Introducing the Archiving Student Life for the Third Century Project and Workshop

This week we are pleased to welcome a guest post by Jacob Shaw, who is a third year majoring in Economics and Sociology.

I am one of the two archives project assistants for the Archiving Student Life for the Third Century project at the UVA Archives in the Albert and Shirley Small Special Collections Library. Funded by UVA Bicentennial, the goal of the project is twofold—to document student life both through making past records of student life visible and accessible, and to expand the collection of records from student groups on Grounds today. In regards to the first goal, we have been working on processing new donations, such as records documenting Greek life and organizations like the Jefferson Society, along with reprocessing and rearranging important record groups and collections. To help expand our holdings of contemporary student groups, my coworker Aasritha Natarajan and I have been reaching out to a variety of student groups via email to inform them about the Archives’ initiative, and to see if they are interested in donating their records. To further engage student groups in the archiving process, we will be hosting a workshop in the Rotunda multipurpose room on April 24th, 5:30-6:30 pm, to talk to students about the project, what we do at the UVA Archives, and how they can preserve their records and donate them to the Archives.

Radical Student Union publication, Southern Student Organizing Committee Records, (MSS 11192, Box 13). Image by Bethany Anderson.

While my coworker and I have both worked on the archiving and outreach ends of this project, I have spent most of my time working with documents and records, both processing and reprocessing. The main group of records I have been working with are the Southern Student Organizing Committee records, a large group of documents that has been compiled by several donors.

The Southern Student Organizing Committee (SSOC) records tell a very important and interesting story regarding the Civil Rights Movement, the Vietnam War Era, and issues of domestic economic and social policy all through the lens of student activism, particularly at the University of Virginia. The SSOC was an inter-collegiate organization of students at predominantly white universities in the South whose initial aim was to promote progressive social policy regarding racial equality at their universities. While the group remained true to their aims of racial equality in the era of the Civil Rights Movement, they expanded their activism to anti-Vietnam War efforts, by providing legal information to conscientious objectors of the draft and critiquing a variety of American institutions. Also, the group devoted significant energy to supporting labor movements and pushing back against corporate interests. Looking through the documents, it becomes clear that the SSOC was embedded in an important network of student groups, such as the Students for a Democratic Society and the Student Nonviolent Coordinating Committee and their different campus chapters, and taking parts in composite organizations such as the Radical Student Union at the University of Virginia.

Bylaws of the Southern Student Organizing Committee, Southern Student Organizing Committee records (MSS 11192, Box 12). Image by Bethany Anderson.

The importance of the UVA Archives becomes clear when one realizes that the SSOC almost sank into oblivion, at least in terms of their records. According to Gregg L Michel, a UVA graduate student who wrote about student organizing, many of their records were intentionally destroyed after the dissolution of the SSOC. While writing his dissertation on the SSOC he reached out to two UVA alumni who both served as the chairs of the organization (Tom Gardner and Steve Wise), leading to the donation of their records, along with records from other members they knew. The records donated by Gardner and Wise really bring the story of the SSOC to UVA, as these two figures, particularly Gardner, saw the SSOC through the bulk of their Civil Rights and Vietnam activism, along with a variety of projects that incorporated UVA groups beyond just the SSOC, such as the “Virginia Summer Project” and the Radical Student Union.

The writings of Gardner highlight the local aspects of student activism, with essays and memos discussing issues around grounds and critiquing UVA as an institution.

At our upcoming workshop, I will be talking more about the Southern Student Organizing Committee, and leading the participants through an activity using an example of a document from their records. The goal of the activity will be to think about our current university climate through the lens of the SSOC’s documents, thinking about the state of student activism on grounds today, and understanding the role and importance of the Archives in preserving student life.

Participants will also learn about how to preserve and donate their own records and hear from several students and staff from the UVA Library and Special Collections about their projects that relate to preserving history, identity, and student activity!

Thank you for reading and please consider coming to the Rotunda on April 24th at 5:30 pm. You can register and find more information about the workshop here: https://bit.ly/2TFZK9a

 

 

Unearthing Fiction: Creative Writing Inspired by UVA’s Archive

This week we are pleased to share a guest post from Nichole LeFebvre. Nichole is a Poe/Faulkner Fellow at the University of Virginia, where she teaches creative writing. Her poems can be found in Prairie Schooner and Barrelhouse and recent prose in Lit Hub, Paper Darts, and Vol. 1 Brooklyn. She is the Nonfiction Editor of Meridian: A Semi-Annual and is at work on a memoir.

Researchers may have met Nichole at Special Collections, where she used to work as a graduate student assistant in the Reference department. Now, she’s using that experience to incorporate original materials into her creative writing instruction.

Working at Special Collections, I’d often find myself in awe. Researchers would carry diaries and ledgers to the reference desk, pointing out their surprising finds. Reading Faulkner’s grocery list, I’d wonder about his carbo-loading: “breadsticks, bread, breakfast bread.” I’d show students how to aim a black light at a seemingly blank book. One afternoon, a librarian grinned and said, “Have you seen the bone fragment from the Revolutionary War?”

When I had the chance to design a themed writing workshop, I knew exactly where to go: down the spiral staircase, under the skylights. How many stories hid, waiting latent, below our feet?

Fourth-year Halley Townsend recalls the first time she held an artifact: “There’s something immutable in the feeling of touching history that can be gleaned nowhere else.” And that’s exactly right: in fiction, we focus on creating sensory-rich scenes for the reader. Students in my class, “Unearthing Fiction,” were able to feel that texture first-hand, noticing minor details otherwise forgotten with time.

“Being an engineer, I preferred to look at objects that were manmade and complex,” says Daryn Govender, hailing all the way from New Zealand. For his stories, he studied a field compass from World War II as well as a New Tyme Edison light bulb, patented in 1881. Because these objects are catalogued without specific historical context—letters or diary entries from their owners—Govender felt “allowed to write more freely, unconstrained by a pre-existent scenario or background story.”

Of our first visit to Special Collections, second-year Caroline Bohra writes, “My mind started to race thinking of all the people who could have come in contact with these objects. I could not help but wonder what made these specific objects so special that they had been chosen to be saved and preserved? And what modern artifacts would be deemed important enough to be studied years from now?”

The travel scrapbook of Nina Withers Halsey, 1895, inspired Alexander O’Connor to write about a self-taught American teenager who meets and impresses the Shahzada Nasrulla Khan with her knowledge of tenuous British-Afghan relations (MSS 10719-b). Photograph by Alexander O’Connor.

How archives shape history was on our mind, all semester. Fiction is likewise political: whose stories are told, and therefore remembered? Third-year Hunter Wilson wondered how to write “historical women, on the one hand acknowledging that women often lacked basic rights, while on the other, respecting the character.” She decided to set her first story in 17th Century Scotland, inspired by the ballad of the Outlandish Knight. The twist? It’s the princess who uncovers the dreamy knight’s murder plot. “I wanted Isabel to act accurately in her historical context, but also give voice to the likely frustrations that came with her place in history.”

Fourth-year Matin Sharifzadeh enjoyed the depth of creative control he had over his work. “When we would go down into the library, the artifacts weren’t there for us to write about. They were there for us to create a world.” And like history itself, those worlds weren’t always pretty: the rope used in the hanging of a Charlottesville mayor inspired Sharifzadeh to write “a psychological thriller involving a mentally ill serial killer in the late 19th Century.”

Students faced, first-hand, the challenges of writing historical fiction. First-year Julia Medina found an embroidered handkerchief “depicting a group of children and a school teacher from the early 20th century.” This morphed into her story of an exploitative school for gifted children. But she couldn’t have her characters talking in today’s slang. To research the nuances of 1940s speech, Medina found “a collection of letters than an ordinary military man wrote to his wife.” These “seemingly mundane letters” allowed her to imagine “what he felt, how he talked, and where he’d been.”

Some details will remain buried with time, unless you, dear reader, can read this handwriting.  Elizabeth Oakes-Smith’s diary, 1861 (MSS 38-707-a). Photograph by Veronica Sirotic.

The question of historical accuracy recurred throughout the semester. How do we earn a reader’s trust when we aren’t historians, we’re writers?

The answer? More reading, more research, and a deep personal connection to the material. Second-year Veronica Sirotic pored over radical feminist and music magazines from the 60s, 70s, and 80s, inspired by not only the articles, but the advertisements, as well. A few students returned to the feminist periodical The Monthly Extract including first-year Megan Lee, who tried to get into the mindset of both a feminist and her “tolerant husband,” digging up manuscript boxes of period photographs to build images of these characters, in her head.

Students realized when they were most curious, most personally engaged, their own fiction was at its strongest. Caroline Bohra found a children’s book from 1927 and was “struck by a sort of nostalgic happiness,” changing her initial character’s personality as she researched real-life author Christopher Morley, who “believed in the magic of childhood and instilled that in his children, specifically Louise Morley Cochrane, who went on to produce a children’s television series, following in her father’s footsteps, as well as work directly for Eleanor Roosevelt.”

Finding patterns across time was another an important way in. First-year Alexander O’Connor was struck by former Secretary of State John Hay’s life story. “Two out of the three Presidents he worked for, Abraham Lincoln and William McKinley, were assassinated while he worked for them, and the third, Theodore Roosevelt, experienced an assassination attempt but lived. Coincidence? I think not!”

The class also sought guidance from UVa’s own Jane Alison, Professor and Director of Creative Writing. Students read Alison’s Ovid translations and a section of her novel The Love-Artist, curious how she was able to write from the point of view of the ancient poet. Alison explained her range of primary and secondary sources, as well as her trip to Rome, to see and imagine how the ruins once looked. She placed herself inside the poet’s shoes, inside his head, tried to imagine how he saw and described the world around him.

Alison urged the students to recognize the overlap between historical fiction and memoir, a comment that struck Veronica Sirotic as especially true: “We have the power to shape history to our liking.” Alexander O’Connor, agreed, noting that even “memoir is a retelling of history through the author’s lens.”

“‘Unearthing’ means to dig up, to discover, to recover in an active sense,” writes Halley Townsend. “Throughout the semester, that definition has aligned more and more with my creative writing; I feel like I’m discovering or rediscovering something that was already there in my mind.”

All semester long these students uncovered and re-imagined artifacts into fiction, resulting in eighteen riveting short stories. Whether setting their work in the distant past, or today’s world, they used history to deepen the story’s emotional content and lasting impact—looking forward, while looking back.

“I took this image from a couple’s autobiography about their circumnavigation in the early 1920s,” writes student Halley Townsend. “Based on this picture, I wanted to imagine their relationship. What kind of relationship survives on a small boat during stressful circumstances?”
(G440 .V8 1923).

Thank you, Nichole, for sharing your students’
marvelous insights with us.

Collaborative Curation: Cori Field on Student Exhibitions

This week, we are pleased to feature a guest post by Cori Field of the Women, Gender & Sexuality Program. Cori is an exceptional colleague who really “gets” what an exhibition can do for her students. We are so lucky to have worked with her on the exhibition described below.

The “Sounds and Silences of Black Girlhood” exhibition resulted from a remarkable collaboration between undergraduates in the Women, Gender & Sexuality Program and Library staff. Finding archival sources by and about black girls is difficult even for professional historians because most collections are organized around the concerns of white adults. Undaunted, UVA students eagerly stepped up to the challenge. With the help of Molly Schwartzburg, Holly Robertson, and Erin Pappas, they identified a wide range of materials in Special Collections related to the global history of black girlhood, researched the significance of those items, and designed a compelling exhibit focused around the core themes of identity, resistance, and voice. In addition to curating the exhibit, they wrote longer articles about each item.

A screenshot of the blog that accompanies the exhibition. We encourage visitors to check it out to see the students’ hard work.

 

The key to this project was advanced planning. When I first decided to teach an advanced undergraduate seminar on the “Global History of Black Girlhood,” I met with Molly Schwartzburg to ask if it would be possible to produce a public history project from materials in Special Collections. Molly eagerly embraced the idea, volunteered her time, and most importantly, advised me on how to structure assignments so that students could complete the separate components of an exhibit on time. This early consultation enabled me to write an effective syllabus structured around the final project.

Because WGS is an interdisciplinary program, I knew most students in the seminar would not be historians and would likely be unfamiliar with archival research. To further complicate matters, sources on black girls are often hidden in larger collections and difficult to locate. It was therefore essential to provide students with some preliminary guide to relevant sources. The best resource was the expertise of Molly, Edward Gaynor, and other staff who pointed to numerous collections with promising material. Over the summer, Angel Nash, a Ph.D. student in the Curry School, worked with Edward and Molly to identify more sources and construct a bibliography of archival holdings at UVA related to black girlhood. By handing out this bibliography on the first day of class, I was able to give students the information they needed to hit the ground running.

Molly then met with class to discuss strategies for locating other types of sources. This became a history lesson in itself as students discussed the changing language of race and the complications of searching for people categorized variously as African, Negro, colored, African American, or black. Molly helped students to think about how different types of sources—for example, eighteenth-century travelogues, nineteenth-century wills, or early twentieth-century photographs—might prompt different types of research questions. Finally, she helped students figure out how to pursue their own interests by studying the past.

The best part came next as students went into Special Collections. Within two weeks, everyone in the class had identified a primary source that interested them and developed a plan for further research. The range of sources was amazing. For example, Nodjimadji Stringfellow found a 1820 memoir by a British official stationed on the Gold Coast. Dhanya Chittaranjan located a deed from a planter who presented his young granddaughter with the gift of an enslaved girl—”Martha Jane about six years old.” Diana Wilson, Emma McCallie, and Ivory Ibuaka all picked very different photographs from the Jackson Davis Collection. Lucas Dvorscak focused on a 1972 children’s book that retold the story of Alice in Wonderland with a black protagonist.  Samantha Josey-Borden found an original edition of Ntozake Shange, for colored girls who have considered suicide/when the rainbow is enuf. Other students found sources exploring black girls’ labor; resistance to sexual violence; creativity; and political organizing.

Some of the curators of the exhibition at the opening celebration with their instructor, Cori Field (far right).

The next challenge was to combine these materials into a coherent exhibit. Once again, Molly provided guidance, encouraging students to begin with the exhibition space. We went to the exhibition hall, looked at the cases, and talked about how different items might fit. We then returned to the seminar room and discussed organizational strategies. Students quickly rejected a geographical or chronological approach and decided to organize the exhibit around key themes—but what themes? Together, students brainstormed ideas, eliminated some, voted for others and grouped their items into three broad categories of identity, resistance, and voice. They also thought about the physical properties of the items themselves and came up with the idea of enlarging two particularly striking images and hanging these on the wall as the entry to the exhibit.

Two of the three exhibition cases that make up the exhibition.

The next challenge was locating secondary sources that would provide some historical context for every student. The subjet liaison for WGS, Erin Pappas, consulted with the whole class and then worked with individual students facing particularly difficult challenges. Some students who initially thought they couldn’t find any relevant information experienced the thrill of locating material, as when Erin helped Emily Breeding find information about the Lynchburg NAACP at Emory University. A quick call to Emory produced the information Emily needed for her article.

Condensing all of the information students had found into succinct labels was the greatest challenge of the course. Students were shocked to realize how little can be said in 150 words. Through multiple drafts, rigorous peer editing, and feedback from Molly and Holly, students all succeeded in crafting labels that draw the viewer in to the exhibit without providing too much detail. Writing longer articles enabled students to develop their insights in more detail for the accompanying blog.

Throughout this course, the students worked incredibly hard both on their own projects and on their thoughtful contributions to the collective project. I have never seen undergraduates edit each other’s work with such care and insight. The knowledge that this work mattered, that the exhibit would be available to the general public and visiting scholars, inspired a level of commitment and mutual support that is truly rare—in undergraduate seminars and in workplaces more generally. The students learned important skills in managing a complex project, working with others, and contributing to a shared product. At moments, they got incredibly frustrated, but then pulled together and took the project to a higher level. It was a true joy to be involved in this project.

Visitors interact with the blog on an iPad and peruse the artifacts on display during the exhibition opening party.

“The Sounds and Silences of Black Girlhood” will be on view in the first floor gallery at the Harrison-Small building through March 24, 2017.

Researching William Butler Yeats in Special Collections

(Note: This is the second of three posts by students enrolled this past Fall in ENNC 3240: Professor Andrew Stauffer’s course in Victorian Poetry. The three students–Heather Jorgenson [read her post here], Ann Nicholson, and Eva Alvarado–elected to participate in a U.Va. Library “Libratory.” Originally proposed by the University Library Committee, and coordinated by Chris Ruotolo, Director of Arts and Humanities for the U.Va. Library, a Libratory is a one-credit library lab attached to selected courses each academic term. Participating students work with their professor and a librarian to undertake a course-related research project involving extensive use of library materials. Heather, Ann, and Eva spent considerable time in Special Collections studying books and manuscripts by a Victorian poet of their choosing. Then each prepared a 20-minute class presentation accompanied by a special exhibition of selected Special Collections materials. They have kindly agreed to share their experiences here. In this post, Ann Nicholson discusses her work on William Butler Yeats.)

As a supplement to Professor Stauffer’s Victorian Poetry class, I had the opportunity to work in the Special Collections Library, where I conducted research on William Butler Yeats, one of the poets that we discussed in class.

My first approach to exploring Special Collections was to look for differences between the “Irish Yeats” and the “English Yeats,” for he moved back and forth between England and Ireland throughout his life. Yeats was born in Sandymount, Ireland on June 13, 1865, and he was proud of his Irish heritage, which is reflected in his early writings, such as The King’s Threshold (1904), a play written for the Abbey Theater in Dublin. Although this play was both published and performed in Ireland, the two editions found in Special Collections were not published in Dublin, but rather by the Macmillan Company in New York and London—showing Yeats’ ability to reach a wider audience beyond simply the people of Ireland.

Front cover of William Butler Yeats, The Tower (London: Macmillan, 1928) (PR5904 .T6 1928)

Front cover of William Butler Yeats, The Tower (London: Macmillan, 1928) (PR5904 .T6 1928)

Another work published by Macmillan and found in Special Collections is The Tower, Yeats’ first major collection as a Nobel Laureate after receiving the Nobel Prize in 1923. The title refers to the Thoor Ballylee, a Norman Tower that Yeats purchased and restored in 1917, and where he spent his summers until 1928. Thomas Sturge Moore, an English poet, artist, and long-term friend and correspondent of Yeats, created the cover design. On the light green cloth cover there is a gold woodcut-style image that portrays Thoor Ballylee and its reflection in the water.

A typical Cuala Press title page. (PR5904 .W5 1917)

A typical Cuala Press title page. (PR5904 .W5 1917)

Characteristic Cuala Press typography: a page from W. B. Yeats, The Wild Swans at Coole (Churchtown: Cuala Press, 1917) (PR5904 .W5 1917)

Characteristic Cuala Press typography: a page from W. B. Yeats, The Wild Swans at Coole (Churchtown: Cuala Press, 1917) (PR5904 .W5 1917)

I was particularly interested in finding books published by the Cuala Press, the printing press founded and operated by Yeats’ sister Elizabeth in Dublin. The books printed by the Cuala Press are distinguished by their uniform specifications, such as Caslon Old Face 14-point size font, 22-centimeter height, and blue-grey Ingres paper for the binding. Another characteristic of these books is the use of red ink, such as for the unicorn device found in The Wild Swans at Coole (1917) in Special Collections. This image of a sleeping unicorn was drawn by Robert Gregory, an Irish artist. Another image of a unicorn can be found in Last Poems and Two Plays (1939). An exception to these specifications is On the Boiler (1939), which is a political essay written by Yeats and printed commercially in Dublin by Alex Thom and Co., Ltd. for the Cuala Press. There is a drawing by Jack B. Yeats on the front cover.

An image of a sleeping unicorn, drawn by Robert Gregory, appearing in W. B. Yeats, The Wild Swans at Coole (Churchtown: Cuala Press, 1917) (PR5904 .W5 1917)

An image of a sleeping unicorn, drawn by Robert Gregory, appearing in W. B. Yeats, The Wild Swans at Coole (Churchtown: Cuala Press, 1917) (PR5904 .W5 1917)

Another unicorn image, from W. B. Yeats, Last Poems and Two Plays (Dublin: Cuala Press, 1939) (PR5900 .A3 1939)

Another unicorn image, from W. B. Yeats, Last Poems and Two Plays (Dublin: Cuala Press, 1939) (PR5900 .A3 1939)

Front cover of W. B. Yeats, On the Boiler (Dublin: Cuala Press, 1939) (PR5904 .O6 1939)

Front cover of W. B. Yeats, On the Boiler (Dublin: Cuala Press, 1939) (PR5904 .O6 1939)

One of Yeats’ poems that we had discussed in class was “When You Are Old,” and so, I was also hoping to find books in Special Collections that contained this poem. In addition to finding it in multiple sources, including The Macmillan Company’s Poems (1895) and T. Fisher Unwin’s Early Poems and Stories (1925), I discovered that Special Collections also has an autograph manuscript. I also noticed discrepancies between the different publications of the poem, which sparked another area for me to explore.

A manuscript of the poem "When You Are Old," written and signed by William Butler Yeats sometime during the 1930s, per the printed address. (MSS 4243)

A manuscript of the poem “When You Are Old,” written and signed by William Butler Yeats sometime during the 1930s, per the printed address. (MSS 4243)

Yeats wrote the poem “When You Are Old” following the rejection of his marriage proposal by the beautiful actress Maud Gonne in 1891. The poem first appeared in The Countess Kathleen and Various Legends and Lyrics, which was published in 1892 by T. Fisher Unwin in London, and reprinted in 1893 by Roberts Bros. in Boston. In both publications the poem stands alone as an uncollected work. However, the lyrics were revised and collected under the title “The Rose” before the first edition of Yeats’ Poems was published 1895 by T. Fisher Unwin. Yeats again revised the poem for the 1899 edition of Poems. Poems was reprinted again in 1901, 1904, 1908, 1912, 1913, 1919, and 1920 with no revisions made to “When You Are Old.” In the prefaces to the 1912 and 1920 editions of Poems, Yeats writes that “he ha[s] not again retouched the lyric poems of my youth,” thus the 1901 text of the poem “When You are Old” became the standard version. This can be further confirmed in other publications of the poem, such as Macmillan and Co’s Early Poems and Stories (1925), which contains the same version of the poem.

Original version of the poem, "When You Are Old," as it appears in W. B. Yeats, Poems (London: T. Fisher Unwin, 1895) (PR5900 .A3 1895)

Original version of the poem, “When You Are Old,” as it appears in W. B. Yeats, Poems (London: T. Fisher Unwin, 1895) (PR5900 .A3 1895)

The autograph manuscript in Special Collections of “When You Are Old” lacks a date, but it contains a telephone number in the top left corner and the address Riversdale, Willbrook, Rathfarnham, Dublin—the address of Yeats’ last Irish home that he signed the lease for in July 1932. He lived at this home with his wife, George, and two children Anne and Michael, and it was also the setting for his last meeting with Maud Gonne in the summer of 1938. In addition to Yeats’ home address being an indicator of time, letters written by Yeats on the same stationery can help confirm the date of the manuscript. For example, there is a manuscript currently located at the National Library of Ireland that is a 1935 correspondence between W.B. Yeats and Lennox Robinson. Furthermore, another factor used in determining the manuscript’s date is the text itself, for it is the standard version.

Revised version of the poem, "When You Are Old," as it appears in W. B. Yeats, Collected Works in Verse and Prose (Stratford-on-Avon: Shakespeare Head Press, 1908) (PR5900 .A3 1908 v.1). Note the changes in the last stanza.

Revised version of the poem, “When You Are Old,” as it appears in W. B. Yeats, Collected Works in Verse and Prose (Stratford-on-Avon: Shakespeare Head Press, 1908) (PR5900 .A3 1908 v.1). Note the changes to the last stanza; the same changes appear in the manuscript (shown above).

Above are images of the poem “When You Are Old” as it appears in Poems (1895), in The Collected Works in Verse and Prose (1908), and in the manuscript (post-1932).

― Ann Nicholson

Robert Browning as Seen from Special Collections

(Note: This is the first of three posts by students enrolled this past Fall in ENNC 3240: Professor Andrew Stauffer’s course in Victorian Poetry. The three students–Heather Jorgenson, Ann Nicholson, and Eva Alvarado–elected to participate in one of the U.Va. Library’s initial “Libratories.” Originally proposed by the University Library Committee, and coordinated by Chris Ruotolo, Director of Arts and Humanities for the U.Va. Library, a Libratory is a one-credit library lab attached to selected courses each academic term. Participating students work with their professor and a librarian to undertake a course-related research project involving extensive use of library materials. Heather, Ann, and Eva spent considerable time in Special Collections studying books and manuscripts by a Victorian poet of their choosing. Then each prepared a 20-minute class presentation accompanied by a special exhibition of selected Special Collections materials. They have kindly agreed to share their experiences here. In this initial post, Heather Jorgenson discusses her work on Robert Browning.)

Throughout one’s college experience, academic opportunities present themselves and allow for a more creative, enriching, and memorable learning environment. The 2016 Fall semester sparked the first Libratory independent study and provided three students in ENNC 3240 with the opportunity to prepare a twenty-minute presentation on a topic in Victorian Poetry using the Albert and Shirley Small Special Collections Library’s nearly boundless resources and fantastic staff.

The system used to find and request specific works from the library is called Virgo, and it proved instrumental as a catalogue of all available works by Robert Browning—the particular Victorian poet I chose. Special Collections happens to hold over one hundred of Browning’s works, which both lengthened the research process and led me to seek additional assistance from David Whitesell, a curator at the library. My only qualm with Virgo lies in the lack of visual representation—with David’s help I could view all of Browning’s work at the same time to identify any underlying themes and to investigate the hidden gems found in the library.

What I decided to include in my presentation were eighteen volumes dating from 1835 to 1910, showcasing the many forms and levels of craftsmanship present in these separate works. Some of these differences arose from multiple copies of the same book. By comparing and contrasting these copies, my presentation illustrated the unique nature of these older volumes, as well as the close relationship between reader, writer, and bookmaker which seems to have been stronger in the past than it is today.

Original pencil sketch in Robert Browning, Poems (1897), copy 2. Number 119 of 125 copies.

Original pencil sketch in Robert Browning, Poems (1897), copy 2. Number 119 of 125 copies.

I saw many books with personalized details—many of them had inscriptions, while others included letters or sketches. These made each book feel more special and the entire research process more exciting as I knew I would likely find something interesting in almost every one I looked at.

Original pencil sketch in Robert Browning, Poems (1897), copy 2. Number 119 of 125 copies.

Original pencil sketch in Robert Browning, Poems (1897), copy 2. Number 119 of 125 copies.

The library has 2 copies of the 1897 edition of Browning’s Poems. Copy 2 features original pencil sketches, but it also includes a cut and pasted Robert Browning signature, while copy 1 features a leather binding by the Guild of Women Binders with flowers, figures, and words from Browning’s work on the covers. In comparing both copies, I saw a sharp contrast between the amount of attention placed on the outside and the inside, since copy 1 does not include other features in its first few pages and copy 2 has a plain red leather binding with gold accents, in contrast to the detailed leatherwork found in copy 1.

Robert Browning, Poems (1897), copy 1. Number 116 of 125 copies. This copy features a binding by the Guild of Women Binders with fantastic leather-work on the covers.

Robert Browning, Poems (1897), copy 1. Number 116 of 125 copies. This copy features a binding by the Guild of Women Binders with fantastic leather-work on the covers.

I also found books containing letters. In fact, while reading volume 2 of The Letters of Robert Browning and Elizabeth Barrett, I encountered a facsimile on page 567 of a letter from Elizabeth to Robert Browning with a small note at the end directing the reader to page 443 of volume 1. After seeing this note, my curiosity was piqued and I rushed to look at volume 1, but at that point the library was about to close and I could not request any more items. Having to wait until the following day, I requested the book as soon as I could and opened it to page 443 to find: a printed version of the facsimile letter. I found this to be thought-provoking because, although not the first handwritten letter I had encountered, it was the only inter-volume communication I has seen in my research thus far.

The Poetical Works of Robert Browning (1868), volume 1. Pasted-in letter from "Louise" to R. h. Collins.

The Poetical Works of Robert Browning (1868), volume 1. Pasted-in letter from “Louise” to R. H. Collins.

This copy reflects an attribute of many of these books in that it was originally given as a gift. Per the presentation letter pasted in the front, “Louise” gifted it as a Christmas present to R.H. Collins in 1868, the year of its publication. I found this particular book fascinating because it also includes detailed inscriptions written by R.H. Collins—we know they were written by her because she wrote her name after the pictured letter and the other writings are in the same handwriting. In the front of the book she quoted several passages, presumably her favorites, with page numbers. Then, in the back of the book, she wrote what appear to be responses to the text. This amazed me because I could see the level of connection she had to this book in her inscriptions and also in the letter which originally went along with the gift.

The Poetical Works of Robert Browning (1868), volume 1. Pasted-in letter from "Louise" to R. h. Collins.

The Poetical Works of Robert Browning (1868), volume 1. Pasted-in letter from “Louise” to R. H. Collins.

I have seen many amazing books in my research—I have held a first edition of Paracelsus from the McGregor Library, a fully illustrated copy of Pippa Passes, and an original Robert Browning signature—and discovering what makes them unique and powerful has made this experience worthwhile and enjoyable. The process of turning through each and every page can seem grueling at first. However, the more you look the more you will find, and where else can you feel like a detective, a scholar, and a little kid at the toy store all at the same time?

Here is the complete list of featured works from my presentation; I strongly recommend visiting the Special Collections Library and requesting these items, or any others that interest you.

  1. Paracelsus (E 1835 .B76 P3)
  2. Sordello (E 1840 .B76 S6)
  3. Bells and Pomegranates (PR 4202 .M68 1841  copies 1-2)
  4. Christmas Eve and Easter Day (PR 4222 .C49 1850  copies 1-3)
  5. The Poetical Works of Robert Browning (PR 4200 1868   1)
  6. The Poetical Works of Robert Browning (PR 4202 .T3 1872   1)
  7. Asolando (PR 4222 .A7 1890  copy 1)
  8. The Complete Poetic and Dramatic Works of Robert Browning (PR 4200 1895)
  9. Poems (PR 4202 .G37 1897  copies 1-2)
  10. The Letters of Robert Browning and Elizabeth Barrett (PR 4231 .A3 1899  1-2)
  11. Pippa Passes (PR 4218 .A1 1900)
  12. Browning Year Book (PR 4203 .T8 1909)
  13. Robert Browning’s Complete Works  (PR 4200 1910)

― Heather Jorgenson

Tales from Under Grounds II: War

This is the final of four posts, spotlighting the mini-exhibitions of students from USEM 1570: Researching History.

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Turner Labrie, First-Year Student

Turner Labrie

Photograph of Turner Labrie by Sanjay Suchak, November 18, 2014.

Virginia and The Spanish American War

In February of 1895, the Spanish-controlled island of Cuba erupted in rebellion. Over the course of their fighting with the rebels, the Spanish employed increasingly brutal repression tactics. These brutal tactics were further sensationalized by American newspapers, a method that is now better known as “yellow journalism.”  In response to the growing unrest in Cuba and domestic pressures at home, the United States government sent naval crafts to protect US citizens residing in Cuba.

The Spanish-American War began in April of 1898, prompted by the inexplicable explosion in the USS Maine, which was one of the ships based outside of Havana protecting U.S. interests. After the explosion, fighting erupted between the United States and Spain in various parts of the world, including Puerto Rico, Spain and the Philippines. Ultimately, the United States won the war, made Puerto Rico and the Philippines their territories, and freed Cuba from Spanish control.

This exhibition documents Virginia’s involvement in the Spanish American War.

Soldier's Memorial, Spanish American War of 1898: Suffolk Light Infantry. Company G. Fourth Regiment, Virginia Volunteer Infantry ... Organized at Suffolk, Va., June 22, 1892 mustered into the United States Service at Richmond, Va., May 23, 1898. Washington, D.C.: Fuller Bros., 1898. (Poster 1898 .S73) This poster portrays the Suffolk Light Infantry in combat, and in the middle, it lists members of the Company G, including officers. Virginia was expected to contribute heavily to the war, but outside of the involvement of a couple regiments, it served more in an ancillary role. Many supplies were shipped through its ports and camps were established throughout the state to train soldiers for combat. That being said, fourteen of the deceased sailors from the explosion of the Maine were originally from Virginia.

Soldier’s Memorial, Spanish American War of 1898: Suffolk Light Infantry. Company G. Fourth Regiment, Virginia Volunteer Infantry … Organized at Suffolk, Va., June 22, 1892 mustered into the United States Service at Richmond, Va., May 23, 1898. Washington, D.C.: Fuller Bros., 1898. (Poster 1898 .S73)
This poster portrays the Suffolk Light Infantry in combat, and in the middle, it lists members of the Company G, including officers. Virginia was expected to contribute heavily to the war, but outside of the involvement of a couple regiments, it served more of an ancillary role. Many supplies were shipped through Virginia’s ports, and camps were established throughout the state to train soldiers for combat. That being said, fourteen of the deceased sailors from the explosion of the USS Maine were originally from Virginia.

Capt. Edgar de Duphane. Wanted. 100 Volunteer Crack Shots, for Immediate Service. New Market, VA: Henkel & Co., Printers, 1898. (Broadside 1898 .D84) Captain Edgar de Duphane posted this message in New Market, Virginia to encourage proficient shooters to join the US Army at the outbreak of the Spanish American War. These shooters would then be shipped off to various camps throughout the country for integration into the army. From there, they would be sent to participate in the fighting against Spanish forces.

Capt. Edgar de Duphane. Wanted. 100 Volunteer Crack Shots, for Immediate Service. New Market, VA: Henkel & Co., Printers, 1898. (Broadside 1898 .D84)
Captain Edgar de Duphane posted this message in New Market, Virginia to encourage proficient shooters to join the U.S. Army at the outbreak of the Spanish American War. The shooters were then sent to various camps throughout the country for integration into the army. From there, they  fought against Spanish forces.

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Max Novick, First-Year Student

Max Novick presents a WWI era scrapbook, November 18, 2014. (Photograph by Sanjay Suchak)

Max Novick presents a WWI era scrapbook, November 18, 2014. (Photograph by Sanjay Suchak)

Propaganda and Sentiments of World War I

While World War I can be at times dwarfed by the magnitude of the Second World War, many of the same feelings of fear that the Allies expressed towards the German enemy still existed. Through this mélange of emotions, the use of propaganda became commonplace to strike fear in the heart of the enemy and to motivate the allied nations. Though propaganda can be quite coarse and grating, this mini-exhibition makes an attempt to display a few types of this curious art form.

Through the use of five dissimilar items, this exhibit moves in a somewhat linear fashion, from crass to serious, in order to capture the very essence of the emotions that were shared in the Allies battle against the Imperial forces.  Nevertheless, Novelist James Dickey’s sentiments to a major donor to Virginia of this era caps the exhibition in its ability to look beyond the pairing of one side versus another and at the real issue of humans versus humans.

Falser, M. “Pour le suprême effort.” World War I posters 1914-1918.  (MSS 5023-b) Robertson Gift Dec. 1969 Produced in 1918, artist, M. Falser, shows a darkly colored image of a French soldier in fierce, but advantageous, combat with an eagle. This black eagle as well as the helmet known as a Pickelhaube, are signs of the German Imperial Army. The violent force with which the French soldier maims this Imperial enemy seeks to inspire hope and courage within the nation of interest, like many propaganda posters of the time, and to deflate the image of the enemy.

Falser, M. “Pour le suprême effort.” World War I posters 1914-1918. (MSS 5023-b) Robertson Gift Dec. 1969
Produced in 1918, artist M. Falser shows a darkly colored image of a French soldier in fierce combat with an eagle. This black eagle as well as the helmet known as a Pickelhaube are signs of the German Imperial Army. The violent force with which the French soldier maims this Imperial enemy seeks to inspire hope and courage within the nation of interest and to deflate the image of the enemy.

 

Dickey, James. “For Matt Bruccoli’s Father.” Letter. World War I Memorabilia. (MSS 10875-s) Bruccoli Great War Collection. Gift of Matthew J. Bruccoli, July, 1997  Famous American novelist, James Dickey, through this extremely personal letter, offers a writer’s input on the war. This letter looks beyond the simplicities of propaganda and talk about war’s more virulent nature. This note does not degrade the enemy in any way, but rather looks at the matter from the perspective of a human being to express the atrocities and horrors that war imposes on mankind.

By arrangement with the Heirs of James Dickey and their agents Raines & Raines. James Dickey. Letter for Matt Broccoli’s Father, July 1997. (MSS 10875-s) Bruccoli Great War Collection. Gift of Matthew J. Bruccoli.
Famous American novelist, James Dickey, through this extremely personal letter, offers a writer’s input on the war. This letter looks beyond the simplicities of propaganda and talks about war’s more virulent nature. This note does not degrade the enemy in any way, but rather looks at the matter from the perspective of a human being to express the atrocities and horrors that war imposes on mankind.

 

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Emily Templin, First-Year Student

Emily Templin

Photograph of Emily Templin by Sanjay Suchak, November 18, 2014.

World War II Propaganda in America

America officially entered World War II after Japan’s attack on Pearl Harbor on December 7, 1941. While American soldiers were off fighting for the Allied cause, other forces worked to keep the home front involved and in support of the war. The Office of War Information (OWI), created by Franklin Delano Roosevelt in 1942, was designed to help mobilize domestic support and keep citizens informed. The OWI produced propaganda, such as radio broadcasts, newspaper articles, posters, and photographs that served as a direct appeal to citizens at home to support the war.

Much of the propaganda tended to focus on how everyone could “play their part” in the war effort, including buying war bonds, rationing, and conserving scrap metal and rubber. Ultimately, propaganda helped to shape the culture of the American home front, sparking a unified effort to help fight the war by any means possible.

1942 War Bonds Poster. "We Shall Win Or We Shall Die": Double Your Shares In the U.S.A. ... Buy War Bonds and Stamps Today!. Washington, D.C.: U.S. Government Printing Office, 1942.  (Poster 1942 .W4) This 1942 propaganda poster advertises the sale of war bonds as a way for people at home to contribute to the war effort. Since World War II was a “total war,” patriotic propaganda was used to garner support for the war on the American home front. The poster’s language serves to unite soldiers with civilians back home in a combined revenue-raising effort that both financially and morally supports the war

1942 War Bonds Poster. “We Shall Win Or We Shall Die”: Double Your Shares In the U.S.A. … Buy War Bonds and Stamps Today!. Washington, D.C.: U.S. Government Printing Office, 1942. (Poster 1942 .W4)
This 1942 propaganda poster advertises the sale of war bonds as a way for people at home to contribute to the war effort. Since World War II was a “total war,” patriotic propaganda was used to garner support for the war on the American home front. The poster’s language serves to unite soldiers with civilians back home in a combined revenue-raising effort that both financially and morally supports the war.

 

United States of America. Four Freedoms Booklet. Louis G. Cowan World War II Propaganda Collection, 1941-1946  (MSS 11569) Based on Franklin D. Roosevelt’s Four Freedoms speech, this booklet elaborates how the freedoms of speech and worship and the freedoms from want and fear operated in America. The booklet contrasts pictures of America’s happy children, education systems, and plentiful harvests with pictures of the violence, government restrictions, and food lines in Axis countries in order to promote the Allied war efforts.

United States of America. Four Freedoms Booklet. Louis G. Cowan World War II Propaganda Collection, 1941-1946. (MSS 11569)
Based on Franklin D. Roosevelt’s Four Freedoms speech, this booklet elaborates how the freedoms of speech and worship and the freedoms from want and fear operated in America. The booklet contrasts pictures of America’s happy children, education systems, and plentiful harvests with pictures of the violence, government restrictions, and food lines in Axis countries in order to promote the Allied war efforts.

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Timothy Rodriguez, First-Year Student

Timothy Rodriguez

Timothy Rodriguez talks to a attendee about his exhibition, November 18, 2014. (Photograph by Sanjay Suchak)

Cold War Propaganda in the United States and the Soviet Union

The Cold War, which started in 1946 after the end of the Second World War, produced a significant amount of propaganda on both sides. In the United States, this propaganda was focused against the nature of the communist regimes in Soviet Bloc countries and on the ideals of communism. For the Soviets, the propaganda was more focused on convincing citizens that their system of governance and economic structuring was superior to capitalist countries like the United States.

This exhibition contains propagandist pictures, literature and broadsides that represent some of the most subtle and blatant propaganda of the Cold War. Sources include both the Soviet and American governments as well as special interest groups with Anti-communist agendas.

Siebel, Fred O. "Eyes on Formosa." Richmond Times Dispatch. 1 Jan. 1950. Original drawing by Fred Seibel. Published in the Richmond Times Dispatch, this cartoon, drawn by Fred Siebel, is a piece of American anti-communist propaganda and political commentary. The depiction of communism as a gigantic octopus, embossed the Soviet Union’s hammer and sickle, is a clear statement of the American perspective of communism as an expansionary threat to the world. The cartoon is intending to convey the intent of the communists specifically in China of taking over the island of Formosa, now known as Taiwan.    (still need permission)

Siebel, Fred O. “Eyes on Formosa.” Richmond Times Dispatch. 1 Jan. 1950. Original drawing by Fred Seibel. (MSS 2531)
Published in the Richmond Times Dispatch, this Fred Siebel cartoon is a piece of American anti-communist propaganda and political commentary. The depiction of communism as a gigantic octopus, embossed with the Soviet Union’s hammer and sickle, is a clear statement of the American perspective of communism as an expansionary threat to the world. The cartoon conveys the intent of the communists, specifically in China, to take over the island of Formosa, now known as Taiwan.

Pedigo, Jess L. Yes, Ginger. Communism Is Your Enemy. Tulsa: Christian Crusade Publications, 1970.  This booklet was published by the Christian Crusade publication company in 1970. During the Cold War many organizations in the United States, including Christian Crusades, published Anti-Communist literature. This specific booklet is a story directed at children informing them of the supposed evils of communism and as per the title explains why communism is their enemy. This artifact is a prime example of religious, anti-communist propaganda which was prevalent during the cold war era.

Pedigo, Jess L. Yes, Ginger. Communism Is Your Enemy. Tulsa: Christian Crusade Publications, 1970. (HX44 .P42 1972)
During the Cold War, many organizations in the United States, including Christian Crusades, published anti-communist literature. This specific booklet, directed at children, informs them of the supposed evils of communism and as per the title explains why communism is their enemy. This artifact is a prime example of religious, anti-communist propaganda which was prevalent during the cold war era.

 

 

 

Tales From Under Grounds II: Regional History and Mr. Jefferson and His University

This is the third in a series of four posts, spotlighting the mini-exhibitions of students from USEM 1570: Researching History.

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Zach Buettner, First-Year Student

Zach Buettner, November 18, 2014. (Photo by Sanjay Suchak)

Photograph of Zach Buettner by Sanjay Suchak, November 18, 2014.

The Early History of Woodberry Forest School

Woodberry Forest School, founded by Robert Stringfellow Walker in 1889, was intended to teach his six sons. Walker began the school by hiring a tutor because he felt that the nearby schooling was inadequate. The school quickly grew to include local kids on nearby farms. The numbers continued to increase, and now there is an average of 100 boys per grade.

Woodberry Forest School is an all-boys boarding school in Woodberry Forest, Virginia, right outside of Orange, Virginia. The school prides itself on creating the “Woodberry boy,” one who is balanced in many facets of life. In addition to rigorous academic work, Woodberry also requires participation in athletic events. In fact, its rivalry with Episcopal High School dates to 1901, making it one of the oldest continuous southern rivalries in football.

Woodberry has an honor code that was created by the students a couple years after the founding of the school. The honor is an important part of the school’s culture even today.

 

Woodberry Forest, “Catalogue of Woodberry Forest,” (Woodberry Forest, VA: Woodberry Forest School, 1901) (LD7501.W6 W62). Gift of Shelah Kane Scott This catalogue was the main source of information in regards to attending the school in 1901. The catalogue listed the students and the prefects of the current classes. It also laid out the terms necessary to graduate including the classes one should take, the cost of education, and the objects that one needed to bring to school with him.

Woodberry Forest. “Catalogue of Woodberry Forest.” Woodberry Forest, VA: Woodberry Forest School, 1901. This catalogue was the main source of information in regards to attending the school in 1901. The catalogue listed the students and the prefects of the current classes. It also laid out the terms necessary to graduate including the classes one should take, the cost of education, and the objects that one needed to bring to school with him. (LD7501 .W6 W62. Gift of Shelah Kane Scott)

Waring P. Austin, “Woodberry Forest School Scrapbook. 1910-1913, (MSS 15119). Coles Special Collections Fund This scrapbook, complied by Pickney Austin Waring, focuses mainly on sports teams at Woodberry Forest School. It has a collection of photos of different athletic teams and also lists scores, lineups, and posters for games. A notable object in this scrapbook is a hand drawn poster of a Woodberry vs. Yale baseball game.

Waring P. Austin. Woodberry Forest School Scrapbook, 1910-1913. This scrapbook, complied by Pickney Austin Waring, focuses mainly on sports teams at Woodberry Forest School. It has a collection of photos of different athletic teams and also lists scores, lineups, and posters for games. A notable object in this scrapbook is a hand drawn poster of a Woodberry vs. Yale baseball game. (MSS 15119. Coles Special Collections Fund)

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Abby Herz, First-Year Student

Abby Herz

Photograph of Abby Herz by Sanjay Suchak, November 18, 2014.

Fielding a Faculty: The Original Faculty of the University of Virginia

In the early 1800’s as Thomas Jefferson looked to fulfill his dreams of creating the University of Virginia, one of the challenges he faced was to recruit a faculty.  He needed to find distinguished, intelligent scholars in the fields of ancient languages, modern languages, mathematics, moral philosophy, natural philosophy, chemistry, law, and medicine.

Interestingly enough, Mr. Jefferson assigned a large part of this task to Mr. Francis Walker Gilmer, a close friend of his and the University’s attorney.  Francis Gilmer took this request very seriously and travelled all the way to England in 1824, to find some of the brightest people in their fields and bring them to Mr. Jefferson’s University to teach.

Gilmer returned to the United States having found 5 of the 8 first faculty members of the University.  He recruited George Blaetterman, Charles G. Bonnycastle, Robley Dunglison, Thomas Hewitt Key and George Long.  The other three, John Patton Emmet, John Tayloe Lomax, and George Tucker all came from the United States and were not recruited by Mr. Gilmer.

Thomas Hewitt Key Contract with Francis Walker Gilmer, Attorney for University of Virginia (MSS 10300) This is the official contract between Francis Walker Gilmer, the attorney for the University of Virginia, and Thomas Hewitt Key, the first professor of mathematics at the University.  This contract covers Key’s duties as a professor, like the specific subjects he must teach, as well as his salary, which at the time included what was known as a “tuition fee.”  Finally the contract goes over Key’s responsibilities as an occupant of Pavilion VI.

Thomas Hewitt Key Contract with Francis Walker Gilmer, Attorney for University of Virginia.
This is the official contract between Francis Walker Gilmer, the attorney for the University of Virginia, and Thomas Hewitt Key, the first professor of mathematics at the University. This contract covers Key’s duties as a professor, the specific subjects he must teach as well as his salary, which included what was known as a “tuition fee.” Finally the contract goes over Key’s responsibilities as an occupant of Pavilion VI. (MSS 10300)

Regulations of the University, in the Hand of and Signed by Thomas Jefferson, Rector, 3-7 October 1825 (MSS 10300) This manuscript, written by Thomas Jefferson, defines all of the rules of the University of Virginia.  In these rules, Mr. Jefferson places a lot of power in the hands of the Professors and charges them “with the execution of the laws of the University.”  He gives them the responsibility of disciplining students for actions committed outside of the classroom in places like the dormitories.

Regulations of the University, in the Hand of and Signed by Thomas Jefferson, Rector, 3-7 October 1825. This manuscript, written by Thomas Jefferson, defines all of the rules of the University of Virginia. In these rules, Jefferson places a lot of power in the hands of the professors and charges them “with the execution of the laws of the University.” He gives them the responsibility of disciplining students for actions committed outside of the classroom in places like the dormitories. (MSS 10300)

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Cassidy Faught, First-Year Student

Cassidy Faught

Cassidy Faught discusses her exhibition with visitors, November 18, 2014. (Photograph by Sanjay Suchak)

Equality on Grounds: The Struggle for Desegregation at the University of Virginia

The 1896 Plessy v. Ferguson United States Supreme Court case used the “separate but equal” doctrine to uphold the constitutionality of state laws requiring racial segregation in public facilities.  This “separate but equal” doctrine remained the standard in United States law until it was overturned by the Brown v. Board of Education Supreme Court decision in 1954.  Until the 1950’s many public colleges, including the University of Virginia, refused the admission of African Americans to their schools on grounds that it was contrary to the long established and fixed policy of their states.

This display showcases the correspondence between the first African American applicant and the rector at the University of Virginia, a letter regarding segregation by the first African American to attend the University, a photograph of the first African American graduate, and “Notes on Negroes in U of VA” from the Director of Information Services in 1955 and 1956.  These items are used to display the initial rejection, struggle, and eventual triumph of African Americans integrating into the University of Virginia.

Alice C. Jackson Letter to Frederick W. Scott, 28 September 1935. (RG-2/1/2.491) University of Virginia, Office of the President This is a handwritten letter from Alice C. Jackson to Dr. Frederick W. Scott, the Rector and Board of Visitors at the University of Virginia.  Ms. Jackson was the first African American to apply to the University and was seeking a master’s degree in French.  In her spirited letter, Ms. Jackson writes an appeal to the University in search of a full explanation as to why her application was rejected.

Alice C. Jackson Letter to Rector Frederick W. Scott, 28 September 1935. This is a handwritten letter from Alice C. Jackson to Dr. Frederick W. Scott, the Rector, and the Board of Visitors at the University of Virginia. Ms. Jackson was the first African American to apply to the University and was seeking a master’s degree in French. In her spirited letter, Ms. Jackson writes an appeal to the University in search of a full explanation as to why her application was rejected. (RG-2/1/2.491. University of Virginia Archives)

Photograph of UVa Finals, Academic procession. 15 June 1953.  (RG-30/1/10.011) University of Virginia Visual History Collection Here, a photograph of Walter Nathaniel Ridley, the first African American to graduate from the University of Virginia, is captured.  Ridley (center) smiles for a photograph as he walks the Lawn at the Academic Procession of the summer of 1953.  Ridley received a Ph.D. in education.

Photograph of U.Va. Finals, Academic Procession. 15 June 1953. A photograph of Walter Nathaniel Ridley, the first African American to graduate from the University of Virginia, is captured. Ridley (center) smiles for a photograph as he walks the Lawn at the Academic Procession of the summer of 1953. Ridley received a Ph.D. in education. (RG-30/1/10.011. University of Virginia Visual History Collection)

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Ford Slater, First-Year Student

Ford Slater explains his exhibition to onlookers, November 18, 2014. (Photograph by Sanjay Suchak)

Ford Slater explains his exhibition to onlookers, November 18, 2014. (Photograph by Sanjay Suchak)

A History of Baseball at The University of Virginia

Baseball started at the University of Virginia in the late nineteenth century and has developed into one the best programs in the country. After over 100 years, Virginia has worked its way up to a nationally recognized athletic powerhouse in most sports, including baseball. The items in this exhibit include pictures, artifacts, and newspaper clippings that will show the viewer facets of the University’s baseball past.

Photograph of University of Virginia Baseball Team

Photograph of University of Virginia Baseball Team, 1890. This is a photograph of the 1890 University of Virginia Baseball, which includes what appears to be nine players and two coaches. The border frame around the picture once included all of the names and hometowns of the players, but has worn away with time. Some things to notice are the old fashioned uniforms with the collars and pockets on their shirts, the short brimmed hats, and the equipment. The gloves have no web, but are more similar to an oven mitt. Also peculiar, the mustache on the player on the far left. Most universities required short hair and clean shave until mid-twentieth century. (MSS 9767. University of Virginia Archives)

 

Baseball Scorecard

Virginia Baseball Game Scorecard, 1949. Featured is a hand-completed scorecard from a 1949 game between Virginia and an unknown opponent. Virginia was victorious, scoring two runs to none and outhit its opponent 5 to 4. The historical side of this piece apart from being in such good condition is the amount of advertising it contains. A total of nineteen different businesses paid to have their name and number on a scorecard for a baseball game. (RG-27/13/1.091. University of Virginia Archives)

Tales from Under Grounds II: Pastimes, Play Time, Illustration, and Literature

This is the second in a series of four blog posts, spotlighting the mini-exhibitions of fall semester 2014 students from USEM 1570: Researching History.  The following is the abridged version of the students’ final projects, featured at their outreach program, Tales from Under Grounds II.

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Regina Chung, First-Year Student

Regina Chung

Photograph of Regina Chung by Sanjay Suchak, November 18, 2014.

Monticello Music

Thomas Jefferson declared that music “is the favorite passion of my soul, and fortune has cast my lot in a country where it is in a state of deplorable barbarism.” Jefferson practiced the violin three hours a day and would later share his love for music with his wife, Martha, and then his daughters. He would not only spread this passion among his family, but also as a political tool that would lead to wide popularity with his lively campaign songs.

Using scrapbooks, notebooks, music programs, political campaign songs, and newsclippings, this exhibition displays the passion Jefferson held for music in his personal and work life.

This scrapbook of 18th century songs, ballads, and cantatas were collected by Thomas Jefferson and his family. There are 95 titles in this volume from Jefferson's distinct music collection.

Thomas Jefferson’s Scrapbook of Sheet Music. This scrapbook of 18th century songs, ballads, and cantatas were collected by Thomas Jefferson and his family. There are 95 titles in this volume from Jefferson’s distinct music collection. (A 1723-90 .J4 no. 1. Tracy W. McGregor Library of American History)

 

TJ Newsclipping

Newsclipping of a letter written by Thomas Jefferson to his daughter Martha “Patsy” Jefferson, n.d. After Jefferson’s wife’s death, he strongly enforced music upon his eldest daughter, Martha (“Patsy”). In this reprinted letter, he encourages her to continue to learn new music. (MSS 6696. Thomas Jefferson Foundation)

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Lily Davis

Lily Davis

Photograph of Lily Davis by Sanjay Suchak, November 18, 2014.

Nathaniel Hawthorne

 Nathaniel Hawthorne (1804-1864) was a 19th-century American author. He is known as a “romancer,” examining the inner nature of man, and as a “realist,” using literature to articulate the flaws in American society. Many of his stories have a common theme of probing human nature and criticizing culture. In his books, he examines and scrutinizes Puritan society, which points back to his long line of Puritan ancestors.

The photograph of Hawthorne with his signature across the bottom was taken around the time he wrote The Scarlet Letter and The House of Seven Gables, pieces of literature that are still read and loved today. The Scarlet Letter, probably Hawthorne’s most well-known book, provides insight to his Puritan background. The House of Seven Gables was published shortly after The Scarlet Letter and is also set in 19th century New England. Centuries later, Hawthorne is still considered a great American author.

Title page of The Scarlet Letter

Hawthorne, Nathaniel. The Scarlet Letter. Boston: Ticknor and Fields, 1850. The Scarlet Letter, published in 1850, tells the story of Hester Prynne and her illegitimate child Pearl in Puritan society. This novel was inspired by Hawthorne’s strict Puritan background. Nathaniel Hawthorne’s great grandfather, John Hathorne (1641-1717), lived in Salem, Massachusetts and was a prominent judge in the Salem witch trials. Nathaniel Hawthorne eventually added the “w” in his true family name of “Hathorne” (changing it to “Hawthorne”) to distinguish himself from his ancestors. In reading the Scarlet Letter, it is obvious that his writing points to his background.(A 1850 H39 S3. Tracy W. McGregor Library of American History)

Signed Carte de Visite of Nathaniel Hawthorne, ca. 1850s. (MSS 6249. Clifton Waller Barrett Library of American Literature)

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Mary Elder, First-Year Student

Mary Elder

Mary Elder discusses her exhibition with visitors, November 18, 2014. (Photograph by Sanjay Suchak)

Games of American Children in the Victorian Era

The Victorian Era is viewed as a time of rapid development and change, and it is easy to overlook the role of children in this era. Many of people’s ideas come from films such as A Christmas Carol, and characters such as the grandmother of American Girl’s Samantha, but much can be learned by looking at the toys and games that children enjoyed during this time.

Games and stories can often reveal the values of the time they were played, and Victorian Era games frequently had educational value, or intended to teach moral lessons. Other times, they were simply to keep children occupied quietly. Outdoor and recreational activities were also encouraged to allow children to run and play, but were sometimes limited to boys as many still held the belief that girls should be quiet and dainty.

These games can tell a story as they give us a glimpse into the lives of the younger generation in the late 19th-century. Many of the games and concepts might be familiar to people today and can show the continuity in children’s attitudes toward fun and perpetuity of childhood pleasures.

Toy Catalogue

Selchow & Righter, New York, Manufacturers and Wholesale Dealers in Games and Toys, 1894-1895.  This trade catalog for toys and games provides images, cost, and descriptions of the games. Frequently sold by dozens, costs vary greatly, but many are in the $7-$10 range. Many items, such as the church and blocks, have religious associations, while others, such as the Spelling Boards and reading cabinet, are educational. Many items, such as a ring toss, dolls, toy pianos, and air rifles, would be familiar to children today. (TS199 .A5 T62 no.16. Albert H. Small American Trade Catalogs Collection)

Ruhig Blut Game

Ruhig Blut. New York: Dr. Richter’s Publishing House, 1899. This puzzle, whose name in English is “Be Quiet,” has instructions in German, English, and several other language. It resembles what is now known by many as a Tangram, and the small shaped masonry pieces could be combined in a variety of ways to create pictures. (Lindemann 05868. The McGehee Miniature Book Collection)

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Grace Kim, First-Year Student

Grace Kim

Grace Kim talks to Rare Book Cataloger Gayle Cooper about her exhibition, November 18, 2014. (Photograph by Sanjay Suchak)

John Tenniel: An Illustrator with a Punch

Originally, John Tenniel was a classic artist who created oil paintings for the Royal Academy. Dissatisfied, he left to join the illustration world. In 1850, he found a position at the British political magazine Punch, where he would work for fifty years. Citizens soon recognized his drawings, and his work at the magazine would soon allow for other illustrating opportunities. He drew for Thomas Moore’s oriental romance novel, Lalla Rookh, which was considered to contain his best illustrations. He was also the illustrator for The Arabian Nights edition, created by the engravers the Dalziel brothers. Tenniel would constantly go to the Dalziel brothers for the engraving of his drawings.

Tenniel preferred not to use real life models to help him form his illustrations. Instead, he claimed that he could draw anything through the use of memory. This may have helped him when he worked with Lewis Carroll, otherwise known as Charles Lutwidge Dodgson, to create Alice’s fantastical world.

In 1893, John Tenniel became knighted for his work in political cartoons and illustrations. After he retired from Punch about a decade later, he would not take on any other projects.

Illustrations from Alice in Wonderland

Lewis Carroll. Alice’s Adventures in Wonderland. Illus. by John Tenniel. New York: D. Appleton and Company, 1866. Most well known for his work with Lewis Carroll, Tenniel includes forty-two of his illustrations in this first American edition. Originally, Carroll wanted to draw the illustrations himself; however, a friend, Thomas Combe, suggested a professional illustrator instead. Lewis Carroll wanted no one other than John Tenniel. His work at Punch led the surreal author to become a big fan. In this particular book, the color marking comes from the original owner, Alice Huff Johnston. (PR4611 .A7 1866. Gift of Clement Dixon Johnston)

Note from Tenniel to Ponny

Note from John Tenniel to Ponny, ca. 1869. Sir John Tenniel reflects on his own reputation in a note to his friend, Ponny, stating, “You say my name is as good as a bank note – I wish you could prove it.” (MSS 6693-a. Gift of Clement Dixon Johnston)

Tales from Under Grounds II: Plato, Darwin, Early Medical Practices, and Peaceful Protests

This is the first in a series of four posts, spotlighting the mini-exhibitions of students from USEM 1570: Researching History, Fall 2014.

Last semester, I taught USEM 1570: Researching History for the second time. The course gives first-year students the opportunity to learn about and immerse themselves in primary source research. For most undergraduates, archival research is scary stuff. However, my students bravely navigated through the rich array of research materials held in the Albert and Shirley Small Special Collections Library, sharing what they learned with friends, family, and the general public. Sharing what they learned was most evident in their final assignment, curating a mini-exhibition. The mini-exhibition had to illustrate a particular story with only five items of varying formats. After creating the exhibitions, these budding researchers  presented them at their outreach program, Tales from Under Grounds II.

For those who could not make it, I present to you the second best thing: Tales from Under Grounds II in its abridged version as captured in each student’s own words.

Note: only two selections per student are shown.

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Maryknoll Hemingway, First-Year Student

Maryknoll Hemingway

Photograph of Maryknoll Hemingway by Sanjay Suchak, November 18, 2014.

Plato at U.Va.

Known for his philosophies on political science, the soul, and love, the ancient Greek Plato is one of the most infamous men of world history. At the Albert and Shirley Small Collections Library at the University of Virginia, there is material on the works and reviews of Plato and his ideas and theories. Of the works presented here are translations of two works of Plato, a letter appraisal, and a review by Thomas Jefferson.

In this collection, reviewers negatively and positively respond to Plato’s philosophies, most suggesting, such as Author Samuel Goodrich, that Plato was at the “highest point, in the search after divine knowledge which has ever been attained, without the direct aid of inspiration.” In contrast, Jefferson, stated that “[Plato’s] dialogues are libels on Socrates.” Accompanied by two compositions and a brief biography, this exhibition shows Plato’s works and reviews of his philosophies as one of the world’s most famous men of all time.

Jefferson, Thomas. Jefferson on Plato. Roanoke, Virginia: Stone Printing & Manufacturing Company, 1941. (B393 .J4 1941) Thomas Jefferson wrote a review on Plato’s infamous The Republic of Plato and, it is apparent that he was not particularly impressed by the writings of Plato. This brief and concise five page review provides Jefferson’s raw opinion of Plato’s ideals. Similar pamphlets were printed, totaling 600 copies. This one in particular was privately printed for John Wyllie, early curator of rare books and manuscripts at the University of Virginia.

Jefferson, Thomas. Jefferson on Plato. Roanoke, Virginia: Stone Printing & Manufacturing Company, 1941. Thomas Jefferson wrote a review on Plato’s “The Republic of Plato,” and it is apparent that he was not particularly impressed by the writings of Plato. This brief and concise five page review provides Jefferson’s raw opinion of Plato’s ideals. Similar pamphlets were printed, totaling 600 copies. This one in particular was privately printed for John Wyllie, early curator of rare books and manuscripts at the University of Virginia. (B393 .J4 1941)

 

Baron Alfred Tennyson, Letter to Benjamin Jowett, May 4, 1858 (MSS 10499) This is a handwritten letter from Alfred Tennyson to Benjamin Jowett, featuring a picture of Tennyson. In this letter, Tennyson praises the works of Plato and thanks his correspondence, Jowett, for the copies and recommendation of the books. In Tennyson’s opinion, he is “unworthy” of reading Plato’s pieces, but asks Jowett for page numbers as references to key points, and possible favorite sections of the books.

Baron Alfred Tennyson, Letter to Benjamin Jowett, May 4, 1858.
This is a handwritten letter from Alfred Tennyson to Benjamin Jowett, featuring a picture of Tennyson. In this letter, Tennyson praises the works of Plato and thanks Jowett for copies and recommendation of books. In Tennyson’s opinion, he [Tennyson] is “unworthy” of reading Plato’s pieces, but asks Jowett for page numbers as references to key points, and possible favorite sections of the books. (MSS 10499)

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Josh Huttler, First-Year Student

Josh Huttler

Photograph of Josh Huttler by Sanjay Suchak, November 18, 2014.

Monkey-Man or Genius: The Development of Charles Darwin’s Evolutionist Theories and Public Response

Throughout the nineteenth century, Charles Darwin was one of the principle contributors to the theory of evolution. Following his expeditions on the H.M.S Beagle, Darwin produced one of the most influential and controversial texts of the era: On the Origin of Species by Means of Natural Selection.

In this collection of artifacts, a Conrad Martens watercolor of the H.M.S Beagle and a first edition copy of Darwin’s On the Origin of Species reflect the development of Darwinian evolutionist thought. Further, several cartoons from British periodicals, a magazine describing religious responses, and an obituary released after Darwin’s death illustrate the mixed public reactions to Darwin’s work. Several of these items refer to one of Darwin’s most contentious and publicized ideas— the concept that man and monkey share a common ancestor.

Charles Darwin, On the Origin of Species by Means of Natural Selection, or the Preservation of Favoured Races in the Struggle for Life. London: John Murray, 1859.  (QH365 .O2 1859) Gift of Colonel J.R. Fox Published almost twenty years after The Voyage of the Beagle, this first edition copy of Charles Darwin’s On the Origin of Species set the foundation for new evolutionist theory. Amongst other important topics, this text outlines the theories of natural selection and species variation while building on the ideas of his evolutionist predecessors.

Darwin, Charles. “On the Origin of Species by Means of Natural Selection, or the Preservation of Favoured Races in the Struggle for Life.” London: John Murray, 1859.
Published almost twenty years after The Voyage of the Beagle, this first edition copy of Charles Darwin’s “On the Origin of Species” set the foundation for new evolutionist theory. Amongst other important topics, this text outlines the theories of natural selection and species variation while building on the ideas of his evolutionist predecessors. (QH365 .O2 1859. Gift of Colonel J. R. Fox)

Martens, Conrad. Terra Del Fuego: H.M.S. Beagle Under the Land, ca. 1834.  (MSS 3314)  Paul Victorius Evolution Collection This watercolor of the H.M.S. Beagle reflects the ship landing in Tierra Del Fuego, a South American archipelago. Darwin developed many of his early evolutionist theories during his almost five-year expedition on this ship. Darwin discusses some of his findings from the expedition in his book The Voyage of the Beagle.

Martens, Conrad. Terra Del Fuego: H.M.S. Beagle Under the Land, ca. 1834.
This watercolor of the H.M.S. Beagle reflects the ship landing in Tierra Del Fuego, a South American archipelago. Darwin developed many of his early evolutionist theories during his almost five-year expedition on this ship. Darwin discusses some of his findings from the expedition in his book The Voyage of the Beagle. (MSS 3314. Paul Victorius Evolution Collection)

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Sierra Teate, First-Year Student

Sierra Teate

Photograph of Sierra Teate discussing her mini-exhibition with library staff, November 18, 2014. (Photograph by Sanjay Suchak)

What Was Medicine Really Like During the Late Nineteenth and Early Twentieth Century in Charlottesville, Virginia?

Everyone knows medicine has come a long way since the late nineteenth and early twentieth century, but just how different were practices and philosophies then? Despite substantial discoveries that had been made hundreds of years before, much more progress needed to be made.

The sources displayed here give a first hand look at how doctors and upcoming doctors in Charlottesville, Virginia viewed their profession as well as how they diagnosed and treated their patients. It is obvious that many of their practices are foreign to us today. For example, now at the University of Virginia, students do not pose for a picture with cadavers. Hospital receipts are printed on very different paper. Some remedies doctors used are definitely frowned upon now. Yet, we still of course have many similarities with this generation of medical professionals. They record their patients’ symptoms, speak at medical events, and vaccinate children. A great deal can be learned about the evolution of medicine from this collection. Beyond being simply fascinating, the history of medicine is important to keep in mind for the future.

Frank Carr's Journal and Commonplace Book, 1810-1838 (MSS 15444)  C. Venable Minor Endowment Fund, 2012/2013. This is the personal journal of Frank Carr, which includes a register of vaccinations during May, 1814 and an extensive description of a man’s case of hydrophobia.

Frank Carr’s Journal and Commonplace Book, 1810-1838.
This is the personal journal of Frank Carr, which includes a register of vaccinations during May, 1814 and an extensive description of a man’s case of hydrophobia. (MSS 15444. C. Venable Minor Endowment Fund, 2012/2013)

 

 Photograph of U.Va. Medical Students, The Sixth Club. Facsimile.  (RG-30/1/10.011) University of Virginia Visual History Collection This picture taken in 1899 shows University of Virginia medical students posing with cadavers they have been studying.


Photograph of U.Va. Medical Students, The Sixth Club, 1899.
This picture shows University of Virginia medical students posing with cadavers they have been studying. (RG-30/1/10.011. University of Virginia Visual History Collection. Image by University of Virginia Digitization Services)

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Nick Kumleben, First-Year Student

Nick Kumleben

Nick Kumleben discusses his mini-exhibition with visitors, November 18, 2014. (Photograph by Sanjay Suchak)

Peaceful Protest in the 20th Century: from Cape Town to Charlottesville

This exhibition tracks the development of ideas and forms of peaceful protest in the 20th century, beginning with Mohandas Gandhi’s campaigns in South Africa and India, moving on to document the civil rights campaigns in 1950s and 1960s America, to the more recent South African and international protests against apartheid. It aims to give the viewer a sense of the development of peaceful protest as a political and social tool, the demographics that took part and its eventual success, or lack of, in changing the course of 20th-century history. It is particularly interesting to observe the difference and the evolution in terms of how the movements were commemorated, both by those who attended and those who chronicled it in print.

The focus on South Africa also allows us to consider the changing political landscape of that country, especially the dynamic of internal protest first gaining external coverage, then a previously local protest movement expanding to become an international phenomenon in an increasingly globalized world.

The Indian Opinion, Souvenir of the Passive Resistance Movement in South Africa, 1906-1914. Phoenix, Natal, South Africa, 1914.  (DT763 .S88 1914) Gift of R. Smith Simpson Featured is a commemorative edition of the Indian Opinion magazine celebrating the passive resistance campaign spearheaded by Mohandas Gandhi in South Africa from 1906-1914, resulting in the eventual repeal of pass laws for the Indian population. This campaign was where Gandhi developed his idea of satyagraha, or devotion to the truth through the form of nonviolent protest.

The Indian Opinion, Souvenir of the Passive Resistance Movement in South Africa, 1906-1914. Phoenix, Natal, South Africa, 1914. Featured is a commemorative edition of the “Indian Opinion” magazine, celebrating the passive resistance campaign spearheaded by Mohandas Gandhi in South Africa from 1906-1914, resulting in the eventual repeal of pass laws for the Indian population. This campaign was where Gandhi developed his idea of satyagraha, or devotion to the truth through the form of nonviolent protest. (DT763 .S88 1914. Gift of R. Smith Simpson)

 

Atcheson Laughlin Hench. Anti-Apartheid Rally. Photograph, 1987 (RG-30/1/10.011) University of Virginia Visual History Collection This photograph, taken in 1987, depicts University of Virginia law students in the McIntire Amphitheatre, peacefully protesting the racially divisive apartheid system in South Africa. Hench, a University professor since 1922, was also a keen chronicler of University life through photography and many of his pictures remain in the University’s Visual History Collection. The apartheid government would begin the process of handover to a democratic system three years later in 1990.

Paula Windridge. Photograph of Anti-Apartheid Rally, 1987.
This photograph depicts University of Virginia law students in the McIntire Amphitheatre, peacefully protesting the racially divisive apartheid system in South Africa. The apartheid government would begin the process of handover to a democratic system three years later in 1990. (RG-30/1/10.011. University of Virginia Visual History Collection. Image by University of Virginia Digitization Services)

On View Now: “At the Front: World War I Series Books for Girls”

We are so pleased to announce our newest mini-exhibition, curated by Susan Swicegood, Wolfe Docent in the Harrison Institute. Susan is a fourth year student in the Master of Teaching program at the Curry School of Education. Her joint undergraduate major is in English. So, it was no surprise when, upon beginning to learn about the collections here with curator and supervisor Molly Schwartzburg, she gravitated towards a project involving the marvelous Arthur P. and Christopher P. Young Collection of World War I Juvenile Series Books. We’ll give you a sneak peek at the show below, with selections from the exhibition’s text.

“At the Front: World War I Series Books for Girls”

Detail of cover art from Martha Trent, “Alice Blythe Somewhere in England: A War Time Story,” illustrated by Charles L. Wrenn (New York: Barse & Hopkins Publishers, 1918)(PZ9 .Y67 no. 474)

After the Great War began in 1914, and even more so after the United States became involved in 1917, many children experienced the war through characters in series books. While some girl protagonists “do their bit” on the home front through food drives and benefit concerts, many leave for the front themselves.

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Detail of cover art from Aline Harvard, “Captain Lucy in France” (Philadelphia: The Penn Publishing Company, 1919). (PZ9 .Y67 no. 246)

These teenage characters—ranging in age from twelve to seventeen—dutifully serve as nurses in the Red Cross, drive ambulances, rescue lost soldiers, and uncover German spies.

Detail of frontispiece from Martha Trent, “Alice Blythe Somewhere in England: A War Time Story,” illustrated by Charles L. Wrenn (New York: Barse & Hopkins Publishers, 1918)(PZ9 .Y67 no 474)

The popularity of these books with American youth is undeniable, and with such far-fetched and fantastical adventures, girls could imagine the part they could play in gaining victory. In an almost propagandistic way, these books sold the war to young women as a chance to leave their homes and fight alongside the boys. Yet though the characters show an amazing degree of agency at the front, they return after the war’s end to the docile, domestic spaces they had left behind. Invariably, the heroine manages to find—or rescue—a fiancé along the way.

This exhibition will remain on view until the end of February, 2015.

A sneak preview of some of the items on display.

A sneak preview of some of the items on display.