Seeing the World from a Different Perspective

July is Disability Pride Month. This post is contributed by Ellen Welch, Manuscripts and Archives processor. Ellen recently processed a letter, MSS 16844, typed and signed by Helen Keller.

MSS 16844, Letter written by Helen Keller. November 25, 1944.

Helen Keller (1880-1968) was an influential twentieth century author, activist, educator, and humanitarian.  Born in Tuscumbia, Alabama, she lost the ability to see and hear due to an illness that she contracted before she was two years old. Throughout her life, Keller advocated for people with disabilities, labor rights, and women’s suffrage, and co-founded the American Civil Liberties Union (ACLU) in 1920.

The letter written by Keller that Special Collections holds is dated November 25, 1944, and contains an appeal for funds for the American Foundation for the Blind, where she worked for twenty years. The letter is intriguing–particularly when you consider that Keller had to develop the skills to type without the ability to see the keys on the typewriter. The bottom of the typed letter also bears Keller’s handwritten signature.

Helen Keller using a typewriter at Radcliffe College, 1900.

My curiosity about how Keller would have been able to type the letter led me to research how that was possible. In 1892, Frank H. Hall, superintendent of the Illinois School for the Blind, invented the Hall Braille Writer. According to Erik Larson in his 2004 book A Devil in the White City, during the 1893 Chicago World Fair Keller approached Hall, hugged, and kissed him, thanking him for his invention. Keller would have been about twelve or thirteen at the time. She was taught to use the Hall Braille Writer by her teacher, Anne Sullivan (1866-1936). Sullivan held Keller’s finger to every key and hand spelled the letter of the alphabet that the braille key represented. This was slow work and required a great deal of memorization. With practice, Keller was able to type. No one typed for her. Through assistive technology, Keller had the ability to type independently.

As seen on MSS 16844, Keller could also write by hand. Her handwriting is legible and consistently upright like the writing in calligraphy. The neat handwriting of someone who could not see what they were writing seemed unusual to me. Upon viewing Keller’s letter, my first thought was that someone else typed it for her and she signed her name at the bottom. As a person without a visual disability, I assumed it would be impossible for a person who is blind to use a typewriter. I was previously unaware of the challenges that a blind person must overcome in typing and writing. Processing this letter allowed me to confront a bias I was unaware of and revealed the challenges a person with disabilities might encounter and overcome.  

I learned that it bears this specific style because of the use of an assistive writing board and a method called square-hand. People with visual disabilities would place a piece of paper on the writing board, which had horizontal grooves on it. The paper would press into the grooves, creating lines that could be felt as a person’s hand moved across the page, keeping their writing straight. As they wrote along the grooves, with their left index finger they would cover the letter they had written with their right hand, preventing the letters from overlapping. They would often use a finger’s width to create spaces between the words they wrote. Writing within the grooves gave letters a square appearance, which is where the term square-hand comes from.

A nineteenth century writing board used at the Perkins School for the Blind. (2)

A letter that Keller wrote when she was nine years old. Notice the tiny wiggle at the beginning of the drops of the letters “y,” “g” and “p,” showing the indent of the writing board. (1)

In the nineteenth century, there were many different tactile reading and writing systems for people with visual disabilities, including Embossed Roman letters, Boston line letter, New York Point, and French, English, and American braille. The origin of braille came about during the Napoleonic Wars (1803-1815) when, in 1815, a French artillery captain named Charles Barbier de la Serre (1767-1841) developed a tactile code using raised dots for soldiers to use to silently communicate in the dark. This system came to be known as night writing. The National Institute for Blind Youth in Paris (est. 1785) adopted night writing to teach their students. In 1824, a fifteen-year-old student at the school named Louis Braille (1809-1852) modified Barbier’s night writing code, making it more legible for people with visual disabilities. Barbier’s code adapted phonetic sounds, whereas Braille’s interpreted letters of the alphabet, included numbers and punctuation, and was more compact and easier to quickly interpret. Braille’s improved method bears his name, braille. By 1916, it was the dominant tactile reading method. At present, there are over one hundred and thirty-three braille codes for different languages.

The title page of a book printed in Boston line letter, published in 1836 by what is now the Perkins School for the Blind. (2)

Sample page from Procedure for Writing Words, Music, and Plainsong in Dots, by Louis Braille, 1829. (2)

While braille has prevailed as the tactile reading method, other methods were also being developed in the nineteenth century. There was inconsistency and controversy among the various schools for the blind between maintaining the use of New York Point or moving to braille. This became known as “The War of the Dots,” which lasted in the United States for nearly eighty years. Caught in the middle of the debate, people with visual disabilities had to learn as many as five or six different tactile reading methods. When they gained literacy in one, it wasn’t unusual for them to discover that the books they wanted access to were exclusively printed in another format. (3) New York Point was often recommended by instructors without visual disabilities because it was more accessible for them. However, by 1854 braille prevailed with the help of educators and advocates with visual disabilities.

Keller was distraught that she had to learn multiple tactile codes to access reading material. In 1909, she advocated for the adoption of braille. By 1932, all English-speaking countries used it because of its improved accessibility. Almost two-hundred years after Braille proposed his method, braille is used worldwide in over one hundred and thirty languages. While people with deaf blindness, like Keller, still rely on methods like braille for access to materials, in the late-twentieth and now into the twenty-first century, people with visual disabilities also have access to audio text, voice-recognition software, artificial intelligence, and other technologies. (3) From writing boards, line types, and braille to assistive developments for the typewriter, audio text and artificial intelligence, technology over the past two-hundred years has increased inclusion, equity, and access for people with disabilities.

Through processing this letter typed and signed by Helen Keller, I have become aware of the many ways that people with disabilities have had to interact with the world around them throughout history. The determination and strength they have shown in developing, learning, and advocating for inclusive technologies is incredible. In a world that often overlooks or takes for granted the challenges they face; it is important to recognize them and their accomplishments. The presence of Keller’s letter in our collection serves as a reminder of her achievements and is an inspiration for us all.

For more information about Helen Keller:

Sources:

  1. Riener, Mimzy, “How Did Helen Keller Navigate her World,” Late Night Writing Advice Blog. https://mimzy-writing-online.tumblr.com/post/683836657798152192/how-did-helen-keller-navigate-her-world.
  2. McGinnity, B.L., Seymour-Ford, J. and Andries, K.J. (2004) Reading and Writing. Perkins History Museum, Perkins School for the Blind, Watertown, MA. https://www.perkins.org/archives/historic-curriculum/reading-and-writing/
  3. Letizia, Nelle, “History of tactile print systems explored in new Vancouver exhibit”, Washington State University Library, 29 May 2024. https://news.wsu.edu/news/2024/05/29/history-of-tactile-print-systems-explored-in-new-vancouver-exhibit/

Miniature books? Tell me more!

This post is contributed by Kim Cull, McGehee Rare Book Librarian sharing an exciting milestone with the McGehee Miniature Book Collection.

Did you know that the Albert and Shirley Small Special Collections Library has more than 10,000 miniature books, maps, and objects within its collection? No? Well, get your magnifying glass because we do! Most of our miniatures belong to the McGehee Miniature Book Collection given to the library in 2005 by Caroline McGehee-Lindemann-Brandt in honor of her first husband, Carden Coleman McGehee.  

Now, you may be asking, “What is a miniature book? Is it just like a regular book but smaller?” Short answer: yes. The Miniature Book Society reports that in the United States, a miniature book is a book that is “no more than three inches in height, width, or thickness.”1 Miniature books can come in all different shapes and sizes; they must fit within the parameters established and generally accepted by collectors. Within the McGehee Miniature Book Collection, there are traditionally shaped books that were meant to be carried around in a pocket and enjoyed wherever the reader finds themselves. There is a secondary type of miniature book: the artist book. These books often appear to be works of art and are meant to be enjoyed visually. Artists’ books can be very abstract and tend to focus more on the book as an object and less on the content held within. There also exists a subgenre of miniature books: the micro miniature book. In this subgenre, book artists tend to compete to see who can create the smallest possible book, and readers usually need a strong magnifying glass to even attempt to read the text.

Two miniature books pictured. On the left: The wonderful world of Smurfs with a blue slipcase with two smurfs laughing. On the right: Jim Henson's mupper show bill with a red slipcase depicting Animal.

Check out McGehee 01354 and 01355 which came with the original gift.

Now that we have established what a miniature book is, we can dive a little deeper into the history and contents of the McGehee Miniature Book Collection. Every collector has an origin story and a reason why they collect what they do. Mrs. Brandt is no different. She started collecting when she was a young girl with encouragement from her parents. She started by keeping the little books attached to dolls and expanding to collect anything that fits the criteria of a miniature book. In the early 2000s, Mrs. Brandt was hoping to downsize her house in preparation for retirement and needed to find a home for her collection. Miniature books may be small and therefore take up little space, but by then, her collection numbered around 11,000. The books were stored in specially made miniature bookcases, shoe boxes, etc. As an alumnus of Sweet Briar College, Mrs. Brandt contemplated gifting her entire collection to them. At some point, Mrs. Brandt reached out to the university her first husband attended, the University of Virginia. Of course, we wanted her amazing collection. How could we not? After careful negotiations and support from many people, most of the collection was transferred to the library in 2004. 

An accordion fold Japanese text is on display with a wooden lacquered case

Caroline Brandt’s “crown jewel” of her collection – her Omikuji; currently uncataloged.

The path to making these miniatures available in the online catalog, Virgo, has not been without its challenges. The major hurdle has always been the size of the collection. A second hurdle is that fact that Mrs. Brandt has never limited herself to collecting only English language titles; she has collected books in all or almost all the major languages. She is very fond of Japan and has collected many Japanese texts. Sadly, libraries in the Western parts of the world have not always been equipped to catalog non-roman language materials. Luckily for the library, Mrs. Brandt has kept a very detailed inventory excel spreadsheet that could be manipulated and uploaded to the catalog to make the titles accessible. It was not a perfect solution, so trained library staff had to go in and correct records. Over the years various staff members have helped to catalog the collection, including Gayle Cooper, Allison Sleeman, Barbara Hatcher, Annette Stalnaker, Teresa Brown, Jocelyn Triplett, Jackie Parascandola, and Kim Cull. Thanks, and kudos to everyone who has helped with the McGehee Miniature Book Collection. As of April 2024, we have cataloged over 10,000 miniature books and reached call number McGehee 10000! 

Miniature book is held open to show a Medieval Nail maker at work.

McGehee 10000 opened to show a Medieval nail maker at work!

You might be wondering what some of our favorite miniature books are. We would encourage you to visit the Special Collections Library and check out our “Miniature wall” where 100 different miniature books have been photographed and displayed for all to enjoy. Next to the exhibit is an iPad that contains a little information for each book. These books were chosen primarily by library staff, and we hope that you will love them just as much as we do! We also encourage you to explore the collection yourself! Titles can be discovered by searching McGehee Miniature Book Collection in Virgo; it is ok if you cannot choose just one. We know. There are so many fantastic ones to see! 

Miniature Book wall display featuring 100 different miniature books.

Come visit our miniature book wall display and check out a sampling of the collection!

We look forward to seeing you soon and hearing what your favorite is. Please feel free to take photographs, sans flash, and share the images online. Tag us @rareuva on Instagram and include the hashtag #McGeheeMiniatureBooks. 

References 

Society, Miniature Book. n.d. What is a miniature book? Accessed May 22, 2024. https://mbs.org/. 

New Exhibition: American Modernisms

American Modernisms: Modern Stories, Types, & Aesthetics, curated by the Spring 2024 graduate seminar ARTH 9545 led by Elizabeth Hutton Turner,  is on view through October 12, 2024 in the First Floor Gallery of Harrison/Small. Find our hours and directions online. 

Poster for Issuing Modernisms: Modern Stories, Types, Aesthetics featuring a repeating design of Gibson Girl caricatures

In the aftermath of the Civil War, great industrial, scientific, and technological changes fostered a revolution in print culture. Photomechanical reproduction and chromolithography disrupted conventional distinctions between fine and applied arts by introducing more direct graphic means of personal expression into image production of all kinds. By the turn of the twentieth century, printed images became ubiquitous and synonymous with modern life itself. The printed image was attuned to the fast-paced realities of mass production, marketing, and readymade products, as well as aspirations for new ways to live, work, and prosper in the modern world.  

Photo of First Floor Gallery exhibition space, showing half the gallery with objects in cases.

Issuing Modernisms: Modern Stories, Types, & Aesthetics is on view through October 12, 2024

During the spring 2024 semester, four graduate students enrolled in ARTH 9545 American Modernisms located and analyzed visual evidence of modern types and modern stories in a variety of print genres in the Albert and Shirley Small Special Collections Library. These included cartoons, caricatures, advertising illustrations for American periodicals, graphic novels, illustrated dust jackets, and playbills over a range of dates from 1900 to 1939. 

Exhibited are the results of their multi-faceted investigations. Andi Laska surveyed a run of Gustav Stickley’s The Craftsman magazine from 1904 to 1913, selecting images and articles advocating for social reform and the promise of the single-family home and garden whose furnishing combined preindustrial craftsmanship with machine production. 

Photo of installation of The Craftsman magazine issues.

The Craftsman: Aesthetics and Reform Through Design, curated by Andi Lanka

Matias Hendi located photographs of experimental productions starting 1916-1920 of the Provincetown Players in the archives of playwrights Eugene O’Neill and Susan Glaspell. The rudimentary sets, some designed by Marguerite and William Zorach, frame bold veristic characters such as Minnie Wright on trial for murder in Susan Glaspell’s Trifles or the conversation between the dying sailor Yank and his friend Driscoll in O’Neill’s East of Cardiff.

Photo of installation of archival materials related to the Provincetown Players

The Provincetown Players: The Life and Death of a Modern Theater, curated by Matias Hendi

Emmy Monaghan explored modern innovation through simplification and subtraction in Lynn Ward’s wordless novels such as God’s Man (1929), which tells of a Faustian bargain engaged by a cosmopolitan artist in exchange for a magic paint brush that leads only to corruption and despair. 

Photo of installation of wordless novels

The Wordless Novel, curated by Emmy Monaghan

Surveying illustrated advertisements in runs of popular periodicals such as Life, Collier’s Weekly, and The Saturday Evening Post, Leo Palma located modern attitudes towards gender, beauty, and sexuality in alluring characters such as Charles Dana Gibson’s Gibson Girl and George Leyendecker’s Arrow Collar Man. Similarly, Emmy Monaghan followed the careers of three female illustrators/cartoonists from the 1920s—Helen Hockinson, Barbara Shermund, and Margaret Trafford—whose work explored the outlook of urban middle- and working-class women for The New Yorker, Esquire, Life, and Collier’s

Photo of installation of archival materials related to the

The Leyendecker Man and Advertising Masculinity, curated by Leo Palma

Photo of installations of archival materials exploring women's role in both their work and as decoration through the lens of the Gibson Girl—featuring sketches, magazine covers, and magazine illustrations.

The Working Girl: Women Sketching a New Life, curated by Emmy Monaghan; The Gibson Girl: The New Woman and Male Anxieties, curated by Leo Palma