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Staff Picks and Suggestions

What is Inclusive Citation and Why Does It Matter?

As awareness of systemic racism grows on college campuses, one hot topic has been inclusive citation. So, what is inclusive citation, why does it matter, and what can we do about it?

Inclusive citation is about whose work we decide to cite. When we cite, we are situating our own work in the larger scholarly conversation about our topic. When we choose which sources to cite, our decisions influence who is part of that conversation—and who is not. Practicing inclusive citation means making intentional choices to find and cite the work of scholars with varied backgrounds and identities, in order to increase equity and inclusion in your field.

Why does inclusive citation matter? Citation counts are considered a metric of success for scholars, and can heavily influence job offers, promotions, tenure decisions, and more. However, there is a growing body of evidence showing that women and underrepresented minorities are consistently cited at lower rates than men, across disciplines. And the more a scholar’s work is cited, the more they will continue to be cited over time. This inequity makes it harder for people from underrepresented groups to succeed in their field.

How can we practice more inclusive citation? Here are a few ideas to get us started:

  • Analyze your reference list and ask yourself, who am I not citing? Are there other perspectives that I should consider?
  • Find a leading researcher in your field with a marginalized identity, and follow their work on social media.
  • Experiment with different search strategies or sources to bring back different (and potentially more diverse) results.
  • Make diversity of authors and perspectives a factor in prioritizing what research you decide to read.

Want to learn more?

What is inclusive citation? is a short tutorial that details these strategies and the research behind them.

The rise of citation justice: how scholars are making references fairer is an article from Nature that provides an excellent overview of research on citation inequities, efforts to diversify citations, and critical responses.

Staff Book Recommendation: I Live a Life Like Yours by Jan Grue

Book cover of I Live a Life Like Yours by Jan Grue

As the summer comes to an end, I would like to share a book that I read this year and highly recommend.

I listened to the audiobook, I Live a Life Like Yours, available in the library’s OverDrive collection. I don’t remember exactly how it came to my attention, but it may have been this Guardian review. It interested me because I always need to be reminded that I experience the world as an able-bodied person. What does that mean, anyway? I can walk upstairs, run out of the rain, step over the wide gap to get onto the T’s Green Line. These things are something someone in a wheelchair can’t do. In this book, Jan Grue tells his personal story, making the point that he may have physical limitations, but he experiences the same joys and sorrows that everyone does.

I listened to it 26 weeks ago (according to my Libby app from OverDrive) but others will tell you that I have mentioned it several times. It made an impression.

Author photo of Jan Grue, a Norwegian person with short brown hair, resting their head on their hand
Author Jan Grue
Photo courtesy of Macmillan

First, the title basically says, “Don’t think that I am less than you.” Grue does speak to the challenges he has faced, weaving them into the ways his life is amazing, including his family and career. He speaks about the hierarchy of disability, sharing how he compared himself to others at camp for “kids like him.” Was he better because his disability was less restrictive? How does their physical strength or fine motor skills compare to him? He had physical limitations but, like many of us, he would decide he was better than another. He was a child like all of us, sometimes comparing qualities (perceived or visible).

He tells the story of being carried and dropped, of the challenge to find the only handicap accessible bathroom in an airport, and several other anecdotes. But he doesn’t want people to feel sorry for him.

The book reminds the reader that although Grue has experienced many barriers, there are still many open doors. I should not think that his life is less than mine, just different. I feel like I should be aware of those challenges and barriers, though. I will try to be more aware, not only of my perceptions but of my surroundings. Are they accessible to everyone? I haven’t had to consider it for myself, but shouldn’t I still think about it?

There is a lot in this book, and I have barely touched on it. I suggest reading or listening to it as I did.

Barbie in the East Boston Community News

Black ink drawn portrait of Maxine Tassin Ari-Teixeira
Maxine Tassin Ari-Teixeira aka Ms. Tex

In anticipation of the Barbie movie premiere, many archives and museums, including the Smithsonian and the National Archives, have been consulting their records to see what stories related to the iconic doll are preserved in their collections. At the Northeastern University Archives and Special Collections, our greatest source of Barbie insight comes from the East Boston Community News. 

Maxine Tassin Ari-Teixeira, or Ms. Tex, wrote about all kinds of issues facing a mother working and raising a family in East Boston. One of the subjects that kept reappearing in her “Heights Notes by Ms. Tex” column in the East Boston Community News was toys, and in particular, Barbie. Every December, Ms. Tex would give her annual toy report while Christmas shopping for her family. Barbie is mentioned in 17 of her columns between 1972 and 1988.

Newspaper clipping of Heights Notes by Ms. Tex. Headline reads Year of the Toy Takeover

In a December 7, 1982 issue of the East Boston Community News, Ms. Tex titled her column “Year of the Toy Takeover” and under the heading “Doll Debt” described the complexity of the Barbie dream house. 

“As I said last year, dear old Barbie’s dream house is enormous. You would need a separate room for this house, with the patio and pool (sold separately) and the Corvette. You have your choice of the plain ‘vette that does nothing, or the remote controlled one. You not only need a room for the dream house, you need a mortgage. That plastic nightmare is $98.87!!!! That is unfurnished, naturally. The furniture costs between $9 and $15 per piece!!!  Actually, looking at the doll houses, I wondered if Child World had considered the mortgage business. They could make a killing.”

On December 20, 1988 Ms. Tex observed a shift in Barbie-land in her Heights Notes column: 

“Finally at the ripe of age of what? 29? 30? Barbie has a career. Doctor Barbie comes with a white lab coat, and doctor things. But she is still Barbie after all, and also comes with an evening gown for her nights off with Doctor Ken.”

To find more of Ms. Tex’s observations on living in East Boston, the daunting task of Barbie shopping in December, and more, you can search and read the East Boston Community News in Northeastern Library’s Digital Repository Service.

Portrait of Maxine Tassin Ari-Teixeira was drawn by Joe Porzio and is a part of the Joe Portzio cartoons collection at the Northeastern University Archives and Special Collections.

Read the full December 7, 1982 issue of the East Boston Community News.

Read the full December 20, 1988 issue of the East Boston Community News.

NU Archives and Special Collections featured in Bill Russell: Legend

Black and white image of Bill Russell wearing a white Celtics uniform holds the ball while leaping with spread legs.
Action shot of Bill Russell playing for the Boston Celtics June 23, 1966 courtesy of the Boston Globe Library Collection.

For anyone who has browsed the Boston Globe Library Collection’s sports photographs in the Northeastern University Archives and Special Collections, some photos in the Netflix docuseries Bill Russell: Legend might look familiar. The docuseries was released on Netflix February 8 and features many photographs from our Boston Globe Library Collection and also draws upon the Archives’ records of Bill Russell’s social justice history.

Black and white image of Bill Russell wearing a dark jacket and tie and sitting in front of a machine.
Portrait of Bill Russell seated on April 17, 1966 taken by Gilbert E. Friedberg, Boston Globe.

The Netflix docuseries explored many facets of Russell’s life beyond his sports career, which mirrors the records of Bill Russell held in our collection. Along with photographs of Russell coaching and playing basketball, the Boston Globe Library Collection has photos of Russell speaking at school graduations, at press conferences at the Boston NAACP headquarters, at Roxbury neighborhood meetings, and at his restaurant Slade’s Bar and Grill. 

Russell is represented in our Special Collections as a frequent presence at Civil Rights demonstrations and Freedom Stay-Outs protesting the racial imbalance in the Boston Public Schools. In an interview, former president of the Boston NAACP branch Kenneth Guscott recalled seeing Russell: 

“I remember when we were marching down on one of the marches, there was more than one march, that the star from the Celtics, Bill Russell, he was very active in the civil right movement. When we were marching, Bill was there and he was right in the front line with us, right across. As they marched down Columbus Avenue, this lady came rushing up and said, wait for me, wait for me and she jumped in the line beside Bill Russell. It was his wife. She jumped in that line and started marching with us.”

Black and white image of Bill Russell sitting at a table and speaking into several microphones. There are two other men sitting on either side of him. On a window behind him are the letters NAACP. The photo is resting on top of a folder with a label "Russell, Bill (Basketball) Groups"
Photo of Bill Russell speaking at NAACP Headquarters July 8, 1964 seated next to Kenneth Guscott (left) and Marvin Gilmore (right), taken by Hal Sweeney, Boston Globe.

In a speech by Russell for the Freedom School graduation ceremonies in 1966, he closed by saying asking Roxbury students: 

“Is there anyone of you young people here tonight who wants to be President of the United States? Is there anyone who wants to be Secretary of the United States? Would you like to be Ambassador to the United Nations? Why not? 

Remember, you can do anything you want to do. If you want to do it badly enough.” 

Black and white image of Bill Russell, wearing a suite and speaking to a crowd of young Black teenagers. Russell is standing on the left and facing the crowd on the right. He is so tall that he has to stoop a little to reach the microphones.
Photo of Bill Russell speaking at PT Campbell Junior High Freedom Graduation, June 22, 1966, taken by Frank O’Brien, Boston Globe.

Russell’s legacy is preserved  in many archives and special special collections across the country, and many of those archives’ records were gathered to tell the story of Bill Russell’s life in Bill Russell: Legend. Learn more about the Bill Russell: Legend docuseries available through Netflix here.

To learn more about the collection that supplied many images of Bill Russell’s career, visit our Boston Globe Library Collection portal. To learn more about the Freedom Schools demonstrations Russell was a part of visit the Boston School Desegregation Project portal. 

You can listen to the full interview with Kenneth Guscott, taken as a part of the Lower Roxbury Black History Project, here. 

Elma Lewis, Black Art, and Black Joy

A Black woman with a large smile clutches her hands in front of her chest. She is wearing a multicolored top and her hair is in a large bun on the top of her head. Behind her is a bouquet of flowers.
“Elma Ina Lewis candid,” ca. 1981. National Center of Afro-American Artists records, Northeastern University Archives and Special Collections.

Northeastern University’s Archives and Special Collections holds many records documenting Boston’s Black history. Several of these that celebrate Black joy and creativity come from Elma Ina Lewis, a leader in Boston’s performing arts scene throughout the mid-20th century. The Elma Ina Lewis papers document her early life and her professional activities, like establishing the Elma Lewis School of Fine Arts in 1950, the National Center of Afro-American Artists in 1968, and the Museum of the National Center of Afro-American Artists in 1969.

Black and white image of a Black man playing a drum with his hands. Children sit before him with their own drums.
“Babatunde Olatunji teaches heritage and drums,” ca. 1961. National Center of Afro-American Artists records, Northeastern University Archives and Special Collections.

The Elma Lewis School of Fine Arts records document the history of the school and administrative information regarding its formation as well as productions of Blakrhythms, which uplifted Black voices and cultural concepts. The National Center of Afro-American Artists records also feature performances like those put on by the Elma Lewis School of Fine Arts, and the Digital Repository Service (DRS) holds a selection of photos from the Center’s performances and rehearsals, as well as scenes from everyday life to form a well-rounded understanding of the Black community and art in Boston between the 1950s and 1990s.

Become familiar with Elma Lewis’ legacy in our Finding Elma Lewis research guide.

To learn more about Elma Lewis and her work, check out the resources available through the DRS and the Archives and Special Collections.

Sources:
“Babatunde Olatunji teaches heritage and drums.” National Center of Afro-American Artists records (M042). Northeastern University Archives and Special Collections Department.
“Elma Ina Lewis candid.” National Center of Afro-American Artists records (M042). Northeastern University Archives and Special Collections Department.