To give you an idea of the kinds of editing projects I’ve done, here are links to a few recently published examples, with excerpts from the acknowledgments where authors comment on the quality of my editing.

An Appeal to the Ladies of Hyderabad: Scandal in the Raj, by Benjamin B. Cohen (Cambridge, MA, Harvard University Press, 2019).

“Leslie Cohen (no relation) and Catherine Howard both read and commented on the manuscript. Their careful readings and comments, both argumentative and technical, immeasurably elevated the quality of the text.”

The Fire of the Jaguar, by Terence S. Turner (Chicago, HAU Press, 2017). In her introduction, Jane Fajans, who assembled the text from Turner’s files after his death, had to say about my work:

“I want to thank Catherine Howard, who was a student of Terry’s and a long-time reader of his work. In addition, Catherine (Carine to her family and friends) is an Amazonianist who has visited the Kayapó on several occasions. She has done a thoughtful and thorough job of editing these papers and articles and they are much stronger for her keen eye. Thank you!” (Fajans 2017: vi)

The Owners of Kinship, by Luiz Costa (Chicago, HAU Press, 2017). You can click on the link to the acknowledgments and read the author’s comment on my editing:

“I had two of the best reviewers of Amazonian anthropology work on this book: David Rodgers and Catherine V. Howard. Catherine, in particular, reviewed the manuscript with a meticulous eye for detail, and her suggestions have improved the text enormously.” (Costa 2017: xv)

“A Sociology of Empowerment. The Relevance of Communicative Contexts for Workplace Change,” a doctoral dissertation by Linda Weidenstedt (Stockholm University, Sweden, 2017). She mentioned me this way in her acknowledgments:

“[Certain] women have contributed to this thesis in their very own special way: thank you, Catherine V. Howard, not only for your very committed, generous, and soulful way of giving my writings an edge, but also for the unexpected, heart-warming friendship that has emerged from this process.” (Weidenstedt 2017: xviii)

(Photo: Clem Onojedhuo)