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By: DanP,
on 6/20/2014
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By Caitlin Tyler-Richards
This summer, our editor-in-chief Kathy Nasstrom is taking a well-deserved break, and leaving the Oral History Review and related cat-herding in the hands of the extremely capable Stephanie Gilmore. As some may have read in the Oral History Association’s most recent newsletter, Stephanie is a multitalented historian who works to combat sexual assault on university campuses. With a PhD in comparative women’s history from the Ohio State University, she is the author of Groundswell: Grassroots Feminist Activism in Postwar America (Routledge, 2013), as well as many essays on sexuality and social activism. She serves as associate editor at The Feminist Wire and newsletter editor of the Committee of LGBT Historians’ biannual newsletter. She is also a member of the editorial collective at Feminist Studies.
A few weeks ago, I chatted with Stephanie about her experience with oral history, activist work and her plans for the OHR. I started with the most important and hard hitting question: “When did you first become interested in oral history?” Like many in the field, Stephanie told me she has always enjoyed listening to people talk about their lives and experience. She recalled one assignment in a undergrad women’s history course when she interviewed her own mother. While an admittedly simple approach to oral history, the experience drove home for Stephanie “that everyone has her own stories and experiences that can contribute to and complicate a larger history of a group.” This sentiment grew as Stephanie continued to work with women’s stories. She told me, “It was when I was working on my MA thesis on the Memphis chapter of NOW that I really came into the power and potential of oral histories. What I had learned about the women’s movement in its 1970s heydays was based on histories grounded in New York, Boston, and Chicago. These histories were often told as “national” histories of the US women’s movement. When I started studying feminist activism in Memphis, I discovered feminists whose lives were nothing like their counterparts in the North. The archival material was fairly rich, but only in talking to Memphis feminists about their lives and work did I actually learn how important southern identity was to them and to their activism.”
Stephanie had a similar experience working on her recently published book, Groundswell: “In Groundswell, I traced feminist activism through NOW in the 1970s and early 1980s in Memphis, Columbus, and San Francisco. Only through oral histories could I really understand how feminist activism shaped and was shaped by geographical location. For example, only in talking to Memphis feminists about their lives and work did I actually learn how important southern identity was to them and to their activism. But even more importantly, I found that archives could and would only tell me part of the histories I was looking to share and analyze. None of the people in my book are media ‘stars,’ but they were the rank-and-file movers of the women’s movement for equality and liberation. I could only find them by looking locally, and then by moving out of the archives and into people’s homes, coffeehouses, libraries, and other places I collected oral histories.”
Sophie Gilmore. © Sophie Gilmore. Do not reproduce without permission.
I learned that Stephanie uses oral history not only to study past feminists, but also to engage in her own activist work. After spending nearly a decade teaching, Stephanie became interested in issues outside the classroom — namely, how students react to and combat sexual violence in their everyday lives. At the moment, she is especially interested in understanding the gap between government and nonprofit research, which suggests approximately 1 in 5 women will experience sexual assault while at school, and Cleary Center documents, which report that little to no sexual assault occurs on university and college campuses. In order to understand the disconnect, Stephanie works with women, students of color and LGBTQ students who did not report their sexual assault experiences. She told me she did this for two reasons in particular, “On one hand, institutions can learn a great deal from these students and can start addressing the problem of underreporting sexual violence. But I also seek to elevate the voices of those who have been most marginalized in and beyond the academy. There is a tremendous amount of attention devoted to the issue of sexual violence on college campuses, and we are wise to listen to those who have been the victims of rape and other forms of sexual violence as we contemplate and enact solutions.” Stephanie also wanted to let readers know that she gives lectures and workshops on this topic. She welcomes anyone interested in learning more about her programs to contact her through her website, www.stephaniegilmorephd.com.
The more I learned about Stephanie, the clearer it became why OHA director Cliff Kuhn contacted her about the OHR position. When I asked how she felt about coming to work with the journal, she responded, “I’m delighted to think even more explicitly and historically about the connections between social movement activism and oral history as a legacy of social justice work. I owe so much of my own professional success to feminist, queer, and antiracist activism AND to oral history – and I have been able to learn and see how activism and history are intimately related. Editing a journal is a tremendous amount of work, but the opportunity to continue shaping the field of oral history as it relates to social justice activism is thrilling!”
She certainly sounded excited to join the OHR, but what exactly did she have in mind for the journal? “What’s in store? We will continue the short-form initiative that Kathy Nasstrom initiated – it is so exciting to hear from scholars, activists, and oral history practitioners about new developments, theoretical questions, and the like – things that are not quite a traditional article-length publication but relevant and important nonetheless. But we will also be taking on a couple of new ventures.”
Such as?
“The 50th anniversary of the Oral History Association is upon us, and Teresa Barnett has agreed to help facilitate a special section of the journal to commemorate; It is a good time to see where we’ve been, where we are, and where we are going. We are also calling for papers for a OHR special issue, “Listening to and Learning from LGBTQ Lives.” The immediate interest in the call suggests that we are onto a good idea here! And of course, we are always excited to see what our readers submit – so if people have ideas for short- or long-form articles, roundtables, or the like, please let me know!”
All in all readers, I think we’re in for a great time. Welcome to the team, Stephanie!
Caitlin Tyler-Richards is the editorial/media assistant at the Oral History Review. When not sharing profound witticisms at @OralHistReview, Caitlin pursues a PhD in African History at the University of Wisconsin-Madison. Her research revolves around the intersection of West African history, literature and identity construction, as well as a fledgling interest in digital humanities. Before coming to Madison, Caitlin worked for the Lannan Center for Poetics and Social Practice at Georgetown University.
The Oral History Review, published by the Oral History Association, is the U.S. journal of record for the theory and practice of oral history. Its primary mission is to explore the nature and significance of oral history and advance understanding of the field among scholars, educators, practitioners, and the general public. Follow them on Twitter at @oralhistreview, like them on Facebook, add them to your circles on Google Plus, follow them on Tumblr, listen to them on Soundcloud, or follow their latest OUPblog posts via email or RSS to preview, learn, connect, discover, and study oral history.
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The post Welcome to the OHR, Stephanie Gilmore appeared first on OUPblog.
by Stephanie
As I ride my commuter train into and out of the city every day, I like to peek at the riders around me and see what they’re reading. And what’s interesting is that now that the Kindle and iPad are vastly replacing physical books, the ability to creep on people becomes complicated. It sometimes makes me wish readers had little thought bubbles floating over their heads, a title & author ticker scrolling by. But that’s a digression. How many of you can admit to sneaking a peek at what others are reading, particularly in a public transportation setting? I know you all have, don’t lie! With that in mind, I enjoyed happening upon this blog titled The Book Spy, in which one blogger documents the books he sees while riding the New York City subway, and includes information such as the location / train line spotted, a physical description of the reader, and other varying assessments on the encounter. The reason I like this blog so much is that it reinforces an important point: the physical act of reading is, in fact, enduring. Maybe I seem a bit negative in thinking that reading risks becoming a diminishing pastime, but it is admittedly refreshing to find people actively reading in an otherwise mp3-player-dominated setting. Anyway, if nothing else, I hope you enjoy the Book Spy’s interesting, sometimes snarky evaluations of his fellow subway riders as much as I did!
by Stephanie
After reading Jim’s post on lists, I started to do a bit of reading online, and for whatever reason, I was not prepared for the inundation of end-of-the-year lists that I found. After some perusing, I found that I particularly enjoyed
Gayle Forman’s piece from NPR with her picks for some of the best young adult novels of 2010. Her list is brief but varied, and includes titles that tackle a range of universal issues: trauma, war, first love, and so on. But what I loved about this list was what I didn’t find
—paranormal, otherworldly, fairy-goblin-undead-vampires. Lord knows, many books have done exceedingly well this year being based in the paranormal. But it’s admittedly comforting to know that 2010 also saw its share of quality young adult fiction that involves real people tackling real issues. I wish I saw more things like this in my inbox. There’s just something about reading a young adult novel that takes on tough issues and presents me with characters that I feel I can relate to
—I feel myself drawn into their lives, as though I could just as easily run in to the same obstacles and emotions.
Am I talking crazy here? Maybe I’m hurling myself off the paranormal/fantasy train too soon? Who knows. Do you have any young adult favorites from this year?
by Stephanie
It’s Tuesday! Which means it’s almost Wednesday! Which means it’s almost time for one of my favorite holidays of the year! Needless to say, I’m a little excited for this work week to pass. So as I count the hours (seconds?) to Thursday, I wanted to pass along this great post from Rachelle Gardner’s blog, Rants & Ramblings, about the all-important holiday plan for all you writers out there. With extra time off but more holiday-related obligations, budgeting out time for writing will be more important than ever. As we approach these next few days off, I’m sure many of you have some kind of goal mapped out for that work-in-progress, but if not, this post offers great tips. First of all, I appreciate Rachelle’s realistic expectations in budgeting time: “try to accurately assess about how much time you’ll have for your personal writing pursuits. Then, divide that time in half.” She gets it! She also takes into account the possible obstacles that may impede writing, and the importance of anticipating how they could potentially affect those word counts.
So what are your writing plans for the holiday break? Are deadlines looming? Looking to finish that new novel? Or start one, perhaps? Either way, now that I’m in holiday mode, I hope you, dear readers, have a restful and productive holiday!
by Stephanie
Judge me as you will, but I will make no attempts to hide the fact that I am a Harry Potter fan, and have been since the beginning. The series seems to have been a benchmark for my (relatively speaking) younger years, and I have always been one of those fans who stuck with the books and subsequent franchise throughout its life. In fact, next week I will be going to the theatre (which at $13 a ticket, who does that?) to see the first installment of the final movie. I’m hoping I don’t resort to pushing a small child to get to the good seats, but I won't make any guarantees.
Anyway, with that in mind, I wanted to pass along this clever piece that examines the elements of the series that make for sound tips writers can take away and use to hone their own work. From character development to plotting to points of view, it’s interesting how one pivotal series holds within it so many building blocks to strong writing. I’m sure some won’t feel the same with regard to my admiration for the series, but I think this piece makes a strong argument in favor of Rowling’s talents, as well as driving home the importance of truly enjoying the world you create.
by Stephanie
Today, I wanted to pass along
this brief interview from Morning Media Menu with Julia Glass, the National Book Award winning novelist. In the nine-minute-long interview, Glass reinforces the qualities that every aspiring writer must possess—first and foremost, determination. Before winning the National Book Award for her debut novel,
Three Junes, Glass encountered the same repeated rejection—including the dreaded form letter—for quite some time. She admits surprise at not giving up after at least seven years of sending out her writing, only to have it rejected. Seven! She emphasizes the important lessons that a rejection can teach you, and the persistence and patience one most have in order to not be worn down by the system.
I feel like this is one of those things that can’t be stressed enough. Sometimes, it really does take countless rejections to find that one pair of eyes who is looking for and falls in love with what you’ve written. It may sound far-fetched but it does happen, and Julia Glass’s case is no exception.
by Stephanie
The debate over technology and the threat it poses to book publishing is one of those topics that continues to persist—and rightfully so. No one can deny that the rise of technology and its impact on publishing has been and will continue to be profound. The concern is tangible throughout the industry, but
this article at USA Today makes a worthy case in favor of the book. The piece highlights five specific myths surrounding publishing, ranging from the degree to which authors need publishers to the market for e-books, both now and in the future. This article is just one of the many opinions being thrown around, but it provides an arguably valid and sound case.
Like I said, the technology debate is one of those things that isn’t going away any time soon. And considering the impact it has already had on the industry, it’s one of those things that needs to remain at the forefront.
by Stephanie
I found
this piece over at the Guardian to be very interesting. In it, Robert McCrum considers the sometimes touchy yet seemingly ubiquitous concept of the “number one writer.” McCrum makes an undeniable point—that devising a list whereby there is always a top dog is part of the human condition. I find it interesting that the prevailing notion still tends toward nailing down a singular individual who encompasses the talent, finesse, and self-awareness to be considered top dog. To be perfectly honest, I have a hard time wrapping my head around it; this kind of thing may have been possible, and certainly more feasible, in times past. But these days, the range of literary material out there in the market is so expansive that it seems entirely impossible to make such a definitive and exclusionary selection.
But maybe I’m wrong, and maybe in one hundred years people like Toni Morrison and Jonathan Franzen will replace Charles Dickens and C. S. Lewis in the textbooks.
by Stephanie
Keeping it brief today, folks! It’s been a busy morning so I haven’t been able to produce an entry this week that delivers my typically insightful and sage musings on life, but I had to
share this one link with you. This is writer and comedian Dan Wilbur’s genius attempt to “cut through all the cryptic crap” that one finds on those mystifying book jackets and instead get straight to the point.
So check it out. They’re hilarious and most are spot-on. Enjoy!
by Stephanie
Okay, show of hands: who can honestly say that they’ve read the big classics—think
War & Peace,
The Canterbury Tales, etc—whether assigned in school or otherwise, thoughtfully and cover-to-cover? I’m just going to assume there aren’t many hands up, and the ones that are…I think you might be lying a little bit. But only a little bit.
I nonchalantly accuse you of lying today
after reading this piece at the Huffington Post. You see, there’s this weird thing that happens with the classics, where people insist on having read them, but for whatever reason never really did. Personally I find this intriguing, because if there are enough rogue scholars amongst us who insist on having read certain classics when they haven’t, does this, in some part, contribute to keeping certain titles in the literary canon over others? Maybe that’s pushing it a bit, but either way, I enjoyed looking through the thirteen titles the piece offers. As for me, I can honestly say that I’ve read
Moby Dick and
A Christmas Carol cover-to-cover, but that’s about it. Though I’d happily assert having read them all to impress people. See how nicely that works?
by Steph
I always find it interesting to hear about the personal interactions of the other agents here with authors. In many cases, they have real, lasting bonds of friendship that have developed with time. It’s gratifying, and quite frankly it makes perfect sense. Without good authors, we wouldn't have material to work with. And without that, what would be the reason to show up to work every day? Seems logical, no?
My point is, I think that one of the most important parts of what we do is building relationships with authors. I've always believed this to be true. That's why I loved reading
this piece by Melanie Benjamin at the Huffington Post. In it, she considers the sometimes delicate and glossed-over intricacies of building a friendship with an author, and more specifically the humorous pitfalls that come with the obligations of being a friend to an author. Ultimately, Melanie boils it all down to this one mantra:
You don't have to read my book to be my friend. I’m content to put aside all the serious stuff that’s crossed our computer screens recently, especially when given the chance to read something that reminds me that these days it needs to be less about squabbling over numbers and more about building good relationships. I’m not entirely sure when I turned into Mr. Rogers. It concerns me a little. But just go with me on this one.
by Stephanie
The other day, Jim and I were engaging in some friendly conversation about pop culture of the 90s, but when I drew a blank on a reference, his disgust was tangible: “My God. How young are you?” In truth, Jim’s frankness led me to consider my own place in the wonderfully unnerving process of growing up in all its forms. Whatever “growing up” even means.
So while I faced the reality of my own Generation Y status, I took some solace in reading
this piece on the Book Bench blog, in which Macy Halford gives her take on the literary interpretation of the emerging adult. In it, Halford offers seven novels that provide a unique window to the dramas and pitfalls that accompany the young adult, particularly the twenty-something. Being a member of this crowd, I enjoyed perusing this list of titles—my personal favorites being
A Portrait of the Artist as a Young Man and
The Emperor’s Children. I’m drawn to the idea that there repeatedly exists in literary form a character who seeks to resist the expectations of society, and instead chooses to define one’s path by his or her rules.
Can you think of other books that fit this description? Are there certain books that particularly spoke to you as you entered young adulthood?
By: DGLM,
on 8/10/2010
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Dystel & Goderich Literary Management
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by Stephanie
Hi blog readers! Now that both
Jane and
Chasya have so kindly introduced me, it’s my turn to chime in. I guess the best way to begin is to give you a little information on my background here. I may be new to
the website, but I’m
not entirely new to the blog. In fact, I have actually been puttering around this office for longer than you think.
I began at Dystel & Goderich over a year ago as an intern. I was determined to find myself an internship in publishing, particularly during the latter half of my college career. I hadn’t had much luck early on, so by my third year at NYU, nothing was going to stop me. I applied and interviewed for the internship with DGLM all while living in London, where I was spending the spring semester of my junior year. Fully aware that my geographical gap could create a handicap, I knew I had to be persistent. And luckily for me, according to Lauren, I was persistent enough that it exhibited my determination, but not too persistent that it made her want to burn my application and any remaining evidence of my existence. So with that, I was offered the chance to join DGLM that summer as an intern. The semesters passed, I continued to stay with the agency, and before I knew it about a year and a half had gone by and I had graduated from NYU. Then I was lucky enough to be given the opportunity by Jane and Miriam to take over for Chasya as she looks to begin a new chapter in her life. I knew that the timing was right; I felt comfortable here, and I had spent enough time working on the less essential tasks that I had developed the desire to explore the business further and carve out my own place in it. And as clichés go, the rest is history.
In giving this blog post some thought, I remembered something Rachel had said
in her welcome post: “I think the one thing I truly love about working in a literary agency is that I get to see the entire process of publishing, from a rough manuscript to a finished book on the shelves.” I might make fun of Rachel for her love of Vegemite, but her words are very true. I’m very excited to finally get the chance to dive in and take on my own work. My time at DGLM has allowed me to expose myself to an industry I have always wanted to be a part of, and now it’s allowing me to embark on a new journey in my life—one that will allow me to build the career I’ve always wanted.
The bottom line is, I’m excited to take on this new responsibility within Dystel & Goderich, because now I get to hear from you. Yes, you. I look forward to hearing your ideas, your thoughts, your opinions. You all have stories to tell. Trust me, I’ve read a lot of them. But now I’m ready to do something with them. Turn them into the books they deserve to be. There are certain subjects I’m particularly interested in reading,
which you can find in my bio on our website. So let me hear from you. I can only rearrange the pens on my desk for so long….
by Jane
Over the years, Dystel & Goderich has grown from literally just two of us—well, actually, we did have a part-time person when we began so it was two and a half—to nine. We have also had interns working with us for a number of years and, over time, many have been promoted to full-fledged staff members.
Working at any organization initially as an intern is good for the intern and for the company, in my opinion. It enables the intern to learn whether he or she wants to continue on this career path and at this company and it enables the company to evaluate the intern’s ability and enthusiasm. In the end, the intern system is good for everyone.
Four years ago, I hired one of our interns to be my assistant; Chasya Milgrom had recently graduated from college, didn’t really know what she wanted to do, but thought giving our company and the business of literary agenting a try might be interesting. In fact, over the years, she has done very well—developing new systems for us and growing enormously herself. Last year she began building a client list and also began overseeing royalties (a big job) when Jim McCarthy was promoted to Senior Agent.
Now, sadly for us, Chasya has decided to move on. She will be attending graduate school in an area that she is passionate about. We know she will be terrific at whatever she does and we are excited to watch her succeed.
I am delighted to say that our very bright and energetic intern of the last year and a half,
Stephanie DeVita, has just
joined us as a junior agent; Stephanie has learned so much about our agency and the business of being a book agent in the time she has been with us that I have no doubt she is going to make a very successful career out of this. She will be taking over the royalties position as well as Chasya’s client roster and has already begun to talk about building a list of her own.
I am always excited when new people come on board and I am especially excited when they are as determined as this young woman is. I know you will hear from her soon and I know you will enjoy it.
She's SO Creative is chock full of clever greeting cards, art prints, and other witty goodies established by San Francisco, "
Chief Clever Creator" Stephanie Orma (the S.O. in She's SO Creative).
Stephanie Orma is a Creative Marketing Communications Specialist and San Francisco freelance writer. In a nutshell, she writes, designs, illustrates, and spreads the buzz. With experience as a marketing account manager for Fortune 500 accounts, Stephanie’s visual and editorial creativity is solidly backed by a strong marketing foundation. Her work has been featured by Time Out NY, Daily Candy, 7×7 SF Magazine, Marin Magazine, as well as a plethora of newspapers and popular blogs.
When she's not writing, designing, or spreading the buzz through her studio,
Orma Design & Communications, Stephanie loves playing with witty words and winsome images and seeing just how far she can stretch the literal to hilarious limits. Her witty paper products are sold in hundreds of the best card and gift boutiques throughout the United States.
She's SO Creative has been variously described as "a little whimsy, some snark, some cool, irreverent, witty and sans corn."
Stephanie is a contributing writer for
HOW Magazine,
Smashing Magazine, the
American Institute of Graphic Arts (AIGA), and writes on graphic design, branding, and creativity for the San Francisco Examiner.
I don't just spy on them, I walk up to them and ask them what they are reading, especially if it is an iPad or Kindle. I quickly explain that I am an author and am curious to see what other people like.
The vast majority of people don't mind telling me, especially if it is a book or author that I have read. We immediately launch into a discussion about the book, or in the case where I haven't read it, other books the author has written that I have read.
However there have been a couple of cases where it didn't quite work out as I had hoped. In one case the person was reading some kind of erotic novel and was clearly embarrassed by it, and in a couple of other cases I was told it was none of my business. That was true, but the way that they said it did seem a little rude. Hmmm, maybe they were reading something naughty as well.
I've read entire newspaper articles over people's shoulders!
I definitely spy on the bus, but I try to be subtle about it. Sometimes it drives me crazy to glimpse at the book the person next to me is reading but not be able to make out a title/author on the pages. I usually end up leaning more and more forward to try to see the cover. So maybe I'm not so subtle...but no matter what, I try not to actually read over someone's shoulder. I can often tell when someone is doing that to me and it's very annoying/distracting.
This morning, for example, I was re-reading a friend's manuscript. The woman next to me shamelessly turned and started reading it, too. I had to put it away. (I mean, it wasn't a published book...it was something entrusted to me to critique. Not for prying eyes!)
Thanks for introducing me to that blog!
I'm happy to know I'm not alone. I also spy on others and not just on public transportation -- at the coffee shop, doctor's office, and while on vacation.
As a YA lover, I spend a lot of time at the library and bookstores. I not only spy, but have to give browsers my two cents if they pick up a book I know. But then, I also move books around if my favorite read isn't getting the shelf space I think it deserves.
I may have a bit of a problem...