Diversity in high-impact psychiatric publishing: gender parity within reach?

Gender parity and authorship diversity are declared goals in the publishing world. This study assessed the progress of authorship gender distribution over a quarter of a century and geographic diversity over the last 15 years in high-impact psychiatric journals. All articles published in 2019 in the American Journal of Psychiatry, the British Journal of Psychiatry, and JAMA Psychiatry were included and compared with data from three points in time starting in 1994. Descriptive statistics were gathered, and chi-square tests were performed. All tests were conducted as two-tailed, and p-values < 0.05 were considered to be statistically significant. Inter-rater reliability was calculated via Cohen’s kappa. In 2019 a total of 473 articles were published. Forty percent of all authors, 42.3% of first authors, and 29.4% of senior authors were female. Counting original research articles only, female first authorship reached 50.4%. In the 25-year period between 1994 and 2019, female first (p < .001), female senior (p < .001), and female overall (p < .001) authorship has increased. In the specific period between 2014 and 2019, overall female senior authorship in all articles (p = .940) as well as first (p = .101) and senior (p = .157) in original research plateaued. In non-original research articles, female first authorship was higher in 2019 compared to 2014 (p = .014), whilst female senior authorship plateaued (p = .154). Geographic diversity was low and did not change over time. Gender parity in the subcategory original research articles was reached for the first time in 2019. Senior female authorship and geographic diversity remain areas of concern that need further investigation and specific interventions.

Evan S. Connell

Evan S. Connell (b. 1924–d. 2013) was born in Kansas City, Missouri, and grew up there in a prosperous family with historical ties—reflected in his middle name, Shelby—to Confederate general Jo Shelby. Although his physician father expected his namesake son to join him in his medical practice, Connell, while at Dartmouth College, began to consider more creative options, including writing and making art. After a three-year stint in the U.S. Navy Air Corps during World War II—he never left the country—Connell began writing down his experiences and finished his undergraduate studies at the University of Kansas. On the Lawrence, Kansas, campus, he studied art and continued to write, under the tutelage of Ray B. West, who edited the Western Review. With aid from the G.I. Bill and encouragement from West, Connell successfully applied to Wallace Stegner’s first class of creative writing fellows at Stanford University. He spent another year in writing and art classes at Columbia University in New York. Ultimately, he saw more of a future in writing, though he kept up a practice of life drawing and painting for many years. Connell had an early run of published short stories, beginning in 1946. After a fallow period in California, Connell went to Paris in 1952, where he became acquainted with the founding editors of The Paris Review. The literary journal published three of Connell’s stories, including segments from Connell’s novel in progress, which eventually was titled Mrs. Bridge. By then, Connell had taken up residence in San Francisco. After rejection by several New York publishers, the Viking Press took on Connell, releasing a story collection in 1957 before cementing Connell’s reputation with Mrs. Bridge, a quietly evocative portrait of a prosperous, middle-American family, which became his most admired and lucrative work of fiction. Over the next five decades Connell veered into an extraordinary variety of works—fiction, nonfiction, history, and hybrid experiments that looked like epic poetry. This pattern of no pattern in the arc of Connell’s work, combined with his lack of interest in self-promotion, seemed to confuse the New York publishing world, and critics often cited his unpredictability as the cause of a kind of literary marginalization. His sprawling account of Custer at the Little Bighorn became hugely popular in the 1980s, raising his profile and reviving his reputation as a writer.

Coelho Neto Canibal: Pseudônimos shakespearianos e literatura licenciosa no Brasil (1890-1940) / Coelho Neto Cannibal: Shakespearean pseudonyms and licentious literature in Brazil (1890-1940)

Resumo: Este trabalho estuda a trajetória do pseudônimo shakespeariano Caliban, adotado pelo escritor Henrique Coelho Neto (1864-1934), em 1890, para veicular literatura licenciosa nos impressos. Acompanhamos o pseudônimo desde sua estreia até sua última aparição no mundo editorial na década de 1940. Para levar a cabo a tarefa, consultamos os livros publicados por Caliban e investigamos sua atuação na imprensa periódica por meio da consulta online dos jornais na Hemeroteca Digital Brasileira. Caliban foi um autor de sucesso e parte desse reconhecimento vinha da origem erudita de seu nome. O filtro shakespeariano era crucial para a aceitação dessa literatura nos circuitos letrados, mas muitos a consideravam como mera pornografia. A literatura de Caliban revela um Coelho Neto moderno, contestador e inovador que foi esquecido pela tradição crítica.Palavras-chave: Coelho Neto; William Shakespeare; Caliban; literatura licenciosa.Abstract: This work studies the trajectory of the Shakespearean pseudonym “Caliban”, adopted by writer Henrique Coelho Neto (1864-1934) in the 1890s to convey licentious literature in print. We follow the pseudonym from its debut until its last appearance in the publishing world in the 1940s. To carry out the task, we consulted the books published by Caliban and investigated his performance in the periodic press through online consultation of newspapers in the Hemeroteca Digital Brasileira. Caliban was a successful author and part of that recognition came from the erudite origin of his name. The Shakespearean filter was crucial for the acceptance of this literature in literary circuits, but many considered it as mere pornography. Caliban’s literature reveals a modern, challenging and innovative Coelho Neto who has been overlooked by critical tradition.Keywords: Coelho Neto; William Shakespeare; Caliban; licentious literature.

Frederick Douglass, Copyright, and the British Press, 1845-47

In 1845, Frederick Douglass established his copyright to the Narrative of the Life in the United States in order to receive just remuneration for his work. Yet Douglass also relied on a lack of international copyright law to disseminate his abolitionist message to a transatlantic audience. While Douglass made use of both copyright-protected and free-circulating forms of publication to reach a broad audience, he could not always control how his work and image would be reprinted and adapted in the transatlantic press. During his 1845-7 lecture tour, British periodicals and newspapers creatively recontextualised, abridged, and plagiarised his Narrative in articles and reviews. These forms of reuse were conventional in the publishing world of the 1840s, yet when viewed from a modern perspective, they seem to echo the exploitative practices associated with the American slave system.

Ian Maclaren's Scottish Local-Colour Fiction in Transnational Contexts: Networks of Reception, Circulation, and Translation in the United States and Europe

This article analyses the early circulation, reception, and translation history of Ian Maclaren's bestselling Scottish local-colour fiction in the United States, the Netherlands, France, and Switzerland. It sketches a comparative model which illuminates the agents of transnational cultural mediation crucial to the international popularity of local-colour fiction in the late nineteenth century. In the USA, key factors for Maclaren's popularity were the interconnected transatlantic publishing world and audiences already receptive to dialect literature. In Europe, while the bestselling quality of his collections and readers’ previous familiarity with regional fiction played a significant role, additional factors included: in the Netherlands, Maclaren's clerical background and the place of established religion in publishing; in France and Switzerland, periodicals attentive to international trends in fiction and to internal regionalist phenomena, along with the initiative of a translator with a flair for Breton regionalism and well connected to the Swiss and Parisian literary milieux.

Print Culture and Literature in 19th-Century Brazil

The history of Brazilian print culture is closely connected to the establishment of national literature in the 19th century. Indeed, after three centuries of prohibition of printing activity in the colony by the Portuguese Crown, Impresão Régia, the first legal printing establishment in Brazil, was created in 1808 due to the arrival of the Portuguese royal family during the Napoleonic wars. From the late implementation of Imprensa Régia, which became Typographia Nacional after the independence of Brazil in 1822, to the consolidation of the publishing world in the second half of the century, marked by the controversial French presence, the discourses on literature and print production modes tend to reflect the different circulation spheres. In fact, following the long period of colonization under Portuguese rule, print production modes were implemented simultaneously with the consolidation of a broad print culture, characterized by the growth of newspapers, the circulation of images, and the impactful arrival of the novel. Undeniably, the sudden and concurrent arrival of the two worlds—technical and cultural—in addition to the paradoxical development of the print world, marked by its two technical systems—artisanal and industrial—strongly influenced the material aspects of 19th-century Brazilian publishing production. In this context, under the argument of an alleged precariousness of local print production, writers, critics, typographers, engravers, and bookbinders created literary and editorial polemics in newspapers, magazines, and books that contributed to the very construction of a “literary system.” Despite the intrinsic relationships established between literature and publishing, the multidisciplinary field of the history of the book insists on separating approaches dedicated to the technical production processes and the material analysis of objects of written culture from the approaches dedicated to print circulation and uses. Understanding the contradictions imposed by the simultaneous implementation of two technical systems, which are found when analyzing the traces left by the print equipment supply trade and the conditions to build a printing workshop, contributes to understanding the historical conditions of print production. In this sense, the historiographical perspective dialogues with heritage studies in the notion of printing heritage, understood in its tangible and intangible dimensions, considering the machines and tools of the past, together with the techniques then in use. In fact, while bringing together a set of material, technical, and mechanical elements of different production modes, printing heritage also contains the memories of the human actions that set them in motion.

Cittautu literatūras tulkojumi trimdā 20. gs. 40.–50. gados

Keywords: books by Latvian exiles, publishing houses, translations, translators The purpose of this article is to explore the ways in which Latvians in exile after the Second World War continued the existing tradition of translating and publishing world literature, which publishing houses and translators were the most productive, which authors were published most often, and how they were received in the émigré society. The range of translations was particularly wide and diverse in the 1940s and 1950s when a total of 265 books were published, of which eight were poetry and four were plays, with fiction accounting for the rest. During this period, a total of 27 translations of different authors were published. German authors were most widely represented (30), followed by French (27), Estonian and American (26 each), Norwegian and Swedish (23 each) authors. The publishers accounting for most of these were Grāmatu draugs and Tilts in the United States, Daugava in Stockholm, and Imanta in Copenhagen. In the 1940s and 1950s, authors whose books could never be published in Soviet-occupied Latvia (James Joyce, George Orwell, Albert Camus et al.) were published outside its borders. Yet the publishers in exile had to pay attention to the rather conservative tastes of the majority of their readership and its reservations about works created in the Soviet Union (e.g., Doctor Zhivago by Boris Pasternak).

Introduction: Literary Advice from Quill to Keyboard

This chapter presents a brief history of the dominant, Anglo-American literary advice tradition from the nineteenth century to the present as well as a state of the art of the existing scholarship on literary advice. We focus on several key moments for literary advice in the USA and in the UK: Edgar Allan Poe’s “Philosophy of Composition” (1846), the debate between Sir Walter Besant and Henry James surrounding “The Art of Fiction” (1884), the era of the handbook (1880s–1930s), the “program era” (McGurl 2009) and postwar literary advice, the rise of the “advice author” in the 1980s and 1990s, and finally advice in the “digital literary sphere” (Murray 2018). The overview captures both the remarkable consistency and the transformations of advice, against the background of changes in the literary system, the rise of creative writing, changes in the publishing world, and the rise of the Internet and self-publishing. It highlights the role of some specific actors in the literary advice industry, such as moguls, women, and gurus, and draws attention to a number of subgenres (genre handbooks, self-help literary advice, and the writing memoir), as well as to counter-reactions and resistance to advice in literary works and in avant-garde manuals. Advice is regarded both in the context of the professionalization of authorship in a literary culture shaped by cultural and creative industries, and of the exponential increase of amateur creativity.