Publishing

Journal Submissions

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Publishing one's own work is essential in most academic areas. While some fields continue to put a lot of weight on books, writing journal articles is important in an increasing number of areas. The logistics of journal submission are not obvious. Nonetheless they are yet another aspect of academic professionalization that seems to go unaddressed in many graduate programs. In this piece I cover how you go about picking an appropriate journal for your paper and how you prepare it for submission.

U.S. Official No 'Textbook Rebel'

There is absolutely no truth to the rumor that the U.S. Education Department's Hal Plotkin will appear at a protest on textbook prices today dressed in a 10-foot-tall mascot costume as "Textbook Rebel."

Fair Use Face-Off, Canadian Edition

A defection from a major copyright clearinghouse by Canadian research universities echoes concerns in U.S.

The Secondary Cost of Digital

Could the rise of e-textbooks mean the end of markets for less expensive rentals and used editions?

British Libraries Push Back

Research institutions demand price cuts before they will renew package deals.

I've Been Pirated

All right, I admit it. Like many hopeful authors, I had been Googling my own book. To see if it had been blogged lately, or mentioned by someone at the White House. As usual, nothing new turned up. But then I saw something odd on the screen: a picture of my book’s front cover, but with a Slavic title. What was this?

My book was about a celebrated trial by combat in medieval France -- a duel to the death fought before the king in 1386 by two Norman nobles, Jean de Carrouges and Jacques Le Gris, over Le Gris's alleged rape of Carrouges's beautiful young wife. I spent years researching the story, eking out travel grants to visit archives in France, and tracking down the original documents in Paris; like any author, I felt protective toward my work.

At first, when the Slavic book cover showed up on my screen, I thought it was a joke. But the image linked to an online bookseller in Croatia, and to details about the publisher, translator, number of pages -- and price. Clearly, it was for real.

My next thought was that maybe my publisher had licensed a Croatian edition and forgotten to notify me. Besides foreign-rights sales in some larger territories, there had been smaller deals in places like Estonia and Hungary. Perhaps the Croatian edition, evidently published some three years earlier, had just been overlooked. I got in touch with my editor, who said that the publisher would look into it.

Several weeks later, my editor wrote to say, "You’ve been pirated!"

On learning the news, I felt a mixture of betrayal and pride. Yes, my book had been sold in a foreign country for several years without my receiving a dime of royalties there. But how many authors could claim to have been pirated in Croatia?

My publisher, I subsequently learned, had located the pirate in Zagreb and sent an ultimatum: cease and desist, or sign a contract and pay up. They signed and paid. Not much money was at stake, but I’m grateful to my editor and publisher for going to bat for me -- and for authors' rights in general.

*****

Other odd things have happened since my book first appeared over five years ago. A few months after publication, for example, amid some early film interest, I got an e-mail from a total stranger, saying, "I’ve heard about your book. I haven’t bought it yet, or read it, but I plan to borrow it from the library. In the meantime, do you want to keep the film rights?" The request was so bold, or idiotic, that it annoyed me even more than the later piracy in Croatia. If the guy had asked me in person, I might have punched him.

A few months later, I received an e-mail from someone in France with the same last name – Le Gris – as the squire who was accused of rape in 1386. Oh no, I thought. They've heard about my book, and they're mad at me for dragging the family name through the mud all over again. But the note was friendly and led to further exchanges. A little over a year later, back in Paris to research a new book, I had a very pleasant lunch with one of Jacques Le Gris’s descendants. He didn’t even seem to mind that my research pointed to the likely guilt of his ancestor. Now, if only I could have lunch with a descendant from the other side of the celebrated case.

A little over a year ago, I received a package from France. In it was a self-published novel about the Carrouges family, neatly inscribed to me inside. Its scope was larger than my nonfiction book, but it recounted the 1386 crime and the celebrated duel at some length. Paging through it, I soon saw that it contained material I had quoted from rare documents that apparently the author had never consulted, and even many of my own descriptive phrases. The novel had a list of sources, but it did not include my book.

A novelist, of course is free to write his or her own version of the story – but not using my words, even translated, without acknowledgment. I considered taking action, especially since a translation of my own book would soon appear in France. What should I do first? Write a letter of complaint, pointing out examples of the borrowing? Write my editor again? Or write directly to my French publisher?

On reflection, however, I decided that the best thing to do in this case was absolutely nothing. Attacking a vanity-press publication might simply advertise it to readers who had never heard of it before. And it would distract my French publisher’s efforts to promote my own book. Besides, how would it look in France if an interloping American went on the warpath against a native author who had novelized the local patrimony, even if borrowing someone else's words to do it? Not good. The French might very well side with the author, not me. All considered, it was best just to leave the matter alone.

My book duly came out in France and was very kindly reviewed in a number of major newspapers, and even on Radio France. I’ll never know what would have happened if I had acted otherwise, but I think I did the right thing.

Killing Peer Review

Can the social Web produce a "killer app" that would do away with the traditional editorial process at scholarly journals?

NEH Grant Proposal #1095702H

The 19th-century Welsh novelist Henry Clairidge (1832-74) stood firmly in the British eccentric tradition, publishing only two novels during his lifetime, __________ and [              ], each consisting of 200 blank pages. A posthumously published volume was put out by his sister, Ethel, in 1876: “******,” a heavily annotated work of 200 pages, also blank.

These three books constitute the Clairidge oeuvre and his claim to literary posterity. Apart from a few contemporary reviews in The Gleaners’ Gazette, Clairidge remains mostly a tabula rasa. No critic has adequately addressed this master of Victorian minimalism, who so clearly anticipated the work of the Parisian livre vide movement in the 1890s and the pared-down appearance of late Beckett some decades later.

Occasionally, commentators have projected their own preconceptions on Clairidge’s admittedly scanty plots. New Critics had a field day filling in the gaps and differentiating between hiatuses and lacunae.

Barthes proposed 53 distinct readings of page 100 in [             ], whereas Derrida declared, “There is nothing inside the text.” Greenblatt links the genesis of Clairidge’s corpus to a blank diary found among the effects of a drowned sailor from Bristol in 1835. Several attempts by white studies scholars to claim Clairidge’s pages as an oppressed majoritarian cri de coeur have been largely ignored by multiculturalists.

These previous approaches miss the mark. Clairidge’s grand emptiness, prefiguring the existential void of the 1950s, mirrors life itself -- or at least the life of Clairidge, who spent his last 20 years at the ancestral estate in Ffwokenffodde, staring gormlessly at the hay ricks. His sister, Ethel, who doubled as his amanuensis and nurse, would occasionally turn him toward a prospect of furze, but the shift seems not to have affected his subject or style.

I contend that Clairidge’s hard-won nullity is temperamentally different from nihilism, which is to say that believing nothing is not the same as Belief in Nothing. Moreover, if Clairidge’s art takes the blankness of life as its premise, its slow-building conclusions represent a sort of après vie. Though reconstructing a writer’s faith from his art is a dicey business (and Ethel burned her brother’s blank notebooks after his death), one of the few remaining social effects sold at a charity auction in 1876 is a hay-strewn, slightly warped Ouija board. In short, this project involves the unacknowledged fourth estate of the race, gender, and class trinity: creed. Any committee members in sympathy with the current political administration, please take note.

Nothing is familiar to me. As a blocked but tenured faculty member for the past 14 years, I can attest to the power of the blank page. The study I propose would be as infinitely suggestive as Clairidge’s own work. Having already compiled over 150 blank pages of my own, I estimate that I am about halfway through a first draft.

My spurious timeline, suggested by my university’s internal grant board to indicate progress, is as follows: chapter one by March, chapter two by April, chapter three by May, and so on. More specifically, I hope to have the large autobiographical or “life” section done by May, so I can go on vacation with my family, and the “after-life” section should be done before my department chair calls me in to discuss that tiresome annual faculty activity report.

I already have papers and books strewn impressively around my office, as well as a graduate assistant to help me sort through them. An NEH grant at this stage would not only help to renovate our breakfast room, but also answer the querulous looks that the dean of  liberal arts has been giving me at public gatherings. Considering the projects you people have been funding lately, I -- but as with Henry Clairidge, words fail me. As Wittgenstein concluded in his Tractatus, “Whereof one cannot speak, thereof one must be silent.”

*****

Selected Bibliography

Clairidge, Ethel. The Selected Letters of Ethel Clairidge to Her Brother, The Corresponding Grunts of Henry Clairidge to His Sister. Eds. Renée Clairidge and Friend. Metuchen, N.J.: Methuen, 1965.
 
Clairidge, Henry. __________. Oxford: Clarendon P, 1872.

---. [              ]. Oxford: Clarendon P, 1873.

---. “******.” Oxford: Clarendon P, 1896.

Galef, David. "Notes on Blank Space." Cimarron Review 98 (1992): 95-100.

Paige, M. T. “Their Eyes Were Blank: Zora Neale Hurston and Her Homage to Clairidge.” JLI [ Journal of Literary Influence] 25.2 (1972): 10-20.

Zaire, Nottall. “Pulling a Blank: On Nullity and Art.” Hypno-Aesthetics 1.1 (2002). 30 Feb. 2002. (http://www.hypnoA.org)

Author/s: 
David Galef
Author's email: 
galef@olemiss.edu

David Galef is a professor of English and administrator of the M.F.A. program in creative writing at the University of Mississippi. His latest book is the short story collection Laugh Track (2002).

Research Competition and the MLA

The Modern Language Association’s recent report from its Task Force on Evaluating Scholarship for Tenure and Promotion offers an opportunity to review some of our commonly accepted notions about the role of research in the definition of faculty productivity. The report is worth the considerable effort required to read through its 100 pages of survey data, evaluations, prescriptions and recommendations.  Most of us will find its conclusion about tenure reassuring: The rate of tenure acquisition for tenure-track faculty is high and stable. We may be less sure about the significance of its findings about the growing number of non-tenure track faculty (part and full-time) in our institutions.  

More interesting, however, is the extensive discussion of the nature of scholarly productivity.  The MLA task force clearly struggled with this issue, and it is this struggle that makes the report so interesting. The report explicitly addresses what it calls the gold standard of the research monograph, which means a book length, usually single author publication that presents original research to an expert public, frequently through the medium of a university press.  The report worries that this method places too restrictive a burden on young faculty, devalues the research-based article, and may result in overlong articles being presented as books.  University tenure committees, the report indicates, may be off-loading the responsibility for evaluating research onto the editors and reviewers of university presses.  At the same time, the report’s surveys do not yet support a conclusion that the current method of evaluating research has disadvantaged young scholars in the tenure process.  

One of the great strengths of the MLA task force report is its effort to distinguish among different types of institutions, recognizing that the importance of research publication for tenure varies significantly by type of institution and that the patterns of evaluation that characterize the top research universities tend to propagate to other institutions with different missions.  The report endorses the well-known case for redefining scholarship to include activities in addition to original research -- editorial work, translations, bibliographies, textbooks, essays, pedagogical writings and even exceptional classroom teaching.  Although this is not a topic easily resolved, the common expectations that drive this research focused behavior warrant a closer look.   

Departments in colleges and universities, where most of the critical decisions about tenure and promotion are made, reflect the goals and expectations of their scholarly guilds (in the case of the modern language departments, these scholarly guilds  are represented by the MLA).  These guilds, while they speak expansively about broadening the definition of research to include other forms of scholarship, tend to focus their attention on the rarest of academic talents. Original research appearing in scholarly monographs published by university presses is valued because it is difficult to produce and therefore rare.  

College and university prestige (whether established by ranking organizations or popular culture) rest on the acquisition of the individuals capable of producing these rare and difficult works on a constant and consistent basis. The best universities in the world have the highest number of faculty capable of producing works of original research.  This is not restricted to the guilds associated with the MLA, although the MLA report is a wonderful testimony to the process.  Even as the report argues for the expansion of the definition of scholarship to include many other activities not precisely defined by original published research, it reinforces our understanding of the high prestige associated with the original research publication.

Many commentators worry about the increased competitiveness of colleges and universities, each institution seeking to purchase for higher and higher prices a greater share of the limited supply of high quality students and research capable faculty. Yet the marketplaces that support universities -- parents, students, faculty, legislators, donors, funding agencies, corporations -- all express a strong preference for the presence of these rare talents in academic settings. The issue for academics is not really whether faculty members should develop a broad portfolio of accomplishments in teaching, scholarship of all kinds, public service and civic engagement. Rather, the issue is whether universities can avoid concentrating on identifying and acquiring faculty whose skills will make their university or college campus most competitive.  This perspective, ruthlessly businesslike though it is, provides a clear explanation of the behavior of colleges and universities and their academic guilds, and it highlights some characteristics of the academic environment that we might prefer were different.

Colleges and universities have few ways of defining and demonstrating their excellence other than presenting various measures of scarcity.  The market assumes that if a campus attracts a large share of scarce, high SAT and high GPA students, its overall quality is better than another campus with lower SAT and lower GPA students.  The market also assumes that a campus with a large share of the scarce faculty who consistently publish original research is a high quality campus.  These indicators of scarcity are highly reliable measures, even if we can debate at great length whether what they measure is of greater intrinsic value than something else we do not measure as reliably.  

Longtime observers of the academic scene know that original research talent is much more fragile than teaching or scholarship or civic engagement talent.  Over a 25- to 30-year career, more faculty will sustain consistently good performance as teachers than will sustain consistently productive careers publishing original research.  At the beginning, we do not know which of the recently tenured, research productive faculty will sustain that productivity for the next 25 or 30 years.  The institution, understanding the importance of these research-productive faculty in validating their external competitive reputations, places extraordinary emphasis on improving the results of the tenure process by focusing intensively on the quantity and quality of published original research.  The result is what the MLA observes: increased standards for published research productivity for tenure.

To some extent the excellent recommendations in the MLA Task Force report lose some of their persuasiveness absent a recognition of the powerful marketplace forces that drive all colleges and universities to emulate the competitive standards of the most prestigious research institutions. Whether we view the marketplace influence on college and university values as pernicious or not, we still must recognize that the primary participants in this marketplace are our faculty, students, alumni, trustees, donors, and other friends.  Their preferences, expressed through their marketplace choices, reinforce the academy’s intense focus on original published research.

We would like to see the next MLA task force review the language of academic quality as represented in college promotion materials, in the endlessly popular commercial ranking systems, and in the references to quality visible in the popular culture of news magazines, movies, television, and Internet chatter.  As is often the case, we are likely to find that the enemy of the good practices we recommend is us.

Author/s: 
John V. Lombardi
Author's email: 
lombardi@umass.com

How I Wrote My Dissertation

The title of this column is the title of a manuscript three of us dreamed up some eight years ago. I liked the "how-I-spent-my-summer-vacation" jangle of the words, suggesting something at once so obvious as to be dumb and so dumb as to seem clever. Narrative essays on how a group of people actually wrote their dissertations! Who would have thought? And yet, who could not have thought? The very idea seemed to fit into a mood of exploring all sorts of unconsidered academic practices, a few seemingly invisible.

So we drew up a call for papers. Meanwhile, my two colleagues set about writing their own narratives, as we all canvassed our friends. Gradually, contributions appeared. Organizing principles took shape. Editing began. We actually had a manuscript! Not all of the contributions were as strong as we'd hoped. But most were. And at least the whole didn't suffer from a problem I had been warned plagues all essay collections: sounding as if each essay has been written in the same voice.

Finally, the existential moment drew nigh -- the pitch to a publisher. I began with one whose senior editor I chanced to know. He called for the manuscript, he secured a reader. Was our idea actually going to see the light of published day? Could the process be so smooth? Alas, no. The reader was cool. The idea, it seemed, was interesting. But not all the individual contributions were up to it (excepting a couple of the ones I thought weakest, though including a couple I thought strongest). Worse, the manuscript needed the sort of heft that can only be provided by big names.

This last objection especially maddened me. A section of our introductory rationale explicitly addressed this question. None of us believed in big names for this project because writing a dissertation abides in the profession as something you do in order to get past it (and ideally on to the next stage, publication as a book). The only people who would be interested in writing about how they wrote their dissertations would be people who were not destined to be "names."

The subsequent fate of this manuscript is simply told. It never got published. It never even got a reading from another publisher. Was our pitch letter unsatisfactory? Was the whole idea just a non-starter? In my pitch experience, you never know why, if a publisher's door doesn't swing open. Your manuscript is "just not right for our list." This is usually as specific as a letter of response will be, although sometimes there will be something additional about financial exegencies, worthy manuscripts, and the parlous state of academic publishing today, not to say life itself.

I tell this story for a complicated knot of reasons, having to do with a belief in the power of narrative, a horror of wasted effort, and an acquiescence to the enduring prospect of rejection in professional life. The nice thing about writing a dissertation -- as opposed to writing about writing it -- is that it appears at first to swing free of any of these things, beginning with the fact that nobody ever reads of not successfully writing a dissertation; to write one is perforce to complete it -- and to defend it successfully and finally to receive the doctorate.

What if you fail, and then attempt to write about it? Does anybody actually do this? Whether or no, good luck trying to publish it. Bad enough to try concerning a successful dissertation. Although an account of an unsuccessful one might reveal more about the conditions of writing a dissertation in the first place -- according to a logic whereby failure (or defeat) reveals more about success than success (or victory) itself -- the whole power of the disciplinary narrative embedded in the dissertation is that you complete it, period. Then, perhaps, an individual story begins, albeit again one only possible to relate as a story of success; "How I Wrote My Book," though, is less promising a title than "How I Wrote My Dissertation."

Yet I continue to believe that a narrative -- carefully conceived, creatively organized, and searchingly set out-- about virtually anything possesses an undeniable power of its own. Moreover, some of the best narratives have to do with subjects heretofore disdained, marginalized, or suppressed. Within academic life, a narrative of how you wrote your dissertation constitutes, I think, one of those subjects. How else to demonstrate why to date the story of actual dissertation writing appears to be such an unworthy one?

It's long been a fancy of mine that anything to do with dissertations participates very deeply and mysteriously with waste. Even to complete one efficiently is to have had to keep at bay all manner of false starts, misconceived research, sloppy organization, and other things dissertated flesh is heir to, including inflexible dissertation committees and absent dissertation directors. It's as if to begin in the first place is to have to ignore all this. Many can't. These include people who get to dissertation stage and stop as well as those who never get started.

Another fancy: How I Wrote My Dissertation failed as a project in part because it aimed to explore the waste implicit in writing a dissertation. This was not our intention. (Nor was it the purpose of any of the individual essays.) Yet one reason the very subject appears unworthy is because it cannot avoid bringing to light factors that the profession prefers be suppressed. These include everything from how much time the writing of a dissertation actually takes to how idle is the relation between the completed doctoral degree and a job -- any job.

Writing a dissertation is of course in large part a ritual. It was a ritual when the research it takes to write one could still be expected to inaugurate a scholarly career. Today, when even those who still have some legitimate claim to such a career (because of their institutional pedigree or the disciplinary networks of their directors) can easily wind up as adjuncts, the research seems more hollow than ever. How I Wrote My Dissertation becomes Why I Wrote My Dissertation -- and the reasons emerge as so individual or distinctive (at least this was so in our collection) that ritual efficacy itself is threatened.

Everybody in higher education has an investment in maintaining this efficacy, which is ostensibly so crucial that it cannot be exposed to the vicissitudes of personal experience, as any personal narrative is bound to do. Indeed, personal experience lies at one end of a division encompassing the whole of academic life, at the other end being impersonal professional authority. This authority can of course be questioned -- and personally -- at many levels. But there are levels below which no questioning goes.

A dissertation apparently occupies one of these levels. We don't care Why I Wrote Mine because we care so much instead about the dissertation itself -- whether as the means of authorized entry into a career in higher education or just as a criterion for sorting out prospective adjuncts in terms of their highest degrees. To care about the dissertation is not to care why you or anybody else either did or didn't write one. To care about the dissertation means to believe that even the individual waste involved in writing one can be in some way recuperated.

Curiously, not one of the contributors to How I Wrote My Dissertation would disagree with the last statement. (As I once secretly hoped a few would.) To each, writing a dissertation was worth it, even if it took too long, cost too much, and did or didn't matter with respect to a job. Yet, alas, in the public forum that only publication can command, everybody got rejected together anyway. This brings me to a final point: rejection itself. You've got to be prepared for it in professional life -- the article you can't get published, the class with which you can't connect, the tenure you are denied, the position for which you not got an interview. Arguably, in the construction of a career, the dissertation represents its initial moment, because a dissertation can be rejected.

How I Wrote My Dissertation didn't -- or doesn't -- disturb this moment. And yet in presuming to tell a group of individual stories of how dissertations were accepted, the manuscript does implicitly comport with another story, about how each one could have been rejected. Once more, I think, it is apparently central to the profession that the actual basis of rejection or acceptance not be explored too closely, lest the line between the two grow indistinct or arbitrary. (Was this why the publisher's reader called for narratives of "names," as if to guarantee the boundary?) Part of caring about the importance of a dissertation means upholding both the standards it presumes and the integrity of these standards.

Nobody wants to hear about rejection. Not only because it is always judged to smack of "sour grapes," but because virtually each time rejection threatens to edge up uncomfortably beside acceptance -- and then, although all is not lost, much might well become confounded. The profession after all is full of people who have been rejected in some significant way. (Or in the case of people who choose not to attempt to write a dissertation, effectively self-rejected.) We teach right alongside them. They are part of who we are. No, they are who we are, whether, for starters, we have written dissertations or not. But we don't know many of their -- our -- stories, especially those that courted, or continue to court, rejection.

I've lost touch with the majority of the contributors (and one of the editors) to How I Wrote My Dissertation. I don't know if the rejection of our manuscript bothers any of them; most of the rest I do know seem to have forgotten about it or at least don't bring it up. Why bother? Anyway, in academic publishing, collections of essays especially constitute a crapshoot. (At the moment, I have, let's see, four respective essays with four proposed collections, and haven't so much as heard from the editors of two for a couple of years.) You lose, you move on. What else to say? Not all rejection is worth pondering. Not all rejection is worth narrating.

There are two reasons for offering something of mine. One is that the subject of the rejection marks perhaps the profoundest disconnect in higher education between a professionally authorized project (writing a dissertation) and a personally imagined one (writing about how you wrote it). The second reason follows from the first: Anything to do with dissertations -- ranging from how their content has changed or how they are monitored though what functions they serve -- occupies one of the great mystified spaces. It is mystified because it is uncontested. And it is uncontested, I believe, because it is still not subject to narrative.

Author/s: 
Terry Caesar
Author's email: 
info@insidehighered.com

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