The academics studied are more than ivory-ensconced scholars, they are multiskilled and multi-committed to serving their communities, universities, and professions. One means is by integrating research, teaching, and service activities. Research might spark a new book, class, and workshop offering. Scholars especially take their work to the people, writing articles for practitioners and providing presentations and instructional materials for schools. Some serve the field by being journal reviewers or editors. Editorial positions not only serve the field, they help you grow as a scholar, introducing you to new theories, findings, and statistical approaches and exposing you to instructively good and poor writing samples. Surprisingly, several productive scholars served administrative roles at some career point. Most did because they wanted to make their organizations and people better and more productive. All found ways to remain personally productive through collaborations and assuming more back-seat research-directing roles. Still, productive scholars prioritize research over all else and accept that they might be less good at other things. They say one should not aim to be prolific scholars but the best one can be, whether that produces five hundred or fifty publications. Each publication should represent one’s best thinking and be impactful.

This chapter considers the complex task of editing Puccini’s works, informed by the production of the Ricordi critical edition (launched in 2008 and ongoing). An abundance of materials exist upon which the editor can draw, including autographs, sketches, printed editions, and correspondence, thanks to Puccini’s close and long relationship with the Ricordi firm. However, some gaps exist in the surviving sources, and some sources disagree with others. The author explains that the editor must choose a text on which to base the edition, drawing on further sources as necessary to make informed interventions, striving to get as close as possible to the composer’s intentions, but mindful of the fact that his intentions and preferences changed over time. In Puccini’s case, second editions usually reflect the works as performed at their premieres, the first edition already becoming obsolete in rehearsal. The chapter discusses the various decisions and interventions that an editor must make in order to make an edition both faithful and usable. Puccini’s working method and process of revising his operas are discussed in detail. The chapter ends by asking whether early recordings, as well as printed and written documents, should inform an edition.

Historically condemned for their commercial exploitation of poesy, and threat to authorial autonomy, the literary anthology was nevertheless one of the signal forms of literary modernism, in the US and beyond. It was at once a salient means for circulating and preserving verse and a genre in its own right. Although the little magazine has been the more attractive genre of study – both for the form’s closer proximity to collaborative literary production and for their amenability to digital scholarly methods – the anthology often had a symbiotic relationship to little magazines in the modernist period, and has endured as a form for aesthetic and political self-identification, speculative interpellation, preservation, and reclamation, as well as being a mode of reaching audiences beyond the “field of restricted production.” This chapter traces the US career of the anthology from Des Imagistes to An “Objectivists” Anthology, emphasizing the genre’s key importance for Black American writing.

From mid-1943 until late-1950, Eric Crozier was an essential asset to Britten’s industry. His work alongside director and radio producer Tyrone Guthrie not only introduced Crozier to the Old Vic in London, but to the BBC as well, where Guthrie also worked. Joan Cross invited Crozier and Guthrie to each direct two different productions at Sadler’s Wells in 1943. Crozier directed and produced Britten’s first two operas, Peter Grimes in 1945 at Sadler’s Wells, and The Rape of Lucretia in 1946 for the short-lived Glyndebourne English Opera Company. Crozier wrote the librettos for Albert Herring and the children’s entertainment Let’s Make an Opera (with its central opera, The Little Sweep), in addition to writing the text for the cantata Saint Nicolas, and with E. M. Forster, he was co-librettist for Billy Budd. Britten, Crozier, and designer John Piper founded the English Opera Group. The endeavour was based on ‘the Britten–Crozier doctrine’ that sought the group’s own autonomy and ultimately a home to produce such works. That home was largely realised in the founding of the Aldeburgh Festival of Music and the Arts in 1948, for which Crozier was a founder and co-artistic director.

Ordinary people’s intuitive thinking about readers of journal articles typically focuses on the scientific community. The four real-life cases, Seth, Tim, and Chris, Singer and Willett, suggest that readers are important, diverse, complex, and broad. Among various types of readers, peer reviewers and science journalists are two special and critical groups of readers. To publish our manuscripts successfully, four practical suggestions are offered: understanding readers and always have our readers in mind before or after we prepare our manuscripts; understandingreviewers and always have peer reviewers in mind before we write a manuscript; and understanding journalists and always have scientific reporters in mind after we publish a journal article.

This chapter begins the text-critical study at the heart of the book. It analyzes the relationship between two different and redundant types of text-segments in the extant text, chapters (ādhyāyas) and topics (prakaraṇas). The chapters are shown to have been added at a later time. So, too, the verses that conclude each of these chapters in the extant text are shown to have been added along with the chapter segments. This chapter goes on to argue that all, or nearly all, of the verses in the text are later additions. Other additions made at the end of certain chapters are identified.