reviews 92 College & Research Libraries January 2002 retical and philosophical ones by Marlene Manoff and Edward Shreeves. Manoff writes about the need to reconceptualize not only collection development, but also bibliographic control. She discusses the confusion that exists over the nature of the electronic object itself and asks how one can provide control over something that can be manipulated by the user to create a new object or that exists remotely and may change or disappear at any time. Manoff’s observations concerning erod- ing boundaries and hybrid functions lead her to suggest that the future of the selec- tor may lie more in creating paths to re- sources elsewhere rather than in build- ing their own collections. Shreeves ad- dresses what he terms “the acquisitions culture wars” and relates the current tur- moil about the role of print and digital resources to the larger question of tech- nology and its effect on society. He urges collection development librarians to af- firm their commitment to collections and the values that librarians have been asso- ciated with in the past even as they com- municate the reality, necessity, and inevi- tability of a digital future. Because the present is but a moment in time on a continuum between the past and an uncertain future, the two review essays by Ruth Miller and Ann Okerson provide the context for asking what led up to the present environment and what the future might hold. Okerson echoes the sentiments of many of the authors when she states that the challenge for all librar- ians will be to choose the way they will navigate the “muddle” of the future, rather than attempting to manage and control the turmoil itself. Central to success in navigating the complexity and confusion of the future will be the next generation of library and information science professionals. Virgil Blake and Thomas Surprenant round out this collection of essays nicely by suggest- ing that collection development and man- agement professionals will need special- ized course work and training more than ever in order to have the skills to function effectively in an electronic environment. The topics and issues presented in this volume are not new; we have heard them all before. But the individual approaches, ideas, and solutions are creative, bold, and optimistic. This is not a volume to be read from beginning to end; it will seem too much like force-feeding. But taken singly, these thoughtful essays present the reader with real opportunities for an ex- amination of one’s own attitudes toward collection development and management in a digital world.—Maija M. Lutz, Harvard University. Garber, Marjorie. Academic Instincts. Princeton, N.J.: Princeton Univ. Pr., 2001. 187p. $19.95 (ISBN 069104970X). LC 00-56510. “Marjorie Garber delights in draw- ing our attention to the uncanny (one her favorite words) connections that weave us into the web of our culture. Her methods and means of scholar- ship—not always easy to distinguish from one another—likewise range from philology to Freud, from puns to pundits, from the inexplicable alogic of the dream to the clear-thinking, quick-witted deduc- tive/detective work of the traditional literary scholar.” —http://prelectur.stanford.edu/lec- turers/garber Marjorie Garber is that much-envied phenomenon in the publishing world, or at least that part of it which inhabits academia, where she has become adept in writing crossover books. Originally a specialist in the literature of Elizabethan England, she wrote a number of important works in that field before finding a wider audience for her 1992 meditation on cross-dressing, Vested Interests (Routledge). Since then, she has also produced books on subjects as diverse as bisexuality, dogs, and houses. Though rooted in literary and cultural studies, Garber is aiming at, and appears to be reach- ing, larger audiences. In enthusiastic testi- monials to Dog Love (Simon & Schuster, 1996), for example, readers posting reviews Book Reviews 93 to Amazon’s Web site have described that book as “extraordinary” and “unputdownable.” Still others found some of what she had to say about dogs disturb- ing and shocking, but apparently it all was grist for the best-seller mill. Chalk it up, perhaps, to Garber’s tendency to go for the offbeat and not-entirely-expected. In the diversity of her subjects, and in the many bases she touches, she has a consistent sense of the uncanny; perhaps her dilatory and unsystematic approach can best be charac- terized as a series of unheimlich maneuvers. Ostensibly about the state of humani- ties scholarship today, Academic Instincts has the relaxed and anecdotal style of the don writing for fun and profit: It seems more designed for the beach, the deck chair, or the backpack than the seminar room. But even though highly accessible in style, the subject makes it of doubtful interest to very many readers outside aca- deme. If, at times, it seems to sacrifice substance for style, and analysis for word play, it nevertheless explores a wide range of serious issues and sheds some inter- esting light on the workings of academic life. The methods are playfully philological and interpretive; as might be expected, the results are at best unsystematic. She puns, perorates, and pontificates authoritatively, like a salon hostess, on a wide variety of cultural materials including popular song lyrics, old etiquette and behavior manu- als, contemporary scholarly studies, dic- tionaries, general encyclopedias, and newspapers and popular magazines. The whimsical narrative of the text is comple- mented by a humorous dust jacket illus- tration, also reproduced as the frontispiece in black and white, in which the author and two amiable golden retrievers appear inserted into a digitally retouched version of Raphael’s famous painting, The School of Athens. (Readers looking for what might best be called a “materialist” approach, which situates academic life in a wider so- cioeconomic context, or who look at aca- demic disciplines as parts of the complex occupational structure of late industrial so- cieties, will not find it here.) The material is presented in three rather different, and at best loosely linked, sections. The first chapter, which focuses on the complex and elusive rela- tions between amateurs and profession- als, introduces a key theme: the difficulty, in highly professionalized and bureaucra- tized places such as modern universities, of preserving the amateur’s love of the subject from the deforming tendencies of careerism, to say nothing of the stultify- ing cynicism endemic in large organiza- tions. Inevitably, most of us begin our aca- demic careers out of passionate devotion to some branch of learning, but as we make our way through the organizational labyrinth, and simultaneously climb the ladder of age, we often lose the very emo- tional energy that made our involvement and much of our progress possible in the first place. Professor Garber quite rightly points out that the love of the amateur must somehow be preserved if scholar- ship is to retain any fresh appeal for us or for anyone else. Perhaps this is why a significant number of professionals in academia, perfectly capable of working in that sober and serious medium, none- theless revert to amateur innocence at some point in their careers. Think of it as faculty development. The second chapter, “Discipline Envy,” takes off from that well-worn Freudian allusion to female insufficiency. If women can feel this lack, she charac- teristically suggests rather than directly argues, this must be because, in some way or other, all of us are lacking much that we desire, and as creatures of need we constantly look elsewhere for models to imitate. Thus, just as we can covet our neighbor’s popularity or income or pub- lication record, we also may covet her discipline. Thus, many fields, particularly those trying to move up a few rungs on the academic status ladder, can be said to envy something about neighboring dis- ciplines. Philosophers, for example, have long idealized mathematicians and physi- cal scientists; literature scholars, to take a different example, have recently looked longingly over the blurred line separat- 94 College & Research Libraries January 2002 ing them from neighbors in fields such as philosophy, law, and anthropology. Briefly touching on another Freudian in- sight having to do with what the master referred to as “the narcissism of small dif- ferences,” Garber shows how these often lead to unpleasant rivalries and bad feel- ings, just as they often do in family life or in intergroup or interethnic relations. Here the word play takes off nicely, eventually suggesting a brand of aca- demic Marxism having more in common with Groucho and his vaudevillian col- leagues than with Karl and his philo- sophical friends. By the time the whirl- wind tour of envy is over, our guide has spotted and identified a number of spe- cies belonging to the genus: vagina (rather tediously obvious, one wants to add) and breast envy (Bruno Bettleheim, and Melanie Klein, respectively); pulpit envy (Ann Douglas); the scarcely indelible pen- cil envy; Venus envy (one that several writers have found, perhaps understand- ably, irresistible); and pianist envy (one that all but the most hardened and incor- rigible punsters would instinctively resist ). Finally, Garber’s personal favorite in the Neidkatalog, a wine store promoting a shipment of burgundies by placing in its display window a large sign announcing Pinot Envy. The final chapter, “Terms of Art,” is about jargon, “that most ridiculed of all academic habits.” And the tendency to pick on one’s opponent’s language, particularly where it tends toward the neologistic, has been with us at least since the time of John Locke, when he and other early modern writers wrote dismissively of the obscuran- tist language of scholasticism. Today, much the same critique is sometimes leveled against early twentieth-century philoso- phers such as Martin Heidegger and later postmodern philosophers such as Jean Baudrillard and Jacques Derrida, and per- haps in a different way is also aimed at Michel Foucault, whose key concepts are sometimes given labels that are vaguely familiar, yet disturbingly elusive. The word itself has a rather interest- ing history, as the author points out in a discussion of various meanings listed by the Oxford English Dictionary. Among the earlier meanings of the term in English are poetic passages in which Chaucer, Gower, and Coleridge refer to the twittering “jar- gon” of birds, a usage that in ordinary lan- guage became obsolete by the fifteenth century. It was also used to refer to the ar- tificial cipher languages of spies. In Ger- man, the term jargon was used by Franz Kafka in reference to the Yiddish language and, by extension, to the Yiddish theater (Jargontheater). Of course, the Oxford En- glish Dictionary also lists some of the more familiarly contemporary meanings of the term: unintelligibility, meaninglessness in speech and writing, nonsense, gibberish, and other verbal gestures of contempt, par- ticularly where the language in question is characteristic of some identifiable set of practitioners, occupations and professions being among the more obvious examples of these. Thus, as Garber points out, “to resist jargon is to protest against profes- sionalism, professionalization, profes- sions—and, not incidentally, professors.” Garber leaves us with three general types of distinctions, corresponding roughly to the material covered in each of the three chapters: the amateurs ver- sus the professionals; the disciplines ver- sus neighboring disciplines, or fields of study in relation to other fields; and fi- nally the kind of inclusive versus exclu- sive uses of language that we most readily associate with occupational groups jeal- ously guarding the territories they lay claim to, sometimes with legal support and sometimes with next to nothing to restrain the competitive edge. In this last category, Garber focuses on the example of the kinds of linguistic behavior most likely to draw lines, establish and main- tain jurisdictions, define who is in and who is out. Thus, the focus in the third chapter on “jargon.” When applied to academic life, Garber believes that appreciating the potential creative force inherent in these distinc- tions pushes us toward a dialectical view of inquiry. If the lines between amateur and professional, or between literature Book Reviews 95 and history, or between philosophy and physics are not entirely clear, this is be- cause the fields distinguished can only be grasped in relation to each other and be- cause understanding the one requires some understanding of the other. Each is, as it were, simultaneously the affirmation and denial of the other. Similarly, if the line between professional language, that which includes and that which excludes, is sometimes hard to find, this is largely because inclusion and exclusion can only be understood in relation to one another. I think Garber is right about this, but there is something more. Today, academic work involves to an unprecedented ex- tent a commitment to original research and simultaneously a focus on passing the new knowledge that research some- times generates on to students. Pedagogy without inquiry easily falls into a settled routine undisturbed by the kind of boundary-crossing and discipline-raiding that occurs in pursuit of new ideas and approaches. Like consumers always on the lookout for a new gadget or a new service, academics pursue novelty out of a kind of necessity that flows from the highly complex disciplinary and interdis- ciplinary division of labor they inhabit. Now, of course, innovation sometimes creates brand-new disciplines, but for obvious reasons this will not happen very often. Far more likely, because it is much more efficient in accumulating an impres- sive list of accomplishments (and success- ful scholars are ruthlessly efficient) is the kind of innovation that involves connect- ing a small part of a topic belonging to one discipline with a small piece of an- other topic lying in a different intellec- tual jurisdiction. Thus, bridges are built, boundaries are crossed, and controversy inevitably occurs. On the other hand, if one assumes that the main job of the uni- versity is to pass on a more or less settled body of fixed knowledge, the whole job is very different because, in that case, in- novation is not much required. But today’s academic bailiwicks are not iso- lated in this way; they are much more reminiscent of the stock market than of the legendary quiet of the academic halls of yore.—Michael F. Winter, University of California, Davis. Gorman, Michael. Our Enduring Values: Librarianship in the 21st Century. Chi- cago: ALA, 2000. 188p. $28, alk. paper (ISBN 0838907857). LC 00-27127. Michael Gorman’s published contributions to librarianship must total several hundred by now. Nearly all are sprightly, thought- ful, provocative, and many downright ar- gumentative. Already a prominent expert, Gorman first achieved status as a catalog- ing and technical services “guru” after serving as joint editor of the second edi- tion of the Anglo-American Cataloging Rules (ALA, 1978). His administrative and/or cataloging colleagues labeled AACR2 ei- ther as “genius” or as “a self-inflicted wound,” to quote two of them. Now dean of library services at the California State University, Fresno, Gorman is carving out guru status in what we’ve been calling the “core values” of librarianship. His forays into library values gained wide attention when the guru bravely promulgated “Five New Laws of Librarianship” in the September 1995 American Libraries. Publishing the laws in the “official organ” of the ALA gave them the protective cover and im- primatur of the world’s largest library organization. He also has argued for and enumerated the profession’s values in Li- brary Journal (“Technostress and Library Values,” April 15, 2001, 48–50). Gorman served on an ALA task force that grappled its way to a draft “core val- ues statement” that was, fortunately, scuttled by the ALA Council. No blame should accrue to Gorman for either the content of the draft statement or its fate. Suffering from committee compromise, it lacked the guru’s fine turn of phrase and intelligent argument. Synthesizing his own take on four of the profession’s great thinkers (Ranganathan, Shera, Rothstein, and Finks), Gorman has again dared to enumerate, if not codify, our “enduring” core values. Again, the guru gets the ALA imprint, but this time he has << /ASCII85EncodePages false /AllowTransparency false /AutoPositionEPSFiles true /AutoRotatePages /All /Binding /Left /CalGrayProfile (Dot Gain 20%) /CalRGBProfile (sRGB IEC61966-2.1) /CalCMYKProfile (U.S. Web Coated \050SWOP\051 v2) /sRGBProfile (sRGB IEC61966-2.1) /CannotEmbedFontPolicy /Warning /CompatibilityLevel 1.3 /CompressObjects /Tags /CompressPages true /ConvertImagesToIndexed true /PassThroughJPEGImages true /CreateJobTicket false /DefaultRenderingIntent /Default /DetectBlends true /DetectCurves 0.0000 /ColorConversionStrategy /CMYK /DoThumbnails false /EmbedAllFonts true /EmbedOpenType false /ParseICCProfilesInComments true /EmbedJobOptions true /DSCReportingLevel 0 /EmitDSCWarnings false /EndPage -1 /ImageMemory 1048576 /LockDistillerParams false /MaxSubsetPct 1 /Optimize true /OPM 1 /ParseDSCComments true /ParseDSCCommentsForDocInfo true /PreserveCopyPage true /PreserveDICMYKValues true /PreserveEPSInfo true /PreserveFlatness false /PreserveHalftoneInfo true /PreserveOPIComments false /PreserveOverprintSettings true /StartPage 1 /SubsetFonts false /TransferFunctionInfo /Apply /UCRandBGInfo /Preserve /UsePrologue false /ColorSettingsFile () /AlwaysEmbed [ true ] /NeverEmbed [ true ] /AntiAliasColorImages false /CropColorImages false /ColorImageMinResolution 151 /ColorImageMinResolutionPolicy /OK /DownsampleColorImages true /ColorImageDownsampleType /Bicubic /ColorImageResolution 300 /ColorImageDepth -1 /ColorImageMinDownsampleDepth 1 /ColorImageDownsampleThreshold 1.10000 /EncodeColorImages true /ColorImageFilter /DCTEncode /AutoFilterColorImages true /ColorImageAutoFilterStrategy /JPEG /ColorACSImageDict << /QFactor 0.15 /HSamples [1 1 1 1] /VSamples [1 1 1 1] >> /ColorImageDict << /QFactor 0.15 /HSamples [1 1 1 1] /VSamples [1 1 1 1] >> /JPEG2000ColorACSImageDict << /TileWidth 256 /TileHeight 256 /Quality 30 >> /JPEG2000ColorImageDict << /TileWidth 256 /TileHeight 256 /Quality 30 >> /AntiAliasGrayImages false /CropGrayImages false /GrayImageMinResolution 151 /GrayImageMinResolutionPolicy /OK /DownsampleGrayImages true /GrayImageDownsampleType /Bicubic /GrayImageResolution 300 /GrayImageDepth -1 /GrayImageMinDownsampleDepth 2 /GrayImageDownsampleThreshold 1.10000 /EncodeGrayImages true /GrayImageFilter /DCTEncode /AutoFilterGrayImages true /GrayImageAutoFilterStrategy /JPEG /GrayACSImageDict << /QFactor 0.15 /HSamples [1 1 1 1] /VSamples [1 1 1 1] >> /GrayImageDict << /QFactor 0.15 /HSamples [1 1 1 1] /VSamples [1 1 1 1] >> /JPEG2000GrayACSImageDict << /TileWidth 256 /TileHeight 256 /Quality 30 >> /JPEG2000GrayImageDict << /TileWidth 256 /TileHeight 256 /Quality 30 >> /AntiAliasMonoImages false /CropMonoImages false /MonoImageMinResolution 600 /MonoImageMinResolutionPolicy /OK /DownsampleMonoImages true /MonoImageDownsampleType /Bicubic /MonoImageResolution 1200 /MonoImageDepth -1 /MonoImageDownsampleThreshold 1.16667 /EncodeMonoImages true /MonoImageFilter /CCITTFaxEncode /MonoImageDict << /K -1 >> /AllowPSXObjects false /CheckCompliance [ /None ] /PDFX1aCheck false /PDFX3Check false /PDFXCompliantPDFOnly false /PDFXNoTrimBoxError true /PDFXTrimBoxToMediaBoxOffset [ 0.00000 0.00000 0.00000 0.00000 ] /PDFXSetBleedBoxToMediaBox true /PDFXBleedBoxToTrimBoxOffset [ 0.00000 0.00000 0.00000 0.00000 ] /PDFXOutputIntentProfile () /PDFXOutputConditionIdentifier () /PDFXOutputCondition () /PDFXRegistryName () /PDFXTrapped /False /CreateJDFFile false /Description << /ENU (IPC Print Services, Inc. Please use these settings with InDesign CS4 \(6.x\). These settings should work well for every type of job; B/W, Color or Spot Color. Contact Pre-press Helpdesk at prepress_helpdesk@ipcprintservices.com if you have questions or need customized settings.) >> /Namespace [ (Adobe) (Common) (1.0) ] /OtherNamespaces [ << /AsReaderSpreads false /CropImagesToFrames true /ErrorControl /WarnAndContinue /FlattenerIgnoreSpreadOverrides false /IncludeGuidesGrids false /IncludeNonPrinting false /IncludeSlug false /Namespace [ (Adobe) (InDesign) (4.0) ] /OmitPlacedBitmaps false /OmitPlacedEPS false /OmitPlacedPDF false /SimulateOverprint /Legacy >> << /AddBleedMarks true /AddColorBars false /AddCropMarks true /AddPageInfo true /AddRegMarks false /BleedOffset [ 9 9 9 9 ] /ConvertColors /ConvertToCMYK /DestinationProfileName (U.S. Web Coated \(SWOP\) v2) /DestinationProfileSelector /DocumentCMYK /Downsample16BitImages true /FlattenerPreset << /ClipComplexRegions true /ConvertStrokesToOutlines true /ConvertTextToOutlines true /GradientResolution 300 /LineArtTextResolution 1200 /PresetName ([High Resolution]) /PresetSelector /HighResolution /RasterVectorBalance 1 >> /FormElements false /GenerateStructure false /IncludeBookmarks false /IncludeHyperlinks false /IncludeInteractive false /IncludeLayers false /IncludeProfiles true /MarksOffset 9 /MarksWeight 0.250000 /MultimediaHandling /UseObjectSettings /Namespace [ (Adobe) (CreativeSuite) (3.0) ] /PDFXOutputIntentProfileSelector /NA /PageMarksFile /RomanDefault /PreserveEditing true /UntaggedCMYKHandling /LeaveUntagged /UntaggedRGBHandling /UseDocumentProfile /UseDocumentBleed false >> << /AllowImageBreaks true /AllowTableBreaks true /ExpandPage false /HonorBaseURL true /HonorRolloverEffect false /IgnoreHTMLPageBreaks false /IncludeHeaderFooter false /MarginOffset [ 0 0 0 0 ] /MetadataAuthor () /MetadataKeywords () /MetadataSubject () /MetadataTitle () /MetricPageSize [ 0 0 ] /MetricUnit /inch /MobileCompatible 0 /Namespace [ (Adobe) (GoLive) (8.0) ] /OpenZoomToHTMLFontSize false /PageOrientation /Portrait /RemoveBackground false /ShrinkContent true /TreatColorsAs /MainMonitorColors /UseEmbeddedProfiles false /UseHTMLTitleAsMetadata true >> ] >> setdistillerparams << /HWResolution [2400 2400] /PageSize [612.000 792.000] >> setpagedevice