Duke University Press is an academic publisher and university press affiliated with Duke University. It was founded in 1921 by William T. Laprade. Writer Dean Smith is director of the press.
It publishes approximately 150 books annually and more than 55 academic journals, as well as five electronic collections. The company publishes primarily in the humanities and social sciences but is also particularly well known for its mathematics journals. The book publishing program includes lists in African studies, African American studies, American studies, anthropology, art and art history, Asian studies, Asian American studies, Chicano/Latino and Latin American studies, cultural studies, film and TV studies, indigenous and Native American studies, music, political and social theory, queer theory/LGBT studies, religion, science studies, and women's and gender studies. 
Notable authors published by Duke University Press include Achille Mbembe, Donna Haraway, Lauren Berlant, Jack Halberstam, Sara Ahmed, Jane Bennett, Jennifer Christine Nash, Christina Sharpe, Dionne Brand, Fredric Jameson, Eve Kosofsky Sedgwick, and James Baldwin.
The company was founded in 1921 as Trinity College Press with William T. Laprade as its first director. Following a restructuring and expansion, the name was changed to "Duke University Press" in 1926 with William K. Boyd taking over as director.
ARTnews named Duke University Press to its 2021 Deciders list, saying "Many a university press publishes worthy books about art—but none engages the subject and all it can mean quite like Duke University Press."
In February 2021, Duke University Press announced the formation of the Scholarly Publishing Collective, a partnership with nonprofit scholarly journal publishers and societies to provide journal services including subscription management, fulfillment, hosting, and institutional marketing and sales.
In 2017, Duke University Press was accused of antisemitism when it published The Right to Maim: Debility, Capacity, Disability by Jasbir Puar, “an interrogation of Israel's policies toward Palestine, in which she outlines how Israel brings Palestinians into biopolitical being by designating them available for injury. Supplementing its right to kill with what Puar calls the right to maim, the Israeli state relies on liberal frameworks of disability to obscure and enable the mass debilitation of Palestinian bodies. Tracing disability's interaction with debility and capacity, Puar offers a brilliant rethinking of Foucauldian biopolitics while showing how disability functions at the intersection of imperialism and racialized capital.” The book was awarded a prize in the field of feminist disability studies.
Duke University Press published Fugitive Modernities: Kisama and the Politics of Freedom by Jessica Krug, who taught African and African Diaspora history and politics at George Washington University until she resigned in September 2020 after admitting that she had falsely lived as a woman of color for years. Krug is white and grew up in suburban Kansas City. Reporting on the story in The New Yorker, Lauren Michele Jackson, author of White Negroes and a culture critic whose work explores cultural appropriation, noted that the "inattentiveness" of the scholars and editors around Krug had allowed Krug's evolving deception to continue for her scholarly career, which lasted from 2005 to 2020.
Duke is one of thirteen publishers to participate in the Knowledge Unlatched pilot, a global library consortium approach to funding open access books. Duke has provided books for the Pilot Collection.
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- ^ "The Right to Maim". DukeUPress. Duke University. Retrieved September 28, 2020.
- ^ Lumpkin, Lauren. "Jessica Krug resigns from position at GWU". The Washington Post (9 September 2020). Nash Holdings. Retrieved October 24, 2020.
- ^ Jackson, Lauren Michele (September 12, 2020). "The Layered Deceptions of Jessica Krug, the Black-Studies Professor Who Hid That She Is White". The New Yorker. Archived from the original on September 12, 2020. Retrieved September 13, 2020.
Consider, for instance, the footage that has been circulating from a New York City Council hearing, held over Zoom in June, which shows Krug in her Afro-Latinx pose. She introduces herself as Jess La Bombalera, a nickname apparently of her own making, adapted from Bomba, an Afro-Puerto Rican genre of music and dance. Broadcasting live from "El Barrio," and wearing purple-tinted shades and a hoop in her nose, she lambasts gentrifiers, shouts out her "black and brown siblings," and twice calls out "white New Yorkers" for not yielding their speaking time. What stands out, though, is the way Krug speaks, in a patchy accent that begins with thickly rolled "R"s and transitions into what can best be described as B-movie gangster. This is where desire outruns expertise. The Times, in a piece on Krug’s exposure, last week, nonetheless called this a "Latina accent," lending credence to Krug's performance. (The phrase was later deleted.) The offhand notation is a tiny example of the buy-in Krug has been afforded her entire scholastic career, by advisers and committee members and editors and colleagues. They failed to recognize the gap not between real and faux, so much, as between something thrown-on and something lived-in. That inattentiveness was Krug's escape hatch.
- ^ "Jessica Anne Krug". Expert.GWU.edu. George Washington University. Retrieved October 24, 2020.
- ^ "Good for publishers". knowledgeunlatched.org.
- ^ "Duke University Press at the 2014 IFLA World Library and Information Congress". Duke University Press Log.