BiblioVault - Books about Authorship

Naked Fieldnotes

A Rough Guide to Ethnographic Writing

Denielle Elliott

University of Minnesota Press, 2024

Creative and diverse approaches to ethnographic knowledge production and writing

Ethnographic research has long been cloaked in mystery around what fieldwork is really like for researchers, how they collect data, and how it is analyzed within the social sciences. Naked Fieldnotes, a unique compendium of actual fieldnotes from contemporary ethnographic researchers from various modalities and research traditions, unpacks how this research works, its challenges and its possibilities.

The volume pairs fieldnotes based on observations, interviews, drawings, photographs, soundscapes, and other contemporary modes of recording research encounters with short, reflective essays, offering rich examples of how fieldnotes are composed and shaped by research experiences. These essays unlock the experience of conducting qualitative research in the social sciences, providing clear examples of the benefits and difficulties of ethnographic research and how it differs from other forms of writing such as reporting and travelogue. By granting access to these personal archives, Naked Fieldnotes unsettles taboos about the privacy of ethnographic writing and gives scholars a diverse, multimodal approach to conceptualizing and doing ethnographic fieldwork.

Contributors: Courtney Addison, Te Herenga Waka—Victoria U of Wellington; Patricia Alvarez Astacio, Brandeis U; Sareeta Amrute, The New School; Barbara Andersen, Massey U Auckland, New Zealand; Adia Benton, Northwestern U; Letizia Bonanno, U of Kent; Alexandrine Boudreault-Fournier, U of Victoria; Michael Cepek, U of Texas at San Antonio; Michelle Charette, York U; Tomás Criado, Humboldt-U of Berlin; John Dale, George Mason U; Elsa Fan, Webster U; Kelly Fayard, U of Denver; Michele Friedner, U of Chicago; Susan Frohlick, U of British Columbia, Okanagan, Syilx Territory; Angela Garcia, Stanford U; Danielle Gendron, U of British Columbia; Mascha Gugganig, Technical U Munich; Natalia Gutkowski, Hebrew U of Jerusalem; T. S. Harvey, Vanderbilt U; Saida Hodžić, Cornell U; K. G. Hutchins, Oberlin College; Basit Kareem Iqbal, McMaster U; Emma Kowal, Deakin U in Melbourne; Mathangi Krishnamurthy, IIT Madras; Shyam Kunwar; Margaret MacDonald, York U in Toronto; Stephanie McCallum, U Nacional de San Martín and U de San Andrés, Argentina; Diana Ojeda, Cider, U de los Andes in Bogotá, Colombia; Valerie Olson, U of California, Irvine; Patrick Mbullo Owuor, Northwestern U; Stacy Leigh Pigg, Fraser U; Jason Pine, Purchase College, State U of New York; Chiara Pussetti, U of Lisbon; Tom Rice, U of Exeter; Leslie A. Robertson, U of British Columbia, Vancouver; Yana Stainova, McMaster U; Richard Vokes, U of Western Australia; Russell Westhaver, Saint Mary’s U in Nova Scotia; Paul White, U of Nevada, Reno.

[more]

The Names of Minimalism

Authorship, Art Music, and Historiography in Dispute

Patrick Nickleson

University of Michigan Press, 2023

Minimalism stands as the key representative of 1960s radicalism in art music histories—but always as a failed project. In The Names of Minimalism, Patrick Nickleson holds in tension collaborative composers in the period of their collaboration, as well as the musicological policing of authorship in the wake of their eventual disputes. Through examinations of the droning of the Theatre of Eternal Music, Reich’s Pendulum Music, Glass’s work for multiple organs, the austere performances of punk and no wave bands, and Rhys Chatham and Glenn Branca’s works for massed electric guitars, Nickleson argues for authorship as always impure, buzzing, and indistinct.

Expanding the place of Jacques Rancière’s philosophy within musicology, Nickleson draws attention to disciplinary practices of guarding compositional authority against artists who set out to undermine it. The book reimagines the canonic artists and works of minimalism as “(early) minimalism,” to show that art music histories refuse to take seriously challenges to conventional authorship as a means of defending the very category “art music.” Ultimately, Nickleson asks where we end up if we imagine the early minimalist project—artists forming bands to perform their own music, rejecting the score in favor of recording, making extensive use of magnetic type as compositional and archival medium, hosting performances in lofts and art galleries rather than concert halls—not as a utopian moment within a 1960s counterculture doomed to fail, but as the beginning of a process with a long and influential afterlife.

[more]

Neatness Counts

Essays on the Writer’s Desk

Kevin Kopelson Kopelson

University of Minnesota Press, 2006

In Neatness Counts, Kevin Kopelson reflects on the poetics of the desk—rolltop or bureau-plat, cluttered or bare, the nestlike desk, the schematic desk, the dramatic desk, the dramatic lack of any such furniture. Exploring the topography of literary creation by way of the topography of work space, Kopelson, one of today’s most important critics, offers a series of meditations on how orderliness, chaos, and other physical states correspond with both the exhilaration of production and the desperation of writer's block.Focusing on the poet Elizabeth Bishop, the novelist Marcel Proust, the critic Roland Barthes, the playwright Tom Stoppard, and the travel writer Bruce Chatwin, Neatness Counts is at once critical and creative, examining how various writers' work habits relate to their published work. Kopelson also considers desks of his own—one that had belonged to an older brother, one he borrowed from a messy friend, one now shared with a partner. And by pursuing these two lines of inquiry to their unlikely but enlightening conclusions, Kopelson both fabricates a virtual library of literary insight and commemorates an era in which the term “desktop” didn’t denote one’s computer screen.Kevin Kopelson is professor of English at the University of Iowa. His books include, most recently, The Queer Afterlife of Vaslav Nijinsky.

[more]

The Next Draft

Inspiring Craft Talks from the Rainier Writing Workshop

Brenda Miller, Editor

University of Michigan Press, 2024

The Next Draft: Inspiring Craft Talks from the Rainier Writing Workshop brings together a selection of the “morning talks” delivered by the renowned authors who teach at the prestigious Rainier Writing Workshop MFA program. These morning talks are a highlight of the residencies at Pacific Lutheran University in Tacoma, Washington, featuring inspiring, innovative approaches to writing and literature across genres. For this collection, Brenda Miller has selected essays that feature diverse and illustrious writers such as Geffrey Davis, Marjorie Sandor, Barrie Jean Borich, Jenny Johnson, Oliver de la Paz, Lia Purpura, Kent Myers, Rebecca McClanahan, and others. Ranging from reading and writing in the Jewish tradition of midrash to the role of the writer as cultural critic in the 21st century, The Next Draft brings to life the kind of intellectual and creative excitement that underlies the intensive MFA experience at Pacific Lutheran University. Not only do these talks show innovative approaches to writing and literature across genres, they inspire the reader to think about how to read differently and thus bring their own work to a new level.

[more]

No Evil Star

Selected Essays, Interviews, and Prose

Anne Sexton

University of Michigan Press, 1985

Collects the best of Anne Sexton's memoirs and prose reflections on her development as a poet

[more]

North Writers II

Our Place in the Woods

John Henricksson

University of Minnesota Press, 1997

Novel Subjects

Authorship as Radical Self-Care in Multiethnic American Narratives

Leah A. Milne

University of Iowa Press, 2021

How does contemporary literature contend with the power and responsibility of authorship, particularly when considering marginalized groups? How have the works of multiethnic authors challenged the notion that writing and authorship are neutral or universal?

In Novel Subjects, Leah Milne offers a new way to look at multicultural literature by focusing on scenes of writing in contemporary works by authors with marginalized identities. These scenes, she argues, establish authorship as a form of radical self-care—a term we owe to Audre Lorde, who defines self-care as self-preservation and “an act of political warfare.”

In engaging in this battle, the works discussed in this study confront limitations on ethnicity and nationality wrought by the institutionalization of multiculturalism. They also focus on identities whose mere presence on the cultural landscape is often perceived as vindictive or willful. Analyzing recent texts by Carmen Maria Machado, Louise Erdrich, Ruth Ozeki, Toni Morrison, and more, Milne connects works across cultures and nationalities in search of reasons for this recent trend of depicting writers as characters in multicultural texts. Her exploration uncovers fiction that embrace unacceptable or marginalized modes of storytelling—such as plagiarism, historical revisions, jokes, and lies—as well as inauthentic, invisible, and unexceptional subjects. These works ultimately reveal a shared goal of expanding the borders of belonging in ethnic and cultural groups, and thus add to the ever-evolving conversations surrounding both multicultural literature and self-care.

[more]