University of Wisconsin Press launches three African Studies journals

At last week’s annual convention of the African Studies Association in San Diego, the University of Wisconsin Press announced that it is the new publisher of three journals in the field: African Economic History, Ghana Studies, and Mande Studies. The journals had previously been published by the African Studies Program at the University of Wisconsin–Madison, in affiliation with the Ghana Studies Association and Mande Studies Association.

“The University of Wisconsin Press has been an active and award-winning book publisher in African studies for more than fifty years, often partnering with the University of Wisconsin–Madison’s prestigious African Studies Program on book series and conference exhibits,” noted press director Dennis Lloyd. “Publishing these journals is a natural extension of that collaboration and of our commitment to the field of African Studies.”

The African Studies Program at UW–Madison will continue to be involved as a collaborator and liaison. Neil Kodesh, ASP director, said the transition to UWP “will result in much higher quality production and customer service, while maintaining affordability at a nonprofit university press. And the new designs look great!”

“It was exciting to reintroduce these journals at the ASA conference,” said Toni Gunnison, Journals Manager at UWP. “It is our priority to make the journal content more dynamic and available online. We will be able to improve each journal’s international visibility through online services, marketing, customer service and fulfillment, and advertising. UWP publishes fifteen journals covering in the humanities, social sciences, and STEM fields, so we have the staff and expertise to enhance these journals in a cost-efficient way.”

FergusonUWP’s production manager for journals, John Ferguson, has given each journal a fresh new cover and interior text design.

“In approaching the redesign of these journals, I asked the faculty and staff at the UW–Madison African Studies program for ideas. We really wanted covers that represent the research content of the journals. Catherine Reiland, interim associate director at ASP, connected me with Mary Hark in UW-Madison’s School of Human Ecology. The patterns that appear on the journals are photographic representations of indigo-dyed handmade papers that Mary created with botanical fiber collected in Kumasi, Ghana.”

African Economic History was founded in 1974 by the African Studies Program at the University of Wisconsin and subsequently has also been affiliated York University’s Harriet Tubman Institute for Research on Africa and its Diasporas. The annual journal publishes multidisciplinary work in English and French on the economic history of African societies from precolonial times to the present. The journal is edited by Mariana Candido (University of Kansas), Jennifer Lofkrantz (State University of New York–Geneseo), and Paul E. Lovejoy (York University).

Ghana Studies is the journal of the Ghana Studies Association, an international affiliate of the African Studies Association. Published annually, Ghana Studies provides a forum for peer-reviewed, cutting-edge research about Ghana’s society, culture, environment and history. In addition, it features occasional material, source reports, book reviews, and notices of fellowships and prizes awarded by the Ghana Studies Association. Since its first issue in 1998, Ghana Studies has published significant work by leading scholars based in Ghana, the US, Canada, and Europe. The journal is edited by Akousua Adomako Ampofo (University of Ghana) and Sean Hanretta (Northwestern University).

Mande Studies was founded in 1999 by MANSA, the Mande Studies Association. It is an international, interdisciplinary annual journal publishing scholarly essays in English and French on the history, arts, anthropology, sociology, development, and contemporary issues relating to the diverse peoples and cultures of the Mande diaspora of West Africa. The Mande world includes parts of the Cape Verde Islands, Guinea Bissau, Senegal, The Gambia, Guinea, Liberia, Sierra Leone, Mali, Burkina Faso, Cote d’Ivoire, and Ghana. The journal is edited by Peter Mark (Wesleyan University) and Ismaela Samba Traoré (Institut des sciences humaines, Mali).

For more information, contact:
Sheila Leary, Communications Director, The University of Wisconsin Press   608-263-0734



Surprising? Mysterious!

Today kicks off the fourth annual University Press Week organized by the American Association of University Presses. The University of Wisconsin Press and more than fUPW-Logo-2015orty other presses are participating in the AAUP’s annual blog tour during the week. This tour highlights the value of university presses and the contributions they make to scholarship and our society. This year’s theme is Surprising! so the blogs will highlight some of the surprising things university presses publish. Check the tour every day for new posts!


Mystery fiction from the University of Wisconsin Press is both a hit and a fit

DeVita Collage

James DeVita

James DeVita is Wisconsin’s preeminent stage actor, acclaimed this year by the Wall Street Journal as “the best classical actor in the United States today.” But DeVita jokes that he’s really a writer with an acting habit. A successful playwright and author of much-praised YA novels, DeVita published his first novel for adults this year, a gritty crime thriller set in Chicago and Wisconsin. The twist? A WINSOME MURDER stars a hard-bitten detective who finds insights in Shakespeare’s bloodiest plays.

“An engaging mystery that’s a feast of literary allusions. . . . [Detective James] Mangan’s ‘verbal quirks,’ snatches of prose or poetry that pop into his head and help him solve cases, make him an unusually distinctive sleuth.” —Publishers Weekly

This combination of regional settings and brainy themes epitomizes the successful range of mystery fiction that UWP has been publishing in recent years. DeVita hopes to spin his debut mystery into a series (in between acting stints at the Milwaukee Rep, American Players Theatre, and touring performances). Several other UWP authors are already on a roll with their own mystery series.

Combo Draine-Hinden

Michael Hinden and Betsy Draine

Summers spent in the Dordogne region of France inspired Betsy Draine and Michael Hinden, professors emeriti of English at the University of Wisconsin-Madison, to start their Nora Barnes and Toby Sandler Series. Like their sleuths, Draine and Hinden are a married couple who enjoy travel, art, and fine food and wine. After writing two nonfiction books about Dordogne, they collaborated on MURDER IN LASCAUX, sending their detective duo into the famous cave filled with Cro-Magnon paintings as well as into French castles, chateaus, and restaurants.

“A whodunit that nicely balances a breezily light travelogue with urgency and suspense. Readers will hope this is the first of a series,” wrote Publishers Weekly.

Readers’ hopes were answered with a second book in the series, THE BODY IN BODEGA BAY, in which art historian Nora and antiques dealer Toby are at home in California, sorting out a criminal tangle of Russian art and Alfred Hitchcock memorabilia. And in Spring 2016, Nora and Toby will be back in the south of France with DEATH ON A STARRY NIGHT. French art, fine wine, romance, and murder mingle as academics squabble over how Vincent Van Gogh died.

Wisconsin’s most popular vacation destination is the setting for Patricia Skalka’s Dave Cubiak Door County Mysteries. Door County is the “Cape Cod of the Midwest,” a scenic peninsula jutting into Lake Michigan. Skalka, a former writer for Reader’s Digest and a native of Chicago, has mapped out plots for seven Dave Cubiak mysteries, inspired by time spent at her Door cottage over the years. Skalka_Death Stalks and Gills Rock

In DEATH STALKS DOOR COUNTY, Skalka introduced Dave Cubiak, a morose homicide detective hoping to find solace in a new job as a park ranger. But there is no peace for Cubiak, as six deaths mar the holiday mood of summer vacationers. She followed up quickly with DEATH AT GILLS ROCK, in which newly elected Sheriff Cubiak follows an old trail of lies and betrayal.

“In her atmospheric, tightly written sequel, Skalka vividly captures the beauty of a remote Wisconsin peninsula that will attract readers of regional mysteries. Also recommended for fans of William Kent Krueger, Nevada Barr, and Mary Logue.”—Library Journal, *starred review


ASSAULT WITH A DEADLY LIE is the eighth installment in Lev Raphael’s series featuring English professor (and part-time sleuth) Nick Hoffman, set in a Michigan college town. Raphael draws on his experience as an Edith Wharton scholar, a prominent gay writer, and the son of Holocaust survivors to fashion a stunning and suspenseful tale of slander, prejudice, harassment, moral courage and cowardice, and the militarization of local police.

Lev Raphael

Lev Raphael

“It’s a terrifying thought: the idea that someone can accuse you of a crime, and a SWAT team shows up at your door and drags you away. . . . Raphael makes it quite clear that no one is immune.”—Mystery Scene

Jerry Apps

Jerry Apps

Popular Wisconsin writer Jerry Apps has produced six novels set in fictional Ames County, Wisconsin, some with mystery themes. His bestseller has been IN A PICKLE, in which the heavy-handed tactics of the H. H. Harlow Pickle Company are wreaking havoc with small farmers’ way of life.

“Apps utterly wins us over.  . . . [He} invests the novel with the kind of realism, precise detail, and local color that only someone who had lived the story could do.”Booklist 

In a Pickle

Not a review of David Mitchell’s new novel *SLADE HOUSE*

Previewing the book without preempting the pleasure of reading it

A conversation with Mitchell scholars Paul A. Harris and Patrick O’Donnell


The University of Wisconsin Press journal SubStance published a special issue earlier in 2015, edited by Paul A. Harris, devoted to the extraordinary fiction of David Mitchell. A new novel from Mitchell, Slade House, debuts October 25, 2015.

Traditional book reviews of novelist David Mitchell’s writing inevitably spoil the pleasures of discovering what turn this genre-bending author’s latest work has taken; even a cursory account of plot, characters, and structure tells many Mitchell fans things they’d rather not have known. Here, Mitchell scholars Paul A. Harris and Patrick O’Donnell engage in a critical conversation about Slade House, in the hopes of piquing readers’ curiosity without making them feel piqued or PO’d.

This conversation will resume in early November, when Harris and O’Donnell will assess and respond to reviews of Slade House after it appears October 25.

PAH Patrick, I am delighted that you agreed to discuss Slade House prior to its imminent arrival (October 25) in bookstores and the mailboxes of Mitchell fans. I cannot help but point out that the opening lines of your own book on Mitchell (A Temporary Future: The Fiction of David Mitchell) fit his next novel perfectly: you cite W.G. Sebald character Austerlitz’s belief that “all the moments of our life occupy the same space, as if future events already existed and were only waiting for us to find our way to them at last, just as when we have accepted an invitation we duly arrive at a certain house at a given 9781441171221time.”  Since those lines seem almost literally accurate in describing Slade House, I have to wonder what your immediate reaction was when you finished the text.  Did it seem like what you would have expected of his next novel, or does it break new ground?

For my part, I have to confess that at first the book left me a bit flat; it felt like The Bone Clocks ‘lite’ (in terms of both literary density and weight). As I read the novel, I kept anticipating/imagining the negative reviews it seems likely to receive from canonical- and avant-garde-minded critics alike. But as I flipped around in it and thought more about it, I concluded that Slade House is even more successful than Mitchell’s prior books at managing to be both accessible and complex, popular and academic. It’s a really fast read that keeps you engaged, but on reflection it seems meta-literary in complicated, interesting ways.

POD Thanks, Paul, I am delighted to join in this conversation with you about David Mitchell’s newest novel. As  you suggest, it is no surprise that Mitchell would write a novel about a house—in this case, a haunted house. The interior spaces of Mitchell’s novels are typically freighted with the past, the history of the events that have taken place therein, the memories or remnants of the characters that have inhabited them. I think Slade House is in many ways an intensification of Mitchell’s interest in the ways that time and space intersect, or perhaps a better way to think about it is that his “global” interest in those intersections has been given a specific location in a London back alley. Indeed, many of the stories that circulate through Slade House will seem familiar (if inevitably uncanny) to Mitchell’s readers as we encounter motifs and figures writ large in The Bone Clocks and percolating through all of the other novels. But I completely agree with you that what is happening here goes well beyond a continuation of the same esoteric narrative about the wars of the atemporals. I’d be interested to hear more about what your views about the metaliterary tropes and ideas of the novel.9780812976823

PAH Let me return to your unexpectedly apt introductory words in A Temporary Future. You wrote that “The ‘certain’ house at which one arrives in reading Mitchell—the novel one holds in one’s hands—is typically composed of many parts and genres, the architecture being neither carpenter’s gothic nor that of the sedimented multinovel, but a capacious assemblage of narratives connected to each other in differential patterns. Those patterns, detected by readers through variable acts of attention, can shift and fluctuate depending on the circumstances of one’s reading, the narrative thread that draws one’s notice at a given moment, the emergence of a sequence that compels one to recall something in a given novel’s ‘past,’ or something that seems to be lurking in its ‘future.’” These words not only apply literally to Slade House, but could also describe Mitchell’s ‘house of fiction’ as a whole. Simply put, one could say that Mitchell’s ‘house’ (Slade House and oeuvre alike) has only an ambiguous physical location and elusive materiality; one could say that it doesn’t exist in space but rather persists in time. I suppose that on one level this is true of all fiction; what would you say makes Mitchell’s work different in this regard?

POD  I really like the notion of the house of Slade House as analogous to Mitchell’s “house of fiction” as a whole, and the idea that this house persists across multiple genres and temporalities but, in effect, floats in space. We could compare Mitchell’s house of fiction to the famous figure Henry James put forward in his preface to The Portrait of a Lady, where he says that the house of fiction “has in short not one window, but a million—a number of possible windows not to be reckoned, rather; every one of which has been pierced, or is still pierceable, in its vast front, by the need of the individual vision and by the pressure of the individual will. These apertures, of dissimilar shape and size, hang so, all together, over the human scene that we might have expected of them a greater sameness of report than we find. They are but windows at the best, mere holes in a dead wall, disconnected, perched aloft; they are not hinged doors opening straight upon life.”  James’s figure is primarily epistemological and perspectival: reality is complex, and we perceive it, and know it, via multiple apertures, each framed by the position of the viewer and her/his “will” or capacity to see what is out there. Mitchell’s house is, by comparison, ontological, an incarceration of time and space that frames the condition of our being-in-the-world. I think one of the great attractions of a novel like Slade House is that Mitchell is enable to dramatize the immensely complex relationship between time, space, and being through an array of popular narrative genres and highly readable stories. The stories do not simplify the philosophical issues involved, they illuminate them, as light through a stained glass window illuminates religious mysteries.

But that brings me to a question for you that I think the novel raises as a continuation of the “Shaded Way” narratives that 9780375724503have been circulating in Mitchell’s novels since they were first hinted at in the Mongolia chapter of Ghostwritten: what do we make of Mitchell’s ongoing interest in the connection between science and religion, or science and the “other-natural” (as compared to the “supernatural)?  Any thoughts?

PAH Pat, thank you for bring in the very apposite James passage; I completely concur with the contrast you draw between his perspectival-nuance view and Mitchell’s constructive-ontological narrative poetics. I would add that it feels like James is always looking over the shoulders of his characters; that he gives us the world from their viewpoint but he is constantly “piercing” their windows onto the world, and actually he has difficulty allowing a character’s “individual vision” or “will” to take over the narrative. Mitchell, by contrast, seems to have full-blown voices in his head that he transcribes onto the page. He is invested in getting speech, language, allusive details, and tone exactly right for the multiplicity of characters he creates, the figures who become the reader’s guides through the global tours of his books. At the Los Angeles stop of his Bone Clocks book tour, when two young aspiring novelists asked him what one should do to become a better writer, his immediate response was to listen to people, to hear acutely and precisely how people speak—the locutions and accents and diction. I remember thinking, yes, one sees that in his books; it’s just easy to forget how quickly he immerses us in his characters’ voices, because when we think about his texts, it’s the innovations in form, settings, and intertextuality that stand out, plus the philosophical/cultural questions he raises (mortality, power, genocide, predation). There are inevitable echoes across his different voices—I recall one reviewer somewhat snarkily stringing together similar-sounding quotes from characters across Bone Clocks—but the passages were all the kind of pithy riffs/aphoristic formulations that Mitchell excels at and understandably (in my view) cannot resist writing. It’s not the case that all his characters speak in similar voices in general.

To me, Mitchell’s ability to transcribe voices onto the page operates in an interesting way—sometimes I think he is a ventriloquist; at other times it seems as if he’s the dummy.  This connects to the question you posed, because I remember that my first response to the noncorporeal intelligence of the Mongolia chapter in Ghostwritten was that it was a simple, literal embodiment or allegory of narration—particularly Mitchell’s narrative mode, ‘transmigrating’ from one mind to another as he changes chapters.  In Temporary Future you neatly characterize that character’s consciousness as “an assemblage of overlapping and differentiated cognitive maps, languages, fragmentary memories, and partial histories,” and read it as a metaphor for connections among strangers across time and space, as well as a figure for the fractured nature of identity in Mitchell.  I agree with this and by comparison what I saw is quite basic—the transmigration is a map of the narration’s itinerary, an image of Mitchell’s own constructive, creative journey from one person-place to another.

In terms of the question of the ‘other-natural,’ it does seem puzzling that Mitchell repeatedly disavows belief in anything beyond the material or natural, yet repeatedly returns to fantastic elements in his fiction that suggest otherwise.cover_sub  I think it might be possible to sort of invert the question: it is precisely the ability of narration to move magically, fantastically, across time and space, to inhabit other minds, to bring them to life and let them expire, or to have them hop into another head instead—‘other-natural’ elements or dimensions would just be an extension of these powers of narration. When I asked him about this issue in the interview for SubStance, he said:

“Maybe it’s worthwhile to note that a novel is a zone of near-infinite possibilities, where contradictory elements can co-exist, including temporal ones. The Bone Clocks is about mortals like us . . . as well as pseudo-immortals like the Anchorites . . . as well as the Horologists, who have a ‘Serial Repeater’ time-scale; and that’s okay, assuming you think the novel works. If The Bone Clocks was an astrophysics dissertation, I’d have my academic ID revoked and be escorted to the campus gate by security, and quite right too. Because it’s a novel, I get away with it. The other handy thing about novels is that while they explore, they don’t have to arrive at tidy conclusions.”

So, to me, Mitchell’s work invokes the ‘other natural’ as a possible world as a function of fiction’s power to produce infinite possible worlds. Maybe I am just using Mitchell’s ducking of the question to duck the question. . . . Bringing this back to Slade House, I felt that the way that the antagonists construct characters and the house clearly maps to Mitchell’s sense of the unlimited powers of the author to make up anything at any time, and to change the game as he or she sees fit.

After all that, then, I can only echo your unanswered question back to you: what do you make of Mitchell’s ongoing interest in the connection between science and religion, or science and the “other-natural” (as compared to the “supernatural)?

POD  I’m really intrigued by your statements about Mitchell’s ventriloquism, and I quite agree that he has an amazing capacity to capture and throw an assemblage of voices in his novels. This reminds me of Dickens, who knew a good deal about ventriloquism in the nineteenth century, and who was observed by his daughter, Mamie, to be “practicing” the voices of his characters before a mirror. Like Dickens, the convincingness of Mitchell’s voices have to do not just with matters of pitch and locution, but also with location—the planetary spaces that Mitchell is able to evoke both in the past and in the future. One of the things that would distinguish him from a Charles Dickens—picking up on your point about Mitchell’s character—and worlds-hopping—is his invocation of multiple worlds in adjacency, the multiple realities or, as Ursula Heise would put it, “chronoschisms” that Mitchell’s readers are encouraged to inhabit as stories and as formal structures. In a sense, both James and Dickens are after a kind of mastery—James (especially late James) to represent the totality of a consciousness or perspective, Dickens to trace the master plot behind all of the subplots and seemingly disconnected narratives of urban cacophony. I think the difference in Mitchell is that, as an author, he is not interested in mastery: as you elegantly put it, he brings plots, worlds and characters to life and allows them to expire, often in medias res. This may be going a bit out on a limb, but one of the great attractions of Mitchell’s narratives is their stories, made up in a very traditional sense of compelling characters and interesting, suspenseful plots; however, as an author (and of course this is something of a trompe d’oeil) he is far less anxious than Dickens or James about forsaking his authority over them; he seems not particularly worried about the form of singularity that we term “author,” though of course he has attained great visibility and, even, celebrity status despite his self-effacing authority. In other terms, he generates multiple, partial worlds and stories that make room for readers to connect, recall, and retell; in effect, he forsakes his authority, or alternatively, he allows readers the sense that they are co-authoring the work.

Bringing this back to Slade House, you’ve already suggested a number of ways that we could view this novel as a series of stories that entail metanarrative consequences for Mitchell’s own “house of fiction.” Not too fancifully, I think, we could consider all of Mitchell’s novels as “slade houses” (with the obvious pun on “slade/slayed”) through which his living-dying characters circulate in time. While, as devotees of “the Shaded Way” (adding a third resonance to “slade/slayed/shade”), the antagonists of Slade House seek immortality via the obscene consumption of souls, they fail over time—time itself is their enemy—as do the vampiric “immortals” of The Bone Clocks, Cloud Atlas, and Ghostwritten; in the end, they die, every single one of them. And the protagonists in this metaphysical battle, the Atemporals, also can and do die; in fact, death is essential to their being, as is the case with Marinus, who makes his/her reappearance as a psychiatrist from Toronto in Slade House. I think through all of this that Mitchell sees mortality, the fact of death that comes to us all, as the primary condition of being human, and all of our attempts to circumvent death (and time, for that matter), as the engine behind the construction of empires, the accumulation of wealth, the quest for power, and the recurrence of war—as if, in the latter, we can defeat death by incurring it everywhere.

And this then takes me to responding to your call out on the question of the relation between science and religion in Mitchell. I couldn’t help laughing at Mitchell’s saying that if The Bone Clocks was an astrophysics dissertation, his academic ID would be revoked and he’d be escorted to the exit by campus security. Yet if you read some of the material with which Mitchell is clearly acquainted on quantum physics, the concept of black holes or the many-worlds interpretation would sound no more outlandish to skeptical ears than the idea of an ongoing war between two semi-immortal factions taking place in a parallel universe that, every so often, encroaches upon human individuals in the “real” world. I think Mitchell is interested in the deep connections to be perceived across history between religion and science, both disciplines premised upon systems of belief that offer the potential of extended life or life after death. I can hear the empiricists scoffing at this, but what else is behind the multilayered and extending scientific quests that inform cybernetics (replacing mortal elements with mechanical parts that last longer following an infinite logic of substitution), astrophysics (in the attempt to understand the origins of the universe and the limitations on its near-infinite expanse), mathematics (in the abstractions infinite numbers), or genetics (in the attempt to create a complete DNA map and thus genetically produce individuals who can live longer, and perhaps even be reborn after death through cryogenics). I think Mitchell in his fiction is particularly attuned to how driven we are to find a way to cheat death. Authors do this in their writing (which they hope will live well beyond them in future generations of readers); Mitchell generates a form of writing which takes as a principle theme the good and bad consequences of this “life-drive.”

Paul Harris

Paul Harris

Paul A. Harris is a co-editor of SubStance and a professor of English at Loyola Marymount University. He served as president of the International Society for the Study of Time from 2004-2013 and edited the recent SubStance issue David Mitchell in the Labyrinth of Time.  His current project is The Petriverse of Pierre Jardin.

Patrick O'Donnell

Patrick O’Donnell

Patrick O’Donnell is a professor of twentieth- and twenty-first-century British and American literature at Michigan State University; he is the author and editor of over a dozen books on modern and contemporary fiction, most recently, The American Novel Now:  Reading American Fiction Since 1980 (Wiley-Blackwell, 2010), and A Temporary Future: The Fiction of David Mitchell (Bloomsbury, 2015).  He is currently working on a book about Henry James and contemporary cinema.

Remembering Jean Sue Libkind

Jean Sue Johnson Libkind. Photo by Robert Libkind.

Jean Sue Johnson Libkind. Photo by Robert Libkind.

In Memoriam, Jean Sue Johnson Libkind, former marketing manager of the University of Wisconsin Press

JEAN SUE JOHNSON LIBKIND, retired publishing executive and literary agent, died Oct. 17, 2015 at Penn Hospice at Rittenhouse, Philadelphia. Mrs. Libkind, 71, had resided in Philadelphia since 1984.

Mrs. Libkind, born in Racine, Wisconsin, operated a literary agency in Philadelphia, the Bookschlepper, representing university and academic publishers in the management of subsidiary rights. After graduation from Park High School in Racine, she earned a bachelor of arts degree in journalism in 1966 from the University of Wisconsin-Madison. She attended the university on a scholarship from Western Printing of Racine, the publishers of Golden Books, where her father was a staff artist. She also attended summer school at the University of Oslo, Norway. While at the University of Wisconsin, she was managing editor of the student newspaper, the Daily Cardinal. She also served as a board member of the Daily Cardinal Alumni Association.

Before starting her own agency, she was director of publishing operations for the Jewish Publication Society in Philadelphia, and before that worked as a marketing manager for the University of Pennsylvania Press, the University of Georgia Press, and the University of Wisconsin Press. She had also served as managing director of Worldwide Books in Ithaca, New York. Her professional affiliations included Women in Scholarly Publishing, of which she was a founding member, the Philadelphia Publishers Group, Women in Communications, and the Madison Press Club.

She was among the founders and later president of Friends of Eastern State Penitentiary Park, which improved the neglected property outside the walls of the historic prison in Philadelphia’s Fairmount neighborhood. While a resident of Madison, Wisconsin, she was president of seven after school day care centers. She was a member of the Unitarian-Universalist Fellowship of Athens, Georgia, and was until her recent illness active with the First Unitarian Church of Philadelphia, including its women’s book club.

She was preceded in death by her son, Eric David Spradling; her father, John B. Johnson; her mother, Jean Barr Johnson; and step-mother, Loretta Richards Johnson. She is survived by her husband, Robert L. Libkind, as well as aunts and cousins in Wisconsin, Alaska and Norway.

In lieu of flowers donations may be made to the American Heart Association.

Jean Sue has asked that the following be sent to all her friends in the event of her death:

My apologia,

Like a bird on a wire, like a drunk in a midnight choir, I have tried in my way to be free. 

If I, if I’ve been unkind, I hope that you will just let it go by, and if I, if I have been untrue, I hope you know that it was not to you. 

I saw a man, a beggar leaning on his crutch. He said to me, “Why do you ask for so much?” There was a woman, a woman leaning in a door, She said “Why not, why not, why not ask for more?’

Like a bird on a wire, like a drunk in a midnight choir, I have tried in my way to be free.

— Leonard Cohen.

Here are some things you’ve heard me say; I call them “GienTsu-isms”—

  • It is not enough to survive. One must do it with a sense of style, a sense of grace and a sense of humor.
  • The mark of a civilization is how it treats its old, its young and its ill. We are barbarians.
  • “If you give a child a love of reading and teach him to read with ease, the child can learn anything.”
  • Romance doesn’t end in a marriage; the love evolves into something far deeper than mere romance with a bit of whimsy emerging every once in a while, just for fun.
  • It is not enough to practice what you preach; you must have the courage to preach what you practice.
  • It’s that damn “Y” chromosome: the leg of the Y gets caught in a man’s ear and he can’t hear what you’re saying.
  • There are twenty people in the world and everything else is done with smoke and mirrors.
  • The good news about the human race is that 99.9% of the people are doing the best they can; the bad news is that 99.9% of the people are doing the best they can.
  • A bird in the hand leaves a messy palm.
  • I earned every one of these wrinkles and gray white hairs.
  • I’m an old woman and I can do what I want.
  • The opinions of those who wish you well matter; the others can go to hell.
  • It is easier to ask for forgiveness than beg for permission.
  • Every time I see the light at the end of the tunnel, it’s some damn gnome with a lantern.
  • She’s got Bette Davis eyes; I’ve got Madelyn Albright’s hair.
  • Most policies are like fire hydrants. Everybody wants to leave his/her mark.
  • Subset: There is always a Chihuahua who thinks he is a Great Dane..
  • In case of an emergency, call an ambulance.
  • When the organic material impacts with the ventilating device, have a beer and remember the good times.

With love and affection—Jean Sue

  • Remember: No place is safe: Mrs. Elizabeth Anne Hewelett Hodges, 32, was asleep on the living room couch when a nine-pound meteor came through the roof of her Sulacauga, Alabama house, bounced off the radio and struck her hip (November 30, 1954). She was bruised; the radio did not survive.

Recent Book Awards and Honors

Click on the book covers for more information on each book.


Rigoberto González, author of the UW Press books Butterfly Boy and Autobiography of My Hungers  *  Awarded the Bill Whitehead Award for Lifetime Literary Achievement by the Publishing Triangle


The CitNava-picy of Palaces: A Novel by Michael Nava
Winner, International Latino Book Award for Latino Fiction, Latino Literacy Now  *  Second place, International Latino Book Award for Historical Fiction, Latino Literacy Now   *   Finalist, Gay Fiction, Lambda Literary Awards

Archiving the Unspeakable: Silence, Memory, and the Photographic Record in Cambodia by Michelle Caswell Caswell-pic
Winner, Waldo Gifford Leland Award, Society of American Archivists 5210-165w


Understanding and Teaching U.S. Lesbian, Gay, Bisexual, and Transgender History, edited by Leila J. Rupp and Susan K. Freeman
Winner, Lambda Literary Award for LGBT Anthology

My FavorJoanne Diazite Tyrants by Joanne Diaz
Winner, Midwest Book Award for Poetry, Midwest Independent Publishers Association

Otherwise Unseeable by Betsy Sholl

Winner, Maine Literary Award, Maine Writers and Publishers Alliance


The Sleeve Waves by Angela Sorby
Outstanding Achievement in Poetry Award, Wisconsin Library Association  *  Honorable Mention, Edna Meudt Poetry Book Award, Council of Wisconsin Writers

The Offense of Love:5302-165wHejduk-Julia-2014-165t Ars Amatoria, Remedia Amoris, and Tristia 2  by Ovid, translation by Julia Dyson Hejduk
Finalist, National Translation Award, American Literary Translators Association

5251-165wMcLean-Susan-2014-165t Selected Epigrams by Martial, Translated by Susan McLean
 Finalist, Literary Translation Award, PEN Center USA

Living a Land Ethic: A History of Cooperative Conservation by Stephen A. Laubach
Finalist, Midwest Book Award for Nature, Midwest Independent Publishers Association  *  5201-165w
Finalist, Midwest Book Award for History, Midwest Independent Publishers Association


Assault with a Deadly Lie: A Nick Hoffman Novel of Suspense by Lev Raphael5306-165w  Raphael-Lev-2014-165t

Finalist, Midwest Book Award for Mystery/Thriller Fiction, Midwest Independent Publishers Association

Toni Gunnison named Journals Division Manager at University of Wisconsin Press


Toni Gunnison (photo by Chloe Lauer)

Toni Gunnison
(photo by Chloe Lauer)

After a national search, Toni Gunnison has been appointed manager of the Journals Division at the University of Wisconsin Press. Gunnison first joined UWP as journals marketing manager in 2007. Since March 2015 she has served as interim journals manager, following the departure of Jason Gray, who left to join the staff of the Association of Writers and Writing Programs.

The University of Wisconsin Press currently publishes fifteen journals covering a broad range of humanities, social science, and STEM areas. Titles include American Orthoptic Journal, Arctic Anthropology, Contemporary Literature, Ecological Restoration, the Journal of Human Resources, Land Economics, Landscape Journal, Luso-Brazilian Review, Monatshefte, Native Plants Journal, and Substance. The newest journals, put under contract during Gunnison’s tenure as interim journals manager, are Constitutional Studies, African Economic History, Ghana Studies, and Mande Studies.

“Toni is a strong leader whose skills, experiences, and vision for the future will greatly benefit the University of Wisconsin Press,” says Dennis Lloyd, director of UWP. “I am looking forward to working with her. Her knowledge of what the Journals Division has been—and what it can be—is unparalleled.”

Over the past eight years, Gunnison has handled diverse assignments for UWP, including journal and books marketing, project management for website and database renovations, and serving as liaison to content-hosting platforms such as HighWire, JSTOR, and Project MUSE.

As chair of the Digital Committee of the Association of American University Presses for the last two years, Gunnison is well versed in issues facing academic publishers as digital content continues to evolve.

“Our journals are in a strong position to face the changes in academic publishing. We’re eager to use our expertise as publishers to help journal editors and their staffs adapt to new ways of working, as well as making journal content more accessible and visible,” Gunnison noted.

At the University of Wisconsin–Madison, Gunnison has served on several search committees and on the Equity and Diversity Committee of the Office of the Vice Chancellor of Research and Graduate Education.

Atticus Finch and Witnessing Whiteness

Reposted from the blog MoralesWrites by Jennifer Morales

Jennifer Morales

Jennifer Morales

Jennifer Morales is on a national book tour for her fiction collection, Meet Me Halfway: Milwaukee Stories (UW Press), and having conversations about race in America

Tuesday was the first time on the Meet Me Halfwaybook tour when the travel schedule, the weather, and our health aligned to allow me and Keren to get out with the “Please Talk With Me About Race” sign. The sign is about 4 feet tall and is painted with black lettering on a white background. We have a 1×4 to prop it up so passersby can read it easily.

We looked for an area of St. Louis that had two things: diverse foot traffic and a laundromat. (It’s Day 6 and we were running out of underwear …) While the clothes spun in the washer, we drove down S. Grand Avenue to find a good place to set up shop. There was a little pocket park in the middle of a row of restaurants, Ritz Park, run by the local business improvement district. It had concrete benches near the sidewalk where diners, students, and others were going by. So when the laundry was dry, we went back there.

I settled myself in on one of the benches with the sign next to me and put on my “door face” — the open, welcoming, cheerful face I used to wear whenever I rang a doorbell during voter outreach on the campaign trail.Meet Me Halfway

I took notes on each interaction we had — from the African American studies professor who outlined the racial divisions in St. Louis County for us, to the white man who flew by saying, “I’m late for a meeting but I’m so glad you’re doing this,” to the black homeless Army veteran who told us how he lived and worked odd jobs in this neighborhood “365 days a year” but was still regularly arrested by white police officers for no reason at all.

But I want most to talk about Gordon. He is a 30-year-old African American man, currently down on his luck and couch surfing. When I asked him if he would talk with me, he looked at my “Please Talk With Me About Race” and said, “Sure, as long as you’re talking about how to end it. As long as it’s for good.”

After he told me familiar stories about his dealings with cops — don’t gather in groups larger than two, try to stay by older folks if possible, walk away slowly if you see a white cop coming but don’t let him know you saw him — I asked Gordon if he thought the state of racial dialogue was better or worse since the death of Mike Brown in Ferguson.

Jennifer in a St. Louis pocket park with the "Please Talk With Me About Race" sign.

“Definitely worse,” he said. The people in the mostly white areas of the county were using the protests that followed Brown’s death as further reason to look down upon and shut themselves away from young black men like Gordon.

I asked him what he thought would change things for the better. He thought for a short minute and said, “It’s going to take time, all of us being human and all. It’s going to take time.”

He paused and then pointed to organizing. He called on the “old heads” to help the younger generations focus their protests in the most powerful and effective ways. But he acknowledged the importance of mass protest to make the case for justice, regardless. “Dr. Martin Luther King didn’t do it all himself. It was a lot of people over a lot of years.”

Finally, he mentioned white allies speaking up. He had recently seen an old movie about a black man charged with rape and the white lawyer who defended him.

“To Kill a Mockingbird?” I suggested.

“Yeah, that was it. White people have to get to the point of saying ‘This is wrong.’ That white lawyer knew the guy didn’t do it, so he stood up.”

Read more of Jennifer Morales’s blogs from her tour, talking about race in America at

Margaret Beattie Bogue named recipient of the first Frederick Jackson Turner Award

The Midwestern History Association this week announced the winner of its first annual Frederick Jackson Turner Award, bestowed on an individual for lifetime service to Midwestern history. The honor is conferred upon Margaret Beattie Bogue, professor emerita of history and liberal studies at the University of Wisconsin–Madison.

Margaret Beattie Bogue

Margaret Beattie Bogue

Bogue joined the University of Wisconsin Extension program in 1966 and later the Department of History at UW–Madison. Her research interests have included the fisheries and wetlands of the Great Lakes region as well as Midwestern agricultural and environmental history.

The Midwestern History Association was formed in 2014 to advocate and support greater attention to Midwestern history among professional historians. Bogue is the first recipient of this new award, which will be presented April 17th at the annual meeting of the Midwestern History Association in St. Louis, in conjunction with the Organization of American Historians conference.

“The Midwestern History Association is proud to confer the first Turner Award upon Professor Bogue, who has been a long-time leader in studying the American Midwest, especially its deeply agrarian character and the decisive role of the Great Lakes in the region’s development,” said Jon K. Lauck, president of the association.

BogueFishingBogue’s definitive history of the decline of the Great Lakes’ fisheries—Fishing the Great Lakes: An Environmental History, 1783–1933 was published in 2000 by the University of Wisconsin Press and received national and regional awards, including the Wisconsin Library Association’s Outstanding Achievement book award. She also brought the rich local histories of the Great Lakes region to the general public through two guides to historic sites: Around the Shores of Lake Michigan and Around the Shores of Lake Superior, also both published by UW Press. In her 2007 second edition of the Superior book, she added historical essays on the Ojibwe presence, French exploration, industry on and around the lake, and the impact of this human history on the natural environment, garnering that book several awards, including the Award of Bogue_LakeSuperiorLGMerit for Leadership in History from the American Association for State and Local History. Her first book, in 1959, was Patterns from the Sod: Land Use and Tenure in the Grand Prairie, 1850–1900 (Illinois State Historical Library).

“Margaret Bogue does meticulous research and analysis, but she makes her work accessible to general readers as well as scholars. She’s always been active in bringing history to the citizens of the Midwest and Great Lakes regions,” noted Gwen Walker, editorial director of the University of Wisconsin Press.

The Turner Award is named for the prominent historian Frederick Jackson Turner, whose famous 1890 lecture on the influence of “the frontier” on American identity considerably shaped the historiography of the Midwest and the broader field of U.S. history. Turner was born in Portage, Wisconsin, in 1861 and earned his BA from the University of Wisconsin in 1884. His essays on regionalism and the American Midwest won the Pulitzer Prize in history in 1933. As a professor at the University of Wisconsin and later at Harvard, Turner trained many historians and helped shape many fields of historiography. Perhaps his greatest contribution to the discipline of American history was his focus on Midwestern history, an emphasis that was carried on by his many students.

The members of this year’s Frederick Jackson Turner Award committee are Pamela Riney-Kehrberg of Iowa State University, Brian Hosmer of the University of Tulsa, and Jane Pederson of the University of Wisconsin—Eau Claire.

Christina Stoddard talks about poetry, Mormonism, feminism, gang violence, and revenge

Christina Stoddard is the author of the poetry collection HIVE, for which she is the winner of the 2014 Brittingham Prize in Poetry. Hive has just been published by the University of Wisconsin Press. We spoke with Stoddard about this fierce debut collection of poems about brutality, exaltation, rebellion, and allegiance.


I needed to write a poem that was absolutely boiling over with rage.

Where did the title of the book come from? Why Hive?   Beehives are actually an important symbol in Mormon culture, and have been dating back to pioneer times. The exact reason why is not known for sure, but there are a few theories. One is that honeybees embody many qualities that the Church teaches its members to prize: harmony, industriousness, order, communal labor. Everyone performing their assigned role and everyone working together for the common good. Bees are cohesive and single-minded, not individual. Bees don’t deviate from the path they’re given—and thematically that is perfect for my book, which is about a teenage girl who is doing exactly that: deviating from the path she’s supposed to follow. Utah’s nickname is the Beehive State—even though they don’t really raise bees there and Utah doesn’t produce a lot of honey.

I gather from the book that you did not grow up in Utah, however.   No, I didn’t. I was born in the Pacific Northwest and grew up in Tacoma, WA, which is where the book is set. But my father is from Utah, and we visited relatives there often, so I’m familiar with a few cities in Utah.

How long did it take you to write the book?  That’s a little difficult to answer, because I spent many years

Christina Stoddard

Christina Stoddard

trying to write it and mostly failing. Originally what I produced weren’t poems, they were more like polemics. I was a very angry person in my teens and twenties, and I had to work through that anger first. A few of the poems have existed in some form for more than a decade. But most of the book was written over a period of three years, 2010 to 2013, after I had taken some creative writing workshops from poets Claudia Emerson and Ellen Bryant Voigt. Those women gave me the keys that unlocked everything else.

What sorts of keys?  I took a summer workshop at the Sewanee Writers’ Conference, from Claudia Emerson, and when she read the group of poems I had turned in for class, Claudia basically told me that it seemed like I was phoning it in. She said I wasn’t pushing myself in either form or subject matter, and she challenged me to do better.

Really?  Yes. That hurt at first, certainly, but I decided there were two options: I could either give up and go sulk in the corner, or I could fling myself off a cliff of experimentation and see what happened. I chose the cliff. I started trying to write lyric poems, whereas previously my style had been very chatty, straightforward and plain, very rooted in story, what are often called narrative poems. A narrative poem has a beginning, middle, and end, and there’s usually a lot of context about what’s going on.

I took that new lyrical work and applied the next summer to the Bread Loaf Writers’ Conference. I had no idea if the poems were any good—they were way outside of my comfort zone. But I got accepted, and I took a workshop with Ellen Bryant Voigt. Ellen once  . . .  Full interview continued here (more…)

Jan Vansina, pioneering historian of Africa, receives lifetime achievement award from AHA

For reclaiming the “unknowable” history of Africa in seven landmark books from the University of Wisconsin Press

Jan Vansina.  Photo by Catherine A. Reiland / African Studies Program, UW-Madison. Used by permission. All rights reserved.

Jan Vansina. Photo by Catherine A. Reiland / African Studies Program, UW-Madison. Used by permission. All rights reserved.

Jan Vansina, one of the world’s foremost historians of Africa who literally wrote the book on using Oral Tradition as History, was honored at the January 2015 convention of the American Historical Association with its Award for Scholarly Distinction. The honor is awarded for outstanding lifetime achievements in the field of history. Vansina was cited in particular for his many innovations in scholarly methodology, institution-building, and mentoring.

Vansina is considered one of the founders of the field of African history in the 1950s and 1960s, a time not so long ago when there was still a widely held view that cultures without written texts had no history, or that their history was unknowable. Up to that point, “African” historiography focused entirely on the history of European colonizers in Africa, not on the history of Africans.

Vansina was an early recipient of the “Distinguished Africanist” award by the African Studies Association of the United States, and in 2000 he was elected a member of the American Philosophical Society.

In an interview with the University of Wisconsin Press, where he has now published eight books over the course of fifty years (seven on Africa and one on his Belgian childhood), Vansina looked back at how his books published by UWP have influenced the study of Africa’s history, both within Africa and around the world.

“My own case shows that the kind of specialized scholarly books published by university presses typically lead to further research by others and do so for a whole generation or longer. In a field that is new, such as African history was when I began, university presses publish specialized works of scholarship that commercial publishers take no interest in. And I have found that just placing research findings in archives is not enough: publication is absolutely essential to the advancement of research. Indeed, I would argue that university presses are as essential for research in the humanities and social sciences around the globe as are laboratories for research scientists.”

As a young employee of a Belgian research agency sent to the Congo in 1952, Vansina discovered that he could analyze the oral tradition stories he heard from Kuba informants by using the same methods he had learned for extracting historical information from European medieval dirges. This was a historiographical breakthrough that gave the study of pre-colonial African history both the scholarly justification and the self-confidence it had been lacking.

Vansina recalls the impact of his first book with UW Press in 1966, Kingdoms of the SavannaSavanna

“It was a preliminary historical overview of an area and period in Africa that was little known in academic circles at that point. It was quickly translated into French and published in Kinshasa, and it won the Herskovits Prize for best book from the African Studies Association.”

Although historians were accustomed to studying kingdoms, the book used a very innovative mix of oral and written sources to provide a history of pre-colonial kingdoms in central Africa. At the time, a review of the book in the American Historical Review recognized Vansina’s innovation:

“This signal contribution to African history, and the writing of history more generally, has emerged from the scholarship of one who is ranked by many as among the foremost of the contemporary historians of sub-Saharan Africa.”—American Historical Review

“Over the next twenty-five years or so,” Vansina remembers, “several scholars were inspired by the book to pursue their own research in the past of the various kingdoms I wrote about, so that by the year 2000, individual monographs had been written about nearly all the major kingdoms of the southern savannas (at least five in RD Congo, three in Zambia, and three in Angola).

The impact of Kingdoms outside academia was rather colorful, Vansina recalls. “In Central Africa many in the Congo read it, and it became coveted underground reading for those in the Angolan insurrection against their Portuguese overlords. Its popular impact was especially strong in the lower Democratic Republic of Congo (or RD Congo), where local demand has been strong enough to produce a translation in Kikongo around 1990 and another one in Lingala. In the 1970s there was even a local church calling itself ‘The Church of the Kingdoms of the Savanna.’ ”

In 1978, Vansina published a scholarly monograph, The Children of Woot, on the history of a single kingdom in RD Congo. He comments, “The one completely new feature for a history book was the inclusion of its long lexical appendix, as essential to the argument. A monograph like this is not expected to have a host of readers when it is published but it is expected to attract small numbers of researchers for many years thereafter. Thus even today this book and especially its data have not been superseded by anything else.”

Oral Tradition as HistoryOral Tradition as History, a methodological work published in 1985, is Vansina’s book that is most widely known and used in fields beyond African history. “It is a manual about how to handle a certain kind of oral history worldwide, not just in Africa. Some twenty-five years earlier as a young man, what I had written about oral tradition had made a splash and led to extensive debates. This new book was a complete reworking that took into account valid observations made by critics, but still showed the extent to which oral histories of this sort could be relied upon. It has had an active life. For example, it was recently translated into Indonesian Malay.”

Vansina continued to innovate with his book Paths in the Rainforests (1990), a historical overview built primarily on linguistic and archaeological data reaching more than two thousand years into the past. It attempted a history of the peoples in the Central African rainforests, a large area that had been written off as “without history.”

“But I wrote it as history, introducing new concepts, and included a very large appendix showing the results of comparativePaths linguistic data. No one had ever attempted anything similar, certainly not on that scale, and this book was therefore a bit of a gamble, but it convinced most social anthropologists and archaeologists. I am gratified that from that time onward it has served as an incentive for much further research by others. This year an archaeologist wrote me to say that his discoveries conformed to the predictions the book had made. The most important results of Paths in the Rainforests, though, have been in the field of history, where others have now used similar techniques in their own work, including very deep historical research on the Great Lakes region of East Africa.”

“Until the publication of Paths in the Rainforests, it was difficult to make more than superficial attacks on the widespread myth that Central African peoples live in ‘impenetrable jungles as their ancestors have lived for thousands of years.’ . . . Jan Vansina’s Paths makes a truly significant contribution to African history by providing a solid framework for the description and integration of a millennium of evolution of the many societies of the vast rainforests.”—Curtis A. Keim, African Studies Review

Living AfricaAs the field of African history matured, Vansina was one of the first to look back at it in a combination historiography and memoir, in his 1994 book Living with Africa. David Henige, longtime African studies librarian at the University of Wisconsin–Madison and co-editor of a UW Press book series in African studies, commented on the significance of the memoir.

“Jan Vansina’s academic career is virtually simultaneous with the field of African history itself. His centrality in the burgeoning field in the 1950s and 1960s was so intense that he was actually called a ‘Culture Hero’ in print, after the anthropological concept that a single figure epitomizes in the collective memory an entire epoch.” —David Henige, University of Wisconsin

Also in 1994, the horrific violence and mass killings in Rwanda returned Vansina’s attention to research he had done in Rwanda from 1957 to 1961. The rich and extensive documentation he had collected was available in an archive there, but no one had made use of it for publications.

Antecedents to Modern Rwanda“I knew from that research that Rwanda’s past, and historical memories of that past, were quite relevant to a fuller understanding of the genocide and people’s motivations. I also felt that knowledge of Rwanda’s pre-colonial history could contribute to political choices about its future.

So, I first wrote a book in French about the main social and political developments of the country, directed as much towards Rwanda’s governing elite as towards historians. But the new elite came mostly from Uganda and used English, not French. So I translated the work into English and UW Press published it as Antecedents to Modern Rwanda in 2004.”

“Though its narrative and its major interpretations have been accepted by most academics, and also led to the publication of two academic debates about its significance, in Rwanda there is official silence about the book. It has not been formally banned in Rwanda, but the history I present runs counter to the official ideology and now also to the official history the government promulgates. But I know that actually the book has been widely read in Rwanda, even discussed, but no one will publicly admit to this. I hope that it will eventually be recognized and lead to further research in Rwanda.”

Most recently, in 2010, Vansina experimented with another new approach to African history. “Being Colonized: The Kuba Experience in Rural Congo, 1880–1960VANSINA Revised Fronts.indd, was my deliberate attempt to write a book for undergraduates. It presents the history of a colony through the eyes of a colonized people. I used sidebars and illustrations, a format still rather uncommon in works of African history. I resisted reducing the historical complexity of the period to simple formulas. The anecdotal evidence so far has it that while most students like it, many find all those names and the very complexity of the history a bit overwhelming as well. But I hope it will inspire others to experiment further with approaches for undergraduates that will open new perspectives to them.”

Jan Vansina’s legacy also includes an extraordinary impact beyond academia. When the journalist Alex Haley was researching the family history that would become his famous book Roots, a powerful and groundbreaking story of enslaved African Americans, he could find no written documents that directed him to a point of origin in Africa. Eventually, someone suggested that he contact Jan Vansina, who had been doing innovative research on African oral traditions.

Vansina suggested to Haley that the few words, names, and stories that had been passed down to Haley from an enslaved African ancestor named Kunta Kinte might be from the Mandingo people in Gambia, a culture with a very rich oral tradition recited by trained griots. Eventually Haley’s quest led him to a griot in a remote Gambian village who had memorized the history of a large, extended Kinte family. Two hours into the recitation, the griot mentioned a young man, Kunta, who went away from his village to chop wood and was never seen again. This astonishing connection was the beginning of a great movement of reclamation of African heritage by African Americans.

Thru the DayNow 85 years old and professor emeritus at the University of Wisconsin–Madison, Vansina recently published his eighth book with the University of Wisconsin Press, departing from African history to write a memoir of his youth in war-torn Belgium: Through the Day, Through the Night: A Flemish Belgian Boyhood and World War II.

“Not only a personal narration about the Flemish struggle to achieve cultural and political recognition, Vansina’s Through the Day, Through the Night is also a lesson on how history and memory work.”—Bogumil Jewsiewicki, Université Laval, Canada

But Vansina is not done yet; the rich research notes and knowledge of primary sources that he’s accumulated over a lifetime of scholarship will doubtless result in continuing innovative and influential work on the history of Africa.