Conference Season

It’s the middle of conference season, at least for me.  While the book continues to occupy most of my time, I’ve also been busy with a few papers which I hope might be interesting and indicative of some of the new directions in which my research has been moving.  If you’re there anyway, you might enjoy:

Towards a Theoretical Model of the Epigraphic Landscape

XI James Lumsden 1

Thursday, 12 July, 9-9.50am, 11th Celtic Conference in Classics, University of St Andrews.

This will be my first attempt to fully explain some of the methodological and theoretical approaches I’ve been developing for the study of early modern carved stones and I’ll be using the wonderful (bizarre?) object in the picture above as a case study.  If you feel strangely exhilarated by post-processual archaeology, then this will be a paper not to be missed.

The Origins of Engraving in Scotland

Stewart Bookplate Image

Wednesday, 18 July, 11-12.30am, Eighteenth-Century Scottish Studies Society Conference, University of Glasgow.

In retrospect, I should probably have gone with a paper that spoke more directly to my new book, but I couldn’t resist talking a little about the sudden and unexplained flowering of the art of engraving in Scotland around the year 1700.  Later that day I’ll also be at the Stirling Centre for Eighteenth-Century Studies gin tasting (!) in Glasgow University Library, for which I would heartily encourage you to reserve a ticket if you’ve not yet done so.  Nothing says “eighteenth century” like gin . . . .

New Light on Old Stones: Reassessing the Post-Reformation Funeral Monuments in St Andrews Cathedral

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Saturday, 18 August, 3-4pm (tentatively), Medieval and Early Modern St Andrews: A One-Day Conference, University of St Andrews.

I’m extremely pleased to be consulting for Historic Environment Scotland on the post-Reformation carved stones in St Andrews Cathedral and as part of that larger project I’ll be talking about my initial findings at this conference.  The corpus of carved stones in the cathedral is outstanding and reveals some exciting connections between the East of Fife and the wider world.

If you happen to be at any of these, please do say hello!  Only ask me about the book at the last one, though . . . .

Copyright © 2018 Kelsey Jackson Williams

Week 8: A Complete Draft

I began the research project which ultimately led to this book in the summer of 2014 and had been thinking about it for a year or more before that, so it’s almost hard to believe that last week saw me write the final chapter (an unexpected addition which I only realised I needed quite late in the day) and find myself in the possession of a complete draft of The First Scottish Enlightenment.

But so it is.  Not only do I have a complete draft, but most chapters are ready to go, with only two or three needing any substantial revision and the rest just awaiting polishing, cross-referencing and general putting in order.  I’m still a bit behind schedule – all of this was meant to happen last week – but it feels like a huge achievement nonetheless.  Now I’ve begun the penultimate end-to-end read, ferreting out sections where I’ve repeated myself, or changed my mind, or thought I made sense but actually didn’t.  While I’m finding plenty to tweak, so far nothing truly awful has reared its head and occasionally I can even tolerate my prose.

Reflexive back-patting out of the way, though, I wanted to continue in the spirit of this series of posts by talking a little more about how I’ve been approaching revisions to the manuscript.  I’ve been taking it chapter by chapter, beginning with a paper copy (in which I find it far easier to catch grammatical and typographical errors).  I mark up the paper copy with any minor changes – typos, punctuation, an additional clause, etc. – and make notes of any more substantial additions in an Evernote file to return to later.  At the same time, I’ve been creating an index of where I mention key individuals, books, manuscripts, and events to avoid duplication and make sure I introduce them properly when they first appear.  Finally, I take note again of the sub-sections within the chapter and ask myself if they make sense, flow well, or need to be renamed or shuffled about.

That’s the first step – working with paper copy in hand.  Then I copy over all of my handwritten changes into the relevant Word file before working through my notes for more extensive additions or revisions, taking these one at a time, usually while ensconced in the St Andrews university library (the closest research library to home), where I can easily check references.  At this stage, I’ll also make any revisions or cutting and pasting which the index reveals to be necessary.

Once these two stages are done, each chapter is ready to be sent off to my kind and extremely patient readers.  At the same time, however, I’ve also been taking a separate set of notes on anything which may need to be returned to once the whole book has been gone through in this way: mostly cross-references, occasionally lists or tables dependent upon other chapters, and similar material.  I’ll attend to that at the end.

And that’s where I stand.  Eight weeks from my submission deadline – the end of July – and, I think, in pretty decent shape.  I like this stage of the process, the conscientous and meticulous working out of small issues, tidying of prose, and all the other things that go with revision, and look forward to seeing it through over the next couple of weeks.

Copyright © 2018 Kelsey Jackson Williams

Week 13: The Best-Laid Schemes . . .

Burns’s “To a Mouse” (1785) is one of those poems so culturally ubiquitous – in Scotland anyway – that its lines have become verbal tics or pieces of linguistic shorthand like Chinese Chengyu.  I was reflecting on this while mentally composing the present blog post.  A little less than a month ago The Historian and I moved into a new (or, rather, old) house with all the predictable chaos that involves, not least of which has been the collapse of my existing schedule for book completion.  The phrase which naturally came to mind was that most famous of distychs from “To a Mouse”: “The best-laid schemes o’ mice an’ men | Gang aft agley”.

In context that was pretty disastrous (for the mouse, at least), as the subsequent lines – “An’ lea’e us nought but grief and pain, | For promis’d joy!” – make clear.  In the case of the book project, it’s perhaps not so bad as all that.  Agley (or aglee) simply means asquint or awry or somewhat oblique in Scots, though with the figurative meaning of something in error or off the mark, and comes from the verb gley, to squint, but also to look with one eye, to take aim.  While the house move has, indeed, meant that my book completion plans have gone agley, I think I’ve managed to nonetheless gley once again at the target of manuscript submission and come up with a revised schedule that’s still workable (more workable than my attempts at linguistic punning, to be sure).

An adjustment of plans was needed in any case as earlier in the year I’d become aware that I probably didn’t need a separate chapter on one topic (Roman antiquities, which have ended up being discussed in the context of various other chapters), but did most definitely need a chapter I hadn’t originally intended (one specifically on the work of Thomas Innes).  So the next three weeks will see me writing this latter chapter.  It shouldn’t be too hard, given that Innes has figured largely in my research for a number of years now, and when it’s finished only the introduction and conclusion will remain to be written.

In other words, if at first you go agley, gley, gley again!

The header image is a photograph of Kenny Hunter’s seven foot tall bronze mouse statue at the Robert Burns Birthplace Museum.

Copyright © 2018 Kelsey Jackson Williams

Week 17: Provenance and the Individual Book in the Digital Age

Another chapter down.  This one was on reception and readership and – combined with some very exciting plans for a new project which I’ve been cooking up with a friend down south – it’s been making me think about provenance and book ownership even more than usual.

“[People] care about what makes a book unique

A year or so ago I was talking to a book collector about the ways in which digitisation had affected collecting.  “People care more about provenance now”, he said, “they care about what makes a book unique“.  That’s very true.  When we can download a PDF of many an early printed book from Google in a matter of minutes, the printed text begins to recede into the background as a collectible object in favour of – to borrow a phrase from the Material Evidence in Incunabula project – the “copy specific, post-production evidence and provenance information”.  This has a knock-on effect for us academics as well; only look at the number of new projects focusing on the study of historic libraries, the investigation and recording of material evidence, and the renewed interest in bindings and other facets of the book as physical artefact.

This is an altogether good thing (as long as we don’t begin to neglect the printed book itself!).  It also represents a larger sea-change in collecting.  While celebrity autograph albums and the like were widely popular in the nineteenth century, there was much less interest in the post-production aspects of most books, even to the extent of incunables and other desirable items being “washed” to remove those untidy humanist scribbles (*weep*).  Now that provenance is such a hot topic, bibliographically speaking, not only are we seeking to understand it more from a scholarly point of view, it’s also changing things as basic as how early printed books are catalogued.

The beauty about provenance from a collector’s standpoint is that it’s a great leveler.  Not every wouldbe book collector can own a shelf of incunables, but anyone with patience and knowledge can find books with wonderful histories inscribed in them.  All of the following were picked up in charity bookshops, library book sales, etc., rarely for more than a tenner at most:

 

Millar 1

Millar 2

J. H. Millar.  A Literary History of Scotland.  London: T. Fisher Unwin, 1903.

This delightful example of early twentieth-century literary criticism contains the stamp and bookplate of one of Fife’s early public libraries, established in Kirkcaldy by the Beveridges – local linoleum magnates – in 1895.  The bookplate, rather forbiddingly, reminds prospective users that “The Librarian is authorised to levy exemplary fines upon readers damaging books”.

Bowra 1

Bowra 2

C. M. Bowra.  Sophoclean Tragedy.  Oxford: At the Clarendon Press, 1947.

This monograph by the inimitable Maurice Bowra contains extensive annotations on almost every page, apparently by its former owner, Nigerian colonial administrator and poet Charles Ashbee Woodhouse, whose 1948 signature appears on the flyleaf.

Pliny 1

Pliny 2

Pliny the Younger.  Epistularum libri novem . . ., ed. R. C. Kukula.  Leipzig: In aedibus B. G. Teubneri, 1908.

When I was a postgraduate, old Teubner editions of the classics could be found in every Oxford bookshop, but this volume, with its successive Balliol owners is a particularly lovely example of the university book trade.  It has been interleaved to facilitate note-taking, though most of its readers seem to have given up long before the end.

Of its owners, Alexander Wigram Allen Leeper (1887-1935), who probably purchased it new and was responsible for the interleaving, was an Australian civil servant and authority on cuneiform texts.  Bernard Francis (Brian) McGuinness (b. 1927) is a retired philosophy don and authority on Wittgenstein.  Richard Patrick ffrench (1929-2010) was an ornithologist who studied the birds of Trinidad and Tobago.

Lewis & Short 1

Lewis & Short 2

Charlton T. Lewis and Charles Short.  A Latin Dictionary.  Oxford: at the Clarendon Press, 1890.

The Historian reminds me that the Oxford Latin Dictionary is better, but I retain a fondness for Lewis and Short, especially this rather touching volume.  Ralph Porter Wade (1883-1939) purchased his dictionary at the precocious age of sixteen before going on to be Gell Hebrew Prizeman at Christ’s College, Cambridge, and a vicar in Lincolnshire, while Edwin Lisle Marsden (1886-1950) was another northern cleric.  From there it went to Eton and finally made its way to the Classics Bookshop in Oxford.

All of which goes to say that provenance research needn’t be limited to scholars of incunables or wealthy industrialists gloating over their Gutenberg Bibles (if this latter, endangered species still exists).  The next time you’re in a charity shop or used bookstore, glance over a flyleaf or two and see what you discover . . . .

Copyright © 2018 Kelsey Jackson Williams

Week 22: Strikes and Snow

This is the first week in which I’ve fallen behind my completion schedule.  It’s all the more strange given that the week which has just gone by, on first glance, would seem to have been the ideal stretch of time in which to plow ahead with the book project.

Why?  Well, I’ve somewhat sophistically convinced myself that I can work on the book during strike days (for the strike and what it involves click here) as that will be working for myself rather than for my institution.  Whether that’s a valid argument or not is another matter, but either way it should have meant that I had three clear days of book time earlier this week.  On top of that, the “Beast fae the East” ensured that classes were cancelled on both Thursday and Friday, meaning two more days at home (in heavily snowed-in Doune – see the picture at the top of this post), which – even allowing for the need to mark student essays – ought to have helped matters along.

But I think in the end that a regular routine is more productive to writing than any number of more or less unexpected bonus days.  Somehow I’ve managed to explore the Leighton Library, sort press furniture for our home press, clean a giant pile of brass rules for the same, write a paper which ended up being canceled by snow, and do pretty much everything conceivable this week except for actually moving forward with the book.

Rules

I may not have progressed with the book, but these are now scrubbed, polished, and sorted by size.

And so, I’m now about a week behind.  With luck that will change next week: the strike is due to continue and I’ll be sitting at home with little else to do.  But this time I’ll have to knuckle down and impose a routine on these otherwise all too slippery days of strike and snow . . . .

Copyright © 2018 Kelsey Jackson Williams

Week 25: A Chapter Down

We are currently in week 25.  I used to organise my desk journal and the other paraphernalia of scheduling by weeks of term or semester, but that’s now been supplanted by the overarching countdown of the book manuscript and, by that highly specific calendar, we are twenty-five weeks away from hand-off to OUP.

I’m now four weeks in to the completion schedule I set myself at the beginning of this year and am feeling, on the whole, pleased with its progress.  Teaching has been happening for a little while now, but I’m still managing to balance it and administrative responsibilities with ongoing book work.  Indeed, as I write I have one more chapter in the bag than I did when I began all of this in January.

So, how did that happen?  Last spring I wrote about generative writing and the ways in which I’ve used it during the present book project.  This chapter was no different.  I outlined at progressively detailed levels until I had a paragraph-by-paragraph skeleton of the chapter I wanted to produce (about 3,000 words), then over a couple of days I fleshed that out into a ~9,000 word very rough first draft.  In the subsequent week I added footnotes and tidied the style until it’s now sitting at about 12,000 words and is in a pretty decent state save that I need to check a few sources when I’m next in St Andrews.

DSCF9954

John Cockburn’s Bibliotheca Universalis (Edinburgh, 1688), one of the case studies in Scottish intellectual culture discussed in the chapter I’ve just finished.

That probably makes it all sound easy enough, but I’ve actually found this chapter quite hard.  It’s chapter one – I’m writing the book out of order – and contains about half of my attempt to intervene in Enlightenment historiography (the other half will be in the introduction).  I find that sort of heavily referential, positioning activity to be heavy work and am by no means convinced that the current draft does a sufficient job of explaining both where I sit amongst the various Israelite, Robertsonian, Pocockian, etc. interpretations of Enlightenment and how what I’m doing is different.  Mercifully, I’m now turning to chapter four (again, out of order) and what I’ve been calling the “Ancient Monarchy Debate” – the long-running critique of Scotland’s supposedly 2,000-year-old royal dynasty – which is much more comfortably antiquarian ground.

If all goes well, I should be writing another blog post, recording the successful completion of chapter four, somewhere in the last days of February or first days of March . . . .

Copyright © 2018 Kelsey Jackson Williams

Scheduling the Book

I survive in academia with the help of calendars and schedules: the paper diary that used to be enough to keep me organised when I was a student has expanded into a Google calendar, an increasingly complicated desk journal, and multiple tables and Gantt charts, but the principle remains the same.  My latest schedule, though, is particularly terrifying: the schedule of finishing the book.

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This is the part of my 2018 schedule I’m really looking forward to . . . .

 

On the surface of it, finishing The Book doesn’t seem too daunting.  My submission date is 31 July, I already have most of it written, and a relatively light teaching semester ahead of me.  But once you begin to break down the twenty-eight weeks between now and the end of July, things start looking tighter.  To stay on schedule I’ll need – for example – to finish the chapter I’m currently working on by 9 February and knock off the next one (which, mercifully, already exists in a partial draft) by 2 March and while four weeks seems like quite a lot, I’ll also be juggling teaching, the press, and all the other administrative and quotidian responsibilities of being a lecturer (not to mention those interfering non-scholarly activities, like buying a house).

So I’m steeling myself for a busy few months.  Packed as they’ll be, I think I’ve worked out a manageable timeline for completion and I’m looking forward, after a semester devoted almost wholly to teaching, to return to this project and see it through its final stages.  Step one: draw up a detailed plan of the chapter I’m about to write.  This is chapter one (because I’m writing out of order), an overview of Scottish intellectual culture at the end of the seventeenth century, and I’m currently putting flesh on the bones of a fairly general outline I made before Christmas.  Once I’ve worked out what I want to say, paragraph by paragraph, then I’ll turn to generative writing to produce a first draft.  Before I can do that, though, I want to reread and refresh my memory of a couple of key texts (the seminal works by Clare Jackson and Hugh Ouston on this period) and review my notes towards the chapter, some of which were taken three or four years ago and almost certainly contain material which has long since escaped my mind.

Evernote and my increasingly well-worn copy of Restoration Scotland beckon . . . .

 

Copyright © 2018 Kelsey Jackson Williams

The Origins of Scottish Copperplate Engraving (Musical and Otherwise)

A guest post I wrote for the wonderful “Claimed from Stationer’s Hall” project. If you don’t already know about Karen McAulay’s fantastic work, take a look at: https://claimedfromstationershall.wordpress.com/ .

Claimed From Stationers' Hall

It is with great pleasure that we share our second guest blogpost, this time by Dr Kelsey Jackson Williams, Lecturer in Early Modern Literature at the University of Stirling, and Printer, The Pathfoot Press.  If you’ve ever wondered what the process of music engraving actually entails, then your questions are about to be answered here.

One of the vast treasure trove of musical scores which falls within the remit of the Claimed from Stationers’ Hall project is the imposingly named A Collection of the Ancient Martial Music of Caledonia, called Piobaireachd as performed on the Great Highland Bagpipe. Now also adapted to the Piano Forte Violin and Violoncello. With a few old Highland lilts purposely set for the above modern instruments. To which is prefixed a complete tutor for attaining a thorough knowledge of the pipe music, compiled by the Skye native and prominent bagpipe-maker Dòmhnall MacDhòmhnaill (1766/7-1840) and published in…

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A Stray Letter and a Unique Book

At a recent workshop in Edinburgh I was comparing notes with two colleagues about which bibliographies of Scottish printing we owned (such are the exciting lives of academics).  In the course of the conversation both related their pleasure at having obtained copies of that magnum opus of Scottish book history, the Bibliographia Aberdonensis, a systematic account of every writer from Aberdeenshire and the surrounding area during the early modern period.  This, in turn, led me to think of my own well-thumbed copies of the two volumes of the Bibliographia, the result of a fortunate eBay purchase some years before.

I’d been using my copy for some weeks before a small sheet of paper fell out from between its pages onto my office floor:

Baxter letter

An unexpected discovery.

The letter, for so it proved to be, read:

THE DEANERY, YORK.

Nov. 11 35

 

My dear Professor Baxter

            I have looked with very great interest at the volume containing “Hayi Oratio”, & greatly hope that when the occasion arises the relevant part of it will be photographically reproduced.  I am sure that the Dean & Chapter will readily give the needful consent.

            I am handing over the copy of the St. Andrews music MS. To our Librarian, & a proper acknowledgment of the kind gift will be duly sent.

Ever yours sincerely

H. N. Bate

 

The sender of this letter was Herbert Newell Bate (1871-1941), then Dean of York, and its recipient, James Houston Baxter (1894-1973), Professor of Ecclesiastical History in my own sometime academic home, the University of St Andrews.   The copy of the “St. Andrews music MS.” which Bate was handing over to the chapter librarian was evidently Baxter’s facsimile edition of Cod. Helmst. 628, published as An Old St Andrews Music Book (London, 1931).

What really piqued my interest, though, was the reference to “Hayi Oratio”, for this was surely none other than  M. G. Hayi oratio habita in gymnasio Aberdonensi 2 Iulij. 1569 (Edinburgh: Robert Lekprevik, 1571), Aldis 101.6, ESTC S92888, USTC 507327.  George Hay’s Ciceronian browbeating of the still-all-too-Catholic scholars of Aberdeen has been long since been discussed and analysed by John Durkan, but both Durkan and the bibliographies cited above were aware only of the (supposedly) unique copy in the National Library of Scotland.

What then of the York sammelband which Bate reported in 1935?  I have yet to find it in any catalogue, but I remain hopeful that somewhere in the north of England this copy survives.  If it could be located, the eighty-two year-old letter which I came across so fortuitously could result in the discovery of a genuinely important, at-present lost, fragment of Scottish Reformation history.

Copyright © 2017 Kelsey Jackson Williams