Open Book Futures

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https://thoth-arch.lib.cam.ac.uk/handle/1811/1

Open Book Futures is a research project funded by Research England and the Arcadia Fund, which follows on from the COPIM Project (Community-led Open Publication Infrastructures for Monographs) as an extension and acceleration to further expand and develop the infrastructures that were first created as part of the COPIM Project. Open Book Futures will also further nurture the 'more diverse, scholar-led, community-owned, and not-for-profit publishing ecosystem that enables smaller and more community-focused presses to thrive and multiply' envisioned at the beginning of COPIM's work, continuing the ethos of Scaling Small (Adema & Moore, 2021).

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Browsing Open Book Futures by Subject "1DBK"

Now showing 1 - 4 of 4
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    Breaking Conventions: Five Couples in Search of Marriage-Career Balance at the Turn of the Nineteenth Century
    (Open Book Publishers, 2023-07-13) Auspos, Patricia
    This rich history illuminates the lives and partnerships of five married couples – two British, three American – whose unions defied the conventions of their time and anticipated social changes that were to come in the ensuing century. In all five marriages, both husband and wife enjoyed thriving professional lives: a shocking circumstance at a time when wealthy white married women were not supposed to have careers, and career women were not supposed to marry. Patricia Auspos examines what we can learn from the relationships of the Palmers, the Youngs, the Parsons, the Webbs, and the Mitchells, exploring the implications of their experiences for our understanding of the history of gender equality and of professional work. In expert and lucid fashion, Auspos draws out the interconnections between the institutions of marriage and professional life at a time when both were undergoing critical changes, by looking specifically at how a pioneering generation tried to combine the two. Based on extensive archival research and drawing on mostly unpublished letters, journals, pocket diaries, poetry, and autobiographical writings, Breaking Conventions tells the intimate stories of five path-breaking marriages and the social dynamics they confronted and revealed. This book will appeal to scholars, students, and anyone interested in women’s studies, gender studies, masculinity studies, histories of women in the professions, and the history of marriage.
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    Cheap Print and Street Literature of the Long Eighteenth Century
    (Open Book Publishers, 2023-09-04) Atkinson, David; Roud, Steve
    This deeply researched collection offers a comprehensive introduction to the eighteenth-century trade in street literature – ballads, chapbooks, and popular prints – in England and Scotland. Offering detailed studies of a selection of the printers, types of publication, and places of publication that constituted the cheap and popular print trade during the period, these essays delve into ballads, slip songs, story books, pictures, and more to push back against neat divisions between low and high culture, or popular and high literature. The breadth and depth of the contributions give a much fuller and more nuanced picture of what was being widely published and read during this period than has previously been available. It will be of great value to scholars and students of eighteenth-century popular culture and literature, print history and the book trade, ballad and folk studies, children’s literature, and social history.
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    Eliza Orme’s Ambitions: Politics and the Law in Victorian London
    (Open Book Publishers, 2024-03-08) Howsam, Leslie
    Why are some figures hidden from history? Eliza Orme, despite becoming the first woman in Britain to earn a university degree in Law in 1888, leading both a political organization and a labour investigation in 1892, and participating actively in the women’s suffrage movement into the early twentieth century, is one such figure. Framed as a ‘research memoir’, Eliza Orme’s Ambitions fills out earlier scant accounts of this intriguing life, while speculating about why it has been overlooked. Established historian Leslie Howsam shapes the story around her own persistent curiosity in the context of a transformed research landscape, where important letters and explosive newspaper accounts have only recently come to light. These materials show how Orme’s career ambitions brought her into conflict with the male-dominated legal community of her time, while her political ambitions were cut short by disputes with other women activists whose notions of political strategy she repudiated. In public, Orme was a formidable debater for the causes she supported and against opponents whose strategies—even for women’s suffrage—she repudiated. In private, she was generous, warm, and witty, close to friends, family, and her female partner. Howsam’s account of uncovering Orme’s professional and personal trajectory will appeal to academic and non-academic readers interested in the progress and setbacks women experienced in the late-Victorian and Edwardian decades.
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    Wound Building: Dispatches from the Latest Disasters in UK Poetry
    (punctum books, 2021-09-30) Hayward, Danny
    Wound Building is a volume of essays, with digressions, on one group of contemporary poets active in a self-organizing political poetry scene in the UK, most of whom have little to no audience outside of the little magazines that they publish and the reading series they put on. The book is a front-line report on the rapid development of this poetry in the period between 2015 and 2020, with a particular focus on the relationship of poetry to violence and its representation. The poets discussed here write violent love poems and violent elegies as well as violent fantasies composed in stabs of violent verse and violet prose. The poems themselves comprise fantasies of killing David Cameron, dreams of being split open along a seam, basement songs, hundreds of pages of notes on working life in a privatized care home in Hove, East Sussex, a four-line slogan about the Cologne groping scandal of New Year 2016, variations on the Refugees Medical Phrasebook, a life wasted in a factory in Guangzhou, an autobiographical sci-fi internet fever dream, an anarchist elegy, and a refusal to argue. Ultimately, Hayward argues that the lessons this poetry teaches is never to write a “worthy” narrative when a fucked up collage will do. Rather than a cohesive “account” of a “school” of poets, or a “contribution” to the boring tittle-tattle of aesthetic debates over British poetry as an institution, Wound Building is a front-line report on the local disasters of a contemporary UK poetry caught in the grip of the historical cataclysm of capitalist culture. Wound Building is further concerned with aesthetic problems related to Marxism, anarchism, contemporary trans politics, and class, though its “theoretical” preoccupations are subordinated to its desire to provide a ground-level view on the writing itself, its production, its intellectual aporia, and the ways it finds itself outstripped by the ongoing “march of events.” The book will be of interest not only for those concerned with contemporary British political and experimental poetry, but also more generally for anyone who wishes to think carefully about what it means to make art about present-day history and its many horrible enormities. The book’s title is derived from the idea of sublime woundedness that subtends the context of the poets discussed here: the impressions of wounds opening up like LED-lit shopfronts in the night, in a parallel universe in which injury is intoxicatingly impersonal and structural, and which forms the environment in which the poems fight to absolutize the value of every last breath, or face into the reality of extravagantly violent wish fulfillment, or dissolve themselves in a search for new ways of professing love, or transform into a kind of expressionism of vomiting up medical-diagnostic categories found in abstract social labor, or pump their verses full of the convulsive rhythms of surprise and sudden relief, without any guarantee that this is the right thing to do or that anyone will even fucking hear. Wound Building does not historicize this state of affairs as much as it attempts to live alongside the immediacy of this work, in order to see what is still possible for poetry, and criticism, to make and do.