spaces as “incredibly important for those who are interested in architecture, the politics of place and space, folk art and art in general, art and activism, the psychology of creativity, and relationships between tradition and the individual. Jo Farb Hernandez has written more than a survey of eccentric art spaces. She has opened a door to each artist and space so that they may be explored, analyzed, and, in some cases, loved by any who enjoy such contextual art forms.”



    Rachel Hopkin is a UK born, US based folklorist and radio producer and is currently a PhD candidate at the Ohio State University.
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  • In the Arab world, photography is often tied to the modernizing efforts of imperial and colonial powers. However, indigenous photography was itself a major aspect of the cultural and social lives of Middle Eastern societies in the late nineteenth and early twentieth centuries. Stephen Sheehi’s The Arab Imago: A Social History of Indigenous Photography 1860-1910 (Princeton University Press, 2016) tells that story, focusing primarily on portraiture and those that took portraits. Sheehi examines the formalism of portraits in relation to changing notions of class, questioning whether or not portrait photography were creating new forms of sociability or vice versa. But photography is also another way Arab modernity was in relation to Ottomanism: The Arab Imago looks at how portrait studios developed in Istanbul and beyond, often operated by Armenian and Greek Orthodox photographers. The Arab Imago integrates photography, modernity, and the banal to give us one of the first histories of photography in the Middle East.

    Stephen Sheehi is the Sultan Qaboos bin Said Chair of Middle East Studies and Director of the Program of Asian and Middle Eastern Studies (AMES) at the College of William and Mary. He is Professor of Arabic Studies as well, and holds a joint appointment in AMES and the Arabic Program in the Department of Modern Languages and Literatures. He did his doctorate at Michigan. His work largely examines cultural, intellectual, art history, and the political economy of the late Ottoman Empire and the Arab Renaissance (al-nahdah al-arabiyah).



    Nadirah Mansour is a graduate student at Princeton University’s Department of Near Eastern Studies working on the global intellectual history of the Arabic-language press. She tweets @NAMansour26 and produces another Middle-East and North Africa-related podcast: Reintroducing.

     
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  • John Neel’s Focus in Photography: Master the Advanced Techniques That Will Change Your Photography Forever (Ilex Press, 2016) is both instructional manual and analysis on why focus is such an important artistic tool for photographers. Neel uses his own images to illustrate how focus works to directs viewers into and around an image. In his book Neel creates the first serious treatment of the topic in the digital age, by showing how mastery of the lens will greatly enhance the quality and “wow” factor of photographs.

    John Neel is a graduate of the University of South Florida, School of Fine Arts and has an MFA from the Visual Studies Workshop SUNY. He has an interest in merging photography, design and illustration. Recently he has become interested in the relationship of synthesized sound and electronic images and became a member of the electronic band uforkestra as the group’s visual musician. His work is held in public and private galleries in both the US and Canada, including the George Eastman House, the Art Gallery of Ontario. In the 1990s John worked at Kodak Research Labs where he developed skills and knowledge on such subjects as stereo and immersive imaging, as well as new human interface technologies (such as haptic), augmented reality and experimental media. Besides his artistic pursuits and accomplishments, John holds numerous patents and patent applications regarding digital imaging.

    Focus in Photography is available online at Ilex Press and through Amazon.
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  • In Horace Poolaw, Photographer of American Indian Modernity (University of Nebraska Press, 2016), Laura E. Smith, Assistant Professor of Art History at Michigan State University, unravels the compelling life story of Kiowa photographer Horace Poolaw (1906-84), one of the first professional Native American photographers. Born on the Kiowa reservation in Anadarko, Oklahoma, Poolaw bought his first camera at the age of fifteen and began taking photos of family, friends, and noted leaders in the Kiowa community, also capturing successive years of powwows and pageants at various fairs, expositions, and other events. Though Poolaw earned some income as a professional photographer, he farmed, raised livestock, and took other jobs to help fund his passion for documenting his community. Smith examines the cultural and artistic significance of Poolaw’s life in professional photography from 1925 to 1945 in light of European and modernist discourses on photography, portraiture, the function of art, Native American identity, and American Indian religious and political activism. Rather than through the lens of Native people’s inevitable extinction or within a discourse of artistic modernism, Smith evaluates Poolaw’s photography within art history and Native American history, simultaneously questioning the category of fine artist in relation to the creative lives of Native peoples.
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  • In her book, Death Makes the News: How the Media Censor and Display the Dead (NYU Press, 2017), Jessica M. Fishman examines how death is presented in the media. Researching how media outlets present images of death over the past 30 years, Fishman explores the controversial practice of picturing the dead. Fishman presents the varying ways the press selects the images they choose to use, the way they make decisions of what images they use, and why. Her research reveals that much of what we think we know about how dead bodies are, or are not, shown in the media is wrong. The tabloid press is less likely to show a dead body, media show dead foreign bodies more often than they show dead American bodies, and the exceptions to the rules the media uses to portray the dead are not often altered. Well researched, with knowledge from editors and photojournalists about the decisions made around images of death, Jessica Fishman’s work gives readers new ways to think about the ways death does, and does not, make the news.



    Rebekah Buchanan is an Associate Professor of English at Western Illinois University. Her work examines the role of narrative in people’s lives. She researches zines, zine writers and the influence of music subcultures and fandom on writers and narratives. You can find more about her on her website, follow her on Twitter @rj_buchanan or email her at rj-buchanan@wiu.edu.

     
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  • Hidden Mother by Laura Larson was published by Saint Lucy Press (January 2017), with 96 pages and 26 Color and black and white images.

    Hidden Mother tells the story of the adoption of Larson’s daughter from Ethiopia as mapped through nineteenth-century hidden mother photographs. The term “hidden mother” refers to the widespread but little-known practice in 19th-century portrait photography of concealing a mother’s body as she supported and calmed her child during the lengthy exposures demanded by early photographic technology. In the final portrait of the child, the mother–often covered from head-to-toe in a black drop cloth–appears as an uncanny figure. A practical strategy deployed by the photographer unintentionally yielded an evocative representation of the mother; never meant to be seen, her presence nonetheless haunts these images. Part photography book, part essay, Hidden Mother enlists these strange and powerful images to present a lyrical account of becoming a mother through adoption.

    Laura Larson is a photographer who has exhibited her work both nationally and internationally, including Art in General, Bronx Museum of the Arts, Metropolitan Museum of Art, Museum of Fine Arts, Houston, SFCamerawork, Susanne Vielmetter/L.A. Projects, and Wexner Center for the Arts. Reviews of her exhibitions have appeared in Artforum, The New York Times, The New Yorker, and Time Out New York, and she has published artist projects in Cabinet, Documents, Open City and The Literary Review. She is the recipient of grants from Art Matters, Inc., New York Foundation of the Arts, and Ohio Arts Council, and of residency fellowships from MacDowell Colony, Virginia Center for the Creative Arts, Santa Fe Art Institute, and Ucross Foundation. Larson’s work is represented by Lennon, Weinberg Gallery in New York City. She earned a BA in English from Oberlin College, a MFA in Visual Art from Mason Gross School of the Arts at Rutgers University, and participated in the Whitney Museum of American Art Independent Study Program.

    Hidden Mother is available online at the Saint Lucy bookstore.
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