UConn Archives to House Maurice Sendak Artwork

Jo Lincoln Photo, courtesy of Archives & Special Collections, UConn LibraryOn behalf of the University of Connecticut, we are thrilled to announce that Archives and Special Collections will preserve and make available the artwork of Maurice Sendak.

The finished artwork for his published books, and certain manuscripts, sketches, and other related materials created by Maurice Sendak, considered the leading artist of children’s books in the 20th century, will be hosted and maintained at the University of Connecticut under an agreement approved today by UConn’s Board of Trustees.   Read more…

 

 

Connecticut Women’s Land Army

 

This post was written by Shaine Scarminach, a UConn History Ph.D candidate who is a student assistant in Archives & Special Collections. 

The Second World War upended domestic agriculture. Across the United States, farms faced an acute labor shortage as workers left the land for military service and industrial jobs in the defense industry. The federal government responded with a nationwide plan to put high school students, immigrants, and even convicts into agricultural service. Founded as an agricultural school in 1881, the University of Connecticut was primed to support the government’s efforts.

A notable example of UConn’s support for this plan came through the Connecticut Women’s Land Army (CWLA). The CWLA sought to train young women in agricultural work and place them on local farms in desperate need of labor. By serving in the land army, young women would receive training in modern agricultural practices and fulfill their patriotic duty by providing food for Americans at home and abroad.

The Connecticut program began in the summer of 1942 under the direction of Corinne R. Alsop. Alsop had served as a Republican in the Connecticut House of Representatives, and was a cousin and close confidant of First Lady Eleanor Roosevelt.

Alsop recruited thirteen women to take part in a two-week course taught by faculty from UConn’s Ratcliffe Hicks School of Agriculture. Training covered everything from cleaning barns and washing milk bottles to driving tractors and applying pesticides. With their training complete, seven of the women were then placed on local farms.

The initial program was deemed a success, though some revisions were in order. Judith Churchill, one of the trainees, wrote to Alsop after working on a farm in Litchfield County. Churchill described the job as “most interesting and successful.” But she felt the program would benefit from more specialized training. Alsop and the head of the program at UConn, Wilfred B. Young, agreed and changes were made as the program entered its second year.

The new program, which began in February 1943, reflected a more ambitious vision. The course would still last two weeks, but trainees would specialize in either poultry or dairy work. Also, the course would no longer be a one-time affair. Alsop and Young aimed to have about twenty students trained and placed on farms every two weeks. The expanded program was made possible with increased support from the Farm Security Administration (FSA) and other federal agencies.

In the revamped program, all costs would be paid by the FSA as long as the trainees agreed to serve on a local farm for at least three months. This new offer succeeded in attracting a range of applicants. Women of all ages and occupations, and living as far away as Virginia and Missouri, wrote to Alsop and Young for more information about the program.

Even with the diversity of applicants, most trainees were young white women in their late teens and early twenties. The majority came from within Connecticut and almost all admitted to having little to no experience with farm work.

The rare exception was a Chinese exchange student named King Sze Tsung, who was in the country learning to teach braille to blind children. Sze Tsung, or Jane as she was known, even received coverage in the local newspaper.

When the first group of trainees arrived on the Storrs campus in February, they faced the daunting prospect of beginning their training in the middle of winter. But the school newspaper, the Connecticut Campus, reported that “despite the biting winds, freezing temperatures, and the snow covered ground,” the women were “cheerful, eager and full of spirit.”

The trainee’s day began around 5:30am. The women milked cows, fed chickens, cleaned utensils, and tried their hand at other farm tasks. Along the way they received instruction on more challenging jobs like cooling and bottling milk or grading eggs. The day ended around twelve hours later with dinner and socializing in campus facilities.

Despite the positive response from trainees, high hopes for the program were soon dashed. In particular, attendance fell well short of the initial goal. Meanwhile, the state’s labor shortage continued to hinder agricultural production. But the program received a publicity boost in March 1943 when Eleanor Roosevelt paid a surprise visit to the Storrs campus.

Accompanied by CWLA director Alsop, Roosevelt spent her time at UConn visiting with President Albert N. Jorgensen, delivering a lecture on the importance of youth involvement during the war, and taking a tour of the poultry houses, dairy barns, and dormitories used to train and house the CWLA members.

After finishing the two-week course, CWLA trainees were placed on farms around Connecticut. The women were guaranteed room and board and a salary that ranged from $45.00 to $75.00 a month.

Once on the farm, the women found themselves faced with a wide range of tasks.  They might take on work for which they had been trained or be pressed into jobs that fell well outside their instruction. For example, one trainee recounted her dismay at having to face off with a troublesome tractor engine.

Nevertheless, local farmers generally responded positively to the CWLA recruits.

In job surveys sent to Wilfred Young, farmers praised the instruction offered by UConn and commended the work done by their new employees. Some even planned to rely on CWLA labor in the future.

CWLA recruits also spoke well of the program. Marie Sullivan, a trainee who worked on a farm in Middletown, reported that she “enjoyed the work immensely.” Another named Polly Brooke said she “liked every minute of the work and would do it again.”

For some though, the adjustment to farm life was not always easy. Recruits often complained about poor housing, a lack of proper training, and the dearth of social life on the farm. Farmers too grumbled about the women’s lack of skill, charged them with laziness, and pressed Young to instruct future recruits on how to better integrate into farm life.

One farmer, for instance, lamented that his trainee never left him and his wife alone. “While we want her to feel at home,” he wrote, “we feel she is taking some advantage of this.”

By the end of 1943, several waves of recruits had passed through the program and been put to work on Connecticut farms. In the end, though, both Alsop and Young offered a gloomy assessment of the program.

Young wrote that despite large numbers of applicants, many women failed to show up for one reason or another. In an interview with the Connecticut Campus, he noted a number of challenges to recruitment. The CWLA had a small publicity budget, hours and wages for factory work were better than in agriculture, and, Young feared, many interested women may have been scared off by the thought of hard labor on the farm.

Alsop echoed Young’s view, though she added that prejudice toward hiring women for farm work also impeded the program. But she argued that the CWLA should not be judged by the number of placements.

In her estimation, the Connecticut Women’s Land Army had come a long way. “There is still more pioneering to be done,” she wrote, “but the first roads are cleared.” The program continued to run for the remainder of the war, though it never proved as successful as some had hoped.

The Blizzard of 1978 “Stops State Cold”!

It started snowing in the early morning of February 6, 1978, in Connecticut and across the entire area from New York City up through New England. Thirty hours later there were over two feet of snow in some places, including on the University of Connecticut campus in Storrs. The famous Blizzard of 1978 is still one for the record books, with the cost for damage over $25 million statewide and the deaths of six people including four men who had heart attacks from shoveling snow. Governor Ella Grasso shut down the state for three days, hundreds of cars were abandoned on state roads and thousands of people sought refuge in emergency shelters. President Jimmy Carter declared Connecticut and the other New England states a disaster area and federal troops were called in to help the state recover from shoulder high snow drifts and blocked roadways.
On the UConn campus it was more of a party atmosphere, with students having snowball fights, sledding down Horsebarn Hill, and enjoying a couple of days of no classes. Twenty students were treated at the University Health Services for snow related injuries, including one who broke his foot jumping from the upper story of a dormitory into a pile of snow below. There were reports of other students doing the same thing, except they did so with no clothes on (see the article “‘Skin’ Diving Becomes Winter Sport,” from the Connecticut Daily Campus of February 8, 1978). University Facilities was busy with round-the-clock plowing and shoveling, and classes finally resumed on February 9.

Car meets Duck Pond, 1972

We recently came across a folder of photographs in the University Photograph Collection that we just had to bring to the attention of our blog viewers. Luckily the photographs were accompanied by a note written by Doug Cutchins, a UConn History graduate student who worked as a student assistant in the 1994-1995 school year at what was then the Archives Department of the UConn Library. Doug found the photographs in the Archives and interviewed the professor whose car is the subject of the photographs over 20 years earlier. With Doug’s permission we are using his writing (below) although we have made a few minor changes.

Here’s the story of the photographs:

On January 17, 1972, UConn Professor Bob Asher parked his car on the road above the Duck Pond, the body of water now better known as Swan Lake, as he did every morning. While he had remembered to set the parking brake he had neglected, he later assumed, to put the car into “Park.” The cold of the day froze and snapped the parking brake cable, and the wind blew the car down a hill, where it hit a rock or stump, swerved at a ninety degree angle, and skidded out onto the frozen pond.

Professor Asher received a call at his office from the University police, who told him his car was out on the ice. Rather incredulous, he waited until they came to his office to get the full story. The police walked into his office, and apparently glared at his print of Andy Warhol’s “Pigs” painting on the professor’s wall. Prof. Asher then decided to move the meeting out to the pond.

A tow truck was called, but refused to go out onto the ice. As everyone watched, the wind picked up again, blowing the car further out onto far thinner ice, which the car soon started to break through. Eventually, someone was able to get to the back bumper of the car with a cable, and it was pulled out of its partially-submerged state onto the hard ground.

The car was then towed to a local garage, where it was left out overnight. Unfortunately, since it had been under water, the engine block froze during the night, killing the car. The garage offered Prof. Asher $1100 for the car as scrap. Prof. Asher agreed immediately since he had bought the car used only a year earlier for $1000.

Asked if he was sure that the car hadn’t been pushed by students, he said he was sure that was not the case since the incident occurred during Winter Break and the doors were locked and there was no indication that the car had been tampered with when it was brought up from the water.

A UConn Student visits Vietnam on Winter Break

This post was written by Shaine Scarminach, a UConn History Ph.D candidate who is a student assistant in Archives & Special Collections. All images are from issues of the Connecticut Daily Campus and the Nutmeg, the student yearbook.

In January 1968, Dennis Hampton, a twenty-year-old philosophy major at the University of Connecticut, spent his winter break thousands of miles from home in the South Vietnamese capital of Saigon. As editor-in-chief of the school newspaper, the Connecticut Daily Campus, Hampton went to report on the U.S. war in Vietnam. The conflict occupied the minds of many students that year. In the following months, protests against the war would rock the UConn campus. But by then, Hampton had already seen the conflict up close.

Photo of Hampton and Major William Corliss from March 1, 1968, Daily Campus (pg. 3)

After a Pan American flight over half the globe, Hampton disembarked at Saigon’s Ton Son Nhut airport. Stepping off the plane, his first view of the city surprised him—it seemed so ordinary. European cars and bright new motorbikes clogged the roads, the clamor of people and car horns filled the humid air, and the refuse of urban life lined the streets.

Only “a few odd touches” hinted at the reality—Saigon was at war. Hampton noted the grills on bus windows for deflecting grenades, the street-corner guard stations stacked high with sand bags, and the endless American military and civilian personnel. Still, the war seemed far away.

Dennis Hampton and unidentified woman at the Nutmeg office

Hampton disliked Saigon. He found the city too crowded and noisy, and his first night left him feeling discouraged. What should he do and how would he do it? Why would he leave his friends and family to wander alone in a foreign city, and on his vacation no less? “I wondered what I was proving,” Hampton later wrote, “whom I would impress by coming to a country when practically everyone else did everything possible to stay away.”

Hampton had better luck away from the capital. He left Saigon by military helicopter, flying low over rice fields and canals of coffee-colored water. He touched down in Can Tho, a city southwest of Saigon. The pace was slower there, and the streets less snarled by traffic.

Hampton soon met Major William Corliss, a resident of Gloucester, Massachusetts, who had taught in the ROTC program at UConn’s Hartford campus before enlisting for a tour of duty in Vietnam. Hampton reported that Corliss “was impressed that a college student would spend time to come to Vietnam, and maybe just a little glad to see someone from UConn.”

Front page of Connecticut Daily Campus, February 22, 1968

In South Vietnam, Corliss served as senior commander to an American advisory team. He oversaw the small village of Phong Dien and promised to show Hampton the community development work underway there. Corliss and Hampton boarded a military jeep and took off. Hampton felt elated. He was finally “on the track of SOMETHING.”

As the pair reached Phong Dien, Hampton noted the lack of U.S. personnel in the area. He had arrived in “an actual, un-Americanized Vietnamese town.” Village life had ground to a halt because of the fast approaching celebrations of Tet, the Vietnamese New Year. Hampton spent his first day in town meeting local officials, drinking tea, and enjoying regional dishes.

The excitement would have to wait until that evening. Hampton spent the night with the U.S. military detail stationed in the village. Earlier in the day, Corliss had warned him about an impending mortar attack. Hampton wrote that he was “just a little nervous, a little afraid, but also eager.”

Dennis Hampton and Nutmeg staff, 1968

That changed once he heard the first mortar round go off around 11:00pm. He quickly became “a lot more nervous and afraid.” Luckily, his fears were unfounded. Hampton learned the next morning that the boom of mortars had come from U.S. troops firing in the opposite direction.

The next day, Corliss took Hampton on a tour of the surrounding hamlets. The commander spoke at length about the prospects and problems of community development. They had made some strides in education and local government but faced setbacks too. Hampton pointed to the lack of healthcare and sanitation in the area as a particular challenge. But Corliss was optimistic about his work. Community development, he claimed, would win the war.

This optimism seemed to rub off on Hampton. The college student found his time with Corliss the most informative part of his trip. It would not last. Hampton noted that he left Phong Dien only a day before the Tet Offensive, a major turning point in the war. Thereafter, the American public’s support for the war plummeted, never to recover.

Archives & Special Collections holds several collections that provide information about the Vietnam War era and its impact on campus and in society. You can find the finding aids to the following collections in our digital repository:

Crisis at UConn, Alternative Press Collection

Diary of a Student Revolution — a National Educational Television documentary showing the dramatic behind-the-scenes struggle between President Homer D. Babbidge and the UConn protesters demonstrating against on-campus employment recruiting by Dow Chemical Company on the Storrs campus.

Hoffman Family Papers

Poras Vietnam War Memorabilia Collection

Frances Perkins and the E. Ingraham Company

This post was written by Shaine Scarminach, a UConn History Ph.D candidate who is a student assistant in Archives & Special Collections. The letters are from the E. Ingraham Company Records.

In late October 1944, famed U.S. Secretary of Labor Frances Perkins wrote to the E. Ingraham Company of Bristol, Connecticut. In her letter, she gave the company permission to employ girls between the ages of sixteen and eighteen for nine hours a day. Under an earlier federal regulation, young girls could only work for eight hours a day.

But as Perkins’s acknowledged, times had changed: a labor shortage in Bristol and the essential work of the E. Ingraham Company to the war effort meant rules would have to be bent – if only temporarily.

Founded in 1831, the E. Ingraham Company had by the 1940s become one of the most successful clock and watch makers in the United States. The company’s successful manufacturing operations, though, would soon serve a different purpose. In 1942, the War Production Board drafted the company into the U.S. military effort against the Axis powers.

Following the Japanese attack on Pearl Harbor, industries throughout the United States shifted from producing for the consumer market to providing essential material for the war effort. The E. Ingraham Company went from crafting fine clocks and its popular “dollar watches” to cranking out mechanical time fuzes for the Army and Navy.

Local women had long labored in the E. Ingraham Company’s Bristol factories. But World War II drew even more of them into the workplace. The relentless demand for munitions pushed company president Edward Ingraham to ask the federal government for a loosening of labor restrictions.

Appointed by Franklin Delano Roosevelt in 1933, Frances Perkins was the first woman to hold a cabinet-level position and has so far been the longest-serving Secretary of Labor. She devoted much of her life to defending the rights of women and children in the workplace. Moreover, setting limits on working hours had been one of her chief aims upon accepting her position. Perkins’s approval of an extra hour of work for young women employed by the E. Ingraham Company thus illustrates the demands placed on daily life during war time.

In June 1945, with the war in Europe over and the need for munitions in decline, Perkins rescinded her prior authorization. Young women could no longer work more than eight hours, and the E. Ingraham Company returned to fashioning the clocks, watches, and other products that had made them a household name in the years before the war.

 

Reading room closed, December 18-January 1

The Archives & Special Collections reading room is closed from Monday, December 18, 2017, through Monday, January 1, 2018. We will reopen our doors on Tuesday, January 2, 2018. If you have a question about our collections please email us at archives@uconn.edu and we’ll get back to you as soon as possible.

Happy Hanukkah, Merry Christmas and Happy New Year!

UConn Professor of Music Herbert France leads students in singing Christmas Carols, 1947

In Search of Walt Dropo

Image

The following is a guest blog post by Rebecca A.R. Edwards, Professor in the Department of History at Rochester Institute of Technology. Dr. Edwards was recently awarded a Rose and Sigmund Strochlitz Travel Grant to conduct research in Archives and Special Collections. Her research supports a book project tentatively titled Play Ball: Sport, Community, and Memory in Connecticut,” a microhistory that “utilizes local sports history to explore the formation of community identity, social capital, and public memory.”

Sometimes, historical projects get personal. I am a historian at the Rochester Institute of Technology in Rochester, New York. I teach, among other things, the history of baseball and have a long-standing interest in sports history. I could say that my current project is a sports history, and that would be true, but it is also a family history. When I was a girl, growing up in southeastern Connecticut, my paternal grandfather, Danny Rourke, was famous. He played both semi-professional basketball and semi-professional baseball in the state, from 1935-1955. In this way, he was like so many other men in Connecticut in those years, as I have been discovering in the course of my research for a book on this lost sporting world of eastern Connecticut.

We have lost the category of “semi-professional athlete” today. These were men who played organized, competitive sports, largely without long-term professional aspirations. Their basketball was not played to lead to them to the NBA; their baseball was not a road to the MLB. It was an end in itself. Forrest C. ‘Phog’ Allen, the celebrated University of Kansas basketball coach, argued that their play was, in fact, professional. In 1937, he wrote, “The professional—paid or unpaid—plays to win at any cost. Herein lies the significant difference between amateurism and professionalism, whether it be independent or collegiate. When competition becomes a business, it becomes professional. By such interpretation professionalism is not determined by the acceptance of money. The tenor of most independent teams who play outside schedules is professional in spirit, for their stress is on winning and not on the sport for the sport’s sake.”(i) He continued, “The universally accepted definition for a professional player is one who receives compensation for athletic skill or knowledge. If we interpret ‘compensation’ to mean either fame or money or its equivalent, this definition holds.”(ii)

In this way, my work seeks to recover the hidden history of these local professionals. These independent teams that my grandfather played on no longer exist, teams like Pep’s Flashes, the Shymas, and the Danielson Elks. And yet these were teams that attracted hundreds of fans, garnered lots of local press coverage, and brought their players lasting fame. And sometimes, though comparatively rarely, they produced a professional athlete from their ranks.

My research brought me into contact with what one might call the pre-history of one of those athletes. He is pictured in the photograph, from the Norwich Bulletin of 31 March 1941, below.  He really is famous. Find him yet? He is a very young Walt Dropo, then in his senior year of high school. He is in the back row, all the way to the right. Dropo was the youngest member of Pep’s Flashes, pictured here after winning the Norwich Bulletin-Record basketball tournament.

The captain of the team was my grandfather, seated at the far left. The Sunday sports page announced the news of their victory. “Pep’s Flashes Win Bulletin-Record Tournament, 48-37; Jimmy Hoffman and Danny Rourke Are the Stars.” The game was played before a “packed house of about 450 noisy customers…making it the third night that the games were played before a capacity audience.” Pep’s led the entire way, and though the “game was never close enough to get the fans steamed up…it was bruising, tough basketball from start to finish and nobody was disappointed.” The Norwich Record praised the team, saying, “Pep’s really looked the part of champions. Their passing and their shooting was a beautiful thing to watch and were altogether too classy” for their opponents, the Doco Eagles of Norwich. Hoffman was the game’s high scorer, while Rourke played “a marvelous floor game.” They had help from ‘Boots’ Dropo, who contributed nine points.(iii)

‘Boots’ Dropo, as he was then known, would go on from Plainfield High School to attend the University of Connecticut, as probably everyone already knows. Upon Dropo’s death in 2010, Coach Dee Rowe called him “the greatest all-around athlete this school has ever seen.” Dropo played football, basketball, and baseball for the Huskies. He was drafted by the Chicago Bears in the 9th round of the 1946 NFL draft. He was drafted in the first round of the 1947 BAA (Basketball Association of America, a pro-league pre-NBA) draft by the Providence Steamrollers. But he turned it all down to sign with the Red Sox organization in 1947.

In 1950, Walt Dropo was the American League Rookie of the Year, the first Red Sox to be named Rookie of the Year. He finished sixth in the AL MVP race. His .583 slugging percentage that year was second only to Joe DiMaggio (.585). “New England was full of Walt Dropos then,” Bill Reynolds writes, “small town kids who stole the hearts of their communities because of the way they played this New Game.”(iv) But that was still ahead of him. As late as 1946, you could have seen Walt Dropo playing basketball in a 200 seat auditorium in southeastern Connecticut with my grandfather.

By then they were both playing for the Shymas, who would also win the Norwich Bulletin-Record title. Dropo is seen here, in the semi-finals of the tournament.

The press coverage noted that Dropo and Rourke were key members of the team. “The Shyma club five of Taftville steamrolled to a 65 to 49 victory over the Windham Packards of Willimantic at the Norton Gym Saturday night to win the eighth annual Norwich Bulletin-Record basketball tournament before a capacity crowd of better than 600 fans….The Packards held the lead twice in the opening minutes of play, 2 to 0 and 4 to 2, but after that point they didn’t stand a chance as the Villagers swept down the floor time and again using the height of MacDonald and Walt Dropo and the floor work of Bill Kelly and Danny Rourke to great advantage. Besides giving a brilliant offensive exhibition throughout the contest, the Shyma put up a tight defense that the Willimantic combination had plenty of trouble cracking.”v Another account concluded that, in winning the tournament, the Shyma had demonstrated that they were “the outstanding hoop combination in eastern Connecticut during the past year.”(vi)

Dropo left for the Red Sox farm system the following year, in 1947. But he left having already played for two different championship basketball teams in Connecticut. As we remember his sports history today, we largely assume it starts with the Red Sox. His time in college sports is seen as a prelude to his professional career. My work allows me to see that he brought a champion’s play to UConn with him. He had been playing alongside semi-pro athletes since he was in high school. That was the drive he brought with him to Storrs.

The distance between the professional world of sports that Dropo would enter and the semi-professional levels of sport he was leaving behind was not very wide. Professionals were a part of their local communities then and semi-professionals were treated with much the same reverence and respect. October 14, 1950, was Walt Dropo Day in his hometown of Moosup, Connecticut. Dropo came into town with a barnstorming baseball team, the Birdie Tebbett’s All-Stars. George ‘Birdie’ Tebbett’s was a catcher with the Red Sox. Also barnstorming with Tebbett’s team that fall were Phil Rizzuto and Johnny Pesky.

They faced a home team, put together for the occasion, called the Connecticut All-Stars. Walt’s brother, Milt Dropo, himself a star athlete at the University of Connecticut, managed the All-Stars. Playing for them in right field was Danny Rourke. He was at that point playing for the New London Raiders in the Class B Colonial League, an effort to revive minor league baseball in southern New England. The original Colonial League had folded in 1915. This Colonial League was formed for the 1947 season; its last season was 1950. Walt Dropo Day was the last time that Dropo and Rourke took a field together.

Dropo’s career brought him to the MLB. Rourke’s career ended in Class B. Yet, the two men shared an athletic journey together that dated back to 1941. My grandfather is still remembered in some circles in southeastern Connecticut today, where I still sometimes meet old fans who call me “Danny Rourke’s granddaughter.” So I know sporting memories can be long. I had wondered, as I came to the Archives to search for images of Dropo’s college career, how well he was remembered on campus today. I worried a bit as the young archivist, whose name will remain unmentioned to protect the guilty, admitted that he had never heard of him until I started asking for files to be pulled. (He was brave to admit that to me and he was otherwise a perfectly nice professional, just to be clear.)

I was worried for nothing. As I settled into the Nathan Hale Hotel, I stopped at their pub for a beer, after a long day in the archives. I glanced over my head and found that I had taken a seat under Walt Dropo.

‘Boots’ Dropo. Still here, after all these years.

 

– Rebecca A.R. Edwards

 

Notes:

i  Forrest C. Allen, Better Basketball: Technique, Tactics, and Tales (New York: McGraw-Hill, 1937), 7. ‘Phog’ Allen coached at Kansas from 1919-1956. He coached the Jayhawks to victory in the NCAA tourney in 1952, the same year that he coached the Olympic basketball team to a gold medal at the Helsinki games. He was inducted into the Basketball Hall of Fame in 1959.
ii  Allen, 8.
iii  All coverage from “Third Annual Bulletin Record Tourney.” Undated clipping. Potts family scrapbook.
iv  Reynolds, Our Game, 7.
v  “Shymas Take Bulletin-Record Tourney With 65-49 Win,” Norwich Record (March 31, 1946), 13. From Rourke family scrapbook.
vi  “Bulletin Record Tournament Won By Shyma Club.” Undated press clipping. Rourke family scrapbook.

Storrs Girl and Her Classmates Earn Jeep Rides!

 

The March 9, 1944, issue of the Hartford Courant had this news story:

Girl’s War Loan Letter to President Wins Jeep Ride for Storrs Pupils

As the result of a letter to President Roosevelt, in which Geraldine Hall of Storrs Grammar School told him of the good work her schoolroom did in the Fourth War Loan Drive, the 39 children in that room were given rides in jeeps Wednesday [March 8, 1944] and the rest of the school will be taken on similar rides Thursday [March 9, 1944].

Geraldine’s room comprises the fifth and sixth grades at the school. Boys and girls in the room brought more than $3500 worth of war stamps and bonds during the drive, enough to pay for three jeeps. The sum they raised was more than one fifth of the $15,000 quota for the town of Mansfield.

In the whole school there are 135 students and their total contribution to the Fourth War Loan Drive was $8000, more than half the town’s quota. When the officials who sent the jeeps here primarily to give the fifth and sixth grade students rides learned the fine record of the whole school, it was decided they would come back again Thursday and see that all students in the school get rides.

Geraldine’s letter brought an answer from the White House praising the record of her school room and said that if the answer were taken to the nearest Army post her classmates would be given rides in a jeep. She displayed the letter to Major Michael F. Moffitt at the University of Connecticut and the two jeeps were sent out from Hartford.

Geraldine Hall is a daughter of Mr. and Mrs. Burton C. Hall. Her father is first selectman for the town of Mansfield.

 

We are fortunate that UConn professor and photographer Jerauld Manter took photographs of the children and their jeep rides on that day in March 1944.  These photographs are in the University of Connecticut Photograph Collection and can be found here: http://archives.lib.uconn.edu/islandora/search/jeep?type=dismax

Metanoia at UConn

This post was written by Shaine Scarminach, a UConn History Ph.D candidate who is a student assistant in Archives & Special Collections. All photographs are from the University of Connecticut Photograph Collection.

Metanoia. A curious word with multiple meanings. Most trace its origins to the Greek, though its definition varies. Some have said it means repentance or reorientation. Others have argued it means to change your mind, or even further, to change your way of life.

National Urban League President Whitney Young meets UConn President Homer Babbidge, 1970.

For the University of Connecticut, metanoia has been the name for a time of “meditation and reflection” on an important issue to the campus community and the wider world.

The idea (and word) originated with former UConn President Homer Babbidge in the fall of 1969, and the first Metanoia was held on May 6, 1970. It sought to increase “racial awareness, racial respect, and racial sensitivity” on campus.

Since that first occasion, University by-laws have included provisions for holding a Metanoia whenever necessary. Any group on campus has the right to petition for a Metanoia day, and once approved by the administration, an ad hoc committee of faculty and students is formed to plan the day’s activities.

National Urban League President Whitney Young speaks at the first Metanoia in May 1970.

Metanoia events usually include speakers, panels, workshops, and other activities planned by the ad hoc committee with support from other campus groups. Classes have often been canceled in observance of the day’s activities, and some Metanoia have even stretched beyond a single day.

In keeping with its origins, issues of race have been a frequent subject of Metanoia days at UConn.

In 1979, a series of racist incidents against black students on campus, combined with a shocking incident in which a female graduate student was severely beaten while jogging

UConn students practice a whirling dance reminiscent of Sufi ceremonies at Metanoia in 1987.

on Separatist Road, spurred the University to hold a Metanoia day in early October.

Speaking on the occasion, former UConn President John A. DiBiaggio told a crowd of faculty and students that “each violent event ripples through the campus.” But feelings of anxiety and fear must be coupled with action. In the bitter days of the Reagan era, it seemed to DiBiaggio that “society at large may be moving to a posture of indifference to its members.”

Issues beyond campus have also prompted Metanoia days over the years. One in 1972 focused on the American war in Vietnam, while another in 1974 on constitutional crisis and the presidency reflected the Watergate scandal then-engulfing President Richard Nixon.

UConn students practice a whirling dance reminiscent of Sufi ceremonies at Metanoia in 1987.

Metanoia days have regularly featured notable guests. National Urban League President Whitney Young spoke at the first Metanoia in May 1970. Held amid tense discussions over a planned student strike against the Vietnam War, Young told students to fight for their beliefs but not to close the universities.

A Metanoia day on world peace held in April 1987 included a musical performance by folk singer Mary Travers along with speeches by Linus Pauling, the Nobel Prize-winning chemists and Barry Rosen, one of the 52 Americans held prisoner at the U.S. embassy in Tehran, Iran.

Students on a candlelight walk from the Student Union to Mirror Lake, which ended the 1987 Metanoia dedicated to world peace.

Perhaps more significant than the famous speakers have been the campus activities organized around Metanoia days. At the first Metanoia in 1970, groups of three—a black student, a white student, and a faculty member—visited each residence hall to hold frank and open discussions on issues of racism and education.

A Metanoia held in March 1975 focused on the world food crisis. For one of the day’s activities, around 2,000 students fasted to “sensitize” themselves to the deprivations of hunger. They also donated the money they would have normally spent in the dining halls to charities working to eliminate hunger around the world.

Students release balloons to celebrate the opening of Metanoia in April 1987. Linus Pauling, the Nobel Prize-wining chemist who spoke that day, is pictured at the bottom left.

Metanoia has sometimes come under criticism, most often because of its name. In a faculty survey before the first Metanoia in 1970, one respondent wondered if “metanoia” might be confused with “paranoia.” A 1979 committee report suggested keeping the event but changing the name. “Time spent explaining the term,” they wrote, “results in a tremendous loss of energy.”

Nevertheless, Metanoia lives on at the University of Connecticut. The tradition continues in 2017 under the banner “Together: Confronting Racism.” This year’s theme reflects the perennial problem of racism in American life. But it also signals the campus community’s continued desire to set aside time to confront that essential fact.

Reflecting on the idea of Metanoia, the late-Irving Cummings, a former Professor of English at UConn, perhaps put it best: “I find the term Metanoia both appropriate, humane, and risible—a disease, maybe? Metanoiacs of the world, unite!”

25th Annual Connecticut Children’s Book Fair THIS Weekend – With Exhibition on View

For 25 years, the Connecticut Children’s Book Fair has welcomed families, collectors, teachers, students and librarians to UConn to meet and to hear talented, award-winning authors and illustrators discuss their work.  This weekend on November 4 and 5, we are excited to once again foster the enjoyment of reading among Connecticut’s youth with two days of dynamic programming. The Book Fair takes place at the Rome Commons Ballroom on the UConn campus — visitor information can be found on the event website.

Archives and Special Collections celebrates the Connecticut Children’s Book Fair in this milestone year by featuring the collections of authors and illustrators found in the Northeast Children’s Literature Collection (NCLC). The Book Fair is also an opportunity to highlight recent research conducted in the papers and archives of NCLC authors and illustrators.

The following is an excerpt of an exhibition essay by Nicolas Ochart, Student Exhibitions Intern in Archives and Special Collections, for an exhibition currently on view in the McDonald Reading Room in the Thomas J. Dodd Research Center. This semester, Nicolas is responsible for conceiving and developing small-scale exhibitions that highlight archival material found in the collections. He hopes to pursue professional curatorial work in an effort to promote the work and experiences of marginalized and underrepresented communities in the United States. In December, Nicolas will receive his B.A. in Art History from the University of Connecticut.

The Northeast Children’s Literature Collection was developed in 1989 to collect and preserve the history of children’s literature and illustrations, and comprises the archives of over 120 notable authors and artists. Among completed editions of beloved children’s books, the collection also includes countless preliminary sketches, letters, dummies, manuscripts, notes, and correspondence with family, editors, and other writers and artists.

The collection’s extensive holdings have made the University of Connecticut a nexus for scholars and children’s book writers and illustrators across the nation interested in studying the literary and aesthetic qualities of the form. In an effort to support and encourage study of the Northeast Children’s Literature Collection, Archives and Special Collections have developed a number of awards for researchers, including the Billie M. Levy Travel and Research Grant and the James Marshall Fellowship. Grantees and Fellows have written on such varied topics as queer American Jewishness in the art and writings of Maurice Sendak, as well as influences of modernism and fashion design in the work of Esphyr Slobodkina. Aspiring and established authors and illustrators have also looked at papers by James Marshall, Natalie Babbitt, Tomie dePaola, and Eleanor Estes for guidance in their own practice.

The objects on display in Archives and Special Collections represent just some of the archival materials past Fellows and Grantees have found noteworthy in their research. These objects also dialogue with others in Archives and Special Collections, and together offer rich and surprising stories of classic tales.

The collection’s extensive and cross-historical nature provides a visual and narrative mapping of the perseverance of certain character types and situations. One of the most persistent topics of interest in children’s literature concerns problems that arise from class conflicts, and the tensions between members of the aristocracy, bourgeoisie, and working class communities. Where a character is from and the spaces they are permitted to navigate reveals much about their personality, goals, and interactions with other characters in their environment. These works show desire and punishment, as characters’ morality largely dictates whether they are granted social mobility or afflicted with poverty or other penalties.

Even if clear moral distinctions between classes are not drawn, the picturing of difference is almost always apparent. The objects displayed in Archives and Special Collections represent a sampling of the visualization of class and “otherness” in popular children’s fables and fairy tales, as well as the ways in which characters’ bodies, properties, and reputations are threatened by these factors.

We encourage exploration of the Northeast Children’s Literature Collection, or explore the blog for Archives and Special Collections, to learn more about scholarship conducted by visiting academics, writers, and artists.

– Nicolas Ochart

 

 

Harry Allard Is Missing! Collaborations of James Marshall and Harry Allard in the Northeast Children’s Literature Collection

The following guest post is by Jerrold Connors, an award-winning application developer, writer and children’s book author and illustrator from California. He was recently awarded the James Marshall Fellowship to pursue a picture book project based on Harry Allard’s Miss Nelson stories. The James Marshall Fellowship encourages the use of unique materials in the Northeast Children’s Literature Collection and provides financial support to authors and illustrators for travel to University of Connecticut’s Archives and Special Collections to conduct their research.

James Marshall, considered by Maurice Sendak to be one of the wittiest and most genuine children’s book author-illustrators, created the popular George and Martha stories, the charming Fox readers and the everlasting Miss Nelson picture books. He wrote and illustrated most of his stories himself, collaborated on several others with his friend and co-author Harry Allard, and illustrated the works of a few others. Marshall published upwards of 80 books from 1967 until 1992 when he died, aged 50, from AIDS. Though awarded few professional honors, Marshall is considered by many as one of the picture book greats—his works are held alongside those of Maurice Sendak and Arnold Lobel (with whom Marshall shared close friendships) as classics.

Miss Nelson Gets a Telephone Call (2014)

Despite growing up an avid reader in the early 1980s, I have no memories of reading any James Marshall books. It was only later, as a teenager reading to my nephew and niece, that I would discover the Miss Nelson books. And it was much later as a young adult reading picture books for my own enjoyment that I would discover George and Martha. I became a confirmed James Marshall fan and sought to find as many of his works as I could. I can think of very few creators whose entire body of work—unmistakable for its sense of fun, economy of language, subtle play between words and illustration and great respect for his young audience—I hold in higher regard.

Relatively little has been written about Marshall’s life and works but I have tracked down what I could and have come to consider myself something of a Marshall expert, so it was with great surprise and interest that I discovered a fourth Miss Nelson book, Miss Nelson Gets a Telephone Call, written, illustrated and self-published by Harry Allard in 2014, twenty two years after James Marshall’s death.

Miss Nelson Gets a Telephone Call is a peculiar work. It features all the Miss Nelson standards: a kind teacher, a befuddled principal, an elementary school setting, and a mystery surrounding a secret identity (the hallmark of the Miss Nelson series). But it also has an enormous cast of characters, a generous amount of exposition, a bizarre wordiness (gothic adjectives such as graustarkian, eldritch and stygian abound) and a distinctly creepy tone. And it is missing, notably, any children.

All these facts made me wonder how similar Miss Nelson Gets a Telephone Call is (if at all) to the original Miss Nelson trilogy. It’s a known fact that James Marshall heavily edited the authors’ texts that passed his drawing table (an unusual practice for an illustrator) but I wanted to know just how far Marshall went in shaping Allard’s manuscripts into the illustrated stories we have come to know. The books credited to Marshall and Allard are nearly identical in voice, pacing and humor to those credited solely to Marshall. So much so that it has even been suggested that Harry Allard might have been an invention, like Marshall’s “cousin” Edward Marshall, to serve as a pseudonym. While this would be wholly appropriate given the Miss Nelson tradition of dual-identity and disguise, it is not true. Harry Allard was a real person.

The two became acquainted at Trinity College in San Antonio, Texas where Allard taught French and Marshall was an undergraduate. An academic, Allard held a Masters degree and PhD in French from Northwestern and Yale. He was an admirer of French illustrators and drew and sketched as a hobby and in this sense found a kindred spirit in the artistically minded Marshall. They collaborated on a few picture books with Allard credited as author and James Marshall as illustrator before developing the character of Miss Nelson. As the story goes, Allard called Marshall at three in the morning and said “Miss Nelson is missing!” This bizarre non sequitur became the seed that would grow into three books about the teacher and her class.

The Northeast Children’s Literature Collection holds a rich and rewarding amount of materials related to the working relationship between James Marshall and Harry Allard. Of those materials related to the Miss Nelson book, the most complete were those for the second Miss Nelson book Marshall and Allard worked on together, Miss Nelson Is Back.

Miss Nelson Is Back: In the collection in Archives and Special Collections at the University of Connecticut is a series of dummies for Miss Nelson Is Back. The earliest of these dummies hints at what must have been Harry Allard’s original manuscript for this story. The story opens with Miss Nelson having to leave her class for a tonsillectomy. Filling in for her is a new character, Mr. Otis Delancey, a well-intentioned if inexperienced substitute teacher. The kids of Room 207 are more than ready to take advantage of him. Rounding out the cast is Miss Gomez, the school’s secretary, Detective McSmogg (a private investigator from the first Miss Nelson book, this time acting as a truant officer), and Mother Judkins, “special investigator” for the Board of Education.

Dummy for Miss Nelson Is Back

With all these characters, the strictest substitute teacher in the world, Viola Swamp (the true star of the Miss Nelson books), gets very little screen time; in fact, her appearance is gratuitous. There is none of the guessing and second-guessing of double identities that made the first Miss Nelson book so much fun.

Looking through the collection of dummies and storyboards, I saw that within two drafts Marshall had put Harry Allard’s story through its paces, trimming the number of characters to a splendid few, namely, Principal Blandsworth, Miss Nelson, Viola Swamp and, of course, the kids of Room 207. The greatest fun in the story—the kids impersonating Miss Nelson in a terribly obvious and obviously terrible disguise—had been fully fleshed out and the text had been trimmed to nearly what would appear in the final printed version.

Book dummy for Miss Nelson Is Back

The edits on these dummies are all executed in Marshall’s distinct handwriting. Entire sections have been cut, others invented on the fly, hastily scribbled in between and alongside blocks of discarded text. Editing happens not just of Allard’s work but also of Marshall’s own. Marshall writes several versions of the line “So this is your little game?”, trying “What is this?” and settling on “So thats your little game!” (In method it is very similar to a book done entirely by Marshall alone, The Cut Ups Carry On, which also exists in the archives and is splendidly detailed by Sandra Horning in her blog entry here.

Tracking changes through these drafts, it is very clear that what would appear as the final version of Miss Nelson Is Back was very much a Marshall story. For his part, Allard must have been okay with Marshall’s reworking of his script. Miss Nelson Is Back was their ninth book together, their second Miss Nelson book and they would go on to do another. I noticed also that Marshall sought to preserve some of Allard’s inventions through his drafts. Otis Delancey survived the transition from first draft to a storyboard before he was cut.

Last appearance of Mr. Otis Delancey, Storyboard, Miss Nelson Is Back

Miss Nelson Has a Field Day: The first pages of the dummy for Miss Nelson Has a Field Day* (Marshall and Allard’s third Miss Nelson book) is a combination of pencil illustrations with pasted down clippings from a typewritten manuscript. Whether or not the manuscript came directly, unedited, from Allard is unknown, but some clues indicate that it did. For one, the school in this story is named “Alice J. Gomez Elementary.”  According to Marshall’s partner William Gray, Allard could become fixated on certain details such as odd words or funny names—that he would bring Miss Gomez back to the Miss Nelson universe seems in keeping with this habit. And, as in Miss Nelson Is Back, Allard has attempted to enlarge the faculty, this time with Miss Witherspoon, the cheer squad coach.

Dummy and final print comparison, Miss Nelson Has a Field Day

Dummy and final print comparison, Miss Nelson Has a Field Day

Eight pages into this dummy Marshall begins composing the pages by typing directly onto his drawing paper. A few pages beyond that and Marshall begins writing in his distinct hand, using shorthand to get his ideas quickly onto the paper as they occur to him. As with Miss Nelson Is Back, Marshall appears to be inventing on the fly, using this stage of his process to both trim and flesh out the story and ultimately make it his own.

*footnote: Holding the original cover concept for Miss Nelson Has a Field Day up to the light revealed that the working titles to this story were at one point Miss Nelson Tackles Trouble and Miss Nelsons Secret Play.

Cover concept sketch, Miss Nelson Has a Field Day

Cover concept sketch closeup, flipped, Miss Nelson Has a Field Day

Miss Nelson Takes a Back Seat: The collection also held a three page typewritten manuscript by Allard for an unpublished story titled Miss Nelson Takes a Back Seat. Dated 1989, this story expands Horace B. Smedley Elementary’s world to include a school bus service, an appropriate enough story device, but there is little else in the way of character or plot. The entire story is mainly a vehicle for some gags about members of a circus sideshow.

“Better watch your ‘P’s’ and ‘Q’s’’ , kids,” the midget threatened, brandishing his bull whip.”
Typewritten draft by Harry Allard, Miss Nelson Takes a Back Seat

There are no marks by Marshall on this document, and no evidence I could find in the abundant collection of sketchbooks (used often for brainstorming and testing story ideas) that he ran with the idea. Whether this was because Marshall at this point in his career was focusing on retelling fairytales or because he felt the Miss Nelson adventures had been played out is unknown. Although not a trilogy in a strict storytelling sense, the three Miss Nelson books form a tidy whole. Miss Nelson Takes a Back Seat doesn’t add anything to the Miss Nelson world.

Miss Nelson Is Missing!: From the previous examples, it is obvious that the majority of  work that shaped the Miss Nelson books into what the public has come to know was executed by Marshall. This isn’t to say that Marshall didn’t value Allard’s contribution. Allard was a brainstorming partner, a writer who could turn out pages of script allowing Marshall to indulge in editing, evidenced many times in the collection as one of Marshall’s great strengths.

Cover concept sketch, Miss Nelson Is Missing!

Late in my research I discovered a single page near the back of one of James Marshall’s sketchbooks. This book, sitting nondescriptly in the middle of Box 20, held a cover concept sketch for Miss Nelson Is Missing! Dated July 27, 1976, the sketch would have been made about one year before the first Miss Nelson book was to be published. At the top of the page Marshall had written “Written by James Marshall and Harry Allard”.

He then drew a double headed arrow to transpose his and Allard’s name to give Allard top billing. Eventually the cover page would remove the “written by” and “illustrated by” lines and feature the two names as collaborators with Allard’s name featured generously at the top of the page.

But despite the vast source of materials related to the Marshall/Allard collaborations, it was a very small thing that most informed my understanding of their relationship. In the seventeen minute James Marshall In His Studio video (one in a series produced by Weston Woods/Scholastic to introduce authors to their audience) Marshall speaks directly to the camera, explaining his process in creating picture books. In talking about where his ideas come from, Marshall describes the infamous 3am phone call from Allard. I’ve alway read the line “Miss Nelson is missing!” as an exuberant, even manic, exclamation on Allard’s part. But as Marshall tells the story (at the nine and half minute mark if you should ever be so lucky to find a copy of this recording) it is far more nuanced. Marshall does an impression of Allard’s voice. It is theatrical, a little affected, mysterious. It’s done with a smile and, clearly, affection for his friend.

Marshall appreciated in Allard all those things I found peculiar. His eccentricities delighted Marshall. What’s more, Allard’s inspirations—whether they ultimately served to chart the inappropriate, or uncover the promising—informed Marshall’s talents. Given the amount of work Marshall put into their collaboration, that he would give his friend top billing is testimony to Marshall’s generosity. But it would be shortsighted to consider it charity. Marshall truly valued his partnership with Allard. Like Miss Nelson and Viola Swamp, in this story one could not have existed without the other. If Harry Allard were missing, so too would be missing these three books.

Still image from video, James Marshall In His Studio