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Letters to a Young Reader of Reviews by James Gifford

Dear Young Reader, or Old(er) for that matter. We hope you’ll enjoy James Gifford’s musings about how to deal with reviews of a more negative nature. James is a UAP author; we published two of his books, Personal Modernisms and From the Elephant’s Back.

Boring, Risible, and Execrable, and Those are Just Its Good Qualities

I was invited to write this blog after the marketing team at UAP saw a particularly nasty review of one of my books. I believe they read some of it out loud, perhaps even with accents. It was the kind of review over which even the most casual reader must pause and invent the backstory of an Elizabethan revenge tragedy.

The reality was more mundane than salacious, and the risks of liquidity (ahem) in academia all too often lead to short tempers and long, if blurry, memories. However, like college hazings or British prime ministers with pig’s heads, the insult review is an initiatory rite in academia to which we all submit—and the point isn’t so much how to avoid them as it is how to avoid reading them. Either Boethius or Buzzfeed, I can’t recall which, had sage advice on the matter. And no one ever pays attention to it:

“Never read the comments”

For academics early in their careers, not reading the comments isn’t an option. The negative reviews may not be public, but the privacy of blind peer review can make the commentary all the more biting. To add to it, the pressures of early career “professionalization” mean graduate students are pushed to develop a research profile that often necessitates sending out work before it’s ready or before the authors are ready for the professional grumpiness that can be voiced behind the curtain of blind review, like some irascible Wizard of the U of Oz. Yet reading those reviews is also often the main source of feedback for developing the work. So how should we read and yet “never read” the comments?

I have always found it helpful to look at the disagreements in reviews. It’s easy when Reader A adores what Reader B condemns as “execrable.” This was my favourite word scrawled on one of my undergraduate Chaucer essays juxtaposed to “A-” and a rather liquid harrumph of explanation: “That must have been near the bottom of the pile…” meaning late in the night and deep in the cup. He was a fantastic Chaucer teacher, actually. When readers disagree in this way, any author can easily think “Reader A is clearly a good human being with a history of volunteerism and charity for small birds in winter months,” but the corollary is too easy. Reader B, after all, may not be picking the legs off ladybugs in her or his few spare moments between stealing markers from the whiteboards in classrooms and using them to scrawl “execrable” on the front of undergraduate papers. And who’s to say my “A-” trumps the descriptor “execrable”? I was, after all, young and foolish enough to disagree with my professor…

The truth is, the disagreements are what matter. Even if the disagreement is between your research findings and the reader’s response, that disagreement is the issue at hand, and not necessarily how one or the other of you is wrong. Speaking to those disagreements in revisions is, most often, a more effective response than bending to the disparagements, rejecting them, or tearfully taking up a cup of the same “proof” of God’s love (so said Benjamin Franklin) that nurtured the grumpiness in the first place.

This isn’t to say an author shouldn’t be mindful of when a methodology might be wrong or data collection methods insufficient—those problems are real across most disciplines, qualitative or quantitative. We have blind review exactly for the purpose of catching those slips and exactly because they’re hardest for a like mind to spot. The sympathetic reader is also not the keen reader. However, such slips are also not personal. And as much as possible, they don’t grump or offer sour (even fermented) grapes. They propose improvements, which is for the best of the authors and readers alike.

But who wrote the comments?

It doesn’t actually matter who wrote something grumpy. It may be better to ask, what were the circumstances?

Mostly likely, reviews are written in haste and between other commitments, very often without much time for reflection or revision. I’ve probably reviewed 25 book manuscripts, more than double that for articles, and outside of blind review I have the dubious distinction of nearing a double fistful of years contributing to the always enormous Year’s Work in English Studies. It means I’ve published hundreds of book reviews. So I have a good deal of sympathy for the life of the humble reviewer.

Reviews are always service work, often done outside of work hours and after all the other chores are done. Which is to say, those circumstances also wrote the comments. So the onus is to be a more generous author than reviewer, because that’s the truth of it—everyone spends more care on their own work than remarking on another’s, so authors have the burden of generosity in reading the hasty scrawlings of their evaluators. Rather than the #humblebrag answer of compassion for the reviewer’s self-evident idiocy, simply recognizing that grumpiness is beyond both interlocutors’ control can be a real help.

“I Have Shot Mine Arrow O’er The House, And Hurt My Brother”

There is also the distinct possibility that the grumpiness never existed in the first place… Like the broken kettle, the reviewer didn’t get grumpy, the review wasn’t grumpy when it was written, and the reviewer never wrote it in the first place.

I reviewed a work of Canadian literary studies some time ago only to discover after the copy editor had “tidied” it up that I had, myself, shone not light, but rather grumpiness. A few select cuts here and a bit less punctuation there made a hesitation into a rather snide snipe. Albeit, I didn’t suggest the author was of the genus Suidae nor given to inappropriate relations with future prime ministers, but the result was nevertheless something decidedly harsher than I would have wished. Sometimes things just happen: the material conditions of production can lead to unanticipated negations.

The Hatchet Job of the Year

H.L. Mencken said of The Great Gatsby, that the American masterpiece is “no more than a glorified anecdote, and not too probable at that.” As reviews go, it’s fairly kind. The Hatchet Job of the Year was established in 2012 to reward negative reviews, and even those at the hatchet end of the stick must admit that no press is bad press. That is, “no press” is worse than “bad press,” and not by a little: by a lot. Bad reviews open curiosity as much as anything else. What remains is the question of exactly what is in the piece that is so eminently provocative? The labour put into a nasty review is itself a clear indication of the merits of keeping calm and carrying on. You can even say as much to your editor.

What to Say to Friends and Colleagues

So, what is one to do? In no particular order, I tend to give friends and colleagues variants on five points:

1. Acknowledging disagreements is often better than resolving them.
2. Never read the comments. And after you do, don’t answer them in kind.
3. Editors often recognize that intensely dismissive reviews are one way of expressing an even more intense interest. That interest is likely to be shared by other readers, so it’s worth bringing the project to completion.
4. We who survived (post)graduate studies are used to sorting through the liquid bluster of an angry chap at the pub working through his (often but not always “his”) childhood disappointments. If you can understand his directions to the toilets, it’s likely you can understand what grains of truth are to be gleaned from a hatchet review.
5. Always, always ask your editor for advice. Inevitably, she or he knows more than you about the exigencies of the review as well as the needs of the press.

So, put on your best impersonation of the grumpy reviewer (accents help), and read aloud with bluster. Then get the revisions in, on time, and carry on.

~ James Gifford
Twitter @GiffordJames


“A Canadian Girl in South Africa” Launch at Carlton University

The book launch for A Canadian Girl in South Africa, sponsored by the Department of History and the Institute of African Studies, was a big success. The history lounge at Carleton was packed with over 60 people. The visual elements received many compliments, with Maud Graham’s photographs scrolling on a digital screen and a large blow-up poster of the book jacket.

John Walsh was an excellent moderator; he asked questions of editors Susanne Klausen and Catherine Gidney that spurred them to discuss different aspects of the project. A lively question period was followed by refreshments.

Catherine Gidney and Susanne Klausen show Maud Graham’s original book next to their edited edition of A Canadian Girl in South Africa. Co-editor Michael Dawson was not able to attend the launch.

Musings from Tanya, UAP Intern – #2

The Mystery of Metadata: Solved!

Metadata seems to be one of those words that people pretendMetadataInigoMontoya to know, without actually understanding what it means. When I say this, I am specifically thinking about Inigo Montoya from The Princess Bride saying, “You keep using that word. I do not think it means what you think it means.”

I couldn’t resist…

When trying to find a definition, it’s always a good idea to start simply. In this case, with a dictionary. The Oxford English Dictionary (OED) defines metadata as “data that describes and gives information about other data.” Data about data. What on Earth does that mean? Probably the best example is to look at a book. In this sense, the metadata is information about the book. What type of information? Anything and everything! Let’s look at one of our earlier books…

ZucchiniLooking at this image, metadata includes the following: title, subtitle, author, description, publisher, publisher location, publication date, subject terms, size, length, price, etc.

While metadata is used in a number of ways throughout the supply chain, I wanted to ask why it is important to a publishing house.

Well, if publishing house are in the business of making books, it certainly helps if people can find them! Yes, library cataloguers use metadata to organize their materials in online databases. But, it’s not just library cataloguers. Companies like Amazon use metadata intensively. Have you ever tried to find a specific book on Amazon? If yes, you are already using metadata without even knowing it.

Now that you are an expert “metadata-ist”, you can have fun throwing the word around at fancy dress parties to impress all your friends and colleagues!

Featured Reviews of “The Little Third Reich on Lake Superior”

“The firsthand accounts collected through interviews over the years alone make The Little Third Reich on Lake Superior: A History of Canadian Internment Camp R an important addition to the literature, providing a much better understanding about life in a Canadian internment camp. Further, the experience of Camp R demonstrated to Canadian authorities the need for better constructed facilities, provision of adequate recreational activities, and the need to avoid mixed camps of hard core Nazis, prisoners of war, and interned civilians. It was the origin for rewriting prisoner classifications and rights within internment camps in 9781772120318Canada…” Research Matters, December 11, 2014 [Read full review.]

“In the carnival of Canadian oddities, none is more curious than The Little Third Reich On Lake Superior. Historian Ernest Zimmerman of Lakehead University chronicles the strange events that saw 1,150 men and boys – Jews and Nazis alike – herded into bunkhouses northeast of Thunder Bay in the winter of 1940. It was a “third-rate jungle prison”, one inmate recalled; another complained it was like being kidnapped and dragged into the wilderness.” Full review by Holly Doan, Blacklock’s Reporter, October 3, 2015

Michel Beaulieu’s interview on CBC Radio’s Superior Morning talking about the book and the launch on October 27, 2015

Frankfurt Book Fair 2015

The Frankfurt Book Fair is the most important marketplace for books, media, rights and licences worldwide. More than 7,300 exhibitors from 100 countries, 299,000 visitors and over 10,000 journalists attended. It is a meeting place for the industry’s experts: publishers, booksellers, agents, film producers, and authors.

The Mission of the Fair is to advance international networking within the book industry and to make the industry’s practices more professional.

The Guest of Honour was Indonesia. It is the custom of the GofH to showcase cultural activities from their country. In the case of Indonesia there was a display of books and of poetry which had been printed on square lighted tubes suspended from the ceiling. There was also live theatre performances and a cooking show which featured fabulous Indonesian spices.

My calendar was very full and included attendance at several meetings:

  • the Commonwealth Book Publishers’ Association,
  • the International Rights Directors meeting,
  • a networking dinner with university press directors who are members of the Association of American University Presses, and
  • attendance at the International Convention of University Presses
  • I met with publishers, agents and other representatives from England, Germany, the US, India, Canada, The Netherlands, Singapore, Malaysia, and China.

Salmon Rushdie opened the Fair with a speech that resulted in a boycott of the Fair by the Iranian publishers. The Iranian ministry of culture cancelled its participation, saying that, “Fair officials chose the theme of freedom of expression, but they invited someone who has insulted our beliefs”.

The novelist spoke of how freedom of expression is being challenged by violence and threats against those in the book industry, from writers and translators to publishers and booksellers. “Publishers and writers are not warriors, we have not tanks. But it falls to us to hold the line,” he said, according to a report in The Bookseller.

“Standard candles” Launch at the Observatory

At the University of Alberta Press, we believe that “happy authors” make for happy publishing experiences for everyone involved. Over the years, many of our authors have become friends, and none more so than Alice Major.

The observatory of the U of A Physics Department was the perfect settings for launching Standard candles, as one event in the long lineup of LitFest, Edmonton’s non-fiction literary festival.

We enjoyed working with Sharon Morsink — Associate Professor in the U of A Physics Department and an astrophysicist whose research focuses on neutron stars and relativistic astrophysics. Sharon gave us a brief yet thrilling demonstration of how a standard candle helps estimate distance. (We even got to wear diffraction glasses!)

Peter Midgley, UAP‘s Acquisitions Editor, introduced Alice:

Alice’s latest collection, Standard candles, is yet again a work of significance. She experiments with more traditional poetic forms such as the sonnet and Spenserian stanza, terza rima and ballad, as well as with contemporary free verse and nonce stanza forms. This careful play with form helps to shape her work in intricate ways.

In Standard candles, the poems weave together in precise ways to reveal a passionate humanity behind science. As our scientific understanding of our universe increases star by star, or space probe by space probe, Alice assimilates this information to marvel at the ever-unfolding mystery of our world.

Under the playfulness of imagining a set of gods of all things—from prime numbers and gravity, to kites and darts and teapots and cats and hearts—there lurks an inquiry into the personal, into an understanding of human emotions such of grief and loss. In contrast to these personal poems, and in a way that seldom surfaces as vehemently in her work as it does here, the poems of the final section, Underworlds, reveal a barely disguised anger and frustration at our obliviousness to social issues such as unemployment, poverty, and homelessness.

This a strong, confident collection of poetry that reveals an author at the peak of her career. May she remain there for many more years.

After a very fine reading by Alice Major, the observatory staff opened the telescopes. It was a clear evening and the moon was wondrous. We were all glowing like the brightest of stars by the end of the evening. Thanks to everyone for participating in this fine celebration.

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JUST WORDS #MMIW at LitFest 2015

Each year LitFest hosts a Just Words panel discussion on topics in social justice writing. This year, the choice of topic was finding justice for Canada’s missing and murdered Indigenous women.

Prior to the event, people were able to take in the sobering Red Dress Photography Project in the Stanley A. Milner Library Theatre lobby.

UAP author Shawna Ferris (Street Sex Work and Canadian Cities) was one of the three panelists. Moderator Tanya Kappo did a wonderful job of asking searching questions that launched the panelists into a powerful, passionate, and wide-ranging discussion. It might be hard to believe, but there were moments of humour as the speakers talked about everything from resiliency to post-traumatic stress.

Audience members asked informed questions, such as whether there was a need for a federal inquiry into the issue and how to avoid “blaming the victim.” An hour was not long enough!


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