Lives Less Ordinary: Constance and Casimir Markievicz

Portrait of Constance Markievicz holding a gun

Constance Markievicz takes up arms in a posed portrait.
Courtesy of National Library of Ireland.

Easter Monday marks the hundredth anniversary of the 1916 Rising, the pivotal event in the struggle for Irish independence from Britain. In Revolutionary Lives, Lauren Arrington details the career of one of the least-likely champions of the Irish nationalist cause, the Countess Markievicz, née Constance Gore-Booth. Born into a landed gentry family from Co. Sligo, she repudiated her upbringing to become a radical socialist voice in Irish politics, fighting with the trade-union based Irish Citizen Army in 1916. Her subsequent imprisonment cemented her standing in nationalist circles and in the 1918 general election, she became the first woman elected to the British Parliament, although her official invitation to the opening of Parliament had to be sent care of Holloway prison. She remained a prominent political figure in Ireland, and an enthusiastic propagandist for the republican cause, until her death in 1927.

Unusually, Revolutionary Lives is a dual biography, presenting Constance alongside her husband, the Polish painter and writer Casimir Markievicz, whom she met in Paris in 1898. On their subsequent move to Dublin, the Markieviczs rapidly established themselves at the center of cultural life in Ireland. In demand as a portraitist, Casimir was also closely involved in the theatre, writing a series of political plays and founding his own company. As described by R. F. Foster in Vivid Faces, Ireland at the time was a ferment of new ideas, where nationalist currents mingled with others running the gamut from spiritualism and vegetarianism to women’s suffrage and trade unionism. Her role in women’s suffrage organizations brought Constance into contact with James Connolly’s Irish Transport & General Workers Union, and ultimately into the Irish Citizen Army.

The outbreak of war in 1914 found Casimir stranded in Warsaw, but this enforced geographic separation mirrored increasing separation in their personal and political lives. While Constance became a vocal supporter of the Bolsheviks following the Russian Revolution, Casimir was soured by Red Army raids on his family estates in the Ukraine, and turned to an increasingly conservative Polish nationalism. Constance’s feminism and socialism proved no less awkward to the equally conservative Irish nationalists who dominated political life in the fledgling Irish Free State. After her death, former allies such as Eamonn de Valera portrayed her exclusively as a nationalist heroine and declined to acknowledge her radical political beliefs. Revolutionary Lives rebalances the picture, not only by placing Constance squarely in the context of the political ideas that dominated her life, but also in bringing the often-forgotten Casimir out from her shadow.

Top 5 Tips for Aging from Cicero

CiceroIn 44 BC, Marcus Tullius Cicero wrote a short dialogue on the joys of one’s advanced years called On Old Age. You can read it in translation in our edition, How to Grow Old, translated by Philip Freeman. In the meantime, take these nuggets to heart as time draws you inexorably onward.

  1. Those who are unhappy in their youth will be unhappy in their old age as well. Begin cultivating the qualities that will serve you best when you are young and you will have a pleasant winter of life.
  2. Nature will always win. Certain things are meant to be enjoyed at different times of life, and trying to cling to youthful activities in old age will lead to frustration and resentment.
  3. The old and the young have much to offer one another. In exchange for the wisdom and experience of age, young people give joy to the twilight years.
  4. Use your increased free time productively. Cicero himself wrote extensively. He expounds on the joys of gardening for older people. Find an interest and pursue it!
  5. Do not fear death. Your soul will either continue on, or you will lose all awareness. Either way, the best thing to do is make the most of the time you have left.

There you have it! Armed with this knowledge, you too can enjoy a fruitful old age. For the rest of Cicero’s thoughts, pick up a copy of How to Grow Old.

We Work in the Dark: The Child Labor Photography of Lewis Hine

In Soulmaker, Alexander Nemerov (Wartime Kiss) examines the work of photographer Lewis Hine. Working for the National Child Labor Committee, Hine travelled the United States for several years photographing children at work. From textile mills to coal mines, Hine’s images showed young children in arduous and dangerous working conditions. His work played an important role in the campaign for reform of child labor laws that ultimately resulted in the Fair Labor Standards Act of 1938.

Hine’s photographs are a close and disturbing window on the child labor system of the early 1900s. Beyond unvarnished documentary, these images are possessed of deep emotional resonance and an often eerie beauty. Nemerov highlights the fragility and ephemerality of the lives captured in Hine’s photographs. Here we present a selection from the photographs used in Soulmaker.

All images are courtesy the Library of Congress

“Because it is nearer”—Ireland and Migration

Today, across the entire world, millions of people are observing the feast day of St. Patrick, patron saint of Ireland. But how can we account for the global spread of St. Patrick’s Day, a day celebrating the culture of a small island off the Atlantic seaboard of Europe? The answer, in part, is the extraordinary scale of emigration from Ireland. While this is often attributed to the Great Famine, in his essay on the Irish Diaspora in The Princeton History of Modern Ireland, Enda Delaney paints a more complex picture. He notes that the history of modern Ireland begins with a wave of immigration of Scottish and English settlers, as part of the planned pacification of Ireland through plantation during the sixteenth and seventeenth centuries. Over the same period, the displaced Catholic gentry of Ireland scattered across Europe, founding schools and fighting as mercenaries in wars across the continent.

By the nineteenth century, however, emigration had clearly become the established pattern: “in the years between the end of the Napoleonic Wars and the arrival of potato blight in Ireland in September 1845, approximately a million people left Ireland for North America, and perhaps half that number traveled to Britain, with thirty thousand obtaining state assistance to go to Australia on their
own volition, and another forty thousand sent as transported criminals.” To put these numbers into context, the 1841 census (the first conducted in Ireland) gave the population of the country as 8.2 million. In the desperate years that followed, as many as one million died of starvation and a further two million emigrated. The population of the country continued to dwindle for more than a century, reaching its lowest point in the 1960s at less than three million.

The Famine Memorial, Dublin

The Famine Memorial on the Dublin Quays.
William Murphy on Flickr, licensed under Creative Commons.

The migrating Irish spread throughout the British Empire, on which the sun proverbially never set, but the well-established Irish communities in the United States continued to act as a magnet for many. Delaney recounts a conversation between the agricultural reformer Sir Horace Plunkett and a Galway farmer. “When Plunkett asked why the farmer’s daughter chose to emigrate to the United States rather than move within the county where work was available, the response was ‘because it is nearer,’ meaning that she knew more about New York from friends and family than any part of Ireland apart from her locality.” And this in an age when telephones were a rarity, and crossing the Atlantic still meant a lengthy sea voyage.

The last two decades have seen an extraordinary reversal, with Ireland becoming a destination for migrants for the first time in centuries. Recent estimates suggest that there are 500,000 people living in the Republic who were born outside of Ireland, almost one in eight of the population. The Dubliner standing next to you at the St. Patrick’s Day parade could as easily have been born in Warsaw or Beijing as in Ireland. There can be no question that migration will remain a dominant theme in the history of Ireland.

Where are the Women Architects? An interview with Despina Stratigakos

StratigakosWomen have been entering universities excited to major in architecture. But studies have shown that although women currently make up 40% of all architecture majors at colleges across the United States, only 17% of architectural professionals are female.  Despina Stratigakos takes a close look at this disparity in her new book Where are the Women Architects?. Recently Stratigakos answered some questions on her book, and what she calls the disturbingly high dropout rates for women in the profession.

Why do we need to talk about women in architecture? Can’t we just focus on the work of architects, regardless of their gender?

DS: It’s easy to say that gender issues are a thing of the past, but a young woman entering architecture today still confronts an unequal playing field. She can expect to make less than her male peers at every stage of her career, to see fewer career-building opportunities come her way, and to struggle to make it to the top ranks of the profession, which remain overwhelmingly male. Discrimination lies behind these hurdles and is the reason we continue to see such disturbingly high dropout rates for women. So, yes, we do have to talk about women in architecture. And hopefully do more than just talk.

But aren’t more women than ever studying architecture? Won’t that influx resolve these issues as more women integrate into the profession?

DS: Numbers alone aren’t a fix. For the last fifteen years, women have been a strong presence in architecture schools, making up nearly half of the student body. But far too many of them eventually leave architecture. As a result, the number of women in practice has flatlined, with women today representing less than one in five licensed practitioners. Beyond the human tragedy of so many women abandoning their dreams, this loss of talent and energy undermines the health of the profession.

Why do so many women leave architecture?

DS: This phenomenon has been so little studied, that’s it hard to give conclusive answers, but new research suggests that women leave for complex and varied reasons, including salary gaps, fewer opportunities for career advancement, a lack of mentoring and role models, and routine sexism in the workplace. The simplistic explanation, trotted out for decades, that women leave practice to have babies doesn’t hold up to scrutiny. It’s true that architecture’s deadline-driven culture makes it difficult to balance raising a family with the expected long work hours. But not all mothers choose to leave architecture, and women without children are also struggling in the profession, so the issue can’t be reduced to biology.

In your book, you point out that journalists and other observers have been asking about architecture’s missing women for over a century. If this phenomenon isn’t new, why write the book now?

DS: Something new is afoot in architecture. While there have been questions and protests about the lack of women in architecture for a long time, gender equity issues today are attracting attention across a broader span of the profession and are also garnering public support. A new generation of advocates are speaking out about issues of diversity in architecture and organizing at a grassroots’ level to make their voices heard. I identify this as architecture’s third wave of feminism, and hope the book helps to define a movement that may, at last, bring about deep change.

Architect Barbie’s inclusion in this book may come as a surprise to some readers. You write candidly about your reasons for partnering with Mattel to create the doll and the responses, some of them critical, she received when launched in 2011. Why did you decide to include her story in this book?

DS: I am very interested in how popular culture shapes professional images and the role gender plays in such ideals. For an earlier generation, Howard Roark, the protagonist of Ayn Rand’s hugely influential novel, The Fountainhead, embodied the ideal image of the architect—especially as portrayed by Gary Cooper in the 1949 film version. Barbie is a cultural icon who is both loved and hated, and casting her in the role of an architect galvanized people into talking about professional stereotypes, such as whether architects can wear pink. Her story is relevant to the challenges that women architects face in the real world, especially because she lets us look at gender issues from unexpected angles.

The ideal image of the architect also comes up in your chapter on architecture prizes as a boys’ club. You write about how Zaha Hadid, after becoming the first woman to win the prestigious Pritzker Architecture Prize in 2004, endured humiliating press stories that focused on her appearance rather than on her achievements. Some of these accounts are quite shocking to read today. What do you want readers to take away from this account?

DS: This rather shameful moment in architectural journalism speaks to the discrimination that even the most successful women architects face. Denise Scott Brown’s exclusion from the 1991 Pritzker Architecture Prize awarded to her partner Robert Venturi, which I also discuss, is another instance of how even prominent female practitioners can be dismissed. But 2004 is not that long ago, and the sexist reaction to Hadid’s win reminds us that attitudes about women being lesser architects and unworthy of the highest laurels are not part of a long-dead past.

But has that changed now? This year, the AIA Gold Medal is being awarded jointly to Denise Scott Brown and Robert Venturi, and Zaha Hadid has won the Royal Institute of British Architects’ Royal Gold Medal, the first woman to be offered the honor in her own right. Are women architects finally getting their due?

DS: These awards are highly deserved and long overdue, but have come about only after sustained pressure on professional organizations to better align their rewards systems with today’s architectural realities. Scott Brown is the first living woman to win the AIA Gold Medal ever; Hadid is the first sole female practitioner to win the RIBA Gold Medal ever. These are important milestones, but we don’t yet know whether they are part of a larger pattern. In the book, I discuss how the paucity of female laureates has led to the recent and rapid proliferation of new prizes solely for women architects. Time will tell whether such women-only honors continue to multiply or whether they will come to seem anachronistic.

In the book, you also express concern about a more mundane vehicle for recognition: inclusion in Wikipedia. You write about the invisibility of women architects on this hugely popular and influential website, and the bias of male editors against entries on women’s history. Why is it important to close that visibility gap?

DS: In the last twenty years, histories of women in architecture have flourished and have come to challenge our understanding of the people and forces that have shaped our built environment. But for these discoveries to reach a broad audience and to become widely known, they need to appear in the places where people look today for information on the past, and that is increasingly to free online resources such as Wikipedia. Content on Wikipedia is controlled by its editors, who are overwhelmingly male and resistant to the inclusion of women’s histories. This absence threatens to perpetuate the belief among a younger generation that women architects have made no meaningful contributions to the profession. I explore the campaigns launched by tech-savvy activists to write women architects into Wikipedia.

Despina Stratigakos is associate professor and interim chair of architecture at the University at Buffalo, State University of New York. She is the author of Hitler at Home and A Woman’s Berlin: Building the Modern City. Her most recent book is Where are the Women Architects?

Remembering Fukushima

by Timothy Jorgensen

The human cost in terms of death and suffering, from the Japanese earthquake and tsunami of March 11, 2011, was immense. The death toll was over 15,900, with an additional 2,600 missing and presumed dead. In addition, 340,000 people were displaced from their homes.

The recovery effort continues but there is a long way to go, and many people are still not able to return to their normal lives—yet another form of suffering. The large numbers of displaced people present a huge public health challenge for the Japanese government with no clear end in sight. On top of that, radioactivity that was released from the compromised nuclear reactors at the Fukushima Daiichi power plant continues to thwart efforts to achieve full recovery. The local environment is still contaminated with radioactivity, and radioactivity stored on the plant grounds still threatens to taint groundwater.

Now that the aftermath of the earthquake and tsunami has run its course, people are anxious to return home and resume their lives. But a major concern is whether it is safe to return to areas with radioactive contamination, particularly in light of the reality that radiation levels will not be soon returning to the low background levels that existed prior to the accident.

The Japanese government has set a radiation mitigation goal of 20 mSv per year as the maximum annual dose allowable for returning evacuees. Prior to the accident, 1 mSv per year had been the dose limit for the public—a limit that is no longer sustainable if the region is ever to be reinhabited. The Fukushima evacuees now need to decide for themselves whether the government’s new 20 mSv per year dose limit presents a personal risk level that is acceptable. It is an important decision because, one way or another, how they decide will have a huge impact on how the rest of their lives unfold.

fukushima image

CC image courtesy of greensefa on flickr

As I describe in my book, Strange Glow: The Story of Radiation, we have over a century of experience with human exposures to man-made radiation, and that experience has taught us much about the health risks at various radiation dose levels. These data on human exposures suggest that 20 mSv of dose represents a lifetime risk of a fatal cancer of about 1 in 1,000. Stated another way, if 1,000 people lived in a radiation-contaminated area for one year and received this level of dose during their stay, we might expect one of them to come down with a fatal cancer at some point in their remaining lifetime due to that radiation exposure. Meanwhile, as many as 250 of those same 1,000 people would be expected to sustain a fatal cancer as some point during their life from non-radiation causes because, unfortunately, cancer is a common disease.

So compared to people living elsewhere in Japan, the cancer rate for the returning Fukushima residents would raise from a baseline of 250 out of 1,000, up to 251 out of 1,000, during their first year of rehabitation. Each additional year of residence at 20 mSv per year would increase the lifetime cancer risk level by one additional victim per 1,000. So two years of 20-mSv exposure would result in 252 cancers out of 1,000, compared to the 250 out of 1,000 risk level in uncontaminated areas.

It must be understood that these numbers are just approximations of the cancer risks. But they are good approximations backed up by a century of health experience with human radiation exposures, including atomic bomb victims, nuclear fallout victims, and people exposed to medical radiation procedures. They may not be very precise estimates, but they are definitely in the ballpark for the true level of cancer risk from radiation.

fukushima image

CC image courtesy of thlerry ehrmann

Now, knowing the risk of cancer associated with returning, what are the risks of not returning. Well, that will depend more upon the exact personal circumstances of affected individuals with no two people having the same types of risks. Beyond various health risks, there will be a spectrum of both social and financial risks associated with either returning or not returning that must be considered. None of those disparate risk estimates will be anywhere near as reliable as the cancer risk levels that we have just projected. The cancer risks are just one aspect of the risk/benefit analysis that each evacuee must make. But, for all their imperfections, the cancer risk estimates are the most accurate part of that analysis.

Whether to return to contaminated communities is a hard decision, but all intelligent people are capable of making such a decision about their own health and wellbeing, and they have the right to do so, as long as they have access to credible and intelligible information regarding the risks involved. And it’s actually good that people make their own decisions and not rely on government agencies to make decisions on their behalf because only they, and not the government, know exactly what uniquely personal and individual interests they have at stake.

Strange GlowTimothy J. Jorgensen is author of Strange Glow: The Story of Radiation. He is associate professor of radiation medicine and director of the Health Physics and Radiation Protection Graduate Program at Georgetown University. He lives with his family in Rockville, Maryland.

The Arab Imago: A slideshow of portrait photography

The Arab Imago book coverThe dawn of photography coincided with the expansion of European imperialism; as a result, many of the oldest photographs from the Middle East come from the skewed colonial perspective of Europeans. In his forthcoming book, The Arab Imago: A Social History of Portrait Photography 1860-1910Stephen Sheehi offers an alternative history via numerous Arab and Armenian photographers who created their own images of Middle Eastern people. Sheehi seeks to define the past by these insider photographs, not the Orientalist pictures first circulated by foreign photographers. Many of the images come from posed studio portraits, showcasing the intricacy and clarity of the style, as well as the wide range of people who chose to be photographed.

This slideshow represents just a small selection of the early photographs featured in the book. Click on an image to enlarge and read the caption.

 

 

James Axtell on writing a “genealogy” of the modern American research university

wisdom's workshop axtellPope Gregory IX described universities of the middle ages as “wisdom’s special workshop”, but today’s American universities bear only a passing resemblance to the European institutions that founded their most basic principles. In In his newest book, Wisdom’s Workshop: The Rise of the Modern UniversityJames Axtell writes an 800-year evolution of the modern research university, outlining the trials and successes that occurred while these universities were taking root in America. He recently took time to explain why this examination of higher education is so necessary.

You’re probably best known as the author of eight books on colonial Indian-white relations or “ethnohistory.” How and why did you make the transition to the history of higher education?

JA: I didn’t shift to higher education but back to it. I began my scholarly career in the history of education with a study of one-time Oxford don John Locke’s educational writings, followed by a book on education at all levels in colonial New England, including Harvard and Yale. Then, partly as a result of the “Red Power” protests of the late ‘60s, I was drawn to the ethnohistory of Indian-white relations in colonial North America. After 20-plus years probing the ins and outs of those relations, I was drawn back to the history of higher education. After finishing most of a book of essays on The Pleasures of Academe: A Celebration and Defense of Higher Education (1998), I spent a dozen years researching and writing Princeton’s history from Woodrow Wilson’s transformative presidency (1902-10) to 2005. Retirement from William & Mary in 2008 took me to Princeton for a semester of teaching and the organization of a conference on “The Educational Legacy of Woodrow Wilson,” which resulted in an edited book in 2012. When Peter Dougherty, the director of Princeton University Press, suggested the genealogy of the modern American research university as a much-needed book, I immediately saw it as a perfect fit for my longtime experience and love of universities.

Do you see that shift in interests as a sharp break?

JA: Not as much as it must seem to others, because I chose to write the history of Princeton as the first ethnohistory of a collegiate university. From my study of Indians and colonists I brought a focus on cultures and en- and ac-culturation as the best way to understand the transition of an educational institution from a relatively small, hidebound college to a world-class research university. So I devoted substantial chapters to the century-long development of the faculty, admissions, curriculum, student life and extracurriculum, library, art museum, graduate school, and university press–all the participants in and agencies of education.

Wisdom’s Workshop similarly focuses on the educational process (teachers, students, courses, and books), but with slightly more attention to institutional foundings, leadership, and architecture. It also covers a much longer time-span in tracing a clear and specific genetic lineage from medieval foundings and Tudor-early-Stuart Oxbridge, to 9 colonial American colleges, innumerable academies and c. 250 colleges before postbellum university developments and, in the 20th c., what Clark Kerr called “multiversities.”

Are the sources for university history much different from those for colonial ethnohistory? Are the questions?

JA: While some of the questions were framed similarly, the sources were of course quite different. I didn’t use archaeology, linguistics, or oral memory as much, but I did pay close attention to material culture, student jargons and dress, and faculty, administrator, and student memoirs. As centers of manuscript and then print culture, colleges and universities were founded on and sustained by the intellectual activities and written products of learned classes, who have left myriad clues to their pasts in libraries and archives around the world. The 19th-century invention and spread of photography has given university history an important additional source, which I have used in numerous illustrations in the Princeton and present histories.

You have written an 800-year “genealogy” of the modern American research university. What surprised you about what you found?

JA: A whole lot of things, some major, some interestingly “factoidal.” First, three persistent myths. I found no evidence to support the notion that Harvard was modeled after Emmanuel College, Cambridge. The second myth was that antebellum student mayhem was caused largely by a static college curriculum and a dull “recitation” system of teaching: the curriculum was prescribed but not static, and recitations were used almost exclusively in introductory courses to ground students in the basics. The third myth posited that American higher education was transformed after the Civil War by the wholesale importation of German academic features by returning American graduate students and scholars: instead, borrowings were carefully selected and adapted to American needs and conditions.

I was happily surprised to find that some medieval matriculants could not write; hazing of freshmen (“yellow-beaks” or “goats”) began in the Middle Ages; student spies (lupi or “wolves”) reported classmates who didn’t speak Latin outside of class as required; undergraduates were prohibited from using medieval libraries because they were places and “occasions for [presumably coeducational] sin;” four Tudor university chancellors were beheaded by King Henry VIII for not toeing the party line; 17th-c. Oxbridge students were forbidden (rather than recruited) to play football; parchment pages declared “heretical” were used as toilet paper, book bindings, and soap wraps; 17th-c. Harvard graduated an average of only 8 B.A.s a year; Yale College moved location five times in its first 18 years; campus was coined by Princeton’s president in the 1770s and spread quickly; antebellum academies enrolled far more students (including women) than did colleges and offered curricula that often earned advanced college placement; in copying older eastern college architecture, newer western colleges often built dorms with long hallways, perfect for student conspiracies (or rebellious “sprees”) and cannon-ball bowling games; the libraries of student literary societies were often larger (and more up-to-date) than college libraries; the only 19th-c. German university degree was the Ph.D. and only a quarter of students bothered to take it: the majority studied for state professional exams; 19th-c. German (and postbellum American) Ph.D. dissertations were article- rather than book-length; American college rankings began as early as 1910; Harvard wisely rebuffed a philanthropist’s offer to build a Harvard dorm in the “Turkish style;” diplomas (as opposed to degrees) were not given regularly until the late 19th c.; older veterans admitted to American colleges on the G.I. Bill after WW II (many with wives and children) performed so well that younger students cursed them as DARs (“Damned Average Raisers”); research conducted on government contracts at U.S. universities during the war contributed mightily to Allied victories, as did the influx of Jewish scientists and scholars exiled from Axis countries (the “Rad Labs” at Harvard and MIT and the atomic HQ at Los Alamos, NM were key); the loss of a Class of 1907 son on the Titanic led eventually to the building of the world’s largest university library system at Harvard (despite which, a New York Times article in 2014 declared Harvard “The Stanford of the East”).

The modern American university comes in for a lot of criticism. How do the consistently high global rankings of America’s research universities jibe with those criticisms?

JA: The global rankings are based primarily on research productivity, patents, and commercialization, faculty “star” power (especially Nobel Prizes), and other quantitative measures such as library holdings, endowments, and operating budgets. Most of the criticism is aimed at undergraduate education and the very diverse public and private American (non-)system below the 50 or 100 elite research universities. The two measures are not inconsistent or incompatible. In trying to serve more than 20 million students, America’s institutions of higher education perform very well for many, less well or poorly for many more, often because of inadequate secondary preparation, economic inequalities, or family circumstances. There is plenty of room for improvement in the “system” as a whole, but Wisdom’s Workshop, focused on America’s best universities, seeks to explain why they continue to earn a majority of the top global rankings.

The university is a medieval European creation. Has it maintained its essential identity and focus through eight centuries of social and intellectual change? If so, how?

JA: According to former University of California chancellor Clark Kerr in 1982, it had done so. “The eternal themes of teaching, scholarship, and service, in one combination or another, continue.” “Universities still turn out essentially the same products–members of the more ancient professions…and scholarship.” “The faculties are substantially in control….” “Looked at from within, universities have changed enormously in the emphases on their several functions and in their guiding spirits, but looked at from without and comparatively, they are among the least changed of institutions,” not unlike the Roman Catholic Church, several monarchies, and a few parliaments, all of which they outnumber by large margins.

Thirty-four years later, much the same could be said. For wherever they are founded or maintained, they serve society in familiar ways. Their participants may be more diverse, their purviews broader, their resources more extensive, their tools more sophisticated, their administrations larger and more involved in their operations. But they are today still recognizable for what they do, how they look, and who and what they produce because they are conservative as well as progressive institutions at the very crossroads of modern society.

You obviously enjoy writing: what do you like the most? Did or do you have any models?

JA: As a teenage sports reporter for two local papers and school publications, I was fond of adjectives and adverbs. Now, besides utter clarity and factual accuracy, I seek the richest nouns and verbs, internal rhythms, and unconscious (but once recognized, stet-ed) wordplay. I never consciously patterned my writing after that of any models, though I’ve admired and still do admire many historians and writers (Tony Grafton, Jim Turner, John Elliott, David Quinn, George Kennan, Edmund Morgan, Bill Bowen, John Fleming, Peter Brown, Erwin Panofsky, Natalie Davis, Rolena Adorno, John McPhee, and Inga Clendinnen to name just a few) Instead, I relish and applaud their lifelong professionalism, productivity, and stylistic brio.

James Axtell is the Kenan Professor of Humanities Emeritus at the College of William and Mary. His many books include The Pleasures of Academe, The Educational Legacy of Woodrow Wilson, and The Making of Princeton University (Princeton). Axtell was elected to the American Academy of Arts and Sciences in 2004. His most recent book is Wisdom’s Workshop: The Rise of the Modern University.

The decline of American growth is no local matter

GordonRobert J. Gordon‘s The Rise and Fall of American Growth may focus on an American economic phenomenon, but the book has grown into a major force internationally since becoming a New York Times Best-Seller this week. Gordon uses past economic revolutions to analyze whether economic growth could possibly continue at the exponential rate at which it exploded in the past. The book is at once a tribute to a century of radical change and a harbinger of tougher times to come. Its message has universal implications that have captivated people across the world.

In France, Le Monde interviewed Gordon and noted that his analysis of the economy could stand for any industrialized country, not just the United States. Gordon speaks here about how the golden age of growth is in the world’s past. Today’s innovations fit into a comparatively small percentage of the overall products used and produced, so any economic change that may occur will be exceptionally slow.

Over in Holland, NRC Handelsblad refers to how unique The Rise and Fall of American Growth is in its stance against the popular opinion that today, progress is moving at a faster rate than ever before.

The Financial Times reports that “As an economic historian, Gordon is beyond reproach”. Looking to the future, Gordon also leaves room in his argument for inventions that haven’t quite reached the market yet. And yet he warns that creations like robots and driverless cars will not lead to any great leap forward in economic progress. Read more in the article to to see Gordon’s argument for the pervasiveness of the stagnation of the economy.

Prospect Magazine calls the book “an extraordinary work of economic scholarship”. Complete with compelling charts, the article explicates the economic issues and facts as presented in The Rise and Fall of American Growth, supported by Lawrence Summers’ personal experiences growing up after the economic turn.

Robert J. Gordon is the Stanley G. Harris Professor in the Social Sciences at Northwestern University. His books include Productivity Growth, Inflation, and Unemployment and Macroeconomics. Gordon was included in the 2013 Bloomberg list of the nation’s most influential thinkers. His most recent book is the New York Times Best-Seller The Rise and Fall of American Growth.

 

Iris Murdoch: A writer ahead of her time

Living on Paper Living on Paper: Letters from Iris Murdoch, co-edited by Avril Horner and Anne Rowe, is a close examination of Murdoch’s life and writing, completely composed of her own personal correspondence. With its rare insights into Murdoch’s emotional and intellectual life, Living on Paper is sparking interest in her work and history from a new generation of readers. Recently Horner and Rowe took the time to speak to the project’s importance.

What was the original inspiration for Living on Paper?

AH & AR: The Iris Murdoch Archive was inaugurated at Kingston University in 2004 and now holds over 3,000 letters written by Iris Murdoch, as well as photographs, notebooks, original manuscripts and two private libraries: these comprise a relatively small library from her London flat and a much larger library from her Oxford study that contains over 1,000 books of which over a hundred are heavily annotated. Over the past 12 years Anne has successfully submitted bids to various funding bodies in order to purchase important letter runs to Murdoch’s close friends, including writers, painters, students and lovers. Other letter runs were kindly donated by individuals who had corresponded with Murdoch and a number of additional runs were gifted by the families or friends of correspondents. The quality and interest of the letters were such that in 2010, we decided to select the most interesting of these for publication. In 2011 we were offered a book contract by Chatto & Windus in the UK and started serious work on the project. Of the 764 letters that comprise Living on Paper: Letters from Iris Murdoch 1934-1995, over 500 are from Kingston’s Iris Murdoch Archive. The rest were sourced from other university archives – Oxford, Cambridge, Reading, Bristol, Leeds, Bradford and the LSE in England; the University of Iowa, Washington University, St. Louis, and Stanford University, California in the United States. (Avril was awarded funding by the Leverhulme Trust that enabled her to travel to most of these universities; others were kind enough send us photocopies of their holdings.) We thought it would take us two years to put the book together but we actually spent four years working on Living on Paper before it went to press.

Why was Murdoch such a prolific letter writer?

AH & AR: As John Sutherland pointed out in his review of Living on Paper in the New York Times Sunday Review of Books, Murdoch was brought up in a generation used to writing letters almost every day: ‘The habit was instilled at her boarding school, where letters home were an obligatory chore’. The habit never died and, in fact, she loved writing letters: ‘I can live in letters’ she wrote to her life-long friend, Philippa Foot in 1968. She would work on her novels and philosophical writings in the mornings and in the afternoon she would write letters, often spending up to four hours a day on them. Murdoch wrote all of them by hand using her favourite fountain pen. She answered every letter she received, responding even to complete strangers with great courtesy, and she would often reply immediately to friends or lovers who were currently in her thoughts. Like all writers, she was immensely curious about other people, and letters allowed her an intimacy with them and an imaginative entry into their thoughts and lives. It seems likely, despite the fact that she claimed never to use her own life or the lives of her friends in her novels, that she did draw on them for inspiration. She was careful though to transform imaginatively real people and situations so that they become unrecognisable in her art – at least most of the time.

How did you decide from a vast pool of resources which letters to include and which to leave out?

AH & AR: We read over 5,000 letters while working on the book and choosing which to include was a difficult task. We decided to focus on letter runs that, taken together, give what we hope is a full picture of a complicated personality, from Murdoch’s school days to her final years. Our aim was to present Murdoch’s life in her own words and to select interesting letters that shed light on both her emotional and her intellectual development. Our greatest regret is that we were unable to find any letters to John Bayley. When Murdoch and her husband moved from Steeple Aston to a much smaller house in Oxford in 1986, they burnt many letters and documents. We suspect that Murdoch’s letters to her husband were destroyed at this time. We also have only a few notes to Elias Canetti; there are thirty-one letters from Murdoch to Canetti in the Zentralbibliothek Zurich, but these are closed until 2024. There was no ideal solution to the problem of what to include and what to leave out – but we found ourselves remarkably like-minded in our choices, guided always by the desire to tell the truth about a remarkable life.

What do we learn about Iris Murdoch from her letters that we did not know before?

AH & AR: We have been very pleased by the number of reviewers who have remarked that Living on Paper has brought to light a fresh portrait of Murdoch. Many have commented on her ability to sustain long friendships, even with ex-lovers, and have noted her immense warmth and generosity, both emotional and financial. Others have been surprised by her vulnerability and her insecurities about her own abilities. Several have remarked on her obsessiveness (this obviously fed into her novels, many of which offer brilliant portraits of obsessive desire) and on her droll sense of humour – something not evident from previous biographical studies. Perhaps the most interesting aspect of her character that emerges from the letters is the way she perceived her own gender as fluid. In a fascinating letter to the mathematician Geroge Kreisel, written in 1967, she says, ‘I think I am sexually rather odd, which is a male homosexual in female guise. […] I doubt if Freud knew anything about me, though Proust knew about my male equivalent.’ She was not comfortable with any kind of gender labels, either lesbian, or homosexual or heterosexual: she did not feel that she fitted into any preordained category. This aspect of her character has greatly interested reviewers and will fascinate readers.

What letter run is your favorite or the most significant in giving an insight into Murdoch’s character/personality?

AH: I particularly like Murdoch’s letters to Raymond Queneau and to Brigid Brophy. Her correspondence with the French writer Raymond Queneau began shortly after she met him in Innsbruck in 1946 and lasted for thirty years. Through it we can track both her excitement about French literature and philosophy and the enormous intellectual influence Queneau had on her mind and work (Under the Net is dedicated to him and owes much to his novel Pierrot Mon Ami) as well as the sad tale of her unrequited love for him. Queneau, living in Paris and married with a son, was clearly fond of Murdoch and knew she had talent but resisted her overtures for him to become her lover. Over the years, Murdoch’s obsessive desire for Queneau transmuted into a dignified settling for his friendship but it is clear that she felt, for many years, that he was her true intellectual soul-mate.

Murdoch’s letters to Brigid Brophy, whom she met in 1954 are altogether different. Like Queneau, Brophy was an immensely gifted polymath but she was also a political activist (she frequently expressed her deep antipathy to the war in Vietnam), an outspoken advocate of bisexuality and a vegan when few people had heard of the word. Beautiful, provocative, witty, erratic and irreverent she greatly appealed to Murdoch and in some ways functioned as her alter ego. They quickly became close, enriching each other intellectually and exchanging ideas, often daily, on paper. (The Iris Murdoch Archive at Kingston holds over a 1,000 letters from Murdoch to Brophy.) Murdoch’s letters to Brophy are distinguished by their intensity of feeling, their intellectual acrobatics and their humour. The relationship was a stormy one, however, and Murdoch came to feel that she could never quite meet Brophy’s demands; nor did she wish to jeopardize her marriage to John Bayley. The intense liaison came to an end in 1967, when Brophy fell in love with Maureen Duffy, but Murdoch and Brophy kept in touch, on and off, until Brophy’s death from muscular sclerosis in 1995.

AR: For me, the letters to two students whom Murdoch befriended at the Royal College of Art between 1963 and 1967 are my favourite. David Morgan had a troubled adolescence that resulted in a spell in a home for maladjusted boys. Murdoch was fascinated by his unconventional background and stimulated by his views on art and obvious talent. She was attracted too by his good looks, and intrigued by his complicated love-life. Her sexually-charged and unwise relationship with him brought her perilously close to scandal. Yet she could not relinquish their friendship. Morgan was both enchanting and thrilling and she relished the danger he posed to himself and also to her. Morgan finds his way into the portrayal of dark, brooding ‘outsider’ characters and her fascination with him gives brilliance to the psychological realism that underpins them. These letters are electric in their intensity and have a compelling narrative – Murdoch is furious and fond in equal measure. Morgan came close to destroying Murdoch’s integrity as a wife, writer and public intellectual. Her letters to him, for me, provide the most compulsive reading in the book.

Rachel Fenner was assigned Murdoch as her supervisor and fell in love with her. Although making it clear that she could not reciprocate Rachel’s desire for intimacy, the two women became close. After seeking Murdoch’s advice, Rachel subsequently married but experiencing troubling emotional turmoil turned to Murdoch for support. Murdoch’s letters to her are among the most moving in the book and, unusually, Murdoch dispenses practical advice akin to her own moral philosophy: ‘Of course we are rather mechanical [. . .] but everything that is important and valuable and good belongs with the little piece of us that is not mechanical’. Murdoch condones their love here, despite the impossibility of fulfillment. But the relationship created turmoil in Fenner’s life and Murdoch’s letters illustrate that living by high moral standards was as difficult for her as the characters in her novels. With significant help and encouragement from Murdoch both Morgan and Fenner went on to highly successful careers, Morgan as a teacher and Fenner as a sculptor. Their love for their former teacher still endures.

How will Living on Paper change our reading of Murdoch’s novels and why might they attract a new generation of readers?

AH & AR: Even older readers who know Murdoch’s novels well might see them rather differently having read Living on Paper. For example, the sense of humour evident in many of her letters will alert the reader to the comical nature of many relationships and situations in her fiction. Murdoch’s interest in Mozart – previously undocumented and inspired by Brophy’s passion for the composer – we can now see reflected in the Mozartian dance of couples who interchange partners in such a way as to lend many of her novels a slightly comic and operatic air.

New and younger readers will undoubtedly be fascinated by Murdoch’s portrayal of sexuality. Recent research into sexual identities suggests that almost half of young people today are redefining sexuality in a surge of carefree “gender fluidity”. Murdoch’s views on sexual orientation and gender proclivity will not be in the least shocking to this younger generation, who will share them. This like-mindedness may mean that they will make very different interpretations of the tragedies at the heart of Murdoch’s novels as they are now able to consider them openly in terms of sexual repression and the social construction of gender. Whereas those who read Murdoch’s novels as they were published between the 1950s and the 1990s might have found her picture of humanity eccentric and far-fetched, many contemporary readers will find kindred spirits in her fiction. The propensity of Murdoch’s characters to have casual sexual liaisons with friends, the great speed with which they move in and out of sexual liaisons and the ambivalence about gender that mark her novels will no longer alienate twenty-first century readers who, instead, will see Iris Murdoch as a writer decades ahead of her time.

Avril Horner and Anne Rowe are the coeditors of Iris Murdoch: Texts and Contexts and Iris Murdoch and Morality. They most recently edited together Living on Paper: Letters from Iris Murdoch. Horner is professor emeritus of English literature at Kingston University in London, and has published widely on women’s writing and gothic fiction. Rowe is associate professor of English literature and director of the Iris Murdoch Archive Project at Kingston University. She is the lead editor of the Iris Murdoch Review, the author of The Visual Arts and Iris Murdoch, and the coauthor of Iris Murdoch: A Literary Life. 

For the love of books

The Quotable Kierkegaard jacketFeynmanCalaprice_QuotableEinstein_pb_cvrthoraeu smalljefferson

What better way to celebrate Valentine’s Day than with a heartfelt declaration of our love of books? We offer up these quotes from our Quotable’s, as well as a special giveaway!

PUP Books

The Quotable Kierkegaard

“It is the most interesting time, the period of falling in love, where after the first touch of a wand’s sweeping sensation, from each encounter, every glance…one brings something home, just like a bird busily fetching one stick after the other to her nest, yet always feels overwhelmed by the great wealth.”

“What is it, namely, that connect the temporal and eternity, what else but love, which for that very reason is before everything and remains after everything is gone.”

The Quotable Feynman

“It’s necessary to fall in love with a theory, and like falling in love with a woman, it’s only possible if one does not completely understand her.”

The Quotable Thoreau

“How insufficient is all wisdom without love.”

“It is strange that men will talk of miracles, revelation, inspiration, and the like, as things past, while love remains.”

“What is the singing of birds, or any natural sound, compared with the voice of one we love?”

The Ultimate Quotable Einstein

“Love brings much happiness, much more so than pining for someone brings pain.”

The Quotable Jefferson

“If I love you more, it is because you deserve more.”

“We think last of those we love most.”

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In Love’s Vision, Troy Jollimore puts forth a new way of thinking about love. For the most romantic holiday all year, we’re giving away three copies starting February 12. The entry period ends February 20. As you pay special attention to your loved ones let Troy Jollimore’s vision of love give you food for thought.

20 University Press Books for Black History Month

In honor of Black History Month, PUP has chosen twenty of the most relevant, intriguing books published by university presses, ranging from poetry to prose, modern critiques to historical accounts. Included are recent PUP titles, Story/Time: The Life of an Idea by Bill T. Jones, The Notebooks by Jean-Michel Basquiat, and The Life and Struggles of Our Mother Walatta Petros by Galawdewos. Don’t miss the links to these titles’ design stories on our Tumblr design blog.

1. We Could Not Fail: The First African Americans in the Space Program by Richard Paul & Steven Moss (University of Texas Press)

We could not fail

2. Despite the Best Intentions: How Racial Inequality Thrives in Good Schools by Amanda E. Lewis & John B. Diamond (Oxford University Press)

despite the best intentions

3. Forest Primeval by Vievee Francis (Northwestern University Press)

forest primeval jacket

4. Stigma and Culture: Last-Place Anxiety in Black America by J. Lorand Matory (University of Chicago Press)

stigma and culture

5. The Notebooks by Jean-Michel Basquiat (Princeton University Press)

Check out a video of spreads from The Notebooks.

The Notebooks jacket

6. Thin Description:Ethnography and the African Hebrew Isrealites of Jerusalem by John L. Jackson, Jr (Harvard University Press)

Thin Description jacket

7. Black Georgetown Remembered: A History of Its Black Community from the Founding to “The Town of George” in 1751 to the Present Day
by Kathleen Menzie Lesko, Valerie Babb, and Carroll R. Gibbs (Georgetown University Press)

black georgetown remembered

8. Racing to Justice: Transforming Our Conception of Self and Other to Build an Inclusive Society by John A. Powell (Indiana University Press)

Racing to Justice

9. Florynce “Flo” Kennedy: The Life of a Black Feminist Radical by Sherie M. Randolph (University of North Carolina Press)

Florence "Flo" Kennedy

10. Black Women in Sequence: Re-inking Comics, Graphic Novels, and Anime by Deborah Elizabeth Whaley (University of Washington Press)

Black women in sequence jacket

11. Blinded by Sight: Seeing Race Through the Eyes of the Blind by Osagie K. Obasogie (Stanford University Press)

Blinded by sight jacket

12. Better Git It in Your Soul: An Interpretive Biography of Charles Mingus by Krin Gabbard (University of California Press)

Better git it in your soul jacket

13. African American Slang: A Linguistic Description by Maciej Widawski (Cambridge University Press)

African American Slang

14. Tracing Southern Storytelling in Black and White by Sarah Gilbreath Ford (University of Alabama Press)

tracing southern storytelling in black and white jacket

15. Fly Away by Peter M. Rutkoff and William B. Scott (John Hopkins University Press)

fly away

16. The Life and Struggles of Our Mother Walatta Petros: A Seventeenth-Century African Biography of an Ethiopian Woman by Galawdewos (Princeton University Press)

The Life and Struggle of Our Mother Walatta Petros jacket

17. The Folklore of the Freeway: Race and Revolt in the Modernist City by Eric Avila (University of Minnesota Press)

Folklore of the Freeway

18. Beauty Shop Politics: African American Women’s Activism in the Beauty Industry by Tiffany M. Gill (University of Illinois Press)

Beauty shop politics

19. Walking from the Dream: The Struggle for Civil Rights in the Shadow of Martin Luther King, Jr. by David L. Chappell (Duke University Press)

waking from the dream

20. Story/Time: The Life of an Idea by Bill T. Jones (Princeton University Press)

Read more about the design process of Story/Time.

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