The Smart Women’s Summer, Part 1

Summer is in full swing and the Smart Women want to talk about what each of their summers looks like.

Mine?

I’ve already had a full summer’s worth of life crammed into my summer so far, but why not live in the fast lane?

I just got back from Barbados, where I presented on the Caribbean holdings of the Slave Societies Digital Archive at the Association of Caribbean Historians’ annual meeting. Let me tell you, this group of scholars is amazing. About half come from institutions in the Caribbean itself, and the rest from everywhere else. They do simultaneous translation so that people who don’t speak English, Spanish, and French can hear the latest scholarship of the full region and ask questions of people a language barrier would prevent them from asking. And they are the only scholarly organization that I know of, that has a end-of-conference fete written directly into the constitution. Our right to party is constitutional! And what a fete. You haven’t lived until you’ve been part of a group of scholars who can both bachata and whine. Continue reading “The Smart Women’s Summer, Part 1”

Choosing Your Next Writing Project

I’m pretty young, and already I have more projects ideas than I will be able to write in this lifetime. This is true even if I have the fortune of living well into my 90s (which I suspect I won’t, as my family’s history is riddled with darkly comedic early deaths- too much pull toward adventure, and not enough common sense in the Sutton genes).

I do periodically root out the “bad” ideas- the ones that wouldn’t work because of the mediums I write in, or the zeitgeist, or because they would be better expressed non-verbally, or by someone who isn’t me, or the ones that go beyond my current skillset, or the ones that wouldn’t help along any of my personal or career goals. I hesitate to call them bad though, as any idea can be good under the right circumstances. But I’m all about efficiency. Do I have time or inclination to cultivate new circumstances? Not right now. Let’s work with the circumstances I’ve already got.

So even after whittling down the list, it’s still too big. How do I pick and choose what gets written and which ideas go into the big ether of ideas to hopefully get recycled and occur to someone else? Continue reading “Choosing Your Next Writing Project”

Where History is Alive

I know, I’m sorry, I’m late!

Actually, I’m not sorry. I’m late with my post because I am on the beautiful Caribbean island of Sint Eustatius for work, and it is so heart-breakingly breathtaking that I needed a minute to just appreciate being here and learning.

SWW2You see, the formerly Dutch island is also a location in the nonfiction history book I’m writing. Known as the “Golden Rock,” it was the center of Atlantic Commerce in the 1700s, and a lot of that was deemed illicit by the other European superpowers of the time. It was filled to the gills with pirates, and plunder, and esoteric objects from around the world.

The island isn’t a big tourist destination (outside of a small and devoted group of returning diving and nature enthusiasts), and doesn’t have a place for larger cruise ships to dock, so much of the material remnants of this history remain. Down every alley, over every cliff, is evidence of corrupt governors, the enslaved, plantations, merchant homes, warehouses, etc. Yellow bricks imported from the Ijssel River regions in the sww4Netherlands comprise some of the most important ruins. Sherds of blue and white Delftware can be seen embedded in the runoff from several forts and plantations. Divers still regularly find glass beads used in trading in the sand. Many residents live in or on top of historically important buildings and sites. Everything is free and open to be viewed by anyone who cares enough to look. Every breath you take, is saltwater and history.

Thankfully this island also has people who appreciate all they have, and work hard to keep it safe for the future. I had the fortune of meeting them, and seeing the history through their eyes.  And you know what happened? I discovered that several of the things historians like to repeat about this island in the literature, had to have been written in error if they weren’t outright falsification.  When you can tangibly step into a place that you only before knew from the documents, a whole new truth unfolds right in front of your eyes.

This happened to me when I visited Ghana in 2010: many of the slave forts I wrote about, I had discovered in documents in The Hague, where most Dutch imperial materials are kept. From reading them, I had an idea in my head about what it must have been like. But actually going there, showed me that many of the things people wrote about would have been impossible. I walked several of the trails mentioned in the documents to see how long it took. I looked at the distances between forts, and how far away they were from the ocean, to see which cannon shots claimed in the literature could have made it, and which wouldn’t have. I saw the way the vegetation grew. I looked at how ruins were positioned. I realized at what points of the day which way the shadows would lie. I made note of the directions the wind blew. All of the sudden, a whole new world of what would have been possible and what wouldn’t opened up.

SWW1It’s the same here. Seeing the bays makes it obvious which could have sustained ships, and which would have wrecked them against the rocks. Seeing the plantation setups allows me to make guesses as to how many enslaved workers there could have been at any one time. Seeing the steep immensity of the inactive volcano known as the Quill (pictured above) makes it clear that no planting could have happened on its sides without some serious twenty-first century landscape architecture. Going to the ruins of the governor’s mansion helped me to see the types of things he could and could not see from his desk. All of these facts are incredibly helpful, and will breathe life into my book that I wasn’t even aware was missing.

I’m living the dream, folx.

Being a Writer in 2018

This year was a rough one for content creators.

#Understatement

For everyone in our circles, 2017 was filled with too much gin, not enough vegetables, and eternal guilt for not doing more: not resisting more, not creating more, not exercising more, not inspiring others more, not loving ourselves more.

But we muddled through, didn’t we? Not all of us, but many of us. And in times of desperation, unashamedly being yourself and getting stuff done is brave, and it is resisting. Every time we didn’t succumb to despair and instead lived our lives with compassion and truth, we succeeded.

And we believe we can all do one better in 2018.

We can let go of the guilt, for starters. We can recognize and really feel that we are living in unusual times, and that takes its toll. The feelings we are all experiencing- sadness, anxiety, powerlessness, concern, anger- are perfectly reasonable. We can make space for those feelings, honor them as typical reactions to abnormal situations, and find ways to press on and be effective in our lives despite them.

This Holiday season and into 2018, we are going to take the time to process these feelings, honor them, and figure out how to best adapt. We don’t accept the current political and social climate in the World, but we acknowledge its existence and effect on our lives. And we will fight to be more proactive rather than reactive. We will fight to find a balance between giving to those more affected than us, and putting time into things that help us nurture ourselves and grow. We will pare down that which no longer feels necessary and orient toward who we have always wanted to be.

And as always, we’d like to give you permission to do the same, if you want it. From three smart women to a whole lot more (and our men and non-binary readers as well, we love you, too), stay safe, grab happiness where you can, and find a way to make 2018 the very best it can be.

Love and light,

Angela, Bryna, and Tanya
http://www.SmartWomenWrite.com

On Asking For Help

My job with the Slave Societies Digital Archive is probably one of the coolest I’ve ever had, and just to give you context, I’ve worked in a Scottish maritime museum on a real ship from the Age of Sail, so the competition is stiff.

Our archive sends out project teams to Africa and areas in Latin America with high percentages of African-descended populations. These teams go to churches and other places that typically hold on to old records and search for undiscovered primary source historic documents from the time of slavery. Most of the enslaved people in our records have never made it into any history books, because the creators of documents never found them important enough to write about or preserve. History tended to be written by the victors, after all, and those are the same people who decided what is worthy of being preserved in an archive, and what is not.

What our teams have found, is that if you know where to look, the stories of the enslaved, even those from the seventeenth century, can still be found on dusty shelves in church basements or people’s attics, crumbling and slowly eaten by insects, but otherwise intact. Our teams train local students to photograph every page and then the Slave Societies Digital Archive uploads these documents for researchers to use for the very first time. We currently have around 500,000 images, concerning the lives of 6-8 million Africans and their descendants. That is a LOT of stories, just waiting to be rediscovered and re-integrated into bigger histories. Continue reading “On Asking For Help”

Writing And Teaching About Difficult Subjects

Recently a tweet on #Twitterstorians caught my eye:

Tweet
Tweet from @JohnRosinbum: A student just asked me, “In research how do you deal with reading depressing things?” Any help #twitterstorians?

I replied twice, but soon realized there was so much more to say.

I’m a historian of the Atlantic Slave Trade. There’s nothing but depressing things in my research and writing. Just when I think I’ve bottomed out on the amount of cruelty humans can inflict on one another, I find a new, more grotesque piece of evidence that proves me wrong. After a decade of researching this, you would think that I would grow numb to it, but I haven’t. Some days are definitely harder than others.

Our political climate compounds that- I know for certain that the racism pervasive in every element of our society today comes from what I’m studying- the horror of slavery for which we as a nation have never fully taken responsibility. The racism perpetuates itself because we haven’t had any reconciliation. We tell our children that we are all equal, and expect the descendants of our enslaved populations to pretend that the very real trauma they still face as the result of this history is all in the past and best forgotten. This perpetuates the mental violence of our slave society, to the detriment of all Americans now.

So when I see these depressing things in my source material, the weight of the terribleness is magnified. Not only am I crushed for the people who never had a voice, never had justice, but I’m so conscious of how this unaddressed act of violence I’m reading about reverberates into the present.  Our current systemic racism is made possible by these millions of historic acts of race-based violence that went unaddressed.

So what do I do with information like that?

Continue reading “Writing And Teaching About Difficult Subjects”

Nobody Wants to Change

Generally, people don’t like it when you tell them they need to change.

They really don’t like it when you tell them how to do it.

They might grudgingly do it when they recognize you are right, but the world will be a little duller for it.

At this year’s Southern Festival of Books, everyone seemed to be ruminating on these truths in one way or another. Without having planned it, most authors I got to hear speak and read kept circling back to this idea that those who most desperately need to change are also the most resistant to it.

A few even took stabs at figuring out what to do about this. I was so drawn especially to Nicole Krauss, whose latest book, Forest Dark, is about the courage to turn from the certainty of self, toward the unknown in hope of personal transformation.

She said (and I’m paraphrasing- it’s possible this isn’t exactly how she said it, but it’s how I heard it) that the self is a narrative- a story we tell ourselves, and are told, since we were small children. This means that the story is much more flexible than we think. When the narrative we tell ourselves stretches too tight and limits who we are or who we can become, it’s entirely possible to enlarge our sense of self.

But so few people do this, because changing is terrifying and it is stigmatized. It’s embarrassing to concede that we have grown into a corner and must now take a different direction. It’s doubly embarrassing to be told what to do in that moment of personal crisis.

In the end, you’ll change when you have no other choice. And when it’s time to change, what do you need? Continue reading “Nobody Wants to Change”

Drafting the First US Nomination to the UNESCO Slave Route Project: Nashville’s Fort Negley

The other day, I did something terrifying.  I gave my professional opinion as a historian in front of an overflowing room at a televised Parks Board Meeting. I had the honor of speaking about one of the most rewarding and illuminating things I have done for history in a while: completing the involved research for the nomination of a local landmark, the Union Civil War Fort Negley, to the UNESCO Slave Route Project. If accepted, Fort Negley will become the first US site, ever, to earn this monumental designation.

…which is a big deal, because the park that the Fort sits on is slated for a controversial development that has consumed local and state news for months. This meeting drew a huge crowd of people concerned about the sale of city land to private developers at the expense of this fort and its history.

My relationship with this fort is as long as my relationship to Nashville itself. When I first moved here in 2007, I lived in a house with a few others in the neighborhood of historic Edgehill. When grad school got stressful, I would climb up to the ruins of Fort Negley, and sit under one of the trees there, soaking up the peace and quiet. To be able to see Nashville’s skyline but not hear many of the city’s noises felt like a luxury.  I would daydream and doze and if I let my brain relax and I squinted just right, I could see the way the fort looked when it was first built.

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Interpretive marker for the African American Laborers who built Fort Negley, at the Fort Negley Visitors Center, sponsored by the Robert Penn Warren Center at Vanderbilt University.

The tree behind me would have still been a sapling. I pictured the soldiers, in sweat-stained blue union uniforms, pulling cannons up the hills, and the laborers digging ditches in the hot sun. I could imagine the charge of the Confederate army’s attempt to storm the hill, smell the burning gunpowder, and hear the scrambling of people and horses as they moved defenses into place. Before moving to the US, the Civil War was just a series of films for me, but at Fort Negley, it felt real for the first time. I felt a special sense of wonder about this secret jewel of a place hidden in plain sight.

At the time I was only 23. I had an undergraduate degree in history and religious studies, and a year of museum work under my belt. With even that limited experience in public history, it struck me as odd that the city had not made more of such an important place. Where were the historical interpreters? The tours? Merchandise? Displays for all the artifacts found? Why wasn’t there a twice-daily reenactment for tourists?

It wasn’t until I completed my PhD in history at Vanderbilt in 2014 that I understood how Fort Negley, a union stronghold built by conscripted and escaped slaves, and defended by the US Colored Troops, had been allowed to purposely languish by the same people in this city who continue to try to rewrite history.
Continue reading “Drafting the First US Nomination to the UNESCO Slave Route Project: Nashville’s Fort Negley”

Writing a Trade History Book, Part 1: The Introduction

Click here to see Writing a Trade History Book, Part 2: The Proposal

I’m the kind of person who writes introductions last for pretty much everything. I always have, and I always will advise my students to do the same. It just makes sense- most of us who write, do so in order to figure out how we think about something. Only once we’ve written do we find out what our writing was about.

However, when you are trying to sell a nonfiction history book to the big four publishers, the introduction is one of the main deciding factors in whether or not it gets bought. Generally, just like with an academic book, you sell your nonfiction book based on a proposal that includes an outline and sample chapters. For a nonfiction history book, the introduction is probably the most important thing, because it does so much in so little space, therefore showcasing your skill as both a historian and a popular history writer.

A good trade history introduction will entertain, inform, and make promises, usually in equal amounts. Now, I’m lucky- my book is about pirates, and spoiler: one of them gets crucified. That practically writes itself, right?

Wrong.

Well, right and wrong.

You’d be surprised (I was) at how difficult it is to use documents created for one set of purposes (a criminal investigation, international diplomacy, taxation, etc.) and pull a narrative story that reads almost like fiction out of them.

It’s easy to summarize the documents “Well, here was the court case of the main witness against the pirate who said he bludgeoned his sloop’s entire crew. Here are the pirate’s last words before his execution.  Here are some random court documents that mention how he stole the captain’s wigs before killing him so that he could disguise his own distinctive hair. Here are some newspaper articles about other crimes that were attributed to him too.”

But that’s only really entertaining to other historians who see and immediately understand the value in having all of those documents together. See, historians tend to unconsciously process documents to get directly to the “so what?” moment. It’s rarely an explicit process, because we will read a collection of related primary sources and immediately understand why those sources are interesting and important, and how they affect what other types of things were going on at the time. Because of our training and instincts, we tend to skip the most important step of reconstructing the story, and instead link everything in our heads. So we analyze the documents, then explain how they fit into, alter, or corroborate our current understanding of history. One might argue that for academia and other related professions, that’s more than sufficient.

For a trade history audience, however, that does not work in the same way. A trade audience wants to be entertained. They don’t care how brilliant I am, and they don’t want to watch me solve the historical puzzle and explain how it affects our understanding of history. They want me to show them the puzzle, and introduce the contemporary people on the ground who were part of it. They don’t want a lecture on the 18th century Atlantic economy, they want me to drop details and pieces of the historical context only as necessary and when they first appear in the narrative arc of the story, and only as necessary to their understanding of what’s going on.  These readers are smart, and they don’t want me to explain to them, they want me to show them so that they themselves can figure it out. The whole purpose of my training as a historian is to re-arrange the evidence and the context and to figure out which historic information is relevant to the story and which isn’t, and accompany the reader along a journey like a guide who allows them to discover the historic relevance for themselves.

In other words, the entertaining part of a trade history book that many academic history books lack, is consideration for the reader’s enjoyment. My job isn’t to bombard the reader with every bit of information related to those primary sources I’m writing about. This isn’t a competition to see how much knowledge a reader can absorb. Rather, my job is to carefully curate this information into an enjoyable experience that allows the reader to become an active detective figuring out things as they go along, rather than being told these things outright. Just like in fiction, I’m showing, and not telling.

So back to the introduction of the book. It needs to promise this type of entertaining historical experience to the reader, while also assuring those who know a bit more about the business, that I know what I’m doing, and am doing it purposefully. In my book proposal, the chapter outline is where I get to show off to publishers what I know and how I’m planning on piecing it together, but my introduction is the first taste of how well I am going to do that. So it’s written like a piece of fiction, introducing characters only when they become relevant, and explaining only what needs to be explained at that moment to keep the story going. In this way, you have equal amounts of entertainment and information- the best of both worlds, at least in my opinion. Then later towards the end, you get a few pages to make some promises. Now that you’ve told the beginning of what will amount to a really bloody and captivating story, you get a very small amount of space to convince the reader that they badly want to find out what happens next.

This is similar to a film trailer- you show the highlights, and allude to how the reader will be changed at the end. For me, that means hinting at ways in which this pirate case will help illuminate a part of history (the American Revolution) that they thought they knew everything about already. I am promising that in reading this book, the reader will make some discoveries that enrich their understanding of our shared past, all while being entertained by pirates. It’s a tall order, and it takes a lot more skill to pull off than I initially thought.  Three rewrites in, and I think I’m finally beginning to get it.

On Professional Generosity: a How-To Networking Guide for Writers, Educators, and Academics

I have just returned from Charleston, juiced up from one of the most thoughtfully constructed conferences I’ve attended in a long while. It was one of those conferences that attracts both academics and people with a wider range of career experience: I met clergy, museum workers and historic interpreters, archivists, librarians, web developers, K-12 teachers, project managers, both fiction and non-fiction writers, community organizers, and probably more I can’t recall just now. We were all there in our shared interest of the ways in which the history of African-Americans is constructed, presented, preserved, and consumed.

Many things stuck out for me in the duration of this conference as extraordinary. We got to hear from Rex Ellis, one of the curators at the Smithsonian Institute National Museum of African American History and Culture, and his thoughts on the person who left that noose in the exhibit on segregation last month. We got to attend a welcoming talk at Mother Emanuel A.M.E. Church, whose congregation lost 9 members two years ago this week in a white supremacist domestic terrorist attack. It was humbling beyond belief to see some of their family members greet and welcome us at the door. Afterward, we moved to a reception (catered by one of Charleston’s Top Chef contestants) and participated in a vodun ceremony for the ancestors, and then heard from intrepid park rangers about the ways in which they help Charleston fight the hoopskirts narrative in order to come to terms with its history as America’s largest import-city of enslaved Africans.

The next day, a panel about teaching African-American history in the age of #BlackLivesMatter and the current POTUS got incredibly real as black public historians and activists did the emotional labor of sharing some of the most humiliating and painful stories of degradation they had experienced in their careers, and the ways in which they work to support others with the same experiences. The emotional power and conviction of everyone at this conference floored me, because I too am passionate about history specifically because of how it can illuminate the injustices of the past and transform the present.

Something that really struck me in this type of intimate space, was the ways in which attendees approached networking. If you asked them, I doubt anyone would have used that word to describe what was going on. You see, the people at this conference were each passionate beyond belief about finding ways for public history to affirm the humanity of black people, both of the past and in the present. All of the conversations around panels and receptions and plenary talks were held with utmost enthusiasm and the spirit of “What you are doing is so incredibly awesome, how can I help or be part of it?” People forged connections, planned collaborations, and shared skills organically, all coming from the same desire and passion.

So what does that tell me about networking? Continue reading “On Professional Generosity: a How-To Networking Guide for Writers, Educators, and Academics”