Today is the Global Climate Strike. I don’t know how anyone can look at the world around them and not be worried about how the climate is changing and how we are not taking action to prevent disaster. About a year and a half ago I started thinking more seriously about the relationship between libraries and archives and climate change, due largely in part to the ongoing work and activism from archivists Eira Tansey and Ben Goldman. So when I was invited to give a talk about whether digitization is a form of preservation at the Society of American Archivists meeting in August 2019, I jumped at the change to consider our complicity with the coal industry. I’m reviving that brief call to arms today to mark the climate strike. The talk itself is short. Take five minutes to watch (or listen) to the video below. And then browse through…
Author: Sarah Werner
reading when you are crumbling
I’m not sure what to say about this year’s life as a reader. Looking back at my list, the books from the first half of the year seem so long ago—I could’ve sworn I read Mohsin Hamed’s Exit West a couple of years ago (was it even out then?) and haven’t I always been worrying about Julie Buntin’s Marlena? It’s partly that those books stuck into me and wound themselves around me in ways that feel like I’ve been carrying them forever. But it’s also this year. This year is too long. There’s too much in it. We all joke about this—the Tuesday afternoon tweets saying “I can’t believe it’s Friday already!” But it’s not really a joke. There’s the Friday afternoon news dumps, the revelations day after day about some shocking, previously unthinkable thing happening, the radical cracking of what so many people (wrongly) thought were the safe foundations…
weaving a feminist book history
[update 4/16/2020: The project that I describe here has continued to spin out in various directions that I describe in my March 10, 2020 post, “notes on feminist bibliography,” and in a publication for Printing History, “Working Toward a Feminist Printing History,” the preprint of which has been deposited into the Humanities Commons repository.] Over the past few years, I’ve become increasingly curious about how we might imagine and create feminist book history. And so I was thrilled when I saw that Valerie Wayne was leading a seminar at this year’s Shakespeare Association of America conference on “Women, Gender, and Book History,” and I’ve been delighted to be part of such a smart and engaging crew of scholars. We’ll be meeting at the tail end of the month and I’m looking forward to our conversation and to feedback on my contribution. But I’m not done with wrestling with this yet,…
reading when the world crumbles
This was not a good year for reading for me. I read a lot, but it was almost every time hard to settle on a book to read, to find something that fit my mood even though I didn’t know what my mood was, to choose a book that wasn’t too heavy to get through but wasn’t too frivolous. What a luxury it is to be able to set aside time to read, when other people are facing the horrors of not being able to get into this country to be reunited with their families or to be safe from persecution and poverty and illness, when others are here but cannot leave and are scared to open their doors for fear of being dragged away from their homes, when others are reliving sexual assault and harassment and humiliation from yesterday or decades ago. But what a necessity it is to…
creating a digitized facsimile wishlist
For the last couple of years, I’ve had a bit of an obsession with finding examples of early printed books that aren’t available as open-access digital facsimiles. Why have I been thinking about this? It started off with some frustration that we have a slew of digital copies of (ahem) Shakespeare’s First Folio and of the Gutenberg Bible (25 copies!). Why do we have so many of those and none of…. of…. um…. And so I started looking. The more time I spent looking, the more frustrated I grew about what wasn’t available. How could it be that there were no open facsimiles of Sidney’s ridiculously important sonnet sequence, Astrophel and Stella? Or Tottel’s miscellany? Or one of the most popular English plays, Mucedorus? These are foundational works in the development of their genres. In some cases, they survive in only a very small number of understandably restricted copies. Shouldn’t…