Facing the Challenge Offered by Graphic Medicine

Guest Post by Susan Squier and J. Ryan Marks

Since its beginning, the journal Configurations has fostered “the multi-disciplinary study of the relations among literature and language, the arts, science, medicine, and technology.” Those are the words of editors Melissa Littlefield and Rajani Sudan when they assumed the editorship two years ago. The pair promised the journal would stretch to include work that brings together “colleagues of different disciplines who may debate principal methodologies or ideas, but who also work to exceed their disciplinary boundaries.” Well, comics and medicine make a pretty volatile mixture, so the special issue we recently edited on graphic medicine fits right in with the original mission and the intent of the editors.

configurations_frontGraphic medicine may not be a familiar term, but readers of Configurations will find recognizable and engaging the heady mixture of art and literature, scholarship and practice that characterizes this field devoted to “the interaction between the medium of comics and the discourse of healthcare.” As scholars have begun to write about graphic medicine, their transdisciplinary work offers acute new perspectives on the core fields that have made the Society for Literature, Science, and the Arts (SLSA) such a high-voltage organization since its inception.

Consider some of these new perspectives. The literary understanding of memoir and life writing is now taking account of the disruptive urgency of graphic memoirs and underground comics like Roz Chast’s Can’t We Talk about Something More Pleasant?, Sarah Leavitt’s Tangles, and Justin Green’s Binky Brown Meets The Holy Virgin Mary. Comics written from the perspective of patients and family members, such as Harvey Pekar and Joyce Brabner’s Our Cancer Year and David B’s Epileptic, are calling into question the epistemological authority of the medical profession. Comics created by physicians and psychiatric nurses, such as Ian Williams’s Bad Doctor and Darryl Cunningham’s Psychiatric Tales, are puncturing the myth of Dr. Kildare and uncovering the personal vulnerability of healthcare workers, as well as their struggles with institutional medicine. And graphic pathographies like Brian Fies’s Mom’s Cancer and David Small’s Stitches show us biomedical technology from a different light, revealing that procedures, scans, tests, and new drugs can offer stressed healthcare providers an easy alternative to confronting the actual emotional and physical vulnerability and pain of their patients.

Indeed, the field of graphic medicine challenges our very notions of what art, medicine, literature, and scholarship should look like. We use the visual term here advisedly, for graphic medicine is, above all else, a visual medium. “Juxtaposing words and images in deliberate sequence”—the phrase is Scott McCloud’s, from his iconic Understanding Comics—works of graphic medicine both tell and show us how it feels to be sick, to undergo medical treatment, to practice healthcare, or to engage in the work of caregiving.

As the essays in the special issue demonstrate, the stakes of engaging in this transdisciplinary field are multiple: aesthetic and pragmatic, ethical and practical, analytic and emotional—frequently, all at once. Using juxtaposed words and images in a sequence to express an experience that is at once quite specifically embodied and yet universal, indeed inevitable, complicates productively the ways one can write about, visualize, understand, and feel the impact of medical treatment, illness, disability, and caregiving. How a scene is drawn will shape how it is framed and perceived: the images may expand, explode, or even contradict a narrative, enrich characterization, and control the pacing, mood, and import of a series of events.

As with many new enterprises, there is a temptation toward the exclamatory, even the evangelistic: comics can produce better doctors and better patients! Comics can enable a therapeutic expression of difficult experiences! Comics can reach broader audiences! All of these statements are true, and yet, as we selected works for this special issue, we wanted to move beyond that initial celebratory impulse to demonstrate that graphic medicine—as art, scholarship, and something combining both—is subtle, analytic, and complex.

We selected works, then, that exemplify some of the major strands of graphic medicine as a mode of scholarly inquiry, a genre of comics, and a form of science studies. We wanted to include works by people in a number of different disciplines and lines of work, and we are happy to say that we were successful in this goal, as a glance at the contributors list will indicate. We also wanted to show the field as practiced by those new to it (after years as senior scholars or as newly minted junior scholars), as well as the work of some of its major voices. We have chosen comics that give visual access to an experience beyond the grasp of written narrative, and we have chosen essays that push beyond even the formal conventions of the scholarly enterprise. Finally, we looked for work that would speak to the Configurations reader/viewer—aesthetically, emotionally, politically, intellectually.

In our compilation of the special issue, we dismissed the customary practice of grouping different genres together in the table of contents, instead opting for an arrangement that reflects the leveling of disciplinary hierarchies that is the essence of graphic medicine, hoping to honor the joint endeavor and creative encounter that is its essence: the incitement to conversation and collaboration between people who are differently positioned, in disciplines, in modes of work, and in embodiment.

Susan Squier teaches comics in her Women’s Studies and English seminars at Pennsylvania State University. A past president of the Society for Literature, Science, and the Arts and one of the organizers of the graphic medicine conferences, she coedits the Penn State Press book series Graphic Medicine and is coauthor of the forthcoming Graphic Medicine Manifesto.

J. Ryan Marks is a PhD candidate in English literature at Pennsylvania State University whose research interests include the politics and aesthetics of ranting in twentieth-century American fiction.

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Filed under Cultural Studies, Health and Medicine, Journals, Literature

Meet us in Pittsburgh: The Wildlife Society

Guest post by Vince Burke

It was one of those days that every editor dreams of having. Just as I was beginning to plan my trip to The Wildlife Society annual conference in Pittsburgh, I received word. The two big book awards for 2014 had been announced and Johns Hopkins University Press had published both of them. The first award was for the best edited volume, and Nova Silvy’s The Wildlife Techniques Manual, seventh edition, was the winner. The second award, for best authored book, was won by C. Kenneth “Ken” Dodd, Jr.’s Frogs of the United States and Canada. On Sunday night, October 26th, I’ll be in the audience at the awards dinner, happy about the small part I played in helping Ken and Nova complete their masterpieces.

For the rest of the meeting, however, you’ll find me at the Johns Hopkins University Press booth in the exhibit hall, standing near the new revised edition of the classic book, Ducks, Geese, and Swans of North America. Following in the footsteps of Francis Kortright and Frank Bellrose, this new edition is a 2-volume masterpiece by Guy Baldassare. A proven bestseller (the last edition of Ducks, Geese, and Swans sold over 250,000 copies), this 2-volume set retails for an amazingly low $69.95. During the meeting you’ll be able to purchase this title, and all our books, for 7 cents on the dime (that is, for 30% off)!

doddvols1&2I hope you will stop by and see the large collection of wildlife books that we publish, especially those we are proud to publish in association with The Wildlife Society. Sightings at the booth of TWS book series editor Paul Krausman are common, as are occasional visits by Johns Hopkins authors (past, present, and future) such as Kimberly Andrews, Jerry Belant, Travis DeVault, Dan Decker, George Feldhamer, Stan Gehrt, Bruce Leopold, Jim Miller, Mike Morrison, Priya Nanjappa, Nils Peterson, Russ Reidinger, Seth Riley, Shawn Riley, Amanda Rodewald, Nova Silvy, and others.

We are very proud of the high-quality books we produce at Johns Hopkins, but even more proud of the talented authors and volume editors with whom we work. If you have an interest in creating a book, please take that first step and stop by our booth so we can chat. Our goal is to work with the members of The Wildlife Society to produce the finest books in the field. Whether you are a reader of these books, or aspire to write your own, we look forward to chatting with you in the Steel City.

New and forthcoming:

Wildlife Management & Conservation, edited by Paul R. Krausman and James W. Cain III, eds.
The Wildlife Techniques Manual, edited by Nova J. Silvy
Roads and Ecological Infrastructure, edited by Kimberly M. Andrews, Priya Nanjappa, and Seth P. D. Riley
Wildlife Habitat Conservation, edited by , Michael L. Morrison and Heather A. Mathewson

Executive Editor Vincent J. Burke, PhD, acquires books in science and mathematics for the JHU Press; follow him on Twitter at @VBurke2. In Pittsburgh from October 25-30 at The Wildlife Society Annual Conference,  meet Vince  at the JHU Press exhibit in booth 102; follow The Wildlife Society and read more about the conference on Facebook and Twitter.

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Filed under Animals, Baldassarre, Biology, Conservation, Ducks, Geese, Life Science, Nature

Thinking about display and design at the Smithsonian

Guest post by Robert C. Post

Bob Post 1On the dust jacket of my book, Who Owns America’s Past, there is a blurb from Dr. Deborah Douglas, Director of Collections at the MIT Museum and a marvelous historian. Debbie calls it “part history, part memoir, and part polemic,” and I’ve had to admit that she “got” my book in a way I never intended. The book addresses ways in which the Smithsonian Institution—in particular the Museum of American History and the National Air and Space Museum—has put artifacts on display, and on that basis it can also be separated into three parts, in a way I fully intended. The conventions for exhibits are categorized under three different headings. First, there are exhibits of one particular type of artifact that are collections-driven—a Hall of Horology, Railroad Hall (pictured above), and so on. When artifacts are small, such as clocks and watches, there may be dozens or hundreds of them arrayed in display cases. When they are large, as with locomotives, one or two of them may dominate an entire exhibit hall by their dramatic presence.

Bob Post 2Then, there are exhibits that can be called story-driven, often with names like the titles of books—We the People, Suiting Everyone, A Nation of Nations (pictured right). In conceiving such exhibits, a narrative is developed first, and artifacts of many different kinds are then deployed like illustrations in a book. Sometimes the techniques of exhibit design, such as dramatic lighting, are as striking as the artifacts themselves.

Finally, there are exhibits that are best called postmodern. A pioneering example of this, The Henry R. Luce Hall of News Reporting (pictured below). Here, “real” artifacts are intermixed with “props,” and together they are exhibited in whatever historical context seems to offer the most potential for immersing an audience in some sort of “experience.” Can’t you hear the sculpted newsboy calling, “Extra! Extra! Read all about it!”?

Bob Post 3In postmodern exhibitry, “realities” are constructed from an array of storytelling possibilities; they are like a literal reading of historian Hayden White’s remark that “any historical object can sustain a number of equally plausible descriptions or narratives of its processes.”

It is tempting to cast these three kinds of exhibits in an evolutionary sequence, from spare taxonomies with only one tale to tell, to the collaborative inventions of storytellers (curators) and dramatists (designers) selecting from many possible options. Even today, however, the Smithsonian still stages collections-driven exhibits, one reason being that the other two types are much more expensive to mount. Both are design-intensive, and postmodern exhibits also involve costly elements of “experience”—sound, fury, electromechanical interactives. Exhibits of this type are almost always a product of “outside” funding, corporate or institutional. Are we to assume, then, that they may harbor some sort of “spin,” to the order of donors? Would The Henry R. Luce Hall have feature Time and Life at the expense of Newsweek and Look?

Or, coming up to date, would The General Motors Hall of Transportation do more with Chevrolets than with Fords? Actually, it does not; to assume otherwise would be mistaken. But another assumption, that collections-driven exhibits are somehow more certain to be “objective,” this is also mistaken. Something exhibited even in the most unadorned fashion—the old locomotive all by itself, say—is being affirmed: People are being told that this is worthy of being “in the Smithsonian,” and it is worth celebrating. So, back to Dr. Douglas’s blurb and the characterization of my book as “part polemic.” This refers largely to the artifact on the cover—the Enola Gay, the B-29 from which an atomic bomb was loosed on Hiroshima in 1945. Fifty years later, when the Smithsonian planned to display the Enola Gay, it seemed that there were two “equally plausible” narratives. One of them would include evidence of what happened on the ground: melted watches and lunchboxes, total ruination, ghastly photos. The other would be limited to the airplane itself as a technological marvel. It was the latter narrative that won out after a wrenching political dispute, and the way it is presently displayed. My distress about this is why I can now understand Debbie’s three part assessment, ending with “part polemic.”

Bob Post received his Ph.D. from UCLA in 1973, and then was employed by the Smithsonian for twenty-three years, as a technician, historian, editor, and exhibit curator. Exhibits are the subject of his latest book from Johns Hopkins University Press, Who Owns America’s Past? The Smithsonian and the Problem of History. Pictured in the photos above, showing off exhibits for which they were responsible, are two of his most esteemed colleagues: Jack White (with the locomotive), also an prizewinning Johns Hopkins author, and Peter Marzio (with the newsboy), who followed his Smithsonian tenure with a distinguished career as director of the Houston Art Museum. A note of clarification: The Museum of American History opened in 1964 as the Museum of History and Technology; the name-change took place in 1980.


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Filed under American History, American Studies, D.C., History of technology, Popular Culture, Washington

Henry Clay Folger’s Greatest Honor

Guest post by Stephen H. Grant

A century ago, in 1914, Henry Folger received an honorary Doctorate of Letters from Amherst College. The citation read: “Henry Clay Folger, a graduate of this college in 1879, called to the bar in due course, called by ability, by character, by efficiency, integrity and the confidence of men in his judgment to the widest fields and the highest posts in leading and guiding the industrial development of the land; a collector of the largest assemblage yet known of the editions and the literature of the greatest dramatist, gathered with learning, watchful care and studious pains; owner of 49 copies of the first folio edition of the plays of Shakespeare, a priceless and unexampled field for comparative research. I ask you alike for his services in the affairs of a great empire of industry whose produce is on every sea and its light on all lands and for his knowledge in the most important field known in English literature to confer upon him the degree of Doctor of Letters.”

Grant Fig 30

Emily Jordan Folger wearing her purple Amherst hood in the reading room of the Folger Shakespeare Library in 1932. She gazes at the Frank O. Salisbury portrait of her husband, Henry Clay Folger, in the same hood.

Another awardee at the ceremony was ex-President William Howard Taft, who received an honorary Doctor of Laws Degree. Who was observing the two eminent gentlemen enter the motor vehicle headed for a banquet following the exercises? Folger was five feet four and weighed 115 lbs. Taft was six feet tall and weighed 335 lbs. Inside, Dr. Taft leaned over and said mischievously to Dr. Folger, “Forty-nine Folios? We have the fiftieth at Yale.” Founder of the University’s Elizabethan Club, Yale alumnus Alexander S. Cochran donated to the Club a Shakespeare First Folio in 1911.

In picking Folger for an honorary degree, Amherst got it right. Folger had climbed to the top of two vastly different fields: the petroleum industry and Shakespeare collection. To have accomplished either one would have been a prodigious undertaking. By 1914, Folger was president of Standard Oil Company of New York, which later became Mobil Corporation. His Shakespeare collection then included forty-nine First Folios, all different in some way. Before he died in 1930, Folger had acquired eighty-two copies of the Bard’s 1623 collected dramatic works published posthumously in London.

Folger wrote Amherst trustee, Talcott Williams, “I wish to thank you from the bottom of my heart for this the greatest honor of my life.” He wrote his pastor, S. Parkes Cadman, “It was most unexpected, but the greatest possible honor. Amherst gives few degrees. You will be amused at the basis for conferring it; it was not all Shakespeare.” From Pocantico Hills, New York, came this tongue-in-cheek accolade: “I congratulate you upon receiving the degree, and that your connection with a great and useful business organization did not detract from your high standing,” signed John D. Rockefeller.

Henry Clay Folger died in 1930 without having seen a stone of the Folger Shakespeare Library built or his entire collection assembled in the nation’s capital across the street from the Library of Congress. His wife, Emily, took over the decision making responsibilities and was present to turn over the keys of the Library to the chairman of the Amherst trustees on Shakespeare’s 368th birthday, April 23, 1932.

Later that year, Amherst College bestowed on Emily a degree with this citation: “Emily Clara Jordan, graduate of Vassar College, through many years the enthusiastic, tireless, and discriminating companion of Henry Clay Folger in the collection of a unique library of the works of Shakespeare; generous benefactress of Amherst College and of the lovers of letters throughout the whole world; the degree which 18 years ago Amherst College appropriately bestowed upon your husband it now, with the same hood as symbol, confers upon you, as I create you a Doctor of Letters.” It was a triumphant yet bittersweet moment for Emily Jordan Folger.

grant.collectingStephen H. Grant is the author of Collecting Shakespeare: The Story of Henry and Emily Folgerpublished by Johns Hopkins. He is a senior fellow at the Association for Diplomatic Studies and Training and the author of Peter Strickland: New London Shipmaster, Boston Merchant, First Consul to Senegal.

Meet Steve Grant on October 23 at the Oliver Wolcott Library in Litchfield, CT; on November 8 at the National Press in Washington, DC; and on December 1 at the Central Library in Arlington, VA.  For more information, visit Steve’s website.


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Filed under American History, Biography, D.C., Literature, Press Events, Shakespeare

A Marsh is Born

By Vincent J. Burke, executive editor

A hawk went aloft, stealing everyone’s attention. It was a familiar scene for the speaker, a wildlife manager whose back was turned to the soaring bird. You could see the slight smile form on his face as he recognized the failed attempts of the rows of seated listeners to conceal their interest. “What’s the bird behind me?” he asked as laughter broke out. It was a solemn day in the middle of one of the most rural parts of upper New York State, and the humor was fresh on the heels of suppressed tears.

Baldassarre_Marsh2We were gathered under the only structure in sight, a large tent staked on some dry ground adjacent to the marshlands of the Northern Montezuma Wildlife Management Area. This is where Professor Guy Baldassarre used to arrive with a bus full of ornithology students from the SUNY College of Environmental Science and Forestry. Guy was missing, and this ceremony was part of an ongoing effort to remember him. On this day we would dedicate a marsh restoration project that would be named in his memory. “Guy’s Marsh” is in the early stages of restoration, but within a few short years this abandoned farm field will fill with water and shelter and feed thousands of resident and migrating waterfowl.

baldasserre-box-no-angleWhat struck me most on this day can be put into a word: collaboration. This was Guy’s specialty, his hallmark: collaborating and getting others to do the same. Under the tent, people from California, Florida, and dozens of other places were assembled. The audience was speckled with representatives of Ducks Unlimited, the U.S. Fish and Wildlife Service, New York’s Department of Environmental Conservation, and too many other groups to mention. Friends of Montezuma stood behind a small table that displayed copies of Guy’s posthumously published masterpiece, Ducks, Geese, and Swans of North America. They were all here because they had raised funds for the marsh restoration, or had helped Guy as he wrote his book, or had somehow worked with him on behalf of birds and wildlife habitat.

When Guy’s wife, Eileen, spoke you could sense a marriage built on collaboration. When speakers told of the way in which large and small donations flowed in to rebuild the marsh, one was struck by the diversity of sources. Guy’s book itself was a collaboration that involved the Wildlife Management Institute, photographers, students, and scores of waterfowl groups and experts. After his death, one of these waterfowl experts had to guide Guy’s book through copyediting. Sue Sheaffer dedicated herself to those thousands of hours of doing what Guy would have insisted upon: double-checking everything.

Everything—the marsh, the book, the students, the friendships, the bonds—all somehow centered on Guy’s infectious enthusiasm for birds. It wasn’t just the enjoyment birds bring to us, or satisfying our curiosity about them; it was Guy’s recognition that birds need champions in this modern world. Out at Guy’s Marsh, looking around at the dedicated heirs of Dr. Baldassarre’s legacy, I got the sense the world was going to be a better place for birds because Guy spent decades teaching us, by example, how to collaborate on their behalf.

Editor’s note: To read Dr. Mike Schummer’s remembrance of Guy Baldassarre—the man, the book, and the marsh, click here.



Executive Editor Vincent J. Burke, PhD, acquires books in science and mathematics for the JHU Press; follow him on Twitter at @VBurke2.



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Filed under Biology, Birds, Conservation, For Everyone, General Science, Life Science, ornithology

The Big Bang Theory

Guest post by Don Lincoln

The Big Bang Theory is a fun show. It follows the lives of four geeky and quirky scientists who are too improbable to be true. Howard is an engineer and lives with his overbearing mother. Raj is an astrophysicist who is afraid to talk to girls. Sheldon is a theoretical physicist and socially dysfunctional. Leonard is the most normal of the four and is, of course an experimental physicist. This makes perfect sense, as we experimenters tend to be on the normal end of the spectrum.

This is not to say that there aren’t some of us actual scientists who are idiosyncratic. For instance, every physicist I know claims to know someone like Sheldon. (Of course, nobody I knows is willing to own up to being the Sheldon-like person.)

While the show is about scientists, it is very little about science itself. There is a danger in that, in that it gives non-scientists a skewed idea of the life of scientists. In fact, one of my main complaints about the show is the degree to which it reinforces the idea of the scientist as a socially-inept geek. The show also depicts its women characters in stereotypical ways, with Penny, the shapely, but dumb, and socially-savvy blonde; Amy, the sexually frustrated female counterpart to the clueless Sheldon; and Bernadette, the very pretty microbiologist with an annoying voice.

Of course, none of these liberties with stereotypes means that the show isn’t funny. It’s frequently a stitch. It’s just not any more realistic than, say Sex in the City or any of the various CSI shows.

With all that in mind, one can watch episodes with a knowing eye and appreciate the writers’ wit. In “The Codpiece Topology,” for example, the episode in which Leonard and his then-girlfriend Leslie break up over their positions on quantum gravity: superstrings or loop quantum gravity? The disagreement is a deal breaker for Leslie. “How we will raise the children?,” she cries. While there are no doubt passionate advocates of both approaches to bridging gravity and quantum mechanics, I am unaware of any actual relationships that have foundered over the divide.

The depiction of the hotel rooms at CERN (complete with the Matterhorn in the window) is a little more elegant than the reality. (I’ve stayed in college dorms which are more comfortable.) But the scientific energy that surrounds CERN makes any accommodations, no matter how Spartan, totally worth it.

The depiction of the hotel rooms at CERN (complete with the Matterhorn in the window) is a little more elegant than the reality. (I’ve stayed in college dorms which are more comfortable.) But the scientific energy that surrounds CERN makes any accommodations, no matter how Spartan, totally worth it.

Then there is the episode “The Large Hadron Collision,” in which Leonard is invited to go to CERN, the European Organization for Nuclear Research, and is allowed to bring a companion. The story revolves around who he should bring: his girlfriend Penny or his roommate Sheldon. Visiting CERN is depicted as being an honor, like being asked to give an invited talk at a prestigious conference or institute. In fact, for someone like Leonard, visiting CERN should be rather common. My own experimental physicist postdocs go there several times a year. Without a doubt, CERN is a scientifically-intoxicating place, but unusual it is not. One particularly funny part of the episode involves the hotel room in which Leonard will stay during his visit. The fiction is quite a bit different from the reality, as you can see in the attached picture in which I show both the room from the episode and my own room at the CERN hostel. (Although I do think the CERN management should consider making some changes . . . a four poster bed would be just lovely.)

The show The Big Bang Theory is a smashing success and its success hinges on having good writers and funny actors with excellent chemistry. Just realize that the characters really are caricatures of scientists. There are no Sheldons in physics. Well . . . except for that guy a couple of doors down . . .



Don Lincoln is a senior scientist at Fermi National Accelerator Laboratory and an adjunct professor of physics at the University of Notre Dame. He is the author of The Large Hadron Collider: The Extraordinary Story of the Higgs Boson and Other Stuff That Will Blow Your Mind, Alien Universe: Extraterrestrials in Our Minds and in the Cosmos, and The Quantum Frontier: The Large Hadron Collider, all published by Johns Hopkins.

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by | October 13, 2014 · 10:00 am

October events include the dedication of “Guy’s Marsh” in honor of Guy Baldassarre

The JHU Press October events calendar features the launch of the Healthy Living Series at Baltimore’s Ivy Bookshop, a program with the Johns Hopkins Department of Psychiatry and Behavioral Sciences for our new biography of pioneering psychiatrist Adolf Meyer, and book events in Montreal and Cincinnati.  A poignant and memorable event will be the dedication on Saturday, October 11, of a portion of the Montezuma National Wildlife Refuge in honor of the late Guy Baldassarre, whose  revised edition of the waterfowl classic Ducks, Geese, and Swans of North America was recently published by JHU Press.  We extend our best wishes to Guy’s family, friends, and colleagues. As always, we invite you to help spread the word about this month’s calendar.

Sunrise over a well-managed marsh at Northern Montezuma Wildlife Management Area

Sunrise over a well-managed marsh at Northern Montezuma Wildlife Management Area

11 October 2014, 2:00 p.m.
Guy’s Marsh Dedication

Honoring JHUP author Guy Baldassarre
Montezuma National Wildlife Refuge
3395 US Route 20
Seneca Falls, New York 13148

On Saturday, October 11th, from 2:00–3.30 p.m., the Friends of Montezuma Wetlands Complex will dedicate “Guy’s Marsh” in honor of Guy Baldassarre. Baldassarre revised the waterfowl classic Ducks, Geese, and Swans of North America, which was just published by JHU Press. The blog post describing Guy, his work, the book, and the marsh is available here on the JHU Press Blog.

Details of the event are available here from the Friends of Montezuma Wetlands Complex.

Matters_of_Fact_in_Jane_Austen11 October 2014, 2:00 p.m.
Book Talk & Signing
Janine Barchas
Matters of Fact in Jane Austen: History, Location, and Celebrity
Jane Austen Society of North America
Montreal, Canada

Information: Jane Austen Society of North America


Living_Hell11 October 2014, 10:00 a.m. – 4:00 p.m.
Book Signing
Michael C. C. Adams
Living Hell: The Dark Side of the Civil War
Cincinnati USA Book Festival
Duke Energy Convention Center
Cincinnati, OH

Admission: Free; visit the festival for more information.

16-19 October 2014
JHU Press Exhibit
American Society for Bioethics and Humanities
San Diego, CA
Information: Annual Meeting

Renegade_Amish21 October 2014, 7:30 p.m.
Talk & Book Signing
Donald B. Kraybill
Renegade Amish: Beard Cutting, Hate Crimes,
and the Trial of the Bergholz Barbers
The Young Center at Elizabethtown College
Gibble Auditorium, Esbenshade Hall
Elizabethtown, PA

Information: Visit the Young Center online.

27-29 October 2014
JHU Press Exhibit
The Wildlife Society
Pittsburgh, PA
Information: Annual Meeting

29 October 2014, 7:00 p.m.
BookPathologist Talk & Signing
S. D. Lamb
Pathologist of the Mind: Adolf Meyer and the Origins of American Psychiatry
Albert Owen Auditorium
Johns Hopkins Medical Institutions
Baltimore, MD

The Department of Psychiatry and Behavioral Sciences at Johns Hopkins University School of Medicine and JHU Press co-host a reception and discussion celebrating the publication of Pathologist of the Mind: Adolf Meyer and the Origins of American Psychiatry. A panel discussionn of the book features S. D. Lamb, Paul McHugh, Ray DePaulo, Phillip Slavney, Meg Chisolm, and Frank Mondimore. The reception will feature a display of materials from the Adolf Meyer Collection of the Alan Mason Chesney Medical Archives, the official repository of the Johns Hopkins Medical Institutions.

Admission: Free; R.S.V.P. by October 24 to rsvp@press.jhu.edu or 410-516-7902.

The Ivy Bookshop Healthy Living Series

Generic29 October 2014, 7:00 pm
Book Talk & Signing
Jeremy A. Greene
“Generic Drugs: What you should know about their surprising history and use”
The Ivy Bookshop
6080 Falls Road
Baltimore, MD 21209

The Ivy Bookshop Healthy Living Series kicks off with a talk by the author of Generic: The Unbranding of Modern Medicine. The series is is sponsored by The Ivy Bookshop, the JHU Press, and the Johns Hopkins Healthy Living Program. Read more about this program on the Ivy event calendar.  The Ivy’s Healthy Living Series continues in November with JHUP authors Frank Mondimore, John Burton, and Dan Morhaim.

Admission: Free

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Filed under Baldassarre, Book talks, Guy's Marsh, Press Events