Friends, I’ve been at the beach for a last look at the blue Pacific, packing up, and picking up loose ends of my sabbatical year as we get ready to hitch up the team and head eastward back to our home in the alta sierra. While I’m busy with all this glamour, check out Tom Bredehoft’s latest post on the alt-ac/post-ac life. He’s got a fascinating description of a little mystery he solved regarding a Davey Crockett almanac of 1840:
The almanacs in this lot, as it turned out, were very much a mixed bag, but the one I immediately spotted as most interesting was titled only “Crockett Comic Almanac 1840.” No author or publisher was given, and there seemed no obvious way to identify even the printer. But I knew that much of Davy Crockett’s reputation as a rough-and-ready frontiersman had been spread and elaborated by a variety of Crockett almanacs dating from the 1830s to the late 1840s, and that those books were very collectible indeed. My almanac was missing one leaf, and someone had snipped out a further joke or two, but it still seemed likely to have some value.
But it wasn’t listed in Drake, the standard bibliographic reference on American almanacs before 1850. A closer look revealed that the first interior page, listing the eclipses for the year, stated that they had been calculated for the longitude of Cincinnati, and it seemed likely that the book had been printed there. Still, I could find no record of any Crockett almanac printed in Cincinnati, and the Morgan online bibliography of early Ohio imprints had no record of such a book either. At last I turned to WorldCat, and was nearly frustrated there, too, but for a buried reference to an almanac with the same title bound in a collection of almanacs from the 1840s in the state library of Ohio. On my next trip to Columbus, I dropped into the library and called for the book, and I was delighted to see that it was the same as my own Crockett almanac. Further, I glanced through the other almanacs bound together with it, and I discovered that type batter on the eclipses page of another Cincinnati almanac enabled me to pin down the printer (and probably the publisher) with certainty. I had learned something.
Tom Bredehoft at Chancery Hill Books has another great post from the alt-academic/post-academic life on the insight that professional liminality has granted him. You might remember that Tom is the guy I wrote about earlier this week who resigned a tenured full professorship at the University of Northern Colorado so that his spouse could pursue another professional opportunity, which led to him teaching for a few years as an adjunct instructor.
Today he asks some simple questions inspired by the eruption in Wisconsin over tenure this week: “Cutting the UW budget and working to limit tenure there are simply obvious extensions of the notion that some teachers do not, in fact, need tenure, and that some teachers can teach for lower salaries. If some, why not all?. . . . If tenure is good for tenure-track teachers, why not for all? If a living—or even middle class—wage is good for tenure-track teachers, why not for all? This is a moment where common cause needs to be made between tenure-line and non-tenure-line teachers.” To paraphrase Benjamin Franklin during the American Revolution: “we must hang together or we will all hang separately:” Continue reading
One of the things about L.A. I’m really going to miss is reading the shrunken, vestigial, adware-addled Denver Post instead of the rich and lively LA Times, and one of the writers I’ll miss most is art critic Christopher Knight. Here’s his review of Caitlyn Jenner’s big reveal portrait by Annie Leibovitz on the cover of Vanity Fair published yesterday.
For all the advance buildup, the picture feels flat — a pedestrian celebrity pastiche of rather tired visual cliches. That’s too bad. Jenner’s courage in taking control of the public process of coming out as transgender is bold, and this will be the most widely seen initial image.
. . . . .
[T]he Vanity Fair photograph seems a missed opportunity — a picture from the past rather than the present. Maybe that’s because all its conventional, glamour-girl signals weigh down the lively fluidity swirling at the center of gender identity.
After describing work by photographer Catherine Opie and Judith Butler, and explaining that a more expansive and complicated vision of gender performance has been part of both the feminist and LGBT movements’ DNA since the early 1990s, Knight writes that the VF cover appears to have missed these conversations entirely. Instead, it’s a portrait of a 60-something woman by a 60-something woman that feels dated and conventional. “Leibovitz’s Caitlyn Jenner is a newfangled Vargas girl, one of those airbrushed cuties from the old pages of Playboy. Is that all there is?” Continue reading
Friends, you’re going to have to explain something to this cowgirl: I just can’t understand all of the irritation and resentment aimed at Trigger! (What did this poor horse ever do to Peggy Noonan, anyway?) From everything I’ve seen, he was a born showman, a high-stepping son-of-a-gun who never did anything worse than steal the show from his owner, Roy Rogers. Trigger never bit or kicked anyone who didn’t deserve it, now, did he?
But let’s face it: horses are really big animals, and some people are a little trepidatious around them. Some horses are afraid of people, and can startle or jump when they’re spooked. Just because some folks are a little fearful of horses, and just because some horses are easily spooked doesn’t make them bad people or bad horses. It just means that those of us who are comfortable with Trigger should remember that not every person (or horse) feels the same, and keep that in mind when we’re discussing Trigger or bringing him around for company. Continue reading
Mark Bauerlein, a not-that-old fogy at an elite university, wrote something cranky about the practice of higher education in the New York Times last weekend. The column has been subjected to a ritual beating by many in the academic blogosphere. Yesterday, a call went out from David Perry (@Lollardfish on Twitter, and the blog How Did We Get Into This Mess) that he “would like to see R1 profs engage in a loud and public conv[ersation] ab[out] teaching and research.” Although I teach at an R1, it’s the Aggie school in my state and certainly not “elite.” I also don’t teach Ph,D. students, as my History department offers just a Master’s Degree.
This year, as regular readers know, I’ve been far away from the grind at Baa Ram U. and on sabbatical at the Huntington Library, a.k.a. “Scholars’ Disneyland.” I’ve been living much like a Renaissance scholar, dining at the table and enjoying the luxuries of my sponsoring Prince–that is to say, nothing like my real life, but you know what? The conversations I’ve been having here with the Distinguished Fellows–all of whom teach at elite universities and supervise Ph.D. students as well as undergraduates–frequently revolves around teaching, and yes, teaching undergraduates! How do we reach them? How do we get them to become and remain History majors? What subjects interest them most, and how can we use those interests to develop an aptitude for historical thinking?
We’re like young parents who want nothing more than a night away from the children, and then we end up talking about the children the whole time we’re out to dinner. Continue reading