Tekahionwake on Indigenous Representation in 19th C Fiction

Here is an excerpt from our appendices of the recently published Tekahionwake: E. Pauline Johnson’s Writings on Native North America.

A Strong Race Opinion: On the Indian Girl In Modern Fiction

[In this essay, Johnson attacks dominant stereotype of the “Indian maiden” and argues that writers should try to find out about real Indigenous people, rather than simply repeat the usual platitudes and phrases. Her references reveal her wide knowledge of Indigenous activism and of works about and by Native Americans published on both sides of the border. This essay was first published in the Toronto Sunday Globe on 22 May 1892.]

Every race in the world enjoys its own peculiar characteristics, but it scarcely follows that every individual of a nation must possess these prescribed singularities, or otherwise forfeit in the eyes of the world their nationality. Individual personality is one of the most charming things to be met with, either in a flesh and blood existence, or upon the pages of fiction, and it matters little to what race an author’s heroine belongs, if he makes her character distinct, unique and natural.

The American book heroine of today is vari-coloured as to personality and action. The author does not consider it necessary to the development of her character, and the plot of the story to insist upon her having American-coloured eyes, an American carriage, an American voice, American motives, and an American mode of dying; he allows her to evolve an individuality ungoverned by nationalisms — but the outcome of impulse and nature and a general womanishness.

Not so the Indian girl in modern fiction, the author permits her character no such spontaneity, she must not be one of womankind at large, neither must she have an originality, a singularity that is not definitely ‘Indian.’ I quote ‘Indian’ as there seems to be an impression amongst authors that such a thing as tribal distinction does not exist among the North American aborigines.

The term ‘Indian’ signifies about as much as the term ‘European,’ but I cannot recall ever having read a story where the heroine was described as ‘a European.’ The Indian girl we meet in cold type, however, is rarely distressed by having to belong to any tribe, or to reflect any tribal characteristics. She is merely a wholesome sort of mixture of any band existing between the Mic Macs of Gaspe and the Kwaw-Kewlths[1] of British Columbia, yet strange to say, that notwithstanding the numerous tribes, with their aggregate numbers reaching more than 122,000 souls in Canada alone, our Canadian authors can cull from this huge revenue of character, but one Indian girl, and stranger still that this lonely little heroine never had a prototype in breathing flesh-and-blood existence!

It is a deplorable fact, but there is only one of her. The story-writer who can create a new kind of Indian girl, or better still portray a ‘real live’ Indian girl who will do something in Canadian literature that has never been done, but once. The general author gives the reader the impression that he has concocted the plot, created his characters, arranged his action, and at the last moment has been seized with the idea that the regulation Indian maiden will make a very harmonious background whereon to paint his pen picture, that, he, never having met this interesting individual, stretches forth his hand to his library shelves, grasps the first Canadian novelist he sees, reads up his subject, and duplicates it in his own work.

After a half dozen writers have done this, the reader might as well leave the tale unread as far as the interest touches upon the Indian character, for an unvarying experience tells him that this convenient personage will repeat herself with monotonous accuracy. He knows what she did and how she died in other romances by other romancers, and she will do and die likewise in his (she always does die, and one feels relieved that it is so, for she is too unhealthy and too unnatural to live).

The rendition of herself and her doings gains no variety in the pens of manifold authors, and the last thing that they will ever think of will be to study The Indian Girl’ from life, for the being we read of is the offspring of the writer’s imagination and never existed outside the book covers that her name decorates. Yes, there is only one of her, and her name is ‘Winona.’[2] Once or twice she has borne another appellation, but it always has a ‘Winona’ sound about it. Even Charles Mair, in that masterpiece of Canadian-Indian romances, ‘Tecumseh,’ could not resist ‘Winona.’[3] We meet her as a Shawnee, as a Sioux, as a Huron, and then, her tribe unnamed, in the vicinity of Brockville.

She is never dignified by being permitted to own a surname, although, extraordinary to note, her father is always a chief, and had he ever existed, would doubtless have been as conservative as his contemporaries about the usual significance that his people attach to family name and lineage.

In addition to this most glaring error this surnameless creation is possessed with a suicidal mania. Her unhappy, self-sacrificing life becomes such a burden to both herself and the author that this is the only means by which they can extricate themselves from a lamentable tangle, though, as a matter of fact suicide is an evil positively unknown among Indians. To-day there may be rare instances where a man crazed by liquor might destroy his own life, but in the periods from whence ‘Winona’s’ character is sketched self-destruction was unheard of. This seems to be a fallacy which the best American writers have fallen a prey to. Even Helen Hunt Jackson, in her powerful and beautiful romance of ‘Ramona,’[4] has weakened her work deplorably by having no less than three Indians suicide while maddened by their national wrongs and personal grief. […]

[1] Mic Macs, from eastern Canada now refer to themselves as Mi’kmaq; often the west coast nations that form the Kwakwaka’wakw were referred to by the name of one of them, the Kwakiutl or Kwagulth, which Johnson does here.

[2] Winona is the name the Lakota (Sioux) traditionally gave to their first-born daughters; the name was popularized by Henry Wadsworth Longfellow’s Song of Hiawatha, where Hiawatha’s mother is named Winona.

[3] Charles Mair (1838-1927). Tecumseh: A Drama (Toronto: Hunter, Rose, 1886).

[4] Helen Hunt Jackson (1830-1885) was inspired by the Ponca activist, Standing Bear (c. 1829-1908) to take on the Native American cause. Ramona (1884), which described the mistreatment of the Native Americans of Southern California by the federal government, became a bestseller.

Professionalization within/beyond Academia

At the recent ACCUTE conference in Calgary, our English editor, Marjorie Mather, gave a talk about publishing as a career for graduate students.  A condensed version of her talk follows.

I want to begin by saying that my comments on publishing are based on my own experience at Broadview Press, a single independent, Canadian, academic publisher. My advice may not apply to all kinds of publishing careers, but I hope that it will still be useful!

Broadview is an academic publisher in the Humanities. We publish editions, anthologies, and textbooks in English, Philosophy and History. Our publishing is primarily for course adoptions; we don’t publish new fiction or poetry, and our books have a small general readership, though they are often read by scholars as well as students. We also publish very few truly scholarly books, such as original monographs or hardcover editions intended for libraries.

Broadview currently employs 29 people across Canada in editorial, permissions, production, sales and marketing, distribution, and accounts. The majority of our hires in editorial, sales, and marketing have Master’s degrees, but we also hire people with Bachelor’s degrees (like me!) and PhDs, as well as a few people who began doctorates but then decided to leave academia.

Our editorial hires are primarily for acquiring and managing editor positions, as our copy-editing and proofreading are done by freelance academic editors. We also have one full-time and two part-time developmental editors on staff; they write content for our books and companion websites and also do more substantive editing work where needed. Our acquiring and assistant editors do market research, review book proposals, contact potential authors, and work with our production team to manage books as they go through production.

Though many bookish people focus on editorial positions when they think about a career in publishing, you might want to consider other aspects of the industry, such as book production or sales and marketing. These jobs can be rewarding, and they provide a lot of opportunities to engage with and talk about books. They can also be a good way to get a feel for the industry.

From Academia to Publishing: Transferable Skills

What academic skills and experience are especially transferable to publishing?

  1. This might be obvious, but academic knowledge. A broad understanding of an academic discipline—being able to identify key scholars, exciting new ideas, and recent scholarly trends—is a real asset.
  1. Research. Research is extremely important to editorial work, but also to sales and marketing jobs. If you are creative, persistent, and smart about finding information, it can give you an advantage in publishing, where you might need to track down an elusive potential author, the copyright holder of an obscure work, or a professor who might adopt our books but is never in her office.
  1. Interpersonal skills. How do you take criticism? Can you give constructive feedback to others and express yourself in a clear and diplomatic way? Can you adapt to new situations and ideas? These are all skills that graduate seminars, and working with peers and with a supervisor, can teach. Publishing is a collaborative industry, and this kind of experience is valuable.

When applying for a job, it helps to emphasize these skills along with your research achievements —this makes it easier for us to see how your hard work in graduate school can translate into a job in publishing. I have mixed feelings about résumés that emphasize skills at the expense of biographical facts, but your cover letter is a good place to tell a story about how your experience contributed to your skills. I’ll also note that a passion for literature and love of reading are wonderful things, but not unique assets in this field!

What academic skills and attitudes might be less relevant to a publishing career?

  1. Working independently. Graduate study can be collaborative and co-operative, but it can also be competitive and sometimes isolating. Shifting gears from a focus on your own research goals to the shared goals of a company can be a challenge. When working in publishing it will also be necessary to ask for help and to constantly rely on others’ skills and knowledge. In my experience, this is true of senior employees as well as those at the entry level.
  1. Investment in your own scholarly project or interest. We often need to separate the inherent value of a book or text from its marketability. All of us at Broadview get excited about works that have intriguing subject matter or are important to literary history—many of the successful works in the Broadview Editions series fall into these categories. But we have to remember that this excitement doesn’t always translate into course adoptions, and we sometimes have to let go of our personal attachment to a project that might not be marketable.
  1. Writing for a scholarly audience. At Broadview, most of the writing we do is professional: interoffice emails, memos, editorial board packages, and sales emails. Our developmental editors write for a student audience, drafting author headnotes and other apparatus. Editors create marketing copy for catalogues and the website, and our marketing team sends newsletters and posts on social media. It can be tough to adapt to these different audiences after years of writing scholarly papers and grant proposals. Practicing in some non-academic styles can keep your writing muscles limber; writing blog posts, crafting informal presentations, and even creative writing can make it easier to shift out of the scholarly voice later.

Do You Want to Work in Publishing?

Academic publishing is a highly collaborative, complex, and often fast-paced business. If your fantasy is of working with manuscripts and exploring texts in depth, the career may not be what you expect. For many of us the job involves a lot of meetings, a lot of spreadsheets, and a lot of business travel. It can also be limiting in terms of geography, with many Canadian publishers (but not all!) based in the Toronto area.

But it can also be an extremely engaging and varied career—there are always surprises and unexpected challenges. There is often room for professional growth and upward mobility within a company (I started as a temporary email sales rep, as did many other full-time staff members). I have been with Broadview for 12 years and can honestly say that I learn new things almost every day—about the business and the industry as well as about the fields in which we publish. I also work with smart, collegial, amazing people: colleagues, authors, and other publishers. I hope that you all go on to the academic jobs of your dreams, but if you are thinking of another path, academic publishing can be a great way to use skills acquired in graduate study.

Copyright in Canada: The Damage Caused by Unfair Interpretations of “Fair Use”

Originally published in The Hill Times on Wednesday, April 6, 2016
http://www.hilltimes.com/2016/04/06/unfair-interpretation-of-fair-use-damaging-publishing-industry/57277

A significant part of the debate about copyright in Canada is over the question of whether authors and publishers are in fact being hurt by educational institutions refusing to compensate them for the use of copyrighted material.

The background here needs to be filled in. Many Canadian universities have interpreted a 2012 Canadian Supreme Court “fair use” ruling (regarding the use of “short excerpts” in classrooms) to mean that copyrighted works such as poems, short stories, and plays may be used in photocopied or digital coursepacks for students, without any compensation being paid to authors or publishers (provided each work is copied from a text or collection in which it comprises no more than 10% of the whole); instructors are thus encouraged to assemble their own entire anthologies for use in their classes—again, with no compensation whatsoever provided to the authors or copyright holders.

The extent of the damage caused by this interpretation of the law by educational institutions shouldn’t be exaggerated; the financial health of authors and publishers in Canada is not, of course, entirely dependent on payments for use of copyrighted material. But is the change hurting Canadian authors and publishers? There can be no question about that.

Let me provide some detail so far as Broadview Press is concerned. Although we at Broadview have managed to make at least a tiny profit in each of the years since 2012, in most of those years it’s been in the range of $50,000-$100,000—and we estimate the effect for us will be at least $100,000 annually if the universities’ interpretation of the Court’s decision (involving what seems to us to be an egregious distortion by Canadian universities of the meaning of the words “short excerpts”) becomes universal across Canada. Already we estimate we are damaged to the tune of at least $50,000 annually by this interpretation having become as widespread as it has.

Thus far we have continued to publish 40-45 titles per year, and we will certainly remain in business for the foreseeable future. The danger is not that we will disappear as a publisher, but that our publishing program will become far smaller, far less interesting, and far less culturally significant. If we do receive reasonable compensation (whether in the form of a per copy fee or an overarching per student fee for all coursepack and related uses), we can continue to justify publishing culturally valuable but commercially iffy collections such as Native Poetry in Canada and Introduction to Indigenous Literary Criticism in Canada—as we would certainly like to do! (We also like to keep prices very reasonable–unlike some other publishers of post-secondary textbooks, sad to say.) But if we receive no compensation whatsoever, we simply can’t continue to publish books of that sort; we cannot work for free. In that case we will simply have to focus more on publishing introductory composition texts and introductory logic texts that are less susceptible to being pillaged for “short excerpts.” Such books are, I think it’s fair to say, on average of less cultural value. But if the only way we can pay the bills is by publishing a steady diet of books of that sort, I’m sure that’s what we’ll do.

I should also make clear that we are not the sort of press that regards any and every protection of copyright or extension of copyright as being in the public interest. Another vitally important copyright issue on the table now in Canada is the Trans Pacific Partnership; if that agreement is ratified, copyright restrictions in Canada will go from 50 years after the death of the author (already too long, in my opinion) to a full 70 years after the death of the author, thereby preventing for an additional generation the publication of competing editions of literary classics—editions that can often be of immense cultural and pedagogical value.

Finding an appropriate balance in copyright issues is not easy. But in one direction it is surely unfair to simply not compensate authors and publishers of copyrighted material that is used to put together what are, in effect, entire textbooks. And in the other direction it is surely not fair to make it impossible to publish competing editions of century-old works, so that an author’s great grandchildren (or a corporation such as Disney, if copyright is held by an organization) can still retain an exclusive hold on all publication rights of a work that should have long ago entered the public domain.

Don LePan
CEO and Company Founder, Broadview Press

The Paradox of the Heap, from John L. Bell’s Oppositions and Paradoxes

In Oppositions and Paradoxes John L. Bell explores a variety of mathematical and scientific paradoxes with philosophical precision, while retaining a great sense of humour in his investigations. In this excerpt, Bell formulates and works through “The Problem of the Heap,” asking: how many grains of sand does one need to make a heap, exactly?

The paradox of the heap or sorites paradox (from the Greek sōritēs “heap”)—attributed to the ancient Greek philosopher Eubulides of Miletus—arises from the vagueness of certain predicates in ordinary language. In a typical formulation, we consider a heap of sand, from which grains are removed one by one. The paradox arises when one considers what happens when the process is repeated sufficiently many times. For suppose we make the natural assumption that, if we remove a single grain from a heap, we are still left with a heap. Then eventually just a single grain remains: is it still a heap? Or are even no grains at all a heap? If not, when did the heap change into to a non-heap?

We can turn the paradox on its head by starting with a totally bald man, and, noting that any man with just one more hair than a bald man is still bald, conclude that every man must be bald. For a man with no hair is bald, so a man with just one hair is bald, and thus a man with two hairs is bald, … whence a man with any number of hairs is bald.

A related formulation of the paradox is to suppose given a set of coloured chips such that the variation in colour of two adjacent chips is too small—a difference in wavelength of 1 nanometre say—for the human eye to be able to distinguish between them. Suppose that the first chip is coloured violet, which has a wavelength of about 400 nanometres, and the last chip is coloured red, with a wavelength of 650 nanometres. If we assume, as in the case of the bald man, that a chip whose colour differs in wavelength by one nanometre from a violet coloured chip would still be seen as violet, then the ‘bald man’ argument leads to the conclusion that the red chip would also have to be seen as violet.

The paradox can be reconstructed for a variety of predicates—all of which can be seen to be vague—for example, with “short,” “poor,” “young,” “red,” and so on.

A natural response to the paradox is to introduce a “fixed boundary” to the concept of heap by defining a “heap” to be a set of grains containing at least a certain fixed number—10000, say—of grains. In that case, a set of 9999 grains is not a heap but one of 10000 is. This seems unnatural since there would appear to be little significance to the difference between 9999 grains and 10000 grains. Wherever the boundary is set, it remains arbitrary. A more acceptable, if radical solution would be to call any collection of two or more a heap!

The paradox can be given a striking formulation by generalizing the colour example above. Suppose that we have a set S of things—colours, collections of grains of sand, people—on which is defined arelation I which we shall call indistinguishability. So for two elements a and b of S, a and b will be in the relation I—which we write as aIb—if and only if a is indistinguishable from b. We shall suppose that I is reflexive—for any a, aIa—and symmetric—for any a, b, aIb if and only if bIa. Let us call a property (or predicate) P defined on S vague if it is preserved under indistinguishability, that is, if aIb and P(a) then P(b) (in words: anything indistinguishable from something with the property P also has the property P). Let us say that two elements a, b of S are connected if there is a sequence a0, …, an of elements of S such that a0 = a, an = b and, for each i, ai,Iaii+1. Call S connected if each pair of elements of S are connected.

Suppose now that S is connected. Then, for any vague property P on S, if some element of S has P, then every element of S has P. To see this, suppose that a is an element of S such that a has the property P—we write this as P(a)—and let b be an arbitrary element of S. Then since S is connected, there is a sequence a0, …, an of elements of S such that a0 = a, an = b and, for each i, ai,Iaii+1. Now since P(a), i.e., P(a0) and a0Iai1, it follows from the vagueness of P that P(a1). From this it follows similarly that P(a2), whence P(a3) and so on. Finally we obtain P(an), i.e., P(b). Since b was arbitrary, we conclude that every element of S has P.

From this we infer that a vague property either applies to everything, or it applies to nothing. For example, consider the case of the vague predicate “bald” or better, baldish. Here S is the set of (heads of) men and I is the relation of differing by at most one hair. Then, if there is at least one baldish man, all men are baldish—including Brad Pitt. If, on the other hand, there is at least one nonbaldish man, then all men are nonbaldish—including Bruce Willis.

New to the Broadview Anthology of British Literature: Thomas Dekker’s Plague Pamphlets

Broadview recently released a third edition of The Broadview Anthology of British Literature Volume 2: The Renaissance and the Early Seventeenth Century. As with all new editions of our anthology, the third edition of Volume 2 features exciting new material. In this entry of the Broadview Blog, we present a sample of this material: two excerpts from The Wonderful Year, Thomas Dekker’s pamphlet chronicling the plague that struck London in the year of Elizabeth I’s death. A comprehensive list of additions to the anthology—and to its companion website “BABL Online”—also appears below. More information about The Broadview Anthology of British Literature is available here.

From Dekker’s The Wonderful Year, on the plague in the city and the country:

In this pitiful (or rather pitiless) perplexity stood London, forsaken like a lover, forlorn like a widow, and disarmed of all comfort: disarmed I may well say, for five rapiers[1] were not stirring all this time, and those that were worn, had never been seen, if any money could have been lent upon them, so hungry is the ostrich[2] disease, that it will devour even iron: let us therefore with bag & baggage march away from this dangerous sore city, and visit those that are fled into the country. But alas! … you are peppered[3] if you visit them, for they are visited already: the broad arrow of death, flies there up & down, as swiftly as it does here: they that rode on the lustiest geldings,[4] could not out-gallop the Plague. It overtook them, and overturned them too, horse and foot.

You whom the arrows of pestilence have reached at eighteen and twenty score … you that sickening in the highway, would have been glad of a bed in an hospital, and dying in the open fields, have been buried like dogs, how much better had it been for you, to have lain fuller of boils and plague sores than ever did Job,[5] so you might in that extremity have received both bodily & spiritual comfort, which there was denied you? For those misbelieving pagans, the plough-drivers, those worse than infidels, that (like their swine) never look up so high as Heaven: when citizens boarded them[6] they wrung their hands, and wished rather they had fallen into the hands of Spaniards: for the sight of a flat-cap was more dreadful to a lob, then the discharging of a caliver[7].…

Illustration from Thomas Dekker, A Rod for Runaways, 1625:

Dekker plague image

From The Wonderful Year, the story of an inebriated man’s adventure:

About twelve of the clock at midnight, when spirits walk, and not a mouse dare stir, because cats go a caterwauling:[8] Sin, that all day dares not show his head, came reeling out of an alehouse, in the shape of a drunkard, who no sooner smelled the wind, but he thought the ground under him danced the Canaries:[9] houses seemed to turn on the toe, and all things went round: insomuch, that his legges drew a pair of indentures,[10] between his body and the earth, the principal covenant being that he for his part would stand to nothing whatever he saw: every tree that came in his way, did he jostle, and yet challenged it the next day to fight with him. If he had clipped but a quarter so much of the King’s silver, as he did of the King’s English,[11] his carcass had long before this been carrion for crows. But he lived by gaming, and had excellent casting,[12] yet seldom won, for he drew reasonable good hands, but had very bad feet, that were not able to carry it away. This setter-up of malt-men,[13] being troubled with the staggers, fell into the self-same grave, that stood gaping wide open for a breakfast next morning, and imagining (when he was in) that he had stumbled into his own house, and that all his bedfellows (as they were indeed) were in their dead sleep, he, (never complaining of cold, nor calling for more sheets) soundly takes a nap till he snores again: in the morning the sexton comes plodding along, and casting upon his fingers ends what he hopes the dead pay of that day will come too, by that which he received the day before, (for sextons now had better doings than either taverns or bawdy-houses): in that silver contemplation, shrugging his shoulders together, he steps ere he be aware on the brims of that pit, into which this worshipper of Bacchus[14] was fallen, where finding some dead men’s bones, and a skull or two, that lay scattered here and there; before he looked into this coffer of worms, those he takes up, and flings them in: one of the skulls battered the sconce[15] of the sleeper, while the bones played with his nose; whose blows waking his musty worship, the first word that he cast up, was an oath, and thinking the cans had flown about, cried zounds,[16] what do you mean to crack my mazer?[17] The sexton smelling a voice, (fear being stronger than his heart) believed verily some of the corpses spoke to him, upon which, feeling himself in a cold sweat, took his heels, while the goblin scrambled up and ran after him: but it appears the sexton had the lighter foot, for he ran so fast, that he ran out of his wits, which being left behind him, he had like to have died presently after.

List of changes in the third edition of The Broadview Anthology of British Literature Volume 2: The Renaissance and the Early Seventeenth Century:

  • Additions of selections from Baldassare Castiglione’s The Courtier (Il Cortegiano), presented in Thomas Hoby’s early modern English translation
  • Thomas Kyd’s The Spanish Tragedy
  • Considerable expansion of Elizabeth I’s writings and speeches
  • More cantos from Edmund Spenser’s Faerie Queene
  • Selections from Sir Philip Sidney’s Arcadia
  • All-new selections of Irish, Gaelic Scottish, and Welsh literature
  • Mary Sidney Herbert’s writings now appear in the bound book
  • Margaret Cavendish, whose work has always appeared in the third volume of the anthology, is now featured in this volume as well
  • New contextual materials:
    • Ian Munro has prepared a sampling of “Tudor and Stuart Humor”
    • Section providing context on “Ranters, Levellers, and Diggers” prepared by Joseph Black
    • New materials on emblem books and on manuscript culture have been added to the “Culture: A Portfolio” contexts section
  • New to companion site:
    • Thomas Deloney’s subversive prose narrative Jack of Newbury, in an edition by Peter C. Herman
    • Thomas Dekker’s popular play The Shoemaker’s Holiday (forthcoming), edited by Diane Jakacki
    • The complete text of Aemilia Lanyer’s Salve Deus Rex Judeaorum, edited by Carol Blessing
    • An expanded selection of transatlantic material, including works by John Smith and William Bradford (forthcoming)

Footnotes from the Dekker excerpts:

[1] rapiers  Long, thin swords.
[2] ostrich  Having the fabled behaviors of ostriches, which include a willingness to eat almost anything, especially hard objects.
[3] peppered  Pelted with shot, or infected with a disease that gives its victims spotted sores (like syphilis or plague).
[4] lustiest geldings  Most vigorous castrated male horses.
[5] Job  Eponymous protagonist of the Old Testament book of Job, who was struck by God with extreme poverty, disease, and destitution, to be later saved and restored for his faith and patience.
[6] boarded them  Provided them with lodging and food.
[7] flat-cap  Cap worn by citizens of London;  lob  Lout or country bumpkin;  caliver  Light sort of musket.
[8] caterwauling  Shrieking and wailing while in heat.
[9] the Canaries  Il Canario, a vibrant Spanish dance style supposedly based on a dance performed by the aboriginals of the Canary Islands.
[10] legges  Legs, with a possible pun on “lieges”;  pair of indentures  Identical contracts, which were produced in pairs so that both parties could keep one.
[11] If he … English  A pun on the word “clip,” meaning “to slur one’s speech,” and the practice of coin clipping, shaving precious metals from the edges of coins to make a profit—a crime that was punishable by execution.
[12] casting  Counting; in this usage, of cards.
[13] malt-men  Makers of malt (in this case, clearly, malt for beer).
[14] Bacchus  Roman god of wine.
[15] sconce  Head.
[16] zounds  An abbreviation of the oath “by God’s wounds.”
[17] mazer  Humorous word for head.

The Broadview Sources series in history launches with The Trial of Charles I

We are very pleased to announce the launch of the Broadview Sources series with the March 2016 publication of K.J. Kesselring’s The Trial of Charles I. Each volume in this new series features a short overview of a historical topic, together with a collection of documents. Geared towards the undergraduate classroom, these texts allow students to engage with a diverse collection of primary sources. Inexpensive and short (usually no more than 200 pages), the volumes provide convenient access to carefully curated sets of documents. The accessible introductions are authored by experts in the field.

Sources

The new series features a wide trim size that leaves space for marginal glosses of key terms, and also allows readers to make marginal notes. In addition to excellent introductions, these volumes offer additional apparatus such as a chronology, a glossary, and key images that will help provide additional context and guidance for students.

Other forthcoming titles in the Broadview Sources series include The Stamp Act Crisis, edited by Jonathan Mercantini of Keen University, and Documenting Humans and Animals in American History, 1700-1975, edited by Adam Shprintzen of Marywood University. If you’d like to submit a proposal for the series please contact Brett McLenithan, one of our Acquisitions Editors. We’d also be happy to discuss any other book project ideas you may have within the discipline of history, as this is an area in which we are now actively acquiring.

Trial of Charles

This particular volume focuses on the trial and execution of King Charles. This event marked a watershed in English politics and political and legal theory, and thus also affected subsequent developments in those parts of the world colonized by the British.

This book presents a selection of contemporaries’ accounts of the king’s trial and their reactions to it, as well as a report of the trial of the king’s own judges once the wheel of fortune turned and monarchy was restored. It uses the words of people directly involved to offer insight into the causes and consequences of these momentous events. The editor, K.J. Kesselring, is Professor of History and Associate Dean, Academic, at Dalhousie University. She is the author of The Northern Rebellion of 1569 and Mercy and Authority in the Tudor State, and the co-editor with Tim Stretton of Married Women and the Law: Coverture in England and the Common Law World.

Below we’ve provided the table of contents from The Trial of Charles I in the hopes that it will give you a better sense of this book and of the structure of the Broadview Sources series.

Trial of Charles I Table of Contents

Acknowledgements
Introduction
Chronology
Questions to Consider

Part 1: Trying the King

  1. Title page and Extracts from John Nalson, A True Copy of the Journal of the High Court of Justice for the Tryal of K. Charles I (London, 1684)
  2. Lord President Bradshaw’s Speech: Extract from Gilbert Mabbott, A Perfect Narrative of the Whole Proceedings of the High Court of Justice (London, 1649)
  3. The Death Warrant of Charles I

Part 2: Reactions and Aftermath

  1. Acts Establishing a Republic
    1. Extracts from “An Act for the abolishing the Kingly Office in England and Ireland, and the Dominions thereunto belonging” (1649)
    2. Extracts from “An Act for the Abolishing the House of Peers” (1649)
    3. “An Act Declaring and Constituting the People of England to be a Commonwealth and Free State” (1649)
  2. A Contemporary Depiction of the King’s Execution
  3. A “Martyr” Speaks from the Grave: The King’s Eikon Basilike (London, 1649): Extracts and Frontispiece to the Eikon Basilike
  4. A Soldier’s Doubts: Extracts from Francis White, The copies of several letters contrary to the opinion of the present powers (London, 1649)
  5. Principles and Pragmatism: Extracts from John Lilburne, The legal fundamental liberties of the people of england revived, asserted, and vindicated (London, 1649)
  6. Overthrowing “Kingly Power” as well as Kings: Extracts from Gerrard Winstanley, A New Year’s Gift for the Parliament and Army (London, 1650)

Part 3: Trying the King-Killers

  1. A Contemporary Depiction of the Executions of the King and of His Judges
  2. The Trial of Major General Harrison: Extracts from Heneage Finch, An Exact and most Impartial Accompt of the Indictment, Arraignment, Trial, and Judgment (according to Law) of Twenty Nine Regicides (London, 1660)

Glossary of Key Figures and Terms
Select Bibliography

It’s live, it’s here, it’s ready! Broadview’s brand new website: broadviewpress.com

Broadview Press has a brand new website! This site offers improved functionality and a clean, mobile-friendly design. Our new search and browse architecture will help you quickly find the book you’re looking for, or allow you to discover one you didn’t know you needed. Buy a book, see what’s new, follow us on social media, or subscribe to our newsletter! Our new website makes all of this fast and easy. Check it out!

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Try Broadview’s New Custom Text Builder

This fall, Broadview Press is launching a new website designed to make it fast and easy to create custom texts for use in your classes. This website features an ever-growing digital library of many of Broadview’s most popular titles, including every volume of the Broadview Anthology of British Literature, The Broadview Introduction to Literature, many of our new writing and composition titles, a selection of critical thinking texts, and much more. Using this site, you can mix-and-match the readings you want into a single, attractively produced, customized volume with perfect binding and a cardstock cover. Each Custom Text will be treated as a book that can be sold at your university bookstore under a unique ISBN.

Why use a Custom Text?

Broadview Custom Texts offer added flexibility when selecting course readings and are often more cost-effective than traditional anthologies.

Whether you’re looking for readings by a single author, or readings from a specific period, the selection process is clear and straight-forward. Browse by volume, or use our handy search feature to find the exact reading you’re looking for. As you add readings to your Custom Course Text you will see a running total of both the price and the page count. Throughout the process, your selections will be displayed in a table of contents on the right hand side of your screen.

Can’t find the book or reading that you’re looking for? Do you want only part of a given reading? Don’t worry–Broadview’s staff will do their best to accommodate customization requests. With the exception of readings that are in-copyright to a rights holder other than Broadview Press, the majority of material published by Broadview is available for inclusion in a custom text.

For those of you who prefer the traditional method of building custom texts (submitting a list of readings to a Broadview staff member), don’t worry; we will continue to offer this possibility.

The best way to experience our new custom text builder is to give it a try! Follow the link below to see the site in action.

Try Broadview’s new Custom Text Builder

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Our popular edition of Frankenstein just got better! Welcome to Broadview’s Online Critical Editions

Can you get 10/10 on our Business Ethics quiz?

Business Ethics

Andrew Kernohan’s forthcoming book, Business Ethics: An Interactive Introduction, not only explains various business-relevant applications of ethical theory, it also invites readers to practice those applications through interactive digital exercises. The text includes over 400 such exercises, along with videos, flash cards, and other digital materials (all included with no registration or additional cost beyond the book’s modest student price of $29.95).

Here’s a sample of one of the book’s case studies and its accompanying interactive questions. Can you score 10/10?

What Should Carol Do about Workplace Safety?

Carol Walters is a production manager for World Auto Parts, a large manufacturer of transmission components for cars and trucks. Transmission parts production is a very competitive sector. If WAP’s production cost were to rise, then WAP’s two main competitors would rapidly take over WAP’s markets.

WAP has the advantage of a loyal and experienced workforce who have nearly all been with WAP for over ten years. WAP is not unionized, but it does pay well. One reason that the employees stay with WAP is that there are no other jobs available in the local area.

Technology, however, has not stood still. Most of the machinery that was up-to-date ten years ago has gone obsolete, and WAP has replaced many of the machines on which employees originally worked. One such machine is the Sterling Gear Press Mark IV, with which WAP recently replaced the slower Mark III model. This new machine is the mainstay of gear production in the factory, and many employees now run it. WAP has installed the new Mark IV on the factory floor beside the older Mark III machines. Both of WAP’s competitors have also upgraded to the new Mark IV machine in the same way.

Carol and another production manager, Phil Thomas, have recently noticed that the injury rate on the new machines is higher than the injury rate on the old machines. There appears to be a defect in the design of the safety cover of the Mark IV. The new design causes workers who use the machine to strain their backs and left arms. Because the new machine is so much faster than the old version, production has gone up. The savings to WAP have outweighed the cost of downtime and time off for injured workers taking sick leave. WAP gives sick pay at 60% of regular wages, and only for 10 days per year.

The situation does not violate local Occupational Safety and Health regulations. Still, it is in Carol’s interest to fix the problem because, as a production manager, she will likely end up being blamed by senior management. Carol and Phil discuss how WAP could do something about the situation. They believe that if they both independently talk to their boss, Joan Ross who is the VP of production at WAP, then Joan will believe them that there is a workplace-safety problem. Joan could order them to inform the operators of the new machines about the problem. Joan could also order the machine operators to slow down and be more careful. Alternatively, Joan could order the operators to resume using the Mark III machines, which still sit beside the new models. Any of Joan’s possible responses will put WAP at a competitive disadvantage, unless Joan can convince both of WAP’s competitors to do the same. Even if WAP’s competitors verbally agree to follow one of these workplace-safety strategies, Joan would not be certain that she could trust them actually to implement the strategy.

Complicating the situation is the issue that Carol and Phil are competing for a promotion to Senior Supervisor. In the past, Carol has not always kept her word to Phil, or done her share of work on group projects. She does not think Phil trusts her. If Phil and she independently tell Joan about the safety problem, then Joan may do something, and Carol will still be in competition for the promotion. However, if one of them does not follow through and tell Joan, then Joan will likely do nothing about the safety issue, and Joan will likely not promote the seeming naysayer and troublemaker who did bring up the safety issue. If neither tells Joan, then nothing will happen and the competition for promotion will continue.

Analyze the ethical issues in the situation facing Carol, paying particular attention to any cooperation dilemmas. Should Carol tell Joan about the workplace-safety issue?

Try the case study analysis questions!