Women’s Studies

Call for Proposals: South Atlantic Quarterly

saq_117_4_cover1The South Atlantic Quarterly is accepting proposals for thematic special issues through January 31, 2019. Themes should be in line with those of journal issues published in recent years, including critical race studies, feminist and queer theory, analyses of contemporary capital and labor, social and liberation movements, critical theory, and environmental humanities. Funds are available to translate original essays not written in English.

Special issue editors are responsible for soliciting essays, working with authors, editing texts, and assuring that deadlines and word counts are met.

saq_117_3_coverProposals should include a description of the concept or theme that organizes the issue (roughly 200 words) plus names of potential authors with very brief bios. Please indicate whether authors have already been contacted. Please propose, too, a date by which the complete, edited collection can feasibly be submitted.

Issues are composed of 70,000 words total. This is often configured as eight 8,000 word essays plus an introduction, but editors are free to configure the number and length of essays differently.

Please send proposals to saq@dukeupress.edu.

National Women’s Studies Association, 2018

We enjoyed meeting authors and editors, selling books and journals, and celebrating prize-winning works at the 2018 National Women’s Studies Association Annual Conference in Atlanta, Georgia!

Amber Cary

DUP Digital Access and Journals Specialist Amber Cary

Congratulations to several of our authors who received awards at the conference:

Jasbir Puar’s book, The Right to Maim, was co-winner of the Alison Piepmeier Book Prize.

Attiya Ahmad’s book, Everyday Conversions, won the Association for Middle East Women’s Studies Book (AMEWS) Award.

Miglena S. Todorova’s article, “Race and Women of Color in Socialist/Postsocialist Transnational Feminisms in Central and Southeastern Europe,” won the Paula J. Giddings Best Essay Award. It was featured in a past issue of our new journal Meridians: feminism, race, transnationalism, an interdisciplinary feminist journal that publishes creative work by and about women of color in U.S. and international contexts, and is now available free for six months.

 

Together with editor Ginetta E. B. Candelario and managing editor Leslie Marie Aguilar, we celebrated our new publishing partnership with Meridians with a reception at our booth on Saturday.

There were also three “Author Meets the Critics” sessions featuring DUP authors Sami Schalk, Robyn Spencer, and Macarena Gómez-Barris.

It was a pleasure visiting with authors and editors at this wonderful conference!

Lynn Comella and Adan Martinez

Lynn Comella, author of Vibrator Nation, with her former student Adan Martinez.

 

Missed NWSA this year? Couldn’t fit all the books and journals you wanted into your suitcase? Don’t worry! You can still take advantage of the conference discount. Just use coupon code NWSA18 for 30% off your dukeupress.edu order at checkout.

Generations

The most recent issue of Journal of Middle East Women’s Studies, “Generations,” edited by Frances S. Hasso, is now available.

MEW_14_3_coverThis special issue examines biological, political, and social reproduction and change at multiple scales. Contributors illustrate how intimate and political stories overlap, exploring themes such as biological reproduction, sexual health and agency, and motherhood. Recognizing that our understanding of past and present depends on who, how, and what we remember, this issue asks us to consider how feminist scholars generate knowledge and what we treat as an archive, especially given our frequent interest in nonarchival questions and subjects.

Browse the table of contents and read the introduction, made freely available.

Q&A with Tamura Lomax, Author of Jezebel Unhinged

unnamedTamura Lomax is an independent scholar, the CEO and founder of The Feminist Wire, and author of Jezebel Unhinged: Loosing the Black Female Body in Religion and Culture. We asked her a few questions about the new book, which Foreword has called “phenomenal,” “provocative,” and “an amazing pick for book clubs.”

What drew you to this topic? How did your own experience in the Black Church, including your background as a “preacher’s kid,” affect your research or approach?

The conundrum I experienced after moving from my childhood church and community in Syracuse, NY, a Black Church in a working-class black community, to Mill Valley, CA, a predominantly white and wealthy environment, at age fourteen, turned my world upside down. Privileged white teenagers have a way of making you hyperaware of your difference. And not only their belief in your purported racial difference but your supposed sexual and gender difference. I will never forget the stares, the comments, the whispers, the laughter, the jokes. I was a dark-skinned black girl from the east coast, and clearly, I was alien to them. Their obsession with me, particularly my blackness, gender, femininity, and sexuality, launched my critical consciousness into overdrive.

Yet, nothing could have prepared me for the day my new friends referred to me as a monkey who “crave[d] and provide[d] sex to anyone and anything.” While I had not yet read Frantz Fanon’s Black Skin, White Masks (1967), this was indeed my first “Look, a Negro!” moment—the point of sudden objecthood, nonbeing, fixation, bursting apart, and being put back together—by another self. To be sure, I had known what it meant to be placed under the gaze of another. I knew the feeling of being misread, sexualized, and even lusted after as an adolescent. Unfortunately, I learned these lessons, first, through older and grown men—within my previous black community, the Black Church, and the music and culture that I loved: Hip Hop. As I write in the Prolegomenon, the hypersexualization of young black girls is fierce early on.

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My earliest memory is at age eleven when a church elder told my parents he could not focus during altar call because he was enraptured by my pubescent derriere (x-xi). Rather than calling out his rapey pedophilic wantonness, I was made to feel shame, as if my body had done something wrong without my consent. I struggled with the cultural psyche around black femininity and all of the sexual messaging, not to mention my own conflicting responses. On one hand, I loved raunchy Hip Hop music that admittedly sexually objectified black women and girls, while on the other, I detested the pedophilic stares of older men and boys in my church and community, and more, the racist and sexist gazing of my new high school friends in California. And as much as these gazes were the same, to me, they felt slightly different. That dreadful day in California changed the course of my life and how I saw the world and interpreted my place in it.

I did everything to change my high school friends’ reading of me—to the point of de-sexualization. I wanted to be a “proper” black girl—a lady in training, as I was taught to be at home and in the Black Church, not a libidinous monkey. This kind of sexualized marking, I had not known. I remember going home and journaling about the incident right after it happened. My eyes welled up with tears as I made my entry. This was not an innocent case of teasing and hurt feelings. As a young girl I was taught that sex before marriage was bad and that sexualization is the fault of so-called “fast” and promiscuous girls or women. Meaning that black girls or women are sexualized because they have acted in an allegedly sexually “loose” manner. I learned the latter was sin. And not only that, this was a transgression seemingly particular to black women and girls.

Full disclosure: I was in no way perfect. But I was a “good girl.” Or at least I tried to be. If I caught myself being “loose”—“fast tailed,” sexual, sexualized, or appreciating base music and lyrics more than a “good girl” should, I could at least fix that. I could take responsibility for where I went or what I did wrong and repent, therefore releasing myself from temptress status and gaining “good girl” prestige again. But not this day. I cried quiet painful tears because the sexualized savagery assigned to me—and black girls everywhere—by my high school friends could not be as quickly remedied. I was not merely hypersexualized but animalized—in harmony. Further, I was inherently problemed. I could neither disrobe of nor cover my blackness nor reencode my black femaleness. And I could neither pray it away nor bathe it in Black Church respectability as I had been taught. Rather, I was indelibly marked. Or, so I thought.

The rhetorical marking of these collective gazes—from the church to my new white friends to my favorite music and so on—made me feel psychically, emotionally, and communally estranged. And I was not alone. I learned later that each of these projections spring forth from essentialist discourses on black womanhood. And while they sometimes feel different, they have more in common than not. They are all overdetermining. And they all sting, just differently perhaps. I will never get over being called a monkey and thusly being situated outside of the human race. But neither will I ever come to terms with the hypersexualization that happens to young girls and women in black communities and the posturing of black female bodies and sexual decision-making in sin—as something needing constant fixing and redemption.

I am convinced it is because of such relentless stereotyping and signifying that black Americans in general are so religious, especially black women. Sin and shame have long taken up residence in our bodies and consequentially our minds. Jezebel Unhinged not only works within these tensions, it attempts to do the work of “undoing,” of naming anxieties, antagonisms, and social-cultural-structural-epistemic evils, and the significant psychic, emotional, and communal breaks they cause. It does this work through an iconoclastic critique of racism, sexism, heterosexism, the Black Church, and black popular culture. And I do so intentionally not as a theologian tasked with proving certain truths about God, but rather as a black feminist scholar of religion, or more precisely, a black feminist-religio-cultural theorist, interested in exploring how discourse, power, knowledge, meanings, language, and grammars get invested with truth claims about God, people, and cultures.

Still, I approached this study as one well aware of my personal and professional location—as one reared in the Black Church and as one who has experienced the collective function of antiblack and sexist re/presentational mythmaking, which affects not only persons but relations, social arrangements, ways of seeing, politics, institutions, and treatment, first hand—within and well beyond the Black Church. That said, I endeavored to do this critical work without “throwing the baby out with the bathwater.” The latter is a mistake too many critics make, thus making their analyses irrelevant. (more…)

An Interview with Soha Bayoumi, Sherine Hafez, and Ellen McLarney, editors of the Journal of Middle East Women’s Studies

Soha Bayoumi, Sherine Hafez, and Ellen McLarney are editors of the Journal of Middle East Women’s Studies, the official journal of the Association for Middle East Women’s Studies. This interdisciplinary journal advances the fields of Middle East gender, sexuality, and women’s studies. We sat down with Soha, Sherine, and Ellen to discuss their vision for the journal’s future, as well as what brought them to editorship at JMEWS in the first place.

DUP: How would you like to shape the Journal of Middle East Women’s Studies for the future?MEW_14_3_cover

Ellen: I think gender is one of the most defining issues when it comes to the study of the Middle East historically, intellectually, and academically. And it’s been a question that’s been kind of abused and used. All of our work centers on gender and I think that we would like to revolutionize the field in a way that causes people to rethink its importance. We’re not just talking about Orientalist tropes or oppression, repression, and liberation—we’d like to look at gender in new ways.

Sherine: I think gender is the underlying principle of social organizations all over the world, especially in the Middle East and in Muslim-majority countries. It’s been highly politicized, and it continues to be politicized in new ways all the time. So it’s important to track these changing modes of the politicization of gender and how gender is at the core of new nationalist movements and postcolonial and anticolonial trends.

Soha: We’re also really interested in highlighting theoretical contributions from the field and pushing it forward to show that feminist theory and gender studies in the Middle East don’t have to rely on prepackaged theoretical constructions produced in intellectual centers of the global North. We can actually generate novel ways of thinking about gender and feminisms from the Middle East as well. And we want to push the boundaries of the field—not just to think about it as regional studies or area studies, but also to think about, as Sherine said, postcoloniality in general as it interacts with gender and thinking about gender in the global South.

Sherine: Our regular section Third Space shows how much artists and activists shape this conversation and how it’s not just academia or institutions disseminating information or policies: it’s a feedback loop.

Ellen: And one of the advantages of area studies is its interdisciplinarity. We can approach these questions from multiple methodological angles. So we’re really hoping to bring these multiple disciplinary perspectives to the question of gender.

Sherine: We’re trying to intervene in the epistemology of gender in the Middle East and Muslim world because it’s such a salient topic and so central not just to the region but also globally, because both local and global forces intersect in gender. So we’d like to highlight those connections as well and include various interlocutors on the subject of gender from international scholarly institutions and universities from the Middle East and North America.MEW_14_2_cover.png

DUP: Why were you interested in becoming editors of the journal?

Soha: I come from a background that is interested in science and technology studies and the history of science and medicine. These are fields that are not necessarily the first fields you think about when you think about gender studies or feminist studies. As someone interested in studying gender within STS, I found it very appealing to be a part of this and to try and bring in some of the voices of people I know working in these fields. Especially when it comes to the Middle East, I have in mind scholars who may not necessarily think of themselves as or market their work directly to feminist scholars abroad, or who don’t think of their interlocutors as being feminist scholars abroad, but who definitely engage with questions of gender at a very deep level in their work. I wanted to bring some of those voices in and I thought that it would be an exciting opportunity to share that collaborative platform with two very well-established scholars of gender.

Ellen: I was here at Duke University while the prior three editors were working on the journal. I watched what they did with it and I was on the editorial board. I admired what they were doing and see myself now as helping to follow up on that legacy. I know everyone’s talking about doing new things, but I’m just hoping that we can do as good of a job. I was standing on the edges watching and so I’m excited to be a part of it now and am grateful to Soha and Sherine for bringing me on board.

Sherine: There were a couple of reasons that I was interested. First, I believe that women of color have to be theory makers. For a very long time the field of gender in the Middle East and Muslim world has been dominated by content studies, studies that basically regurgitate data. Of course, there have been seminal works and advances in theoretical trajectories, but I was hoping to further that and intensify the focus on theory. The second reason is that since the Arab uprisings have happened, I’ve been motivated to engage more with the public sphere in any way I can. I felt that even though this was a very busy time in my professional career, it was not something I could turn down. This was a moment for me to make an intervention, and I’m working with three amazing people, including our managing editor Shireen Hamza, whom I could not do without, and of course my two coeditors. This is an opportunity not just to make an intervention but also to grow professionally and learn from them and from our loyal readership.

Design Principles for Teaching History

Today we’re pleased to showcase the four books that currently comprise our Design Principles for Teaching History series, edited by Antoinette Burton. The most recent addition, A Primer for Teaching Women, Gender, and Sexuality in World History, is newly available this season.

Books in this series provide a guide for college and secondary school teachers who are teaching a particular field of history for the first time, for experienced teachers who want to reinvigorate their courses, for those who are training future teachers to prepare their own syllabi, and for teachers who want to incorporate specific topics into their history courses. These books are not intended to serve as a textbook nor advocate a particular school of thought. Rather, informed by the authors’ experiences in the classroom, they provide a guide to developing a syllabus around an integrated set of arguments and conceptual orientations. Ideal for teachers of all experience levels, the titles in this series help translate expert knowledge of a field into effective and thoughtful pedagogical strategies for a range of practitioners.

The series currently includes A Primer for Teaching World History, edited by Antoinette Burton; A Primer for Teaching African History, edited by Trevor Getz; A Primer for Teaching Environmental History, edited by Emily Wakild and Michelle K. Berry; and A Primer for Teaching Women, Gender, and Sexuality in World History, edited by Merry E. Wiesner-Hanks and Urmi Engineer Willoughby.

ckn_24_3_coverAlso of interest is a newly published issue of Common Knowledge: the second part of a two-part symposium titled “In the Humanities Classroom.” The first set of case studies described particular pedagogical experiences rather than simply making general arguments about the value of the humanities. In its recently published second set of case studiesCommon Knowledge continues this approach of describing in detail the excitement and discovery that can occur in a particular humanities class but also expands upon the first to include the voices of graduate students and an undergraduate and to delineate the process by which one teacher put together an online course. This special section argues that descriptions of specific classroom experiences and of the careful planning and passionate commitment of teachers may help to cling to the moral values both professors and their students seem to need and want in troubled times. Article topics include “Teaching Western Civilization,” “Teaching an Online Course,” and “When History Meets Politics.”

New Books in October

It’s October and our fall publishing season is in full swing. Check out all the great books coming out this month.

The contributors to The Apartment Complex, edited by Pamela Robertson Wojcik, offer global perspectives on films from a diverse set of genres—from film noir and comedy to horror and musicals—that use apartment living to explore modern urbanism’s various forms and possibilities.

978-1-4780-0130-0In See It Feelingly Ralph James Savarese showcases the voices of autistic readers by sharing their unique insights into literature and their sensory experiences of the world, thereby challenging common claims that people with autism have a limited ability to understand language, to partake in imaginative play, and to generate the complex theory of mind necessary to appreciate literature.

In Channeling the State Naomi Schiller explores how community television in Venezuela created openings for the urban poor to embrace the state as a collective process with the potential for creating positive social change.

978-1-4780-0105-8.jpgJ. Lorand Matory’s The Fetish Revisited casts an Afro-Atlantic eye on European social theory to show how Marx’s and Freud’s conceptions of the fetish illuminate and misrepresent the nature of Africa’s gods while demonstrating that Afro-Atlantic gods have their own social logic that is no less rational than European social theories.

The contributors to the volume Digital Sound Studies, edited by Mary Caton Lingold, Darren Mueller, and Whitney Trettien, explore the transformative potential of digital sound studies to create rich, multisensory experiences within scholarship, building on the work of digital humanists to evaluate and historicize new technologies and forms of knowledge.

Domestication Gone Wild, a collection edited by Heather Anne Swanson, Marianne Elisabeth Lien, and Gro B. Ween, offers a revisionary exploration of domestication as a narrative, ideal, and practice that reveals how our relations with animals and plants are intertwined with the politics of human difference.

978-0-8223-7075-8.jpgIn Paradoxes of Hawaiian Sovereignty J. Kēhaulani Kauanui examines contradictions of indigeneity and self-determination in U.S. domestic policy and international law, showing how Hawaiian elites’ approaches to reforming land, gender, and sexual regulation in the early nineteenth century that paved the way for sovereign recognition of the kingdom complicate contemporary nationalist activism, which too often includes disavowing the indigeneity of indigenous Hawaiians.

James N. Green’s Exiles within Exiles is a biography of the Brazilian revolutionary and social activist Herbert Daniel, whose life and political commitment shaped contemporary debates about social justice, gay rights, and HIV/AIDS.

A Primer for Teaching Women, Gender, and Sexuality in World History, by Merry E. Wiesner-Hanks and Urmi Engineer Willoughby, is a guide for college and high school teachers who are teaching women, gender, and sexuality history for the first time, for experienced teachers who want to reinvigorate their courses, for those who are training future teachers to prepare their own syllabi, and for teachers who want to incorporate the subject into their world history classes.

978-0-938989-42-4.jpgPop América, 1965-1975, edited by Esther Gabara, is a bilingual, fully illustrated catalogue that accompanies a traveling exhibition of the same name. Pop América, 1965-1975 presents a vision of Pop art across the Americas as a whole. The exhibition appears at the McNay Museum of Art in San Antonio from October 4, 2018 until January 13, 2019 and then moves to the Nasher Museum of Art at Duke University from February 21 to July 21, 2019. It will finally be featured at the Mary and Leigh Block Museum of Art at Northwestern University from September 21 to December 8, 2019.

In the still-timely twentieth anniversary edition of Written in Stone—which includes a new preface and an extensive afterword—Sanford Levinson considers the debates and conflicts surrounding controversial monuments to public figures throughout the American South and the world.

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Black Marriage

dif_29_2_coverThe most recent issue of differences, “Black Marriage,” edited by Ann duCille, is now available.

Marriage has been a contested term in African American studies. Contributors to this special issue address the subject of “black marriage,” broadly conceived and imaginatively considered from different vantage points. Historically, some scholars have maintained that the systematic enslavement of Africans completely undermined and effectively destroyed the institutions of heteropatriarchal marriage and family, while others have insisted that slaves found creative ways to be together, love each other, and build enduring conjugal relationships and family networks in spite of legal prohibitions against marriage, forced separations, and other hardships of the plantation system. Still others have pointed out that not all African Americans were slaves and that free black men and women formed stable marriages, fashioned strong nuclear and extended families, and established thriving black communities in antebellum cities in both the North and the South.

Against the backdrop of such scholarship, contributors look back to scholarly, legal, and literary treatments of the marriage question and address current concerns, from Beyoncé’s music and marriage to the issues of interracial coupling, marriage equality, and the much discussed decline in African American marriage rates.

Read the introduction, “Black Marriage and Meaning from Antoney and Isabella to ‘Beyoncé and Her Husband,'” made freely available.

978-1-4780-0048-8Ann duCille is also author of the new book Technicolored: Reflections on Race in the Time of TV. In it, she combines cultural critique with personal reflections on growing up with the new medium of TV to examine how televisual representations of African Americans have changed over the last sixty years. Whether explaining how watching Shirley Temple led her to question her own self-worth or how televisual representation functions as a form of racial profiling, duCille traces the real-life social and political repercussions of the portrayal and presence of African Americans on television.

978-0-8223-5008-8Also of interest is the book Inequalities of Love: College-Educated Black Women and the Barriers to Romance and Family by Averil Y. Clarke. While conventional wisdom suggests that all women, regardless of race, must sacrifice romance and family for advanced educations and professional careers, Clarke’s research reveals that educated black women’s disadvantages in romance and starting a family are consequences of a system of racial inequality and discrimination. Her discussion of the inequities that black women experience in romance highlights the connections between individuals’ sexual and reproductive decisions, their performance of professional or elite class identities, and the avoidance of racial stigma.

Q&A with Amy Laura Hall, author of Laughing at the Devil

Amy-Laura-Hall-0616-preferredAmy Laura Hall is Associate Professor of Christian Ethics at Duke University Divinity School. She is the author of Kierkegaard and the Treachery of LoveConceiving Parenthood: American Protestantism and the Spirit of Reproduction; and Writing Home, With Love: Politics for Neighbors and Naysayers. In her new book, Laughing at the Devil: Seeing the World with Julian of Norwich, she takes up medieval mystic Julian of Norwich’s call to laugh at the Devil as a means to transform a setting of dread and fear into the means to create hope, solidarity, and resistance.

You compare Julian of Norwich to Nicki Minaj. How did that happen?

It happened in the car. I had been writing this book for fourteen years, trying to say what I most needed to hear in between washing dishes, grading papers, and picking up dog poop. I was sitting in the parking lot of the Duke Federal Credit Union, and my older daughter started playing Nicki Minaj on her phone. She said, “I love the way she laughs!” Both of my daughters were dancing, unafraid. It was a small miracle. (And those are the ones that matter.) Nicki Minaj brought a miracle into the Duke Federal Credit Union parking lot. She had invited my two daughters to sing, laugh, dance, and declare, unabashed. I remember staring into the bushes that block the parking lot from Main Street. I saw Julian of Norwich smile. I saw this clearly.

978-1-4780-0025-9How do medieval texts speak to contemporary readers?

We, the peasants, continue to rebel against a feudal system, in a myriad of ways. Through street theater, murals, graffiti, research essays, public protests, catchy chants and songs, human beings continue to resist the ways that we are treated like tools. This book is my own best, creative intervention against the untruth of radical inequality, racist terror, drone strikes, torture, and the system of denigrating and silencing women that many of us refer to as “the patriarchy.”

What can Julian of Norwich offer those who are secular or who do not follow the Christian faith?

I have not written this book in order to sneak Christianity into the brains of people who are not Christian. There are writers who do this, and I try to avoid this kind of subterfuge. Given this caveat, I will note that there are non-Christian feminists who have found her blessed moxie encouraging. There are non-Christian women who have found the story of her eventual commitment to a semi-secluded setting, as an anchorite, to be intriguing. So, such readers may find this book helpful. There is also an annoyingly resilient fad in mainstream, popular culture in the U.S. to romanticize, even to enchant, the medieval period. I will be delighted if people who love the television series “Game of Thrones,” for example, find in Julian’s visions of consanguinity (meaning, literally, being of one blood, made as blood kin through grace) an alternative way to see themselves and their neighbors. I will be delighted if the book offers non-Christians a chance to reconsider the generalized “Gospel of Austerity,” (a term I use frequently) whereby we gain purchase on life through suffering and/or competition for scarce resources. Julian has invited me to find the miracles of solidarity around me. Perhaps she will do the same for others.

One might think of laughter and religion as unlikely bedfellows. How did you arrive at your focus on laughter? Where does humor fit in contemporary religious scholarship?

The focus of the book is not laughter, exactly. Having said this, I appreciate the insight at the core of this question. Christians are not generally known for our laughter. We are perhaps best known for our proclivity to scowl. I chose the title of the book in order to highlight one of Julian’s less quoted, but truly remarkable visions, where she laughs at the Devil. I read her visions as redirecting her and eventually her readers away from a cycle of shame, fear, cruelty, and self-protection. The sense of shameless abandon that my daughters and I received through Nicki Minaj’s music that day involved our forgetfulness that we are being assessed. The words from a poppy song from my own teen years comes to mind. The medieval-esque video for the 1983 song “Safety Dance” is absurd, in the best sense of that word. Meaning, as the Oxford English Dictionary notes, “Of a thing: against or without reason or propriety; incongruous, unreasonable, illogical.” Julian of Norwich’s writings do have a kind of congruity. But that congruity is set within a context of gratuity. To put this more plainly, she has seen visions of God’s extravagant, abiding love that resituate what much of the Western world considers to be common sense. Is it safe to dance? Is it safe to live in a way that seems unreasonable, even foolish? The simple answer is no. But Julian invites us to laugh at the Devil with her, and I invite readers to risk acting “like we come from out of this world.” (Thank you, dear Men Without Hats.)

Is there anything else you would like potential readers to know about Julian of Norwich?

Julian of Norwich is not technically a Saint in her beloved Mother Church (the Roman Catholic Church). There are reasons for this. For one, her bones disintegrated. Julian was not an otherworldly, magical creature. She was a person. She was a human being. And she wrote a book about God that includes her visions of God’s attention to and sanctification of mundane, very worldly details, like fish-scales and raindrops, like bread and crushed grapes. It is also a fun fact that, although Julian the anchorite is often depicted artistically as alone, coifed, and serene, with a tranquil cat in her lap, Julian the anchorite could have plausibly shared her church apartment in Norwich with some chickens, a cow, or even a mischievous goat.

Read the introduction to Laughing at the Devil free online, and purchase the paperback for 30% off using coupon code E18LAUGH at dukeupress.edu.

Duke University Press Sponsors ACRL awards for librarians working in Women’s and Gender Studies

acrl_1Duke University Press is pleased to announce its sponsorship of two achievement awards through the Association of College and Research Libraries (ACRL), Women and Gender Studies Section (WGSS). The Significant Achievement Award and the Career Achievement Award will be presented at the 2018 American Library Association (ALA) annual meeting this week.

Significant Achievement Award

Shirley Lew, dean of library, teaching, and learning services at Vancouver Community College and Baharak Yousefi, head of library communications at Simon Fraser University, are the winners of the 2018 ACRL WGSS Award for Significant Achievement in Women and Gender Studies Librarianship.

This award, honoring a significant or one-time contribution to women and gender studies librarianship, was presented to Lew and Yousefi for their book, Feminists Among Us: Resistance and Advocacy in Library Leadership. Feminists Among Us makes explicit the ways in which a grounding in feminist theory and practice impacts the work of library administrators who identify as feminists. Award chair Dolores Fidishun lauds the book as “a seminal review of the intersection of feminism, power, and leadership in our profession.”

Career Achievement Award

Diedre Conkling, director of the Lincoln County Library District, is the winner of the 2018 ACRL WGSS Award for Career Achievement.

This award, honoring significant long-standing contributions to women and gender studies in the field of librarianship over the course of a career, was presented to Conkling for her work as a longtime member of the WGSS, Feminist Task force, the Committee on the Status of Women in Librarianship, and the Library Leadership and Management Association Women’s Administrator’s Discussion Group.

“Conkling has continuously brought women’s issues to the forefront of our organization,” Fidishun states, “and has served as an inspiration and mentor to many of us in the association. Through her activism she has demonstrated the power of women’s voices in ALA and in the world, always asking the important questions and looking for ways to move women’s agendas forward in ALA.”

Congratulations to all winners!

About ACRL

The Association of College and Research Libraries is the higher education association for librarians. Representing nearly 10,500 academic and research librarians and interested individuals, ACRL (a division of the American Library Association) develops programs, products, and services to help academic and research librarians learn, innovate and lead within the academic community.

About Duke University Press’s commitment to emerging fields

Duke University Press is committed to advancing the frontiers of knowledge and contributing boldly to the international community of scholarship, promoting a sincere spirit of tolerance and a commitment to learning, freedom, and truth. An early establisher of scholarship in queer theory, gender studies, and sexuality studies, Duke University Press is dedicated to supporting others who contribute to these fields.