First Floor Exhibitions Explore Slavery and Abolition

The Harrison/Small First Floor Gallery is excited to announce our two summer exhibitions: “My Own Master: Resistance to American Slavery” and the mini-exhibition “‘Read, Weep, and Reflect’: Creating Young Abolitionists through Uncle Tom’s Cabin.” Together these two exhibitions extend some of the themes explored in our Harrison Gallery exhibition, “Who Shall Tell the Story: Voices of Civil War Virginia. ”  Come in out of the heat and spend some time with these marvelous exhibitions. Some images to tempt you follow…

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The larger exhibition, “My Own Master,” is of particular note because it is the first exhibition in memory that the University of Virginia Library has mounted on the topic of slavery (a fact discovered in discussions with long-time Special Collections staff). Though artifacts relating to slavery have been included and the topic discussed in past exhibitions, slavery has not been the sole subject of an exhibition here.  We are very pleased to end that tradition this summer. Even more exciting, in 2018 we will mount a major exhibition on the topic of slavery at the University of Virginia in the Harrison Gallery, in support of the President’s Commission on Slavery and the University.

“My Own Master” showcases thirty remarkable items from the collections demonstrating some of the ways that blacks–slave, free, and freed–fought against slavery. Curator Petrina Jackson describes the exhibition’s project as follows: “When the white abolitionist Sydney Howard Gay published his four-volume A Popular History of the United States in 1876, he covered slavery and abolitionism in the final volume. He wrote, ‘the African in America whether bond or free had learned the habit of submission and had rarely shown any spirit of revolt.’ Gay wrote this even though he labored closely with black abolitionists who risked their freedom and their lives to secure the freedom of their enslaved brethren. He likewise documented the harrowing stories of fugitive slaves, who wagered everything to gain control of their personhood, their bodies, their lives. “My Own Master” challenges the notion of black passivity and shows African Americans as active agents in breaking the bonds of slavery.”

mom3The exhibition displays artifacts that document a variety of forms of rebellion: running away, planning insurrections, writing abolitionist works and manifestoes, and buying one’s own and one’s family’s freedom. It concludes with a recently acquired broadside printed by African-American leaders in Richmond a year after the city surrendered.

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Portraits of black abolitionists from books in our collections are featured in the gallery and on the poster.

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Our mini-exhibition, “Read, Weep, and Reflect: Creating Young Abolitionists through Uncle Tom’s Cabin” was curated by undergraduate Wolfe Docent Susan Swicegood (CLAS 2015, Curry 2016). Curator Molly Schwartzburg asked Susan to develop an exhibition around a recently acquired early puzzle about Harriet Beecher Stowe’s novel, which is our second such puzzle. Susan tracked down a wonderful range of children-related publications and “tie-in products” from the nineteenth century. It is not to be missed!

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The new puzzle is on the left.

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Games, theater tickets, and more!

uncle3Come on by and take a look!

This Just In: Disability in the Archives

"Disability in the Archives," case 1

“Disability in the Archives,” case 1

On February 27-28 U.Va. hosted “Disabling Normalcy,” an interdisciplinary conference organized by Christopher Krentz, Associate Professor of English and Director of American Sign Language.  In conjunction with the conference, Prof. Krentz and graduate student Philip Timmerman prepared an exhibition, “Disability in the Archives,” which is on view in the first floor gallery of the Small Special Collections Library through April 26. Drawn entirely from our holdings, the exhibition features books, manuscripts, and photographs relating to the deaf, blind, physically handicapped, and mentally ill.

"Disability in the Archives," case 2

“Disability in the Archives,” case 2

The exhibition includes several recent acquisitions, some obtained before Prof. Krentz proposed the exhibition and others acquired since, partly with the exhibition in mind.  In this post we feature a few of these items, including several omitted from the exhibition for want of space.

Efforts to educate the blind and vision-impaired received a major boost in the early 19th century with the invention of various tactile reading systems. Although Louis Braille’s dot system has become the international norm, raised letter systems were standard in the United States until the early 20th century. The first to be introduced was “Boston line,” an adaptation by Dr. Samuel Gridley Howe of a Scottish raised-letter alphabet. Much as a type designer adjusts letterforms for legibility, Howe adapted the shapes of letters and numerals so that, when embossed in paper in high relief, they could be more easily distinguished by touch. In 1835 Howe established a press at the New England Asylum for the Blind in Boston (now the Perkins School for the Blind in Watertown, Mass.), where he proceeded to print many raised-letter books for the blind.

Cast list for a benefit performance of Shakespeare's The Merchant of Venice,  by the "Perkins Players" of the Perkins School for the Blind in Watertown, Mass., May 1917  (HV1796 .M46 P4 1917)

Cast list for a benefit performance of Shakespeare’s The Merchant of Venice, by the “Perkins Players” of the Perkins School for the Blind in Watertown, Mass., May 1917. This raised-print program was set in Boston line and printed at the school.  (HV1796 .M46 P4 1917)

We recently added an unusual Boston line imprint to our Joseph M. Bruccoli Great War Collection: a theater program for two benefit performances of Shakespeare’s The Merchant of Venice, held in May 1917 at the Perkins School and featuring Perkins students as actors, musicians, and dancers. Proceeds went to the American, British, French, Belgian Permanent Blind Relief War Fund, which assisted Allied soldiers blinded in battle.

Hans Christian Andersen's The Ugly Duckling, from Fancies of Child-Life (Louisville, Ky.: American Printing House for the Blind, 1877).  (PZ7 .F1997 1877)

Hans Christian Andersen’s The Ugly Duckling, from Fancies of Child-Life (Louisville, Ky.: American Printing House for the Blind, 1877). (PZ7 .F1997 1877)

Following the Civil War, the American Printing House for the Blind in Louisville, Kentucky, became the leading American supplier of raised-letter texts. The APHB employed a modified form of Boston line for its publications until 1893, when Braille was first introduced. At the Boston International Antiquarian Book Fair we acquired a copy of the 1877 APHB edition of Fancies of Child-Life, a collection of children’s stories by Hans Christian Andersen and Harriet Beecher Stowe. This copy was sent to the Virginia Institute for the Deaf, Dumb, and Blind in Staunton, Va., where in 1893 it was presented as a school prize “For learning to read in one Session” to Edgar Hickam. A blind resident of Maces Spring, Va. (in the extreme southwest region bordering Tennessee), Hickam was well known locally as a musician and piano tuner, though celebrity would fall, not to him, but to his neighbors, the Carter Family.

The Rev. William Moon's simplified manual alphabet, in Light for the blind: a history of the origin and success of Moon's system of reading (embossed in various languages) for the blind (London: Longmans & Co., 1873).  (HV1678 .M84 1873)

The Rev. William Moon’s simplified manual alphabet, in Light for the blind: a history of the origin and success of Moon’s system of reading (embossed in various languages) for the blind (London: Longmans & Co., 1873). (HV1678 .M84 1873)

Perhaps Boston line’s primary shortcoming was that it adopted essentially the same rather complex letterforms employed for written and printed texts. Hence publications in Boston line are more easily read by eye than by touch. In 1847 the Rev. William Moon of Brighton, England, invented a simplified alphabet better suited to touch. It consisted of “six of the roman letters unaltered, twelve others with parts left out, and six new and very simple forms, which may be easily learned by the aged, and persons whose fingers are hardened by work.” Moon’s Light for the blind (London, 1873) describes his invention, provides a list of available publications, and chronicles his labors on behalf of the blind.

We know far less about the history of mapmaking for the blind, and embossed maps are very uncommon.  Hence we were delighted to acquire at the California International Antiquarian Book Fair a fine copy of a world atlas for the blind published in Germany in the mid-1930s. The challenge was a straightforward one: how to convert two dimensions into three so that cartographic information could be conveyed by touch?  Here the solution was to emboss maps in high relief on durable kraft paper. Geographic and topographic features are differentiated as follows: coastlines by dotted lines, political boundaries by dashed lines, rivers by solid lines, oceans by a uniform pattern of small dots in low relief, and so on, with captions added in Braille.

A manual alphabet from a collection of ornamental alphabets, Recueil d'alphabets, dedié aux artistes (Paris & New York: L. Turgis jeune, [ca. 1845?].  (NK3600 .B65 1845)

A manual alphabet from a collection of ornamental alphabets, Recueil d’alphabets, dedié aux artistes (Paris & New York: L. Turgis jeune, [ca. 1845?].   (NK3600 .B65 1845)

Last month we acquired a rare mid-19th century alphabet book, with a dual Paris & New York imprint, consisting of 24 lithographic plates bearing elaborate ornamental alphabets. These were intended as inspiration for artists, signmakers, and others seeking out-of-the-ordinary letterforms. Imagine our surprise to find on the penultimate plate the standard manual alphabet on which various sign languages used by the deaf (including American Sign Language) are based.

Nervous disorder conveyed in verse, in Miscellaneous reflections. In Verse (Greenfield, Mass.: Thomas Dickman, 1792)  (BD420 .F52 1750 no. 2)

“Nervous disorder” conveyed in verse, in Miscellaneous reflections. In Verse (Greenfield, Mass.: Thomas Dickman, 1792)   (BD420 .F52 1750 no. 2)

Early autobiographical accounts of battles with mental illness are quite rare, and recently we acquired one for the Clifton Waller Barrett Library of American Literature. In 1792, in the small town of Greenfield, Mass., Thomas Dickman printed Miscellaneous reflections. In verse. Mostly written at sundry times, when under long confinement by a complication of nervous disorders. Only three copies are recorded of this 40-page pamphlet, written “by a valetudinary” (whose identity remains unknown) and “printed by request of friends of that class.” Most of the poems are religious in nature, but the initial poems are extraordinary for attempting to convey, in verse, the author’s experience of being in a state of “nervous disorder.”

The Media Studies Experience: Plantation Tales and Seeds of Change

We are pleased to feature a guest post by Emily Caldwell, Fourth-Year English major/Media Studies minor and blogger for The Media Studies Experience.

Although I have not spent an extensive time studying Uncle Tom’s Cabin throughout my academic career or my current course on the literature of the South, in the class, we briefly touched on the cultural significance this work had in sculpting the perception of race and racial relations in American society during the late nineteenth century.

For those of you who are unfamiliar, Uncle Tom’s Cabin; or Life Among the Lowly is an American anti-slavery novel by Harriet Beecher Stowe published in 1852. And yes, I was lucky enough to hold a first edition. The novel was a best-selling book in the 19th-century and is credited with fueling the abolitionist movement in the United States throughout the 1850’s.

Cover of the first edition, first issue of Uncle Tom's Cabin, 1852.

Cover of volume 1 of the first edition, first issue of Uncle Tom’s Cabin, 1852. (PS2954 .U5 1852b v.1-2. Clifton Waller Barrett Library of American Literature. Photograph by Emily Caldwell)

Cover detail of Uncle Tom's Cabin.

Cover detail of Uncle Tom’s Cabin. (PS2954 .U5 1852b v.1-2. Clifton Waller Barrett Library of American Literature. Photograph by Emily Caldwell.)

Spine of the first edition, first issue of Uncle Tom's Cabin.

Spine of the first edition, first issue of Uncle Tom’s Cabin. (PS2954 .U5 1852b v.1-2. Clifton Waller Barrett Library of American Literature. Photograph by Emily Caldwell.)

Being the English Literature book nerd that I am, while I sat holding this text, I thought about how powerful a piece of literature can be as an agent of social change. However, as I looked through the crinkled and age-spotted pages, I noticed many startling passages. Since I’m currently studying Southern Literature, these classic examples racial discourses in America are fascinating to me, and I love studying how these perceptions have changed over time. In the case of Uncle Tom’s Cabin, although the novel was meant to be a force for anti-slavery, itl unfortunately introduced and reinforced many black stereotypes including “mammy,” “pickaninny,” and even “Uncle Tom” himself, who is portrayed as the faithful servant who remains loyal to his master despite his endured suffering as a slave.

Title page image from volume 1 of Uncle Tom's Cabin.

Title page image from volume 1 of Uncle Tom’s Cabin. (PS2954 .U5 1852b v.1-2. Clifton Waller Barrett Library of American Literature. Photograph by Emily Caldwell.)

However, I also found many promising excerpts that indicated an undertone of great social change on the horizon. In the preface of the novel, Stowe writes,

The object of these sketches is to awaken sympathy and feeling for the African race, as they exist among us; to show their wrongs and sorrows, under a system so necessarily cruel and unjust as to defeat and do away the good effects of all that can be attempted for them, by their best friends, under it.

I found it interesting that Stowe does not outright condemn the South for these wrongdoings, but instead said, “…Both North and South have been guilty before God; and the Christian church has a heavy account to answer.” Although these words may be familiar to those who have studied the text, it is the fact that this single book, the best-selling book, second only to the Bible when it was published, is a vehicle that planted the seeds for a great shift in American society change. Even Abraham Lincoln joked that Stowe and her revolutionary ideas fueled the Civil War.

As a native Virginian (a designation some might argue today is not truly “southern”), I feel a sense of pride when it comes to where I come from. In my Southern Literature course, we discussed how there is almost a longing for an ideal south that was never really there. There is a sense of pride in what the south represents, yet also a sense of embarrassment and shame for what hateful crimes and prejudices its culture harbored in America. I believe that Uncle Tom’s Cabin is a prime example of cultural and literary history that not only began a discourse about the corrupted sociology of the South, but also reinforced disturbing, harmful and misrepresented stereotypes of African American culture that still resonate in our culture today. Although there are some aspects of our country’s history that we would rather overlook or erase altogether, they still compose our own American story.

I feel honored as a student of U.Va. to have access to first-edition copies of some of the most influential texts in the English language and Southern Literature. Literature and physical books themselves are often overlooked as important agents of exchanged thoughts and ideologies, and I can’t help but wonder where our country would be without this and other published plantation tales.

Title page detail of Uncle Tom's Cabin. ( PS2954 .U5 1852b v.1-2. Clifton Waller Barrett Library of American Literature. Photograph by Emily Caldwell)

Title page detail of Uncle Tom’s Cabin. (PS2954 .U5 1852b v.1-2. Clifton Waller Barrett Library of American Literature. Photograph by Emily Caldwell.)