New Exhibition: “For Young Naturalists: Ocean Ecology in Children’s Literature”

Explore the diverse ways authors and illustrators use word and image to explain to children the complex relationships between man and the ocean in a new student-curated exhibition “For Young Naturalists: Ocean Ecology in Children’s Literature,” on display from March 27 to April 11 in the Thomas J. Dodd Research Center’s John P. McDonald Reading Room. Featuring artwork and books drawn from the Northeast Children’s Literature Collection in Archives and Special Collections, student curator Rebecca D’Angelo presents children’s books from 1844 to 2012 that illuminate how subjects such as ocean biodiversity, food security, and conservation have been depicted and narrated through time.

An Ocean World by Peter Sis (New York : Greenwillow, 1992). Pg. 8.

An Ocean World by Peter Sis (New York : Greenwillow, 1992). Pg. 8.

This exhibition is on view to coincide with the Edwin Way Teale Lectures “What role will the oceans play in meeting the global demand for food?” by Steven D. Gaines, Thursday, March 27, and “Climate, Weather, Oceans and Biodiversity: Science in Policy and Politics” by Jane Lubchenco, Thursday, April 10, 4:00pm in the Dodd Center’s Konover Auditorium.

Location:  The John P. McDonald Reading Room, Archives and Special Collections at the Thomas J. Dodd Research Center, University of Connecticut, Storrs, CT

Dates: March 27-April 11, 2014

Exhibition hours: 10:00am to 4:00pm, Monday through Friday

For more information contact:
Melissa Watterworth Batt, Archives and Special Collections, Thomas J. Dodd Research
Center, UConn Libraries, melissa.watterworth@uconn.edu

Out of the Frame: Alternative Arts of the 1980s

Out of the Frame: Alternative Arts of the 1980s

Out of the Frame: Alternative Arts of the 1980s

A co-curated gallery exhibition of alternative arts of the 1980s is currently on display at the Dodd Center.  This exhibit features selections of dial-a-poems, artists’ books, offset lithography, punk rock, zines, buttons, show flyers, cyberpunk literature, comic books and related ephemera from the Archives & Special Collections.  By focusing on underground visual and aural arts of fringe countercultures, our goal is to demonstrate the range of expression found within these distinct cultural enclaves.  The show offers materials from three distinct curatorial areas, however the threads that tie these materials together become interwoven through their reactions to the dominant modes of production of the era.

March 3-May 11, 2014

Thomas J. Dodd Research Center

Gallery Hours: 8:30-4:30, Monday – Friday

For more information on the libraries ongoing exhibits, please visit the exhibitions page.

Sandra Horning’s Blog Post #2

 

Blog entry 2 – Every Word Counts!

All writers are familiar with the concept of “every word counts.” For writers of children’s picture books and beginning readers, every word literally counts. Most picture books published today have about 300 words. Many editors won’t even read a picture book manuscript much longer than that. Level 1 beginning readers are even shorter, with about 100 words. Keep in mind that, despite the low word count, a good story needs an arc, a plot, humor, and character development. It might seem like these stories are written quickly, and perhaps the first idea is written in a short period of time, but getting the text ready for publication can take many days, weeks, months, or longer to get right. Each word and every sentence is reviewed and revised many times. Here are some of the questions an author (and an editor) considers with each word and sentence:

 

Is the word necessary?

Is it the right word to convey the meaning you intend? (Does the word have more than one meaning?)

Do the challenging words have contextual clues to allow the reader to infer the definition?

Is the word count within the guidelines?

 

In an early beginning reader, an author needs to follow additional guidelines:

The words need to be simple enough for an emerging reader to pronounce and understand.

Contractions should be spelled out.

The words should be no more than two syllables.

Complex sentences should not be used.

The majority of the words in the text should be repeated, as you can’t introduce too many new or challenging words to an emerging reader.

 

I’ve been heartened to see that even someone as talented, prolific, and well known as James Marshall didn’t get every word right on his first few drafts. In looking through the dummies and drafts of his stories, I’ve enjoyed seeing his notes and eraser marks as he struggled to search for the best word.

For example, a George and Martha story usually has between 100 -150 words, but there is still much humor and character development packed into each simple story.  In one of my favorites, “The Trick” in George and Martha Back in Town, George can’t resist playing tricks on Martha, so Martha plans a trick of her own. Even at the final galley stage of the book, Marshall was still requesting changes to the text. For example, the sentence

“And when she discovered that the house slippers had been nailed to the floor, she was not amused.”

 was changed at the galley stage to:

age from galley, "The Trick" in George and Martha Back in Town (James Marshall Papers Box 8:Folder 161). All rights reserved. No reproduction of any kind allowed.

Page from galley, “The Trick” in George and Martha Back in Town (James Marshall Papers Box 8:Folder 161). All rights reserved. No reproduction of any kind allowed.

“And when she found her house slippers nailed to the floor, she was not amused.”

The final sentence is much more succinct and flows better, while still maintaining the humor. Every galley page I’ve viewed has author edits similar to this page.

 

 

 

In the picture book The Cut-Ups Carry On, the cut-ups Spud Jenkins and Joe Turner take dance lessons and end up entering a contest with one of them dressed as a girl. In a dummy for the book Marshall describes the scene as Spud and Joe arrive at the studio for the contest:

At the T.V. Studio, Mary Frances and Charles Andrew Frothingham were just finishing up a superb tango.

“Superb” is crossed out and “flashy” is written above it. Then “flashy” is crossed out and “dazzling” is written, which is the final version in print.

At the T.V. Studio, Mary Frances and Charles Andrew Frothingham were just finishing up a dazzling tango.

“Dazzling” is a great choice that combines the essence of both “superb” and “flashy.”

 

Pgs. 28-29, dummy for The Cut-ups Carry On (James Marshall Papers Box 14:Folder 238) All rights reserved. No reproduction of any kind allowed.

Pgs. 28-29, dummy for The Cut-ups Carry On (James Marshall Papers Box 14:Folder 238) All rights reserved. No reproduction of any kind allowed.

                               

In a dummy for The Cut-Ups Crack Up, Marshall describes Spud and Joe as they speed around town in a “borrowed” car.

At the corner of Maple and Elm, they passed by an astonished Mary Frances and Charles Andrews.

In the final version, “passed” was changed to a much better action verb: “sailed.”

At the corner of Maple and Elm, they sailed by an astonished Mary Frances and Charles Andrew.

Again, this is a very simple word change that greatly improves the sentence.

In the dummy for the beginning reader Three Up A Tree, the story begins with the characters looking at a tree house:

Some big kids down the block had made a treehouse.

The final version reads:

Some big kids down the street had built a swell treehouse.

 Three word changes, “block” to “street”,  “made” to “built”, and the addition of “swell” give this sentence a boost. Now the reader can imagine the kids building a treehouse, and adding “swell” shows how much they admire it.

Marshall paid so much attention to words that he even made suggestions on other author’s manuscripts that he was illustrating. His notes and papers make it clear that he shared suggested changes to words and sentences with the authors Harry Allard (of the Miss Nelson and the Stupid series) and Jeffrey Allen (Nosey Mrs. Rat, Bonzini, and the Mary Alice stories).

In Nosey Mrs. Rat the story begins with Mrs. Rat spying on her neighbor in the bath. Allen’s original manuscript read:

“I see that you are using lilac bubble bath,” Shirley Foster said.

“I personally prefer rose.”

Mrs. Davis stepped out of the bath and locked the window.

Marshall’s suggestion for changing the last line was as follows:

Mrs. Davis pulled down the shade.

This sentence was used in the final text. With fewer words Marshall made a funnier sentence and one that also worked better for the humor in the illustration. It is easier and funnier to show a shade being pulled down than to show a window being locked.

 

Pgs. 1-2, manuscript , Nosey Mrs. Rat (James Marshall Papers Box 8:Folder 170). All rights reserved. No reproduction of any kind allowed.

Pgs. 1-2, manuscript , Nosey Mrs. Rat (James Marshall Papers Box 8:Folder 170). All rights reserved. No reproduction of any kind allowed.

 

 

As you can see from the image, Marshall made many suggestions to Nosey Mrs. Rat. Many of them were used, including changing the title and main character from Nosey Shirley Foster to Nosey Mrs. Rat. It is rare for an illustrator to suggest text changes to the author. Most of the authors I know have never had an illustrator suggest changes. It is obvious that Marshall paid just as much attention to words, both his and others’, as he did to his illustrations. Although revising a manuscript over and over again can be tedious, Marshall’s papers and ultimately the success of his books remind me that every revision is worthwhile because every word does count, especially for the youngest readers. That said, I probably could have made this blog post a bit shorter! I will certainly be revising my work again before I send it out.

 

 

 

 

Hypocrite Lecteur: Henry Tufts

Title page“He who was born to be hanged would never be drowned” (Tufts 118).

Born to be Hanged. The summation of a damnable life, and thus the best possible prospective title for a book which is instead entitled  A Narrative of the Life, Adventures, Travels and Sufferings of Henry Tufts, Now Residing at Lemington, in the District of Maine, In substance, as compiled from his own mouth (1807).

But why Born to be Hanged? Well you see, in his own time, “the name of HENRY TUFTS, the author and hero of the following narrative, [has] been famous, or rather infamous, through most of the United States” (Tufts 3). He was a criminal who eventually retired from crime and prison (by escaping) and wrote this delightful book about it all: within, read of how he and an accomplice were jailed and attempted to “burn a passage through the side of the jail, and so make our escape” (39), accidentally burning down the jail instead; how he “had learnt to disguise a horse so artificially. . . that the owner, to have known his property again, must have had uncommon sagacity” (115); how he traveled, “appearing sometimes in the character of a physician, and sometimes as priest, as best suited my purposes” (114); and how he once stole a horse by “personat[ing] him whom I had long served, vis. the Devil” (229).

Engravings1

Each chapter ends with a small engraving, ranging from the bucolic to the bizarre and horrid. Here are a few samples.

And much, much more! Let me not neglect to mention also that all of this happened during the Revolutionary War: after “the horrors of a civil war had burst forth between England and her colonies in America” (Tufts 101), even Henry takes up soldiering, though enlisting merely seems to him “the best method of supporting self and family, in a way consistent with my beloved ease, and at the same time, as, certainly more honorable than thievish pursuits, though a soldier in fact, may be a thief” (Tufts 101).

Seeing the Revolutionary War from the eyes of one who cared not one jot about it is really a remarkable thing. As noted by his first reviewer, Thomas Wentworth Higginson (some fifty years after Henry’s death), “the lives of vagabonds often afford the very best historical materials” (Higginson 605), and so “in him we have the reverse side of the Revolutionary soldier; he shows vividly the worst part of the material out of which Washington had to make an army” (Higginson 608).

Indeed, what bad material! Henry remains a thief, stealing one night “a couple of dunghill fouls” (Tufts 103), and “a couple of geese more” (Tufts 103) from a local farmer. Perhaps worse, too, dear Henry was not even reliably in the army. He enlisted numerous times, once “under Capt. True for three years” (Tufts 131), but “growing sick, at the thoughts of a three years’ campaign, and having now a convenient opportunity for desertion, I made use of the privilege” (Tufts 132). Additionally, he even engages in undermining the American economy: he meets a British agent, a counterfeiter, who tells him “that, as congress had issued a paper medium to raise armies, and pay off their troops, it imported their adversaries to discredit the currency as effectually as possible” (Tufts 178). He then readily accepts one thousand dollars in counterfeits, finding “not the slightest difficulty in passing them” (Tufts 179).

Thus our clever hero shows us the underside of the American Revolution, yet how much can we really trust a thief, no matter how much he tells us that “I have worn no Engravings2marks, no disguises, but have appeared in my every day dress” (Tufts 364)? We cannot. Conducting further research, I found only George Wadleigh in 1913 citing an incident of August 26, 1794, in which “Theophilus Dame, Sheriff [of Dover, N.H.], gives notice that ‘the noted Henry Tufts broke out of goal on the night of the 25th.’ He was ‘confined for his old offence, that is, teft,” (sic) and is described as ‘about six feet high, and forty years of age, wears his own hair, short and dark coloured, had on a long blue coat’” (Wadleigh 185).

Such confirmation of Tufts’ prison-breaking is helpful, though this is a lone source, as the only two other accounts I found were completely anecdotal, and possibly based on Tufts’ book alone. Charles Henry Bell writing in 1888 notes that “the jail in Exeter, during the Revolution. . .  was not a very safe place of confinement, as was proved by the notorious Henry Tufts and others having made their escape from it” (Bell 256), while, finally, Mary Pickering Thompson writes in 1892 that “the Tufts family. . . has acquired an unenviable notoriety from the exploits of Henry Tufts” (Thompson 257).

Thus, we have very little to confirm Tufts’ actual adventures, so what can we take away? Henry Tufts himself  believed his book to be moral, for “the history of the wise and benevolent is beneficial to society. . .  [while] that of the vicious, affords also, instruction, shewing the effects of vice and immorality” (Tufts 7). He intends to show his harmful acts truthfully, ab ovo usque ad mala—from beginning to end (Ovid, qtd. Tufts title page)—to inspire moral behavior.

This moral purpose is reinforced by other works published by Tufts’ publisher, Samuel Bragg of Dover. Bragg published the Dover newspaper The Sun, promising “Here Truth unlicensed Reigns” (Nelson 62), and, here in the archives, printed an “Oration, delivered on the fourth of July 1796” by the Rev. Simon Finley Williams, who (ironically, due to Henry) says how in the Revolution, “Heaven seemed to unite all Americans into one soul, except some fugitive Cains” (Williams 9). The ilk of Henry aside, though, these works uplift society, holding up the nation and the law itself, as also in Bragg’s publication of the New Hampshire constitution in 1805, or, even better, The Complete End page FinisJustice of the Peace, by Moses Hodgdon (1806), which states that “Governments may be predicated and enacted with an intention to cherish and support them ; but unless the magistrates, whose duty it is to execute the laws, feel an attachment to the first principles of their government. . . the laws themselves soon become a dead letter” (Hodgdon, Dedication, n.pag.).

Why then do we have Henry Tufts? Because of faulty magistrates, of course! But I jest. Bragg is involved in society and the law, and so also publishes the autobiography of a criminal, intending to improve society. Yet are we better for it? I delighted in Henry’s crimes. Moral indignation was far from my mind. How could one not be amused by his stealing a horse through drugging its guards, while pretending to be hunting for Henry Tufts, all while actually operating on a bet with the owner? How is burning down the jail, and so needing to stay with the warden’s family, with “thanksgiving being near” (Tufts 42) not amusing? Moreover, though we cannot confirm his adventures, how is a book written by someone in the era of the Revolutionary war not historically significant?

It’s at once historical and ahistorical; moral and amoral; honest and false; and I love it. Perhaps  this joy ultimately shows us that we are all somehow like Henry Tufts, for Meliora video, proboque, detiriore sequor (Ovid, qtd. Tufts title page): I see the better, and I approve, but I follow worse.

As a reader, I sure followed Henry Tufts.

Daniel Allie is a senior undergraduate student in English. For his blog series Hypocrite Lecteur he will spend the Spring 2014 Semester exploring nineteenth-century literature in a variety of genres from the Rare Books Collection housed in Archives and Special Collections at the Dodd Research Center.

Works Cited

Bell, Charles Henry. History of the Town of Exeter, New Hampshire. Boston: J. E. Farwell & Company, 1888. Web. Google Books. 1 March 2014.

Constitution and laws of the State of New-Hampshire : together with the Constitution of the United States. Published by authority. Dover: Samuel Bragg, jun. for the State, 1805. Print. [Dodd Center call number: Gaines 865].

Higginson, Thomas Wentworth. “A New England Vagabond.” Harper’s Magazine 76 (1888) 605-611. Web. Google Books. 1 March 2014.

Hodgdon, Moses. The complete justice of the peace. Dover: Charles Peirce and S. Bragg, jr, etc., 1806. Print. [Dodd Center call number: B3029].

Nelson, William (ed.). Documents Relating to the Colonial History of the State of New Jersey, vol. XIX. Paterson: The Press Printing and Publishing Co., 1897. Web. Google Books. 4 March 2014.

Thompson, Mary Pickering. Landmarks in Ancient Dover, New Hampshire. Concord: Concord Republican Press Association, 1892. Web. Google Books. 1 March 2014.

Tufts, Henry. A Narrative of the Life, Adventures, Travels and Sufferings of Henry Tufts, Now Residing at Lemington, in the District of Maine In substance, as compiled from his own mouth. Dover: Samuel Bragg, 1807. Print. [Dodd Center call number: A1838]

Wadleigh, George. Notable Events in the History of Dover, New Hampshire: From the First Settlement in 1623 to 1865. Tufts College Press, 1913. Web. Google Books. 1 March 2014.

Williams, Rev. Simon Finley. “An oration, delivered on the fourth of July 1796. Being the anniversary of the American independence at Meredith bridge.” Dover: Samuel Bragg, 1796. Print. [Dodd Center call number: Gaines P-929]

See Also: Tufts, Tom. “Henry Tufts, Black Sheep of an Otherwise Respectable Family.” Heather Wilkinson Rojo, Nutfield Genealogy. Web. 14 September 2012. Accessed 1 March 2014. [link: http://nutfieldgenealogy.blogspot.com/2012/09/henry-tufts-black-sheep-of-otherwise.html]

For Private Eyes Only: Why We Write Diaries

I’d like to return to the diary of Ann Winchester in my final blog post of the series. In the 1940s, UConn final exams took place during the final week of January, several weeks after students returned from their holiday break. Ann’s feelings toward her final exams vaguely resemble my own:

January 25: Got up at 6:30 to study bac[teriology] but couldn’t take much of it (had gone stale). Final was at 8:30  I thought it was easy. Lab final was at 11:00 – it was a practical and rather hard…Studied psych again tonite but not too enthusiastically.

Ann’s exam week ended five days later after suffering through a “stinking, unfair” Education exam.

Though I’ve spent the semester reading and writing about various different journals, I’ve occasionally returned to Ann’s because her entries are so relatable. Though practical details of life at UConn in the 1940s are very different from the realities of modern life, the experience of being a student here remains the same in many ways. RebeccaThis semester, I reviewed four diaries, each unique in their description and purpose: there was the daily chronicling of Ann, the chatty 1940s UConn co-ed reflecting on her present, past, and future; the superficial impressions recorded by Mr. Dean Walker, a 19th-century bourgeois American traveler making his way through Europe for the first time; the shared sentiments of friendship collected by Mary Clark, a young lady from Massachusetts ostensibly preparing to depart for school; and the four-year attempt made by Sherwood Ransom, a working-class seamen in the New London whaling industry, to maintain some semblance of privacy while living and working intensely in the same, shared space.

My goal in researching each of these diaries was to understand the reasons why people have written diaries now and in the past. I wanted to challenge the oft-repeated contemporary assumption that a diary is simply a place for superficial, personal reflection. This assumption can hurt our understanding of diaries as historical objects and sources, and it obscures our understanding of the various reasons why people committed their thoughts to paper.

So why do we write diaries? The answer ultimately hinges on the writer and the context of their world. But there are similarities between all four of these that gets us closer to a more general answer: we write journals to disclose, to reflect, to collect objects and thoughts of importance, and to pass the time.

Still – there are at least a dozen more journals in this collection that I did not read, which means there may also be at least a dozen more answers to this question. Writing is always situational. We learn the purpose of a diary to its writer by reading its contents, not by assuming that its “personal” nature gives it a universal purpose.

And as for my own writing? My interest in keeping a journal relates to something author Joan Didion wrote about her own journal-writing tendencies: “My stake is always, of course, in the unmentioned girl in the plaid silk dress. Remember what it was to be me: that is always the point.”

Rebecca D’Angelo is a senior undergraduate student in History and Anthropology. For her blog series For Private Eyes Only she spent the Fall Semester studying diaries available in Archives and Special Collections at the Dodd Research Center and exploring the history of journal writing and reasons why we write journals.

For Private Eyes Only: Between East Haddam and Otaheite – A Nineteenth Century Whaling Journal

In February of 1845, Sherwood B. Ransom of East Haddam, CT visited the Island of Otaheite (Tahiti) in the Northern Pacific Ocean for his second time in two years. At the time, Ransom was sailing as a crew member aboard the Morrison, a whaling ship bound from New London, CT on what would become a lengthy cruise for whales through the Indian and Northern Pacific Oceans.

At Otaheite, Ransom was greeted by a pleasant surprise: here, he reunited with “Henry and Lyman,” two friends from home. Henry, probably Henry C. Griffens of East Haddam, had sailed with Ransom on a previous whaling voyage in 1842 aboard the New London ship Indian Chief, when Ransom made his first visit to Otaheite. “Lyman” (William Lyman Cole of East Haddam) was a “green hand,” or first time whaler. Ransom writes the following about his encounter with his friends:

got into the harbour about Eight[.] found three New London Ships there the India, Jefferson, and Neptune[.] went aboard of the Nep. Saw Henry and Lyman, found them well…came aboard about dark and started for the Sandwich Islands…Lyman likes whaling first rate[.] we had a first rate visit[.] I took dinner with them, and shall see them at the S. [Sandwich] Islands again.

This run-in with friends, though rare, but not unlikely, with so many New London ships at sea following similar voyage paths in the 1840s.

Opening page of Sherwood Ransom's journal. The whale stamps at the top were typically used in whaling logbooks to provide a visual record of the number and type of whales caught.

Opening page of Sherwood Ransom’s journal. The whale stamps at the top were typically used in whaling logbooks to provide a visual record of the number and type of whales caught.

I was over the moon when I saw that the diary collection in Archives and Special Collections at the Dodd Research Center included a whaling diary from a New London ship. In my other life as a student, I am researching the history of New London-based whaling in the southern Indian Ocean for my University Scholar project. During the nineteenth century, New London, CT became the second largest whaling port in the nation (New Bedford was the largest), employing men to sail throughout the Atlantic, and later the Pacific and Indian oceans in search of whales to kill for their blubber. When boiled, the blubber became oil that was used for lighting and as an industrial lubricant.

The Morrison’s journey lasted a total of four years (September 1844 – May 1848), but the majority of Ransom’s diary is composed of daily entries from 1844 and 1845, with a few entries penned in 1847. Ransom served as a boatsteerer on this voyage, a “promotion” from his previous work on the Indian Chief. Though not quite an officer, boatsteerers commanded authority on whaleships, different from regular crewmen in that they were hired for their specialized ability to harpoon whales and to steer the small “whaleboats” deployed from the main ship from which the whalemen hunted whales.

For Ransom, writing in a journal seems to have been both a refuge from the claustrophobic realities of whaling life as well as a way to pass the time. The majority of working time during a whaling voyage was spent performing mundane, shipboard duties or boiling blubber on a ship’s “tryworks” until a lookout sighted whales to hunt. In between, there was plenty of time to write. That being said, with the routine of the ship always contingent on the whims of nature (the availability of whales or changing wind patterns that made it necessary to adjust the sails) leisure time could easily transform into work time.

The lack of distinction between work and leisure is clearly evident in Ransom’s journal, with daily entries including both personal details and descriptions of routine shipboard work. “No[t] all hands to day and not much doing except two hours scrubbing decks and two spells setting up some of the head gear” he writes on September 22 (1844). “[H]ave had a good wash and shave and feel much revived after the operation. Stiff breeze as yesterday.” A report on the direction and strength of the wind is included in each of Ransom’s entries.

Ransom also scribbles details about latitude and longitude, as well as any whales captured on a given day in the margins of his journal. These details, normally committed to official ship’s logbooks, suggest that Ransom was understandably doing a bit of unofficial record-keeping himself. With the ship being both his workplace and his home, details that were important to the ship’s work became important to him; they determined his routine, his fatigue, and his happiness on any given day.

The regular timing of Ransom’s journaling suggests that writing became part of his shipboard routine, but was uniquely one of the only activities that afforded him a sense of privacy and security. The sense of refuge gained from writing in his journal is indicated by Ransom’s use of the diary to disclose intimate concerns. His entry from New Year’s Day 1845 reveals his feelings about missing home and family:

This is the first day of the year[.] how I wish I was at home to enjoy it by meeting in the social circle of young friends and to greet them a Happy New Year. But fate was so ordered that this poor devil is to be here in the ship Morrison many thousand miles from home and friends[,] though not friendless I hope and if my life is spared will be here twelve months from this. I have thought of home much to day, and of the past summer which I spent in East Haddam and how differently I am situated from what I was then.

However, the refuge provided by writing was only temporary; the intrusion of life at sea is continuously present. A page, smeared with ink includes the following note: “While I have been writing the foolish old ship gave a lee lurch and capsized. My ink on my book and has made a pretty spot so I think I will below and wait for better weather.”

As the voyage progressed, Ransom used his diary to voice frustrations about the officers on board, notably Captain Samuel Green. He writes the following after Green scolds him for an unsuccessful whale hunt:

Friday 25th [May 1845]: …I darted at him [the whale] but did not get fast and off he went as if the Devil was after him[.] came aboard and the old man [Capt. Green] was savage Enough but who cares for his lip[?] I do not[.] if he does not like my boat steering he can get some one else and I shall tell him so if he says anything more on the subject.

It is likely that writing these frustrations in a diary was the only way that Ransom could safely voice them without running the risk of being overheard, which would have resulted in him “catching it,” or being punished, by one of the officers.

At one point in 1845, Ransom, fed up with his captain, work, abysmal living conditions, and the inexperienced “fools” who were his fellow crewmen, threatens to abandon the operation altogether: “..[I]f ever I get into a good port,” writes Ransom, “I shall ask him [Captain Green] for my charge and if he does not give it to me he must keep a good lookout for me[.] he is a drascal as has ever lived these are my feelings at the present.”

The lock of hair and letter of reference for George Ransom included in the back of Sherwood Ransom's whaling journal.

The lock of hair and letter of reference for George Ransom included in the back of Sherwood Ransom’s whaling journal.

Whether or not Ransom ever did abandon the voyage is unclear – his journal ends abruptly in 1847.

Though his quick promotion to a boatsteerer indicates he was a competent whaler, it seems clear that Ransom was more interested in returning to East Haddam to work and live. Close ties to home are suggested by his New Year’s lamentations and his excitement over seeing Henry and Lyman at Otaheite, but they are also a physical feature of his journal. Tucked in the back pages are military papers and a letter of reference written for his father, George Ransom, as well as a lock of hair, likely belonging to a deceased family member.

Though these were likely added by Sherwood or another family member upon his return, their presence in the journal is tantalizing and indicative of a larger trend – most whalemen did not stay in the whaling industry for all of their lives. Many worked as whalemen for only a few voyages before earning enough money to return home and start a family; it appears Sherwood did this, marrying Abbie Payne, a woman from Colchester, CT in 1851, and living out the rest of his life on land until his death in 1893.

Rebecca D’Angelo is a senior undergraduate student in History and Anthropology. In her blog series For Private Eyes Only she studies diaries available in Archives and Special Collections at the Dodd Research Center and explores the history of journal writing and reasons why we write journals.

For Private Eyes Only: Describing “The Most Curious” – A Nineteenth Century Travel Journal

In August of 1851, Mr. Dean Walker, a Massachusetts man, visited Liverpool, England for the very first time. His initial impression of the city could be described as underwhelmed:

Saturday [August 2] – I have spent the day in travelling about the town. Find the people looking better than I expected. I do not think there are more dirty shabby looking people here than in New York, or more of the low classes here than there. They do not appear to be employed here, they only come from Ireland to ship to New York and other places. I went to see the “Great Western” start for New York. Those who were going I think were the most dirty-looking people I ever saw. A few ragged people are begging in the streets but not as many as I expected to see.

Liverpool was the first of many stops Walker made in a multiple-month-long “European trip,” during which he visited parts of England, Ireland, Scotland France, and Italy. During his travels, he recorded his initial impressions and quick observations on European life, landscape, and people in a journal.

Crystal Palace (engraving),  Comprehensive Pictures of the Great Exhibition of 1851 (London, 1852).

Crystal Palace (engraving), Comprehensive Pictures of the Great Exhibition of 1851 (London, 1852).

Walker’s journal is one of several travel journals within the Diary Collection. Travel journals are personal, narrative accounts of an author’s travels – broadly defined here as experiences that involve long or short-distance movement across a geographic space. The four travel journals contained within this collection were all written by Americans traveling through Europe during the late nineteenth century.

Walker, whose age is unknown, lived during a time when travel between the United States and Europe was accelerating – literally. He left Boston bound for Liverpool, England on July 15, 1851 in what was likely the packet ship (or “clipper ship”) Daniel Webster, built and run by the Boston-based Enoch Train & Company line.[1] He arrived in Liverpool after sixteen days of travel on August 1, a “fast passage” according to the Webster’s captain. Clipper ships, the iconic speedy cargo ships of the nineteenth century, are one of several signs of the nineteenth century transportation revolution, alongside railroads and steamships, evident in Walker’s journal.

Though we know little about Walker, we do know that he was likely a man of means, as he was able to afford passage as a “cabin” (or “first class”) passenger during his journey to Liverpool, on a shipping line popularly perceived as “expensive.” [2] As historian Daniel Kilbride notes in his book Being American in Europe (1750 – 1860), even though the cost of trans-Atlantic travel was declining by mid-nineteenth century and many Americans counted themselves amongst the ranks of the “comfortable” middle class, European travel was still a luxury enjoyed only by the wealthiest citizens.[3]

We also know that Walker was not alone in his travels. In fact, I was first drawn to Mr. Walker’s journal because of its suggested co-authorship. The inside cover of its first page reads, “Journal of European trip made by Mr. Dean Walker + Addison P. Thayer (July 1851).” At early points in the journal, when Walker describes his passage to walkerdiaryEurope, he occasionally uses the pronoun “we,” suggesting the presence of a companion; however, he describes most of his experiences using the singular first person pronoun “I.” It isn’t until Walker reaches France, several weeks into his journey, that he mentions: “Mr. Thayer was with me.” Their relationship remains unclear.

Perhaps this is because Walker is largely concerned with using his journal to discuss other matters. He focuses on describing his new experiences and his impressions of things that seem particularly “curious” to him. He notes seeing “black fish” porpoises and whales during the voyage to Liverpool, seeing his first Hippopotamus at the Zoological Gardens, and taking a meal at the Mechanics Eating House in London – significant to him because he could enjoy a book from their large library with his meal. His interest in using his journal to describe the extraordinary material things he sees is evident from an entry he writes about his visit to the Crystal Palace in London to see the “Great Exhibition of 1851,” a “World’s Fair” housing display of technology:

Tues. [September] 26th: I went today for the third time to the Glass Palace…I thought I would today begin and go through and [write] down the prices and try to give a description of the most curious things I saw, but I directly became discouraged and gave it up as a bad job. The best way I can give one an idea of the things is to describe some of the most extravagant things and some of the most simple, and then have any one form an idea from the size of the building how much was to be seen.

He goes on to describe several extraordinary and expensive objects he sees at the exhibition– a large diamond, expensive furniture. His interest in wealth is telling, as his the suggestion that he may be describing these objects “for someone else.” Unlike Ann Winchester, it seems as if Walker may have had an audience in mind for his diary – perhaps family and friends back home, who would read his journal upon his return.

Walker’s journal is filled with comparisons, as well as descriptions. As evident in the above-quoted passage about the Irish immigrants passing through Liverpool on their way to the United States, Walker frequently compares European people, as well as landscape, architecture, food, and habits to American ones. In a few instances, he also compares his experiences in each European nation he visits to his experiences in other places in Europe. Consider the following excerpt from his journal, in which he describes a train ride he takes on his way from Hull, England to London:

[August, around the 16th]: The land on the rail-road for the most part is well cultivated, but not as neatly as in Ireland. The hedges looked much more uneven – a considerable woodland – the trees not large, and when we were within 10 miles of London it looked more like Massachusetts than it had at any time, on account of the wood.

Some of the comparisons Walker makes are purely descriptive, such as his recognition of the British landscape as very similar to that of Massachusetts. But there are many more that are qualitative in nature, including his comment included above about the “neatness” of British “cultivation.” Walker’s journal is therefore a place where he evaluates the quality of European culture, food, and conditions, by comparing them to the quality of American goods. As a person clearly cognizant of status and quality, this seems consistent with Walker’s character; as an American in Europe for the first time, it may have been Walker’s self-conscious attempt to understand America’s place in the world.

Rebecca D’Angelo is a senior undergraduate student in History and Anthropology. In her blog series For Private Eyes Only she studies diaries available in Archives and Special Collections at the Dodd Research Center to explore the history of journal writing and reasons why we write journals.


[1] The Daily Evening Transcript (Boston, Massachusetts); July 14, 1851, pg. 4.

[2] Boston Semi-Weekly Courier (Boston, Massachusetts), July 17, 1851, pg. 2.

[3] Daniel Kilibride, Being American in Europe, 1750–1860 (Baltimore: The Johns Hopkins University Press) 2013, 83.

 

An Encounter with Robin Price

October 25 at 4 pm, Konover Auditorium, Dodd Research Center

Robin-Price_Poster_resampled

For the closing reception for A Private and Sensuous Encounter: Women’s Fine Press and Artists’ Books, 1966-2013, we have invited Robin Price, printer and publisher, to share her artistic encounters in the world of fine press printing.

Price is an artist, letterpress printer and publisher, whose artists’ books have the craft sensibility of her fine printing background. The work of the press, under the umbrella of Robin Price Publisher has become a lifelong, interdisciplinary liberal arts education, and her press books are collected & exhibited internationally. The 25-year anniversary of her press was celebrated in 2010 with a traveling retrospective exhibition that originated at Wesleyan University Davison Art Center, “Counting on Chance: 25 Years of Artists’ Books by Robin Price, Publisher.”

Robin Price, Printer & Publisher:
http://www.robinpricepublisher.com

For more information please contact:
kristin.eshelman@uconn.edu
sara.jamshidi@uconn.edu

A Fierce Performer: The Magdalena Gómez Papers Collection (1979-2012)

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Some of you may have seen already the UConn Today article announcing that the UConn Libraries’ Archives & Special Collections at the Thomas J. Dodd Research Center has acquired the Magdalena Gómez Papers (1979-2012). Born in NYC but currently a resident of Springfield, MA, Magdalena Gómez is what I consider the quintessential Renaissance woman: an award-winning poet, playwright, performance artist and social activist. Magdalena Gómez has the ability to combine art with social activism to create projects that are uplifting and empowering, one of the many reasons that guide me when I decided to acquire her collection.

Magdalena Gómez’s creative output is impressive. Poetry,  plays, non-fiction, puppetry, monologues are just a few of the things that Magdalena has created, performed, engaged for several decades; and still there is more to come, as she herself shared with us recently:

I am in what may be the most creative period of my life. As I near the beginning of six decades on the planet I am at last finishing my novel, getting my first book collection of poetry published by Red Sugar Cane Press, NYC (I have chapbooks and two CD’s), and have poems and monologues, some of which have been set to music, by acclaimed composer, Desmar Guevara running Off-Broadway this Fall: Dancing in My Cockroach Killers, a co-production between Pregones theater and the Puerto Rican Traveling Theater, an Off-Broadway house since the 1960’s, founded by one of our legendary actors, Ms. Miriam Colón. It will be directed by another legend of American theater (all of the Americas), Rosalba Rolon, with choreography by Antonio Vargas.

In addition, Magdalena’s commitment to social change and justice through art is evident in such projects as Teatro V!da, the first Latino theater in Springfield, Massachusetts, where she is Co-Founder and Artistic Director. From their website:

Teatro V!da was founded to build youth leadership through the arts with a special focus on the creation of youth generated multi-media performance works in collaboration with professional adult artists. Our intergenerational ensemble work provides a venue for youth to identify and address issues that concern them in creative, positive, and life-giving ways.

Magdalena is the consummate collaborator. Her most recent effort is with Maria Luisa Arroyo, a writer and educator, with whom she co-edited a book on bullying, Bullying: Replies, Rebuttals, Confessions, and Catharsis (2012), an anthology of essays and poems written by educators and students, young and old people alike, who have suffered bullying but found that speaking out and sharing their experience is a way of healing–be it through a testimonial, a poem, or a short story.

At this point in time, we have a small collection, with a wide variety of materials that showcase the diverse projects and endeavors in which Magdalena has engaged from 1979-2012. Magdalena Gómez is an incredibly productive artist so more material will surely arrive in the archives as time goes by. Currently we have the following types of materials available in the collection: photographs, published poetry, published books and unpublished manuscripts of original poetry and plays, publicity posters and flyers, and empowering workshops material which highlight her creative output. Materials related to Teatro V!da and her book on bullying are also included, in addition to workshop material that she produced to teach educators, young children and adults, prisoners, abused women, etc. with the aim to empower them to reach their potential. A finding aid to her collection should be uploaded online by the end of the Fall semester.

Please visit the Archives & Special Collections, John P. McDonald Reading Room to see a display of Magdalena Gómez materials. The display will be available from Sept. 24 to Oct. 31st, 2013 during our regular hours, Monday-Friday: 10:00am-4:00pm.

Finally, today, Wednesday, October 9th the UConn Libraries, together with the Puerto Rican and Latin American Cultural Center, El Instituto, the Asian American Cultural Center, the Asian American Studies Institute and Women’s, Gender & Sexuality Studies Institute are co-sponsoring the event An Evening with Magdalena Gómez, at the Student Union Theater starting at 4pm, where we will celebrate Magdalena’s work and life. During the program, Magdalena will perform work from her forthcoming poetry anthology (Reception to follow at PRLACC).

Marisol Ramos, Curator for Latina/o, Latin American & Caribbean Collections, UConn Libraries
Suzanne Zack, Marketing & Communications Specialist, UConn Libraries

For Private Eyes Only: A Place to Record Continuity and Change

Ann T. Winchester was not looking forward to returning to school on September 28, 1943. She has written “Doom Day!” next to that date. Her entry continues:

Fooled around all morning getting ready for the great trek back to Storrs. We started at 2:00. [T]ook Jane and Mrs. Schafer – she gave me a beautiful blue cardigan and a white wool kerchief. We found my room in Wood – small but a single.

“Wood” in this case refers to UConn’s very own Wood Hall, which currently houses the History Department. Ann, a resident of Windsor and student at the University of Connecticut from 1941 to 1945, had lived in Holcomb Hall on East Campus during the Spring of 1943, but moved into Wood Hall for the 1943 – 1944 school year.

Ann was a student at the University of Connecticut during World War II when the ratio of male to female students on campus was at its lowest (nearly 1:1) since the University’s inception, due in part to the significant numbers of young men fighting in Europe and the Pacific. Notably, she was also one of the first students to graduate from the University of Connecticut’s School of Nursing, which accepted its first class in September of 1942. nutmeg_1944_0035She was a member of the Nursing Club, worked in the infirmary, and participated in an in-residence nursing training program at Backus Hospital in Norwich during the summer of 1943.

I once heard a writing professor define a diary as “a place to record the highs and lows of the day.” Ann’s diary, a series of short entries written daily from January 1, 1943 through December 31, provides consistent insight into the highs and lows of each of her days. A typical entry reads as follows:

May 7, 1943: After physics this a.m. – I went out on the roof for a couple hours of sunbathing. Hot and muggy today. Looked like Coney Island out there. Fooled around the rest of the day except for going to nursing class. Tonite we painted quite a bit. Then we took a walk up to the restaurant up the road and had coffee and doughnuts and smoked. Was fun – the nite is swell – warm and smells good. The peepers were singing for all they were worth.

In this way, each daily entry can read as a stand-alone record of one day’s events. But when read in its entirety, we start to see that Ann’s journal became a place where she recorded continuity and changes in her life over days, weeks, years, and semesters. Take, for example, the following excerpts from entries Ann writes over the course of three days in the Spring of 1943 about “an escapade,” which seems to have involved co-authoring a controversial note about one of her fellow house-mates (Flavia) with her roommate, Jane (May 4). This got her into particular trouble with a “Mrs. Davis,” presumably the house mother in Holcomb Hall, where she was living at the time:

April 28: Tonight Jane and I went to the House Council Meeting not expecting too much bad. Mrs. Davis gave us hell and threatened us with suspension. Not only the note was brought up – but working on shreds of truth, she told wholesale lies about us – “we’re vulgar.” Forbade Flavia to associate with us. Mrs. Davis is absolutely low and treacherous. In short she nauseates me!!!!

April 29 – I wrote mother about last nite – hope she’ll stand up for me! This place is stifling me – the petty minds and the cats that abound…Now Davis says [Flavia] can eat with us, but not come into the room. We’d corrupt her. I’ll get even with Davis some day!

And finally:

May 1: Both [Jane and I] went down to see Mrs. Davis this aft – she was too sweet to us. Well, maybe she thinks a little better of us. But you never can tell. To bed early.

These successive entries indicate that this issue remained a feature of Ann’s life over the course of several days. blogAnnWBy reading each of these entries, then, we see that Ann used her journal to record her changing thoughts on the consistent features in her life, and perhaps gain insight into the relative importance of each of these concerns to her. Certain topics, including her relationships, class work, habits, and career goals, seem to be of greatest concern to Ann because she writes about them at length. Some aspects of her life – such as her ongoing battle with her physics and chemistry classes – are easy to recognize as important to her because she writes about them explicitly and frequently.

But there are other continuities, such as her on-going friendship with her roommate Jane, which we know are important to her, even if she doesn’t say so explicitly. Ann never writes, “Jane is an important part of my life.” We simply know this, because she mentions her nearly every day. Their friendship is so pervasive that as I read her journal, any time Ann used the pronoun “we,” I automatically began to assume it meant “Jane and me” – even if this wasn’t always the case. More ambiguous is the relative importance of the War to Ann’s life, which we recognize only through passing references to rationing, war-time movies, blackouts, and a visit by Mrs. Roosevelt to campus in March of 1943.

Long-term change, as well as short term change, is also a feature of Ann’s diary. During her summer (June – August 1943) spent as an in-residence nursing student at Backus Hospital, Ann befriends a “Miss Classé,” an instructor at Backus. Taken with her, Ann writes, “She looks like the perfect nurse. I’ll have to pattern myself after her” (July 16). Later, in October, when she attends a Nursing Club lecture given by an ex-Navy nurse, she confides to her journal that, “I rather think I would like to be a navy nurse” (October 25). In this way, Ann uses her diary to anticipate and project her present life into her future, particularly as it relates to her career – unsurprising for a young person in school.

Rebecca D’Angelo is a senior undergraduate student in History and Anthropology. In her blog series For Private Eyes Only she will study various diaries available in Archives and Special Collections at the Dodd Research Center to explore the history of journal writing and reasons why we write journals.

Postcard Poems in the Archives

Stephanie Anderson is a PhD candidate in English at the University of Chicago and the recipient of a 2013 Strochlitz Travel Grant. Travel grants are awarded bi-annually to scholars and students to support their travel to and research in the Dodd Research Center’s Archives and Special Collections. 

These days, when I’m thinking of a friend, I usually toss off a quick text or email.  But a few weeks ago I stumbled upon a postcard image of Robert Burns’s cottage, and I had to send it to my mother, a Burns fan.  The simple act of addressing and sending the postcard reminded me what a joy postcards can be; my mother would know right away why I had sent the card.  Postcards anticipate some sort of response, even if it’s not a written one. In that regard, they are like poems – often understated, yet capable of signifying a great deal; sometimes intended for a particular addressee yet also circulating, exposed, in public. And like poems, their text is not their only means of signifying; it is generally only one component of the entire “message.” 

The postcard’s other marks of distance – foreign stamps, the obtrusive postmark, the image on the front (which, as with the postcard to my mother, may be more “private” than the text on the back, as it can represent a mental placement of the addressee in the sender’s position or thoughts for reasons that an over-hearer/reader may not be able to intuit) – can be just as weighty. In other words, often it is the entire object or one of its components that signifies more than the epistolary text. As Derrida says, “What I prefer, about post cards, is that one does not know what is in front or what is in back, here or there, near or far, the Plato or the Socrates, recto or verso. Nor what is the most important, the picture or the text, and in the text, the message or the caption, or the address.”[1] The postcard tracks the movement of the sender, and confirms the fact that the other is still in the world.

Members of the group of poets known as the “Second Generation New York School” (active from about 1960 to the present) used postcards as a primary form of communication. The cards were printed en masse to advertise readings; they were handwritten en masse as invites to parties and celebrations. Presses printed individual poems on them to advertise books. For the artist Joe Brainard as well as others, they suited his interest in assemblage and his reclamation of kitsch. He tirelessly sent vast numbers of postcards, such that their saturation became, for their recipients, a form of articulating presence – and as evidenced in a letter from Bill Berkson, Brainard even considered starting a postcard company.[2] We can assume that for the group, the exchange of postcards can be seen as a form of playful conversation.

At the Dodd Research Center’s Archives and Special Collections this summer, I had the berkson_notleycard1pleasure of looking through archives of several “Second Generation New York School” participants, including Bill Berkson, Ted Berrigan, and Larry Fagin. A chapter of my dissertation examines the epistolarity of Ted Berrigan’s The Sonnets, and so I was very excited to come upon letters and postcards throughout these archives.

Berrigan wasn’t a prolific letter writer, but he did like postcards quite a lot; at the time of his death in 1983 he was working on a series of poems written on postcards. The poet and Berrigan’s widow Alice Notley reports that though these blank postcards were printed by the Alternative Press, they were 4½ by 7 inches, distributed in groups of 500, and given to other artists and writers as well.[3] The appeal of the postcard, Notley suggests, is its materiality; it is a “block”-like unit.[4] She explains how Berrigan used the postcard:

The postcard poem was a form dominated by the size of the card, though a relatively longer poem could be written on a card if Ted shrank his handwriting. Ted immediately used semi-collaboration as a way into the poems, inducing everyone he knew to write a line or draw an image on a postcard. He later eliminated the names of the “facilitators,” except for the occasional dedication. The poems are often epigrammatic, but are just as likely to be longer; they chronicle, not so explicitly, a difficult year…[5]

The Bill Berkson papers contain one beautiful example of such a collaborative postcard, which has a “trillium” in the background painted by Notley (the back is empty). According to a note in his papers, Berkson received the postcard in 1983, after Berrigan’s death. berkson_notleycard2re The smooth and luscious lines of Notley’s watercolor flower provide an interesting contrast to the card’s text, which begins (after listing the address to situate the card’s production) “I stand in the dock in judgement / literally already condemned, but am / here to be informed…” The second slash is actually present in the text, insinuating that Berrigan conceived of the lines as poetry but perhaps a poetry still in a nascent or draft state.

The remainder of the text goes on to question groupings such as the “Second Generation New York School” tag that I employed above.  Berrigan was at this point seen as central to the “group,” and here he name-drops other artists (Lorenzo Thomas and Kathy Acker) to poke fun at his placement vis-à-vis the public perception of the “group,” suggesting that aligning his own work with that of Lorenzo Thomas and Kathy Acker is a mistake. One aspect of their work’s reception, he says, is its ability to “provoke angry / exchanges + bloody fist fights,” an end his work cannot accomplish. He will, instead, simply attempt to communicate: “…so, what I am / going to do is talk, which is what I do plus read / my poems.” His “one word of advice” to Berkson, scrawled almost illegibly in the upper right-hand corner, is “Duck,” perhaps partially intended to pun on predictability. The image of the flower contains an upward trajectory in its lines, some of which guide the eye toward this right-hand corner, but semantics of the word hiding there suggest the opposite movement. “Duck,” as a verb: keep your head down, keep moving, don’t get hit by the incoming “bloody fist[s].”

I don’t take this statement to be apolitical, or against aesthetic provocation; I read it instead as a wariness of generalizing about groups and group labels. It is desirable to be included – or to have others included with you – in such grouping, even with the tongue-in-cheek tone (“I am pleased and flattered / to be joined in such noble / company,” he writes). But as in a boxing match, one can only avoid being knocked out (critically pigeon-holed and labeled, we might say) by remaining unpredictable, both in aesthetics and in perceived group affiliations. Hand-delivered to Berkson, it has a specific addressee, yet the suggestions Berrigan makes about aesthetic groupings seems directed toward a larger audience. Of course, he couldn’t have anticipated that 30 years later, a budding scholar would be thumbing through his correspondence looking for clues about his work and milieu – yet the postcard felt like it was intended to be overread by a recipient exactly like myself, in order to complicate and nuance conceptions of poetic form and coterie labeling

– Stephanie Anderson


[1] The Post Card: From Socrates to Freud and Beyond (Chicago: University of Chicago Press, 1987), 13.

[2] “United Artists Papers,” Archive (UCSD, n.d.), Box 1 Folder 9, MSS 0012, Mandeville Special Collections Library, UCSD.

[3] The Collected Poems of Ted Berrigan (Berkeley: University of California Press, 2005), 12–13.

[4] “It’s a very graspable, manageable unit.” (See the introduction to A Certain Slant of Sunlight (Oakland, CA: O Books, 1988), n.p.)

[5] The Collected Poems of Ted Berrigan, 13.