Mark’s language skills and enthusiasm for text are just superb. What I liked best was that he challenged me content-wise when editing my writing. Mark is an excellent teacher, too. He explained all his edits very well.
Worlds of Consumption
Book Series: Worlds of Consumption
Publisher: Palgrave Macmillan
Series editors: Hartmut Berghoff and Uwe Spiekermann1
I coordinated the first ten books of this series from 2010 to 2021, accompanying most of them from the initial book proposal to the final page proofs. This work entailed developmental editing, line editing, translation reworking, copyediting, proofreading, and image rights assessment.
- Jewish Consumer Cultures in Nineteenthand Twentieth-Century Europe and North America. 2021. Edited by Paul Lerner, Anne Schenderlein, and Uwe Spiekermann.
- Consumer Engineering, 1930s–1970s: Marketing between Expert Planning and Consumer Responsiveness. 2019. Edited by Jan Logemann, Ingo Köhler, and Gary Cross.
- Bright Modernity: Color, Commerce, and Consumer Culture. 2017. Edited by Regina Lee Blaszczyk and Uwe Spiekermann.2
- Food and Foodways in Italy from 1861 to the Present. 2016. By Emanuela Scarpellini.3
- Berlin’s Black Market, 1939–1950. 2015. By Malte Zierenberg.4
- The Science of Beauty: Culture and Cosmetics in Modern Germany, 1750–1930. 2015. By Annelie Ramsbrock.5
- Globalizing Beauty: Consumerism and Body Aesthetics in the Twentieth Century. 2013. Edited by Hartmut Berghoff and Thomas Kühne.
- The Rise of Marketing and Market Research. 2012. Edited by Hartmut Berghoff, Philip Scranton, and Uwe Spiekermann.
- The Development of Consumer Credit in Global Perspective: Business, Regulation, and Culture. 2012. Edited by Jan Logemann.
- Decoding Modern Consumer Societies. 2012. Edited by Hartmut Berghoff and Uwe Spiekermann.
- Jan Logemann succeeded Uwe Spiekermann in the role of series co-editor in 2020. ↩︎
- There is a bit of public praise for my work from Reggie Blaszczyk on Facebook. ↩︎
- In my experience, an academic translation is a collaborative process involving at least two major drafts. First there is the work done by the translator, ideally in collaboration with the author, as was the case here. Second, the text needs to be revised in light of readability, taking into account the new publishing context and academic audience. This means additional work for the author, who has to review my many edits and answer my countless questions, often consulting the translator. With this in mind, I was especially pleased with the final words of Roger Horowitz’s endorsement on the back cover: “the book is blessed as well with an inspired and at times lyrical translation.” ↩︎
- Due to time constraints, I only edited the first part of this translation. Most of it was done by my colleague, Patricia Casey Sutcliffe. ↩︎
- This translation, too, was a collaborative process, but with a few extra wrinkles. The German was extremely complex at times, especially given the book‘s wide–ranging source base. I found myself editing not only for readability in a new context but also ironing out ambiguities and potential misunderstandings. Slow going for me, and lots of questions for the author, whose acknowledgments included gratitude “to Mark Stoneman for his superb editing of the English text, which went beyond the normal call of duty.” Thus, I was especially gratified by one reviewer’s comment: “The quality of the translation … needs to be noted. The English is smooth and readable despite the range of sources from which long quotes are drawn, and despite the many vocabularies, including technical vocabularies, that the study navigates.” See Mary Jo Maynes’ review in German History 34, no. 1 (March 2016): 161–63, https://doi.org/10.1093/gerhis/ghv149. ↩︎