Helen Rydstrand is the author of Rhythmic Modernism: Mimesis and the Short Story (forthcoming, Bloomsbury, 2019) and the co-editor of Modernist Work: Labor, Aesthetics and the Work of Art (forthcoming, Bloomsbury, 2019) and a forthcoming special issue of Australian Feminist Studies on modernist women and risk. She is from Sydney, but currently based in Berlin.
This second batch of writers on the process of finishing their books ranges from meditations on the situatedness of academic writing to blow-by-blow descriptions of the publication process to a call for more inventive and ethical ways of acknowledging one’s scholarly companions. Here you can find writing on the “hard edge of a colonial language,” in Sarah Dowling’s apt description of her work. Helen Rydstrand narrates the difficulty of accepting any work as good enough. Rebecca Colesworthy calls attention to the “not-writing”: the money, time, and resources that condition the long-term development of a book. And Alix Beeston’s “intervallic bridgework” concludes this installment of the Process cluster by pushing the form of the monograph toward a politics of citation.