Black Mountain: An Interdisciplinary Experiment Opens at Nationalgalerie Berlin

[slideshow_deploy id=’5682′]

 

The first comprehensive exhibition in Germany devoted to the legendary Black Mountain College opened this weekend at the Hamburger Bahnhof – Nationalgalerie in Berlin amid a large crowd and a flurry of interest.  The large exhibition showcases archival materials loaned from a variety of repositories in the United States and Europe, and we are thrilled to have materials produced at Black Mountain College exhibited from collections held here in Archives and Special Collections included in the exhibition.

Black Mountain. An Interdisciplinary Experiment 1933 – 1957 encompasses works of art and craft, photography, performance and literature produced at Black Mountain College.  Live readings, documentary film, and student programming promise to engage visitors throughout the exhibition which runs from June 5 until September 27, 2015.

In cooperation with the Freie Universität Berlin and the Dahlem Humanities Center, the exhibition at the Nationalgalerie in the Hamburger Bahnhof Museum traces the history of the small college founded in 1933 in North Carolina from its early experimental stages through the artists and teachers that shaped it in years following World War II.  “Its influence upon the development of the arts in the second half of the 20th century was enormous; the performatisation of the arts, in particular, that emerged as from the 1950s derived vital impetus from the experimental practice at Black Mountain,” according to the exhibition curators.
 

Within an architectural environment designed by the architects’ collective raumlabor_berlin, the exhibition at the Hamburger Bahnhof is showing works both by teachers at the college, such as Josef and Anni Albers, Richard Buckminster Fuller, John Cage, Merce Cunningham, Shoji Hamada, Franz Kline, Xanti Schawinsky and Jack Tworkov, and by a number of Black Mountain students, including Ruth Asawa, Ray Johnson, Ursula Mamlok, Robert Rauschenberg, Dorothea Rockburne and Cy Twombly. A wealth of photographs and documentary film footage, as well as publications produced by the college, offer an insight into the way in which the institute worked and into life on campus.

In the first few years of its existence, the college was strongly shaped by German and European émigrés – among them several former Bauhaus members such as Josef and Anni Albers, Alexander “Xanti” Schawinsky and Walter Gropius. After the Second World War, the creative impulses issued increasingly from young American artists and academics, who commuted between rural Black Mountain and the urban centres on the East and West Coast. Right up to its closure in 1957, the college remained imbued with the ideas of European modernism, the philosophy of American pragmatism and teaching methods that aimed to encourage personal initiative as well as the social competence of the individual.

 

Accompanying the exhibition is the artistic project Performing the Black Mountain Archive by Arnold Dreyblatt, a Berlin-based media artist and composer currently teaching as Professor of Media Art at the Muthesius Kunsthochschule in Kiel. The project incorporates the live performance of archival material Dreyblatt collected in the Black Mountain Archives in the United States. Including students from different disciplines like sculpture, painting, media art, sound art, music, dance, theater, typography and literature, the project “investigates the interdisciplinarity of Black Mountain’s pedagogical approach.” Dreyblatt invited students from ten European art academies – amongst them his own class – who present the material in the form of readings, concerts and performances over the entire duration of the exhibition. Dreyblatt was interviewed recently about the project by Verena Kittel of Black Mountain Research, based at the Museum.

Stay tuned for information regarding another exhibition featuring Black Mountain College materials, loaned from Archives and Special Collections, this October at the Institute for Contemporary Art in Boston.  Details can be found on their forthcoming exhibitions site!

Emily Arnold McCully gets a new finding aid

      A new finding aid is now available for the Emily Arnold McCully Papers.  The collection consists of sketches, dummies, research materials and artwork for eight of her books: The Taxing Case of the Cows,  the Divide,  Old Home Day,  Ballot Box Battle,  Ballerina Swan,  My Heart Glow,  Secret Seder, and  The Helpful Puppy.  Emily Arnold McCully, an American writer and illustrator, won the Caldecott Medal for U.S. picture book illustration in 1993, for Mirette on the High Wire which she also wrote.

Secret Cave: Discovering Lascaux (New York : Farrar Straus Giroux, 2010)

Secret Cave: Discovering Lascaux (New York : Farrar Straus Giroux, 2010)

 

She was born in Galesburg, Illinois, in 1939, and grew up in Garden City, New York. She attended Pembroke College, now a part of Brown University, and earned an M.A. in Art History from Columbia University. At Brown she acted in the inaugural evening of Production Workshop and other plays, co-wrote the annual musical, Brownbrokers, and earned a Phi Beta Kappa key.

 

In 1976, she published a short story in The Massachusetts Review. It was selected for the O’Henry Collection: Best Short Stories of the Year. Two novels followed:  A Craving in 1982, and  Life Drawing in 1986. In 2012, Ms. McCully published  Ballerina Swan with Holiday House Books for Young People, written by legendary prima ballerina Allegra Kent. It has received rave reviews from The New York Times, Kirkus Reviews, and School Library Journal and was praised in the “Talk of the Town” column in The New Yorker. 

Ballot Box Battle (New York : Alfred A. Knopf, 1996)

Ballot Box Battle (New York : Alfred A. Knopf, 1996)

 

As an actor, she performed in Equity productions of Elizabeth Diggs’ Saint Florence at Capital Rep in Albany and The Vineyard Theater in New York City.  In addition to the Caldecott Award, Ms. McCully has received a Christopher Award for Picnic, the Jane Addams Award, the Giverney Award and an honorary doctorate from Brown University.

Emily Arnold McCully gets a new finding aid

A new finding aid is now available for the Emily Arnold McCully Papers.  The collection consists of sketches, dummies, research materials and artwork for eight of her books: The Taxing Case of the Cows,  the Divide,  Old Home Day,  Ballot Box Battle,  Ballerina Swan,  My Heart Glow,  Secret Seder, and  The Helpful Puppy.  Emily Arnold McCully, an American writer and illustrator, won the Caldecott Medal for U.S. picture book illustration in 1993, for Mirette on the High Wire which she also wrote.

Ballot Box Battle (New York : Alfred A. Knopf, 1996)

Ballot Box Battle (New York : Alfred A. Knopf, 1996).  All rights reserved.

 

She was born in Galesburg, Illinois, in 1939, and grew up in Garden City, New York. She attended Pembroke College, now a part of Brown University, and earned an M.A. in Art History from Columbia University. At Brown she acted in the inaugural evening of Production Workshop and other plays, co-wrote the annual musical, Brownbrokers, and earned a Phi Beta Kappa key.

 

In 1976, she published a short story in The Massachusetts Review. It was selected for the O’Henry Collection: Best Short Stories of the Year. Two novels followed:  A Craving in 1982, and  Life Drawing in 1986. In 2012, Ms. McCully published  Ballerina Swan with Holiday House Books for Young People, written by legendary prima ballerina Allegra Kent. It has received rave reviews from The New York Times, Kirkus Reviews, and School Library Journal and was praised in the “Talk of the Town” column in The New Yorker

Secret Cave: Discovering Lascaux (New York : Farrar Straus Giroux, 2010)

Secret Cave: Discovering Lascaux (New York : Farrar Straus Giroux, 2010).  All rights reserved.

 

As an actor, she performed in Equity productions of Elizabeth Diggs’ Saint Florence at Capital Rep in Albany and The Vineyard Theater in New York City.  In addition to the Caldecott Award, Ms. McCully has received a Christopher Award for Picnic, the Jane Addams Award, the Giverney Award and an honorary doctorate from Brown University.

Archivist Graham Stinnett featured on Queer!NEA

 

I believe in the principles of archives as tools for engagement with a broader societal understanding of itself and how it can be leveraged for change in society, so building on these collecting areas is very beneficial. We are always being documented, it is our job to engage the creation of memory from that documentation.

dsc_9043-1

Check out the latest post on Queer!NEA, a blog for New England Archivists’ Lesbian, Gay, Bisexual, Transgender and Queer Issues Roundtable, featuring an interview with our very own Graham Stinnett, Archivist for Human Rights and Alternative Press Collections.  Graham tells us about his professional interests and the array of activities that occupy his days here at UConn with students and faculty.  He also reflects on the critical, tangible value of archives today “to promote the dialectic between the then and now”…

When considering the basis of text communication in social media platforms today which could be the closest comparison to the channels of alternative press, these outlets have more in common than they do in division.  My goal is to promote the dialectic between then and now.  Beyond the narrative that all movements toward rights are valuable and worth documenting, my interest has been to promote the intersections where students have made impacts through documentation in the past which now can inform the present context of identity, recreation, sociability and agency.  Having said all that, I don’t think we as archivists have yet understood how to deal with today’s alternative press, which is why these conversations are so important. 

 

Independent Voices Now Accessible

A large archive of digital Alternative Press newspapers is now available to UConn students, faculty and staff.

Independent Voices is a digital collection made up of alternative press newspapers, magazines and journals from the latter half of the 20th century, drawn from the special collections of participating libraries.  Archives and Special Collections has been contributing materials from its holdings to the digital archive over the last year. These periodicals were produced by feminists, dissident GIs, campus radicals and the New Left, Native Americans, anti-war activists, Black Power advocates, Hispanics, LGBT activists, the extreme right-wing press and alternative literary magazines.

This is a valuable resource for research comprised of what is an increasingly deteriorating paper medium for historically alternative politics and culture In America. Independent Voices can be found in the Human Rights databases through the library webpage.

 

A Language of Song: Samuel Charters Remembers John Fahey and the Fahey Style

countrybluescover01Within the archive of books, recordings, sheet music, letters, audiovisual materials, and advertising materials assembled by Samuel Charters are the compositions and recordings produced by contemporary blues-based musicians including John Fahey.  Rare recordings released on Fahey and Ed Denson’s independent record label Takoma Records, dating from the founding of the record label in 1959, together with Fahey’s later releases, reside in Series IIB of the Samuel and Ann Charters Archives of Blues and Vernacular African American Musical Culture.  Here, Samuel Charters remembers his first encounter with John Fahey and later, with his instrumental and compositional style:

In the summer of 1959 an LP came in the mail to the basement apartment in Brooklyn where I had just finished writing The Country Blues. The record was in a white cover, with only the words “Blind Joe Death” in large letters on both sides. With it there was a letter to me from someone named John Fahey, telling me that this was a record he had made of his own music, and asking me for an opinion. The letter was as guarded as the LP jacket. The music was a series of guitar instrumentals based on the finger picking style of the Mississippi bluesmen. I kept waiting for someone to sing, and when I didn’t hear any singing I wrote John a short note saying that other people in New York were doing countryblues02b1the same kind of thing but the record was interesting. John has never forgiven me for my note, and even if I’m not sure if we ever would really have become friends I have always been angry at myself for my insensitivity. John sent out a few copies of the record, which he had pressed for himself on his own Takoma label, and sold more through mail orders.

When the copies were gone he recorded a new record and sold the copies the same way. This time the copies went more quickly, and he recorded a third album. Within a few years Fahey and his music had become one of the growing influences of the 1960s. He was still almost unknown personally, but his music was everywhere in the new underground.

I had difficulty describing the pieces when I first heard the 1959 album, but I soon realized that John had created a new music, based entirely on the materials he had learned from the country blues. He had been one of the people who rediscovered Bukka White, and then Mississippi John Hurt, and from the musicians themselves he had absorbed finger techniques and new concepts of guitar tunings and chordal structures. He has never described himself as a guitarist – his description of his own music is that he is a composer who plays the guitar. What he did was to create a compositional style which synthesized elements from the entire range of rural southern string music, including the Mississippi slide guitar, Virginia string bands, the alternate thumb picking of the Delta, and the finger style of the Carolinas. His compositional technique was to record passages with different guitars which built up segments of his pieces – then he spliced the tape sections together, editing, changing tone, and adding echo effects. His last step was then to learn the piece as it was finally structured so he could perform it.

593196bBy the middle of the ‘60s John was touring regularly, and he had outgrown the small record company he had set up with a partner, ED Denson, the man who had gone to Memphis with him to find Bukka White. I had known ED for several years and we worked together to sign John to a contract with Vanguard. There were two albums – the first an album that included three long requia, and an extended three part piece that utilized a complicated sound montage over John’s guitar. We recorded many of the sound effects for the montage at Knott’s Berry Farm outside of Los Angeles, where the events John was depicting in the composition had taken place. Because of time problems and delays from John’s side I finally went ahead and mixed the sound piece without him, and our edgy relationship became even more difficult.

For the second album on the Vanguard contract he worked with a friend, Barry Hansen, in Los Angeles, while I acted as executive producer in New York. The album, The Yellow Princess, was one of John’s finest achievments, with a music concrete piece built on montage, a successful fusion of his guitar with small instrumental groups, and a rich collection of new compositions.

By this time Fahey had a series of disciples, among them Leo Kottke, who developed the idiom John had created into a more flamboyant and emotionally open statement. John was not upset. He recorded Kottke for his own record company, and they continued to be close friends. He was also having emotional problems, and his life often veered into difficulties, despite the growing creativity of his music. By the 1970s an entire school of guitar composition had grown from his work, and a new record company, Windham Hill, was established by a guitarist named Will Ackerman to present young guitarists playing in the Fahey style. It isn’t an exaggeration to say that John’s guitar compositions were the basis for the New Age movement that swept the guitar world, and that the basic foundation for all of it was southern blues guitar.

 

The series A Language of Song features the words of Samuel Charters and the recordings he produced as preserved in The Samuel and Ann Charters Archives of Blues and Vernacular African American Musical Culture at the University of Connecticut. The series is a tribute to the great Samuel Charters – poet, novelist, translator of Swedish poets, and renowned scholar of the blues, jazz, and musical culture of the African diaspora.  Samuel Charters died on March 18 at the age of 85.

 

Tomorrow: Fred Ho Fellow Marie Incontrera Performs with the Eco-Music Big Band

Marie IncontreraUConn welcomes Marie Incontrera – conductor and band-leader of the Green Monster Big Band (Fred Ho’s premiere big band) and the Eco-Music Band – to campus tomorrow April 14 at 12:45pm for a public performance.  The Eco-Music Big Band is a 15-piece, multi-generational big band that is committed to continuing the prodigious compositional and creative legacy of Fred Ho. The ensemble also performs the works of the overlooked composers of 20th century (such as Cal Massey), and provides a platform for the next generation of big band composers.

Ms. Incontrera has been awarded the 2015 Fred Ho Fellowship, named for Asian American Musician, composer, writer and activist Fred Ho. Established by the Asian and Asian American Studies Institute, the Fred Ho Fellowship supports research in the Fred Ho Papers, which are held in Archives and Special Collections at UConn.

Fred Ho’s conducting protégé before his death in April of 2014, Marie Incontrera conducted the Green Monster Big Band for Fred Ho’s final album.

Ms. Incontrera’s work spans queer opera, political big band, and music-for-the-oppressed. As a composer, Marie has been a recipient of the Miriam Gideon Composition Award, a winner of HoMarie2the Remarkable Theater Brigade Art Song Competition, the 2011 Vocalessence / American Composers Forum “Essentially Choral” readings, and a finalist in the Iron Composer 2010 competition. She has been awarded grants from Meet the Composer Metlife Creative Connections, Foundation for the Contemporary Arts, Puffin, and New York Women Composers Seed Money Grant. Commissions have come from the Young New Yorkers Chorus, Remarkable Theater Brigade, ANALOGarts, Brooklyn Art Song Society, ANIKAI Dance Theater, MOIRAE Ensemble, Beth Morrison Productions, and Atlanta Opera. Her work has been performed in Carnegie Hall, Symphony Space, Brooklyn Academy of Music, the Meridian Arts Festival in Bucharest, Roulette, Galapagos Art Space, WOW Cafe Theatre, highSCORE Festival, and other respected venues across the United States and internationally.

The Fred Ho Fellowship provides support to a faculty member, doctoral candidate or independent scholar who has a demonstrated research interest in the Fred Ho Collection. The Fred Ho Fellow is required to give a public lecture at the University of Connecticut and to reference the collection in his or her published works.

Archives in Action: Reading Shakespeare Today – on Display at the Homer Babbidge Library

shakespeare01In A Midsummer Night’s Dream, a flower struck by Cupid’s bow is instantly imbued with magical powers.  A touch of the nectar from the flower, a wild pansy, to the eye of the sleeping fairy queen Titania causes her infatuation with Bottom and the ensuing chaos that follows in the play.  Plants, flowers and herbs figure prominently in several of Shakespeare’s plays, most notably A Midsummer Night’s Dream and A Winter’s Tale.   During Shakespeare’s time, the wild pansy was known by many names including “Heartsease,” “Love-lies-bleeding,” and “Jack-jump-up-and-kiss-me”.  Botanicals in medieval Europe have long cultural histories and symbolic meanings derived from their use as curatives and medicine through time.  When characters such as Oberon and Puck from A Midsummer Night’s Dream mention flowers and herbs, it can be assumed that Shakespeare drew from these deep histories and intended for the audience to understand the associations that each flower represented.

A rare text on the medicinal properties of plants and other botanicals from the collections of Archives and Special Collections is currently on display in the exhibition The Plays the Thing: Shakespeare at UConn in the Homer Babbidge Library plaza level gallery.  Flore Medicale [Medicinal Plants] is a catalog of plants and hand painted illustrations produced by Francois-Pierre Chaumeton, a French botanist, physician, surgeon, and eventual shakespeare02pharmacist.  He lived from 1775 to 1819 and practiced for most of his professional life at the Val-de-Grace military hospital in Paris. Chaumeton translated medicinal texts from Latin, Italian, French and other languages and compiled the 8 volume Flore Medicale. The set was first published in 1814 and contains over 360 hand-painted illustrations of plants in total.

The exhibition features commentary from several UConn faculty members on different facets of Shakespearean scholarship.  Associate Professor F. Elizabeth Hart discussed Shakespeare’s allusions to Queen Elizabeth I in plays such as Comedy of Errors, A Midsummer Night’s Dream, and The Winter’s Tale; Professor Pamela Allen Brown provides examples of “The Advent of the Actress and Shakespeare’s All-Male Stage”; and Professor Gregory Semenza provided samples of Shakespearean influence in modern culture in the form of comic strips, graphic novels, and video games.

shakespeare03Though the 400th anniversary of Shakespeare’s death will be recognized in 2016, it is unlikely that students and scholars will ever come to a complete understanding of William Shakespeare and the influence that his work has had on the English language.  In The Play’s the Thing: Shakespeare at UConn, Connecticut Repertory Theatre’s (CRT) Managing Director Matthew Pugliese and Assistant Professor in the Department of Dramatic Arts Lindsay Cummings show the creative work of the students and artists of the Department of Dramatic Arts and Connecticut Repertory Theatre.  The exhibition is on display until June 15, 2015.

– Lauren Silverio

Lauren Silverio is an English and Psychology major and student employee in Archives and Special Collections.

The Altered Book: Now on Display

Altering a book page is a daunting concept; reconstructing and altering an entire book is a formidable test.  Even when using cast-off books that are about to be recycled, one is faced with the unnerving sensation of involvement in a destructive rather than a creative act.  Through thoughtfully considered and concentrated efforts, repetitive actions such as folding, cutting, scoring, curling, punching, incising, and shredding have altered the book’s original function as an object of information and have transformed it into something new.  (Deborah Dancy)

books1Altered books created by students in Professor Deborah Dancy’s first year studio foundation class will be on display from March 2 to March 20 in the Reading Room lobby of Archives and Special Collections.  Come in and allow these altered books to lead you in your own consideration of the form and function of the modern book.

The breadth and variety of works speak to the diversity of interpretations that can be made books2about the book as an object of information and of art.  Students draw inspiration from nature – cascading waterfalls, leaves, feathers, flowers, and rolling seas – as well as from the clean lines of geometry and the rhythm of repetitive shapes.

Some of the students cut into the books, suggesting, perhaps, that to understand the book as information and as art one must immerse oneself into the very substance of the book.   books3Other students chose to alter the books so that they expanded beyondtheir original physical boundaries, transforming the printed page into a three-dimensional sculpture.

– Lauren Silverio

Lauren Silverio is an English and Psychology major and student employee in Archives and Special Collections.books4

 

New Digital Content available

For those of you who may be interested in keeping up to date on our digitization efforts, we’ve added quite a bit to our digital repository.  Just over a year ago, the only collection with digital surrogates was the Thomas J. Dodd Papers.  Over the course of the summer, the Archives & Special Collections materials that had been made available via webpages and Connecticut History Online (now Connecticut History Illustrated) was migrated to the new platform.  More recent additions include Albert Waugh’s daily journal, Bruce Morrison video recordings, historical and architectural reports from Litchfield, Manchester, Groton and Mansfield, images of bookplates (Ercolini Collection), sound recordings documenting opinions of American politics (Everett Ladd Papers), Francelia Butler’s “Melted Refrigerator,” and books from the Puerto Rican and Skating collections–among many, many others!  Please take a moment and browse through the thousands of pages and images now available for research online at http://hdl.handle.net/11134/20002:UniversityofConnecticut

[slideshow_deploy id=’5211′]

Man, Woman, Machine: Gender, Automation, and Created Beings

We welcome intern Giorgina Paiella, an undergraduate student majoring in English and minoring in philosophy and women’s, gender, and sexuality studies. In her new blog series, “Man, Woman, Machine: Gender, Automation, and Created Beings,” she will explore treatments of created and automated beings in archival materials from Archives and Special Collections.

We love stories of animation. Over the centuries, humanity has certainly not tired of works that engage with creation, artificiality, and the relationship between animator and animated. It’s in our myths, our movies, our television shows, and our literature—from children’s narratives to infamous novels. As a writing intern in Archives and Special Collections at the Dodd Research Center this semester, I plan to examine technology magazines, the children’s literature collection, alternative press giorgina2publications, and other archival materials that explore the rise of automation and various iterations of automata and reflect upon how these representations can inform inquiries about gender, humanity, personhood, and our increasingly intimate relationship with technology.

For my first post in this blog series, I’m going to explore the trend of incorporating issues of gender into a discussion of scientific discoveries, which I have identified in several early technology publications. I read the second issue of the science and science fiction magazine Omni, a publication that founder Kathy Keeton created in 1978 with the intention of exploring “all realms of science and the paranormal, that delved into all corners of the unknown and projected some of those discoveries into fiction.” As I searched for themes that would be relevant to my research objectives, I was fascinated by the frequency at which language relating to second-wave feminism contributes to the dialogue about scientific and technological discoveries.

This is not entirely surprising, especially considering that the issue was published in November 1978, an era of burgeoning feminist activity. Some of these references were more explicitly linked to women’s issues than others. One article describes the computer revolution as “computer lib,” a clear nod to the women’s liberation movement, commonly referred to as “women’s lib.” A short news headline details the development of a birth control pill for dogs, so “fido can have sex without fear.” The description that follows reads like a parody of the female birth control pill introduced in the 1960s: “this planned parenthood for pups is dispensed by veterinarians for about five cents a day and is claimed to be 90 percent effective in stopping estrus (heat) in bitches of all sizes and descriptions.”

Another article within this issue of Omni discusses papers and novels that speculate on the scientific and cultural possibilities of a longevity pill, including Jib Fowles’s “The Impending Society of Immorals” and Albert Rosenfeld’s Prolongevity, which cites over 500 scientific papers in its bibliography. The article also describes an assignment given to thirty-one students at the University of Houston in the department of future studies to predict how a longevity pill would alter society. Their collective prediction utilizes the same alarmist dystopian rhetoric adopted by opponents of the birth control pill:

One year after the introduction of the antiaging pill, traditional religions warn against death control a campaign similar to the earlier crusade against birth control; the economy is destabilizing as employees desert their jobs; government has moved in to monopolize distribution of the pill; and the divorce rate is increasing. Ten years later, organized religion is disgraced and disbanded, virtually everyone is taking the pill, divorce rates soar, the economy is staggering because of an increase in absenteeism, and all dangerous sports are phasing out as people everywhere reorient themselves to the quest for physical immortality.

The concept of life extension is, in fact, a centuries-old trope, but this article demonstrates the way in which existing gender debates became interwoven into discussions about technological advances. Continuing on the topic of longevity technology, the author explains that “until now it was necessary for post-menopausal humans to die and get their bodies off the scene to make room for the new arrivals.” giorgina3Of course, we’re not simply talking about post-menopausal humans, but rather post-menopausal women. The objectification of women’s bodies is also far from a new phenomenon, but notice the language: they must “die and get their bodies off the scene” to make way for “new arrivals.

The rise of mechanization and speculations on new technological possibilities amplified ideas regarding the mind/body dualism and the disposability of bodies—particularly female bodies. Another article, “The Changing Shape of Women,” recounts findings from a study conducted by Berlei, the leading manufacturer of women’s undergarments in England at the time. The company describes changing trends in female body measurements, with a sample of over 4000 British and American women revealing taller frames on average, smaller breasts and hips, and thicker waists, more generally described as a “straightening of their curves.” Berlei cites poor eating habits and hormonal abnormalities from food additives as potential giorgina4explanations, but whatever the cause, “the traditional hourglass shape is no longer symbolic of today’s women.” When tasked with describing their average customer, the company states, “something rather like a thick-ended broomhandle…one might even say they’re becoming man-shaped.”

So what does this have to do with created beings like automata, cyborgs, and robots? Existing cultural views often inform the characteristics and treatment of these beings, and attitudes toward embodied human females can therefore provide insights into female technological portrayals, and vice versa. For example, a female automaton can reveal something that would perhaps not be readily apparent about the expected appearance, behavior, and roles of human women. Similarly, the body of a female cyborg can call attention to attitudes regarding female bodies and their biological processes. I aim to keep these blurred boundaries between man and machine—or perhaps more accurately, woman and machine—in mind as I continue to work through the archives.

– Giorgina Paiella

Larry Eigner letters published in Poetry Magazine

Eigner_12-46-55Six letters by poet Larry Eigner from 1954 to 1964 are published for the first time in the December 2014 issue of Poetry Magazine, including a letter from Larry Eigner to Charles Olson dated October 20, 1956.  The letter, from the Charles Olson Research Collection housed here in Archives and Special Collections, was selected for Poetry Magazine by co-editors Jennifer Bartlett and George Hart.

Jennifer Bartlett, a poet who is currently writing a biography of Larry Eigner, was awarded a travel fellowship by the Archives to use the Larry Eigner Papers.   Her work reflects a fresh and growing attention on the life and poetry of Larry Eigner that has emerged in recent years.

Larry Eigner (1927–1996) wrote over three thousand poems on a manual Royal typewriter and was an energetic letter-writer.  He published more than 40 collections of poetry, among them From the Sustaining Air (1953), Another Time in Fragments (1967), Things Stirring / Together / or Far Away (1974), now there’s-a-morning-hulk of the sky (1981), and Waters / Places / A Time (1983).

George Hart writes in the Introduction to the letters:

Throughout the fifties, Eigner absorbed Olson’s theory of Projective Verse, and he was grouped with the Black Mountain poets in Donald Allen’s groundbreaking The New American Poetry anthology in 1960. Of the poets in this group — Olson, Creeley,Robert Duncan, and Denise Levertov (Corman chose not to be included in the anthology) — Eigner might be the one who put Olson’s theories to work most productively. Projective Verse, with its emphasis on the exchange of energy between poet and reader, and the typewriter as a means of graphing or scoring words on the space of the page, seems particularly well-suited to Eigner’s embodiment and temperament. The fact that Olson put so much stress on the stance of the poet and the poet’s breath as a form of measure, which might seem to discourage someone like Eigner who had difficulty walking and speaking, makes Eigner’s achievement even more impressive. In excerpting Eigner’s correspondence for this special feature,Jennifer Bartlett and I have chosen to focus on passages in which he writes about, or directly to, Olson regarding his poetry, poetics, and other Black Mountain poets.