In our third installment of this series, we hear from Sally Brown Deskins, the exhibits and programs coordinator for WVU Libraries. Sally is an artist, writer, and curator whose work focuses on women and feminist artists.
In March Ryan Claycomb, interim director of WVU’s new humanities center, talked with our director, Derek Krissoff, about university press publishing. Now it’s Ryan’s turn to discuss his work with the center—a vital part of the university’s intellectual landscape and an important press partner.
DK: WVU’s new humanities center arrives at a moment of particular anxiety about the role and future of the humanities. Do you see the center as arising from, or participating in, those debates in the wider world?
RC: I heard a talk by digital humanities and performance scholar Sarah Bay-Cheng recently. She had run a Google Ngram on the terms “crisis in the humanities” and “public humanities” to check their frequency. She noted that while the concept of “public humanities” certainly followed the coining of this apparent crisis, the idea that the humanities are in crisis has been in the air for fifty years. That’s about as long as the National Endowment for the Humanities has been in existence, as a matter of fact: a period that might be called a golden age of humanities scholarship! The peak in mentions of this crisis, furthermore, happened in 1990—before I even started as an undergraduate literature major—so any sense that this is a novel or timely concern isn’t really taking the long view.Read More »
In recognition of West Virginia University’s long-form scholarship celebration, we’re turning the blog’s camera around for an interview with Derek Krissoff, director of West Virginia University Press, in conversation with Ryan Claycomb, interim director of the WVU Humanities Center.
RC: Derek, at this transitional moment in the publishing industry, how would you characterize the work of university presses?
DK: I would say, without qualification, irony, or diffidence, that this is a golden age for books and for university presses. There are more books, more bookstores, more authors, more communities of readers, more publishers in general, and more university presses specifically than ever before.
Moreover, while presses are experimenting with new business models and new methods of disseminating information, our recent history has been characterized by continuity far more than disruption. At most university presses, eighty to ninety percent of sales continue to come from print, while the upstart open access model, heralded in some quarters as our inevitable future, involves something like one percent of new scholarly titles. The substance of university press books—from Thomas Piketty’s Capital in the Twenty-First Century to Safiya Umoja Noble’s Algorithms of Oppression—is more adventurous than ever. Their form, however, is essentially unchanged.Read More »
Travis Stimeling is an associate professor of music history at West Virginia University, a series editor and author with WVU Press, and a member of the WVU Humanities Center advisory board. He was instrumental in helping bring Elizabeth Catte, the press’s new editor at large, to WVU for this week’s talk cosponsored with the humanities center and the David C. Hardesty Jr. Festival of Ideas. Here he responds to Catte’s presentation.
Earlier this week, WVU Press’s new editor at large Elizabeth Catte visited Morgantown to participate in WVU’s Festival of Ideas and to serve as a much-needed counterpoint to Hillbilly Elegy author J.D. Vance, who spoke at the university on February 21. Vance’s talk reinforced familiar negative stereotypes about Appalachia at nearly every turn—we’re deliberately ignorant, too lazy to work, and too dependent on government assistance to want to do anything to take ownership over our lives—and blamed “environmental” and “cultural” factors for the region’s problems. On the other hand, Catte—who holds a Ph.D. in public history from Middle Tennessee State University—argued that these negative stereotypes have often been deployed by people who did not always have the best interest of Appalachians at heart, including missionaries, extractive industry leaders, politicians, and even eugenicists.
On February 1, the WVU Humanities Center cohosted an evening to help launch WVU Press’s lovely new edition of Muriel Rukeyser’s The Book of the Dead, with a powerful introduction by West Virginia writer Catherine Venable Moore. The evening featured an interdisciplinary panel to talk about the poems, the history, and the global context of the poems and the Hawk’s Nest Tunnel disaster that the poems remembered. While the centerpiece of the evening was Moore’s reading from her essay of the same name, the panel also included historical context from Hal Gorby (History), who presented moving primary documents from those who advocated on behalf of the Hawk’s Nest workers. Bradley Wilson (Geography) put the disaster into Union Carbide’s global history of environmental disasters, noting that the Gauley Bridge Committee of advocates may have been among the first environmental justice activists in the US. Johanna Winant (English) gave the talk presented below, which asks, “What are the ends of a cycle of poems that calls itself a ‘Book of the Dead’? And indeed, what are the ends of poetry?”
This post is the first of many that we hope will be a long and fruitful exchange of ideas between the Humanities Center and WVU Press in this space. Like the rich evening of discussion that first presented this book to the public and prompted Winant’s essay, this post is an apt beginning to an intellectually exciting partnership.—Ryan ClaycombRead More »