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🌾 Dr. Liz Anna Kozik 🌾

@chaseprairie.bsky.social

Research Scientist 🌾 Adj Professor Scicomm 🌾 Env/Sci History 🌾 Comics history, plants, & goldenrod 🌾🏳️‍🌈🌾 https://liz.kozik.net she/her @negauneeinstitute.bsky.social 🌿 Chicago Botanic Garden 🌿 https://rethinkinglawns.com

634 Posts988 Follower1268 Folgt
gavin jones@ecologyofgavin.bsky.social · 4w ago

I’m looking to recruit a postdoc to join my research group at University of Iowa to work on disturbance ecology and biodiversity! Start date flexible, lots of opportunity for skill development, collaboration, and mentorship. Will review applicants in mid-August! Link: gavinmjones.com/opportunities/

Opportunities

BIG NEWS! The Jones Lab will be relocating to the School of Earth, Environment, and Sustainability (SEES) at the University of Iowa in Fall 2026. Our work on disturbance ecology and conservation sc…

gavinmjones.com

🌾 Dr. Liz Anna Kozik 🌾@chaseprairie.bsky.social · last mo.

This is what I'm stuck on. Even if Tillie personally touched every single record in every archive that's cited in the first book, it still wouldn't absolve the D&Q book from being an adaption. Those pieces weren't found and connected before @rachelcleves.bsky.social made the roadmap.

Meryl Schumacker@waybackgen.bsky.social · last mo.

The reason being, if you hadn't read the historian's work, you wouldn't have known to cite that record in the first place, because it was Another Person who made that connection.

Meryl Schumacker@waybackgen.bsky.social · last mo.

I think there's a misunderstanding outside of academia about what plagiarism is. If a historian puts together an original hypothesis, finds support in a record, and writes it up, it IS plagiarism to just cite the record and the conclusion without citing the historian's publication.

B. Erin Cole@berincole.bsky.social · last mo.

as a cartoonist and historian, I've seen many history comics that are VERY casual about citations. Citations are so important: they thank others for their work, tell the reader who you see yourself in relationship to and how you developed your thought, and provide roadmaps for future researchers.

Rachel Hope Cleves@rachelcleves.bsky.social · last mo.

An open letter, to readers, about Charity and Sylvia. I am very pained to feel the need to write this. #queerhistory #pride

Rachel Hope Cleves@rachelcleves.bsky.social · last mo.

Wow. Did not know this. Apparently there was some pretence made (for legal reasons?) that TW was not working from my book but from the archive. Which, as my letter makes clear, is complete hogwash. So infuriating.

Meow@queerkitty.bsky.social · last mo.

It’s clear Tillie Walden was meant to use Sheldon’s archives exclusively for her book, not @rachelcleves.bsky.social work. It’s normal to use archives for visual references when making historical graphic novels, NOT to do unique historical scholarship PLUS writing & drawing an OG book!

Rachel Hope Cleves@rachelcleves.bsky.social · last mo.

Here at 2:25 is an example of TW claiming in the publicity for the book that all she had to go on were the archival fragments which she pieced together, conveniently forgetting that her process began by reading my book twice and taking extensive notes youtu.be/sqlfs3R2lbI?...

Drawing on the Archive: Tillie Walden's Charity & Sylvia

YouTube video by Henry Sheldon Museum

youtu.be

Rachel Hope Cleves@rachelcleves.bsky.social · last mo.

An open letter, to readers, about Charity and Sylvia. I am very pained to feel the need to write this. #queerhistory #pride

Andrew Brook@andrewbrook.bsky.social · last mo.

For those who can’t read the text in the screenshot I’ve added it here (in two parts) You can ask settings to prompt you to use alt text and you can copy and paste from a screenshot.

To all the readers out there: My deep love for Charity Bryant and Sylvia Drake, the subjects of my 2014 biography Charity and Sylvia, has kept me silent, up to this point, about Tillie Walden's new graphic novel by the same title. Charity and Sylvia's story has been so deeply meaningful to so many people—their story has, without exaggeration, saved lives-that I've tried to be happy that Walden's book is making their story more widely known, even if she chose to take my title and my cover design as well as my narrative and my research with only a single sentence of acknowledgement at the end of her book in her notes section. Walden's illustrations and storytelling are wonderful, as I told her when she reached out to me during the writing process. It would take nothing away from her hard work to be honest about how it is built on my hard work. But in Walden's publicity tour, she has repeatedly made the claim to have based her book on her extensive research in the archive without acknowledging that her book is, in fact, based on my book. This false representation demands response not only for my sake, but for the sake of all the hard-working historians out there whose work has similarly been taken without credit. No, Walden has not "uncovered a chapter of queer history" in the archives, as her media interviews have claimed. She has adapted my book without credit or compensation, and claimed my research for her own. I don't doubt that Walden spent time looking at letters at the Henry Sheldon Museum, but the story that Walden tells is not to be found there. It is a story that I pieced together from years of visits to at least twenty different archives and locations across the United States, not only in Vermont but in Massachusetts, New York, Illinois, and Washington State, as well. This is not just a question of facts but of story: the story of how Charity and Sylvia built a life together based in tailoring, struggled with their faith, and maintained relationships with t…. It is a story that I pieced together from years of visits to at least twenty different archives and locations across the United States, not only in Vermont but in Massachusetts, New York, Illinois, and Washington State, as well. This is not just a question of facts but of story: the story of how Charity and Sylvia built a life together based in tailoring, struggled with their faith, and maintained relationships with their family is one that I constructed from the countless fragments that I gathered through painstaking research. Many of the details of that story which appeared in my book, and re-appear in Walden's, do not come from the Henry Sheldon Museum, where she claims to have done her research. They come from the countless additional archives I visited. For just a few examples: the story about Charity's siblings' deaths was built on my tracking down a forgotten graveyard enclosed in a chain link fence behind a Burger King in Brockton, Massachusetts. The story about Charity learning to sew from her spinster aunt Charity Howard comes from a textile fragment that I tracked down in the Henry Art Gallery in Seattle, Washington. The story about Charity buying a ring for Sylvia comes from a letter I found in an archive in Long Island, New York. And the story of how Charity and Sylvia rented their property in Vermont comes from town records that were at the village hall in Weybridge, Vermont. I could go on. It saddens me that Walden's media blitz will make my book harder for readers to find, not easier, and diminish its continuing power to have the enormously positive impact it has had to this point, which is why I feel the need to correct the record. Sincerely, Rachel Hope Cleves
Wendy Xu@wendyxu.bsky.social · last mo.

guys please listen to the folks who work in the field and consider how they want to be cited if you're doing nonfiction instead of having a knee jerk reaction. i've followed this convo for the last few days. we should all (truly) listen & learn from each other

Aparna Nair@disabilitystor1.bsky.social · last mo.

i see some cartoonists and comics people are coming in to say that historians are being too "precious" about citations...yeah. We are pretty precious about that. Because it matters. And its not "jealousy" are you high? Most of us are just glad other people are interested in our work.

Aparna Nair@disabilitystor1.bsky.social · last mo.

i see some cartoonists and comics people are coming in to say that historians are being too "precious" about citations...yeah. We are pretty precious about that. Because it matters. And its not "jealousy" are you high? Most of us are just glad other people are interested in our work.

Pookleblinky@pookleblinky.bsky.social · last mo.

Generative AI is not only fundamentally based on the rejection of consent, but also *standards*. Artists have been micromanaged and hounded over individual pixels, academics fighting to defend every minute detail of their thesis, etc, and then are tossed away in favor of the get shit wrong machine.