Throwing Bricks at the Temple: Reexamining the Life and Writing of Edwin Way Teale

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by Richard Telford

Author’s Note: Though the product of many hours of research, writing, and revision, this chapter is nevertheless a draft; it will be subject to revision as the larger book in which it will appear takes shape. The chapter published below, “Throwing Bricks at the Temple,” follows a previous one published last month, “The Lonely Suffering of the Fallible Heart,” which can be viewed here. For greatest clarity, these chapters should be read in order. I welcome critical response, either in the comment section here or through direct e-mail. I am grateful to the Archives and Special Collections staff for providing me the opportunity to share this work, and to the Woodstock Academy Board of Trustees for awarding me a sabbatical for the 2016-2017 school year so that this work could be undertaken.  Contextual information about the project and manuscript can be found here.

 

Chapter 10: Throwing Bricks at the Temple

Again I saw that under the sun the race is not to the swift, nor the battle to the strong, nor bread to the wise, nor riches to the intelligent, nor favor to the men of skill; but time and chance happen to them all.[1]

Ecclesiastes 9: 11

When it occurs to a man that nature does not regard him as important, and that she feels she would not maim the universe by disposing of him, he at first wishes to throw bricks at the temple, and he hates deeply the fact that there are no bricks and no temples.[2]

Stephen Crane, “The Open Boat,” 1897

 

Box 219 of the Teale Papers in Archives and Special Collections at the University of Connecticut houses only one object, a Nazi flag measuring roughly 88 inches by 46 inches. Its folds through 71 years of storage have become deeply ingrained, and the viewer is hesitant to pull and flatten it too much. The remaining half of its red field, torn along a diagonal axis, is still bold. It is a monument to a long-dead empire—a Reich, in its own anachronistic parlance—and it is a monument to the fifteen young men who signed their names in the four quadrants formed by the perpendicular bars of the angled cross that forms the center of the black swastika sewn to the circular white central field. Laying the flag down horizontally, as its signers clearly did 72 years ago, the viewer’s eyes are drawn first to bold green script: “Tiger Patrol 346th Infantry.” The four components of this inscription, staggered across the white field, step down the dark lines of the debased Hindu symbol, the second and the third occupying the horizontal pockets formed by the swastika’s angled tails. The capital letters T, P, and I are drawn in rough, oversized calligraphy, and the infantry numbers are drawn with like flourish. Pride, hope, just action for a just cause—all are expressed by the added insignia of this captured flag.

Just as the swastika divides the patrol and regiment designations, so too does it roughly divide the names of the signers. In the north quadrant of the white central field we see the signatures of Antonio J. Alvear, John A. Thompson, Eugene B. Pings, Frank Minnis; along the north-facing tail of the swastika are the signatures of George W. Muschinske, Roy Salame, and Edwin A. Stroh. In the west quadrant are the signatures of Lester L. Snider and Merle H. Patison; adjacent to them and to the right of the scripted “346th” are those of Mahlon Angstead, Billy Richardson, and Ernest Sachau. In the south quadrant, there is only one signature, that of John Steele. Finally, in the east quadrant, moving south to north, are the signatures of Irving J. Greenfield, Harold F. Gould, Jr., Bill Cummins, and, finally, David A. Teale. One can readily imagine Edwin and Nellie Teale intently searching for David’s signature—for any evidence of their only child, declared Missing in Action “somewhere in Germany” five weeks earlier—when the flag arrived to their Baldwin, Long Island home on May 9, 1945. Noting the flag’s arrival in his Guild diary for 1945, Edwin expressed the hope that he and Nellie might “get in touch with those near here” to learn more of the events leading up to David’s disappearance.[3]

Five weeks earlier, on April 3, the day after receiving the first War Department telegram, Edwin wrote, “For so many days, since [leaving Popular Science Monthly in] 1941, I have been awakening to happy dreams in the work I love—Now we wake to the reality of a nightmare we have dreaded—we are hoping and believing that Davy is ‘safe’ as a prisoner.”[4] Both Edwin and Nellie clung tenuously to such hope and belief as bulwarks against waves of grief that now defined “one of the great crises of our lives.”[5] Three days later, on April 6, Edwin wrote, “Little by little, like an island eroding and disappearing in the flood, our standing-space has decreased—our hopes are now basing themselves on other hopes. Grief comes in waves.”[6] Still, the Teales armored themselves with “thoughts of hope: that patrols are likely to be captured; that the wars may end soon and all prisoners will be released.”[7] David’s work in the Tiger Patrol, conducted mostly near and behind enemy lines, justified this hope, but it likewise placed him in greater danger, and Edwin wrote on April 6 that such hopes were “only small, shining stars in the universal darkness.”[8] Expressing the despair that was the constant counterpoint of such hopes, he wrote, “The sun is gone from the sky.”[9]

Nearly thirty years later, in 1974, coming to terms with his newly received prostate cancer diagnosis, Edwin would reflect back on the agonizing uncertainty of the 132 days during which David was declared missing and his fate unknown to them: “Remembering the year David was missing in action and contemplating my current condition, it occurs to me that, in some ways, it is easier to face the inevitable than the uncertain.”[10] In the early days of April 1945, however, uncertainty was exceedingly more palatable than relinquishing hope to the certainty of David’s death.

The Teales straddled a thin, ever-shifting line between despair and hope, and the fragmental evidence of David’s fate that came to them throughout that dark spring was alternately palliative and jarring. David’s final letter, written March 14, arrived on April 5, thirty-three days before the delivery of the Nazi flag. “How precious and how hard to read,” Edwin wrote of the March 14 letter in the Guild diary, adding, “The date on the outside was March 19th and the postboy thought that meant he was all right”[11]—a thin ray of hope. Edwin found “relief from the pain in my heart reading Thoreau’s journals all afternoon,”[12] a practice he would continue in the coming weeks. In Thoreau’s writings and those of W.H. Hudson, he found sanctuary. On April 5, Edwin noted, “’Newsday’ as well as ‘Review-Star’” had “long announcement[s]” on David’s MIA status. “What a joyous day it would be,” he added, “to see the write-ups changed for the better! I alternate between confidence of hope and the depth of black despair.” Still, he was determined to “hope to the end!”[13]

On the following day, April 6, Edwin finished reading the first volume of Thoreau’s journals. Continue reading →

World War Two Newsmap Collection Added to the Archives

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Just a few months after its transfer from the main library’s Federal Documents Collection, the World War Two Newsmap Collection is now available for patron use! The finding aid can be found here: https://archivessearch.lib.uconn.edu/repositories/2/resources/1040

For me, processing this new acquisition was a real pleasure; while I consider myself fairly well-versed in the history of the Second World War, I had never heard of the Newsmaps, and welcomed the opportunity to educate myself on them.

Newsmaps would often feature informational lay-outs for service members, like this one from the July 5, 1943 edition.

These large, two-sided posters were first published in the spring of 1942 by the U.S. Army’s Information Branch. At a minimum, they were meant to inform American service members on the progress of the war in the various theaters of conflict, and expose them to information on both enemy and friendly equipment and tactics. By 1943, many of them followed a common format: brief snippets of war news accompanied by maps and photographs on one side, and either a full-page detailed map or illustrated informational lay-out (how to prevent disease, how to avoid unexploded ordnance, the layout of a German infantry regiment, etc.) on the reverse. As the war progressed and Allied victory seemed more and more certain, the themes for these lay-outs transitioned to topics like the GI Bill, post-military life, and U.S. occupation policies.

Several versions of Newsmaps were produced. Large posters like the ones in this collection were distributed to military installations in the United States, while smaller Newsmaps were sent to units overseas. An industrial version was also published for display in war production facilities. In total, Newsmaps were published weekly from April 1942 until March 1946, with an additional eight issues produced after that.

An example of the large-scale maps featured on many of the posters. From the October 25, 1943 edition.

Our collection consists of forty-four posters, most of them two-sided, measuring 36 by 48 inches each. Publication dates range between 1943 and 1946, with the bulk of the posters dating from 1943. It should be noted that this represents only a fraction of the entire run, as more than two hundred posters were eventually published. If you’d like to see the entire set, or can’t make it in to examine our physical collection, check out this page from the University of North Texas Digital Library, which has digitized the entire run of Newsmaps for online use.

Wild, Outside, in the Night: Maurice Sendak, Queer American Jewishness, and the Child

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The following guest blog post is by Golan Moskowitz, a doctoral candidate at Brandeis University, where he received a joint M.A. in Near Eastern and Judaic Studies and Women’s and Gender Studies.  Mr. Moskowitz is the 2016 recipient of the Billie M. Levy Travel and Research Grant, an annual research grant awarded to scholars to encourage use of the Northeast Children’s Literature Collection.  Mr. Moskowitz is also a visual artist with a B.A. in Art from Vassar College.

Children’s books are serious business.  So thought the late Maurice Sendak (1928-2012), who believed that the apparent simplicity of the children’s book – along with children’s talent for intuition and interpretation – made it an ideal form for burying complex messages. Among the most serious of artists to ever write children’s books, Sendak offered messages about how the wider society might neglect or threaten unusual individuals, but also how those individuals might harness fantasy, animal strength, and improvisation to endure and survive.  As a recipient of the Billie M. Levy Travel and Research Grant, I had the privilege of studying several of the collections in Archives and Special Collections, which enriched my understanding of Sendak’s relationships with children’s authors Ruth Krauss (1901-1993) and James Marshall (1942-1992), as well as with children’s literature scholar Francelia Butler (1913-1998). Sendak absorbed much of Krauss’s critical stance toward social conventions of constrained gender and sexuality.  He found solidarity with Marshall’s good-natured cynicism and candidly shared some of his controversial intentions and interesting underlying beliefs with Butler.

Selling over eighty thousand copies by its fifth year in publication, A Hole Is to Dig (1952), children’s literature scholar Leonard S. Marcus writes, first established the twenty-four-year-old Sendak as “a talent to reckon with.”[1] To write the book, which was published as “a series of definitions reflecting childlike logic (many supplied by children themselves),”[2] Krauss studied children at the progressive Bank Street School, collecting definitions offered to her by the toddlers and preschoolers on 3×5-inch index cards.[3] She assembled and typed lists of these definitions; some that did not make it to the final version included: the stomach is a “food factory,” a match is “to light cigarette,” a chimney is “Smoke comes up and Santa Claus comes down,” and a shell is “Lobsters – snap your hand off.”[4] The Krauss papers also include hand-written comments on Sendak’s sketches for the book.  The author advised against pictures of children sitting on books (to get higher up), as books should not be treated “too rough.”  She also asked that for the caption, “dogs are to kiss people,” Sendak include among the other children being licked (each by a different dog) “one polygamous child with many dogs.” [5]

Krauss’s input sheds additional light on the young Sendak’s forming artistic values.  To better access his own vitality and humor, he was learning to revere books as sacred objects while demystifying the dominant, often clichéd narratives of the social order. [6]  Extraneous doodles in Sendak’s layout sketches for A Hole Is to Dig reveal the young artist’s self-liberating impulse during his work on the book. One sketch depicts two nude figures with a relaxed line, one leaning on the other, genitalia exposed.  Beside them, a small girl reclines with a dog, kissing the dog on the mouth. [7] Such free-flowing sensuality surely helped Sendak resist the self-policing of a closeted gay son of Eastern European Jewish immigrants – an essential exercise for an artist to strengthen honest expression and resist cliché. Sendak applied such subversive, child-like flow to the close relationships of his own life, including with Krauss, whom he loved dearly.  When he later visited her on her deathbed, he kissed the withering writer on her lips with tongue, eliciting a giggle that emanated the mirth and energy that was sadly fading from her body.[8] Sendak might have seen himself as something of a playfully welcomed intruder and an anomaly in the social matrix of heterosexuality – not belonging, but carving out a relational position for himself with play and affection.  One of his unused sketches for A Hole Is to Dig depicts a child on his mothers lap with the caption, “Marriage is so your brothers and sisters could get married when they grow up and then you could be the only child.”  A comment below reads, “This needs some rephrasing.” [9]

Sendak viewed illustration as a means for illuminating hidden interpretations or expressing his own emotional truth between the lines of the text. He enjoyed the illustrator’s prerogative, for example, in his Hector Protector (1965), which enlivens a short, ambiguous rhyme: “Hector Protector was dressed all in green; Hector Protector was sent to the Queen. The Queen did not like him, Nor more did the King; So Hector Protector was sent back again.” Sendak’s illustration of the poem creates a face-off between a scandalized, rotund Victorian queen reading Mother Goose and a wild boy, phallus erect in the form of an extended sword, riding on the back of a masculine lion. A serpent tangled around Hector’s sword in the shape of two coiled circles and a lunging head further emphasizes the phallic element (pp.15-16) [image at top]. One young male reader responded to the drawing with a letter to Sendak, asking, “When I grow up will mine be as big as Hector’s?” Describing his drawings for this book as a sort of revenge against critics who found his work too explicit for children, Sendak admitted, “I very consciously, obviously used and played with the snake in just those ways. Those pictures are so obvious it is embarrassing.” [10]

Sendak’s dark sense of humor and questioning of social boundaries was shared by artist and writer James Marshall. Sarcasm and morbid jokes helped them protect themselves against the potential pain that could result from clashing so starkly with aspects of mainstream, bourgeois culture. Both artists were gay men in an era that predated mainstream acceptance of LGBTQ people, especially in the field of children’s literature. A handmade birthday book [11] from Marshall to Sendak brims with delightful snark and suggests a level of solidarity that was rare for the reserved Sendak – a man who once confessed, “My rough time comes when [a] book is over and then I have to go to dinner with people and I am expected to go uptown and act like a grown-up at a party.”[12] Marshall and Sendak, however, much enjoyed their visits with each other.

Marshall seems to have appreciated the latter’s identification with German high culture, playfully inscribing a copy of one of his books to Sendak “For Wolfgang, Carl, Gustav Maurice.” He accompanied the inscription with a drawing of a boy blowing a horn, dressed in the German Romantic style of Sendak’s Outside Over There (1981). [13] Like Sendak’s proclivity for empathetically illustrating pigs, even coming from a culture that treated swine as abject and impure (Bumble-Ardy, House of Sixty Fathers, Swine Lake, etc.), Sendak’s identification with Germany may have reflected his own sense of difference or rejection. Germany and its art were queer love objects for a WWII-era Jewish child of an Eastern European, Yiddish-speaking family – much of which was destroyed in the Holocaust. Like his homosexuality and his veneration of childhood and artistic pursuits, Sendak’s identification with German culture signified a socially rebellious impulse to sometimes honor his own personal tastes and sensory drives even against the expectations of the wider public and of his family heritage. But as children, LGBTQ people, those resisting acculturation, and others who follow their inner drives understand, Sendak knew early on that integrity to an unusual calling could cost him the privilege of social belonging, even as it offered distinction.  An unused panel by Sendak for A Hole Is to Dig paired the caption “Lonely is to be like a star” with the image of a solitary boy staring up at a star.

My research at the Dodd Center adds important elements to my dissertation, which explores how Sendak contributed to shifting conceptions of modern childhood in relation to his own boyhood internalization of his immigrant family’s losses in Europe during WWII and the years surrounding it, as well as his “queer” difference as a gay, physically frail artist. The project examines Sendak’s articulations of how marginalized human beings – including refugees, traumatized individuals, and LGBTQ people – navigate a social order that neglects or threatens them. I am grateful to Melissa Watterworth Batt and Kristin Eshelman for ably administering the Dodd Research Center’s collections, generously facilitating my visit, and making it such a pleasant and productive one.

-Golan Moskowitz

 

[1] Leonard S. Marcus, “Chapter I: The Artist and His Work: Fearful Symmetries: Maurice Sendak’s Picture Book Trilogy and the Making of an Artist,” Maurice Sendak: A Celebration of the Artist and His Work, ed. Leonard S. Marcus (Abrams, 2013) 18.

[2] Vincent Giroud and Maurice Sendak (curators), Sendak at the Rosenbach, exhibition catalog, Rosenbach Museum, April 28-Oct. 30, 1995, 8.

[3] Marcus (2013) 18.

[4] Ruth Krauss, list collected from the class of Dorothy Walker, Group G., January 12, 1951. Ruth Krauss Papers, Series 2, Box 8, Folder 261: “A Hole is to Dig Teachers’ Notes, Jan 11-12, 1951,” Archives and Special Collections, Thomas J. Dodd Research Center, University of Connecticut.

[5] For unknown reasons, the published drawing does not accommodate this request.  Ruth Krauss, letter to Sendak (“Thursday,” n.y.), Ruth Krauss Papers, Correspondence to Sendak, Series 1, Box 2, Folder 63. Archives and Special Collections, Thomas J. Dodd Research Center, University of Connecticut.

[6] Typed definitions from the class of Margaret Jane Tyler, Group F, January 11, 1951, Ruth Krauss Papers, Series 2, Box 8, Folder 261, Archives and Special Collections, Thomas J. Dodd Research Center, University of Connecticut.

[7] Maurice Sendak, layout pencil sketch for A Hole Is to Dig, Ruth Krauss Papers, Series 2, Box 8, Folder 270: A Hole is to Dig Layout Sketches by Maurice Sendak, n.d., Archives and Special Collections, Thomas J. Dodd Research Center, University of Connecticut.

[8] “‘Don’t assume anything’: A Conversation with Maurice Sendak Philip Nel,” 2001, rpt. in Conversations with Maurice Sendak, ed. Peter C. Kunze (Jackson: U. Press of Mississippi, 2016) 138.

[9] Ruth Krauss Papers, Series 2, Box 8, Folder 282: “A Hole is to Dig Cover Paste-up Dummy and Copy (Images not used in book), n.d.,” Archives and Special Collections, Thomas J. Dodd Research Center, University of Connecticut.

[10] Maurice Sendak, Interview with Francelia Butler’s children’s literature class, April 1976, 19. Francelia Butler Papers, Series 2, Box 9, Folder: “Sendak, Maurice – Children’s Literature,” Archives and Special Collections, Thomas J. Dodd Research Center, University of Connecticut.

[11] James Marshall, birthday book for Maurice Sendak, Maurice Sendak Collection of James Marshall, Box 2, Archives and Special Collections, Thomas J. Dodd Research Center, University of Connecticut.

[12] Maurice Sendak, Interview with Francelia Butler’s children’s literature class, April 1976, 26. Francelia Butler Papers, Series 2, Box 9, Folder: “Sendak, Maurice – Children’s Literature,” Archives and Special Collections, Thomas J. Dodd Research Center, University of Connecticut.

[13] James Marshall inscription to Maurice Sendak in Sendak’s copy of James Marshall, The Stupids Die (1981), Maurice Sendak Collection of James Marshall, Box 1, Archives and Special Collections, Thomas J. Dodd Research Center, University of Connecticut.

This Week: Rachel Carson The Film and Elizabeth Kolbert Speaks at UConn

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Rachel Carson, a new documentary film produced for the PBS series American Experience, is now available to watch online marking its debut broadcast on CPTV Connecticut public television.

Archives and Special Collections contributed collection materials to be included in the production of the film and we have been eagerly awaiting its release.

According to PBS, the film draws heavily from Carson’s writings and letters and incorporates recent scholarship: “Rachel Carson illuminates both the public and private life of the woman who launched the modern environmental movement and revolutionized how we understand our relationship with the natural world.”

The film features photographs and letters by the naturalist Edwin Teale from the Edwin Way Teale Papers held here in the Archives and Special Collections. [Read more about the correspondence between Teale and Carson on the blog post “Nature, Wondrous and Fragile” by Richard Telford.]

Silent Spring was published in September 1962 and became a national bestseller.  The film features rarely-seen images and home movies, unpublished letters and writings, and explores the science and public debate surrounding pesticide-use ignited by the book. Special features can be found on the American Experience website, including an introductory essay, bonus video, and an interview with Pulitzer Prize-winning journalist and science writer Elizabeth Kolbert.

Join us on Thursday, February 2 at 4:00pm to hear Elizabeth Kolbert’s lecture “The Sixth Extinction” at UConn in the Dodd Research Center.  The event is FREE and open to the public, no registration is required.  The event will be live-streamed, details can be found here.

Elizabeth Kolbert is a staff writer for The New Yorker and won the Pulitzer for The Sixth Extinction: An Unnatural History and Field Notes from a Catastrophe: Man, Nature, and Climate Change in 2015. Her series on global warming, The Climate of Man, from which the book was adapted, won the American Association for the Advancement of Science’s magazine writing award and a National Academies communications award. She is a two-time National Magazine Award winner.

The Edwin Way Teale Lecture Series brings leading scholars and scientists to UConn to present public lectures on nature and the environment.  Since 1995, the UConn Library has sponsored the award-winning Edwin Way Teale Lecture Series in partnership with several UConn departments.  The Lecture Series is named in honor of the Pulitzer-prize winning naturalist and author, Edwin Way Teale, whose vast archive of literary manuscripts, letters, diaries and photographs is preserved and accessible at Archives and Special Collections.

 

Veteran’s Expressions After War

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Currently on display at the Archives & Special Collections is the guest curated exhibit Veteran’s Expressions After War: Every Veteran’s Life Tells a Story and Every Veteran Leaves a Legacy, by Robin Albarano and Jordan Kiper.  This exhibit features visual art, poetry, correspondence, photography and ephemera relating to veteran’s experiences from the Vietnam War to the War in Iraq.  Materials featured draw from The Alternative Press Collection, Cal Robertson Papers and First Casualty Press.

This exhibition will be on display in the Thomas J. Dodd Research Center Gallery from January 1st 2017 to February 28th 2017, open Monday to Friday 9 – 4 pm.

A correlating exhibition will be on display this spring in the hallway of the Dodd Center featuring photographic prints and oral histories of veteran’s from the Balkans conflict.  Materials featured will be products of Robin’s photographic work and Jordan’s PhD research.

Stop the Presses: UConn’s Student Newspaper is Now an Online Resource

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Viewing a newspaper issue in the digital repository

Have you ever wondered when the first female editor-in-chief of the UConn newspaper was elected? Or wanted to examine student reactions to the attack on Pearl Harbor? Have you ever desperately needed to know the time and location of the Philosophy Club meeting on November 28, 1945? Thanks to an ongoing project here at Archives & Special Collections, the answers to these and other questions concerning campus history will soon be just a few clicks away. Several staff members, myself included, have been working since last summer on uploading past issues of the campus newspaper, from its inception in 1896 until 1990, to the Archives’ digital repository, a component of the Connecticut Digital Archive (CTDA).

To date, everything up to the 1942-1943 school year has been completed, as well as some years in the 1970s and late 1980s. Once uploaded, every issue becomes a permanent digital object that is searchable within the repository. Associated metadata includes publication date, editor, genre, and, when applicable, a short description that lists any errors particular to that issue (i.e. a mislabeled volume or issue number or date.) Users can conduct term searches within each issue, and there’s also the option to download and print a PDF version.

Prior to this project, access to most of the student newspaper archive was available only through the use of paper copies, like this one from 1940

Want to check out what we’ve completed so far? Visit the digital repository here.

Access to UConn’s student newspaper archive, in both physical and digital form, is relatively old news (pun intended.) Researchers who visit Archives & Special Collections have been able to examine bound volumes or microfilm reels for years, and the UConn Digital Commons has offered online access to some copies of the newspaper since early 2012. Frequent use and the passage of time, however, have begun to show their effects on both the physical copies and the microfilm, and although plans were made to make all issues available online through the Digital Commons by the end of 2012, the project was never completed. Finally having the collection completely digitized will address these concerns and essentially make the newspaper a “self-serve” resource, available at any time and from anywhere.

Completing the project is no small task, in part because there is so much material to process. For the paper’s first eighteen years, for example, it was published monthly during the school year with an occasional summer issue. That works out to approximately 170 issues produced for the years 1896-1914. At an average of 20-25 pages per issue (although some, like the Commencement Issue, ran much longer), the total number of pages is more than 4,000! The numbers only increase as the years progress and the paper becomes a semi-monthly, weekly, biweekly, and finally a daily in 1953.

Editorial staff, Connecticut Campus, 1924

Another challenge has been tracking the changes undergone by the paper to ensure that the proper metadata is created and recorded for each individual issue. Just as the university has changed its official name several times over the course of its existence, so too has the campus newspaper gone by a number of different titles: the S.A.C. Lookout­ (1896-1899); the C.A.C. Lookout/Lookout (1899-1914); The Connecticut Campus and Lookout (1914-1917); the Connecticut Campus (1917-1955); the Connecticut Daily Campus (1955-1984); and finally the Daily Campus (1984-Present). There is also the Connecticut Scampus, an annual satirical issue first published in the 1920s. In addition, a new editor-in-chief was elected at least annually, and sometimes more frequently than that.

Luckily, the necessary groundwork had already been completed before we began the project. Realizing the historical significance of the newspaper, the UConn Libraries funded the scanning of the entire collection onto microfilm in the early 1990s. The Library again offered its support in 2012 when that microfilm was scanned and .txt, .jp2, and .pdf files were created for each individual page. It was from this cache of digital images that the Digital Commons issues were produced, and it is from there that we’ve been doing the majority of our work, grouping the individual pages into zip files (each one representing a single issue), ingesting them into the repository, and then adding the necessary metadata and PDF files.

Quality control is an important step throughout this process. The editors of yesteryear were far from perfect, and there are plenty of instances where volume and/or issue numbers are mislabeled and page numbers are out of order (or omitted entirely.) There are also errors from the microfilm scanning that need to be accounted for, like removing duplicates resulting from the same page being scanned more than once.

Challenges notwithstanding, progress has been steady, and we are looking forward to completing our work. In its entirety, the newspaper represents an integral part of UConn’s historical record, and is an ideal complement to the several excellent histories of the university that have been written (the out-of-print Connecticut Agricultural College: A History by Walter Stemmons, Bruce Stave’s Red Brick in the Land of Steady Habits, and Mark J. Roy’s University of Connecticut) which, owing to limitations of space and other factors, can never hope to include everything. When finished, the online archive will span more than a century and include thousands of pages. In using it, researchers will be given a unique perspective into the everyday nuances of campus life, and the reactions of students, staff, and the Storrs community to events, both major and mundane, that affected the campus, the nation, and the world.

A Brief History of the Student Newspaper:

1896 — Students of the Storrs Agricultural College establish a student newspaper, the S.A.C. Lookout.  It begins as a monthly, and the first issue is published on May 11, 1896. The cost of a subscription? 50 cents a year, paid in advance.

1899 — The school is re-named Connecticut Agricultural College, and the paper becomes The C.A.C. Lookout.

1902 — The paper transitions to the simpler title the Lookout.

1914 — The paper changes its name to the Connecticut Campus and Lookout, and is published semi-monthly during the college year.  It also takes on the standard newspaper format.

1917 — The paper simplifies its name to the Connecticut Campus beginning with the October 30, 1917 issue.

1919 — The paper begins publishing weekly with the October 3, 1919 issue.

1942 — The Connecticut Campus is published semi-weekly, on Tuesdays and Fridays. It will revert to a weekly two years later.

1946 — The paper again becomes a semi-weekly.

1950 — The paper is published three times a week.

1953 — Beginning with the September 21, 1953 issue, the Connecticut Campus becomes a daily.

1955 — The paper is renamed the Connecticut Daily Campus, and is published every weekday morning.

1984 — The school paper again simplifies its name, becoming the Daily Campus.

The Lonely Suffering of the Fallible Heart: Reexamining the Life and Writing of Edwin Way Teale

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by Richard Telford

Author’s note: Though the product of many hours of research, writing, and revision, this chapter is nevertheless a draft; it will be subject to revision as the larger book in which it will appear takes shape. Still, I believe it begins an important process of bringing renewed attention to natural history writer and photographer Edwin Way Teale. Teale himself frequently published chapters of his books first in the popular journals of his day, such as Natural History, Audubon, Nature, and Coronet. I welcome critical response, either in the comment section here or through direct e-mail. I am grateful to the Archives and Special Collections staff for providing me the opportunity to share this work, and to the Woodstock Academy Board of Trustees for awarding me a sabbatical for the 2016-2017 school year so that this work could be undertaken.  Contextual information about the project and manuscript can be found here.

Chapter 9: The Lonely Suffering of the Fallible Heart

A man said to the universe:
“Sir, I exist!”
“However,” replied the universe,
“The fact has not created in me
A sense of obligation.”[i]

Stephen Crane, from “War is Kind,” 1899

Again and again, reason refutes the claims of worry; again and again, the rational mind points out the mathematical odds and the laws of averages—but again and again, the fallible heart returns to its lonely suffering.[ii]

Edwin Way Teale, March 22, 1945

The evening of April 2, 1945 began joyfully for Edwin Way Teale. It was an evening that affirmed his rising stature among the natural history writers of his day and perhaps, too, amongst the former-age titans he revered—Henry David Thoreau, John Burroughs, W.H. Hudson, and others. Two years earlier, he had accepted the John Burroughs Medal for distinguished natural history writing for his 1942 publication of Near Horizons: The Story of an Insect Garden. Now, two years later, he had returned to the American Museum of Natural History in Central Park West, New York, to look on as Rutherford Hayes Platt, a fellow Dodd, Mead natural history writer and photographer, received the Burroughs Medal. Platt’s 1943 This Green World was a book that in spirit, intent, structure, and design closely paralleled Grassroot Jungles (1937) and Near Horizons. Just as Edwin had suggested in 1937 that the amateur student of the insect world could be “like the explorer who sets out for faraway jungles” but do so in “the grassroot jungle at our feet,”[iii] Platt argued in 1943 that such wonders in the botanical world “were not rare nor discovered in a remote place, but were here all the time in the immediate surroundings of the everyday world.”[iv] That evening, Edwin noted later, “Platt pays tribute to my help in his acceptance speech.” He also celebrated his own election as “a Director in the John Burroughs Association” and expressed appreciation for the tenor of the evening, which “from beginning to end was in just the right key. I felt happy, enjoying every minute with no sense of impending doom.” It was “perfectly memorable.”[v]

The brief interlude of unrestrained pleasure that unfolded in “the Hall of the Roosevelt Wing”[vi] on that early April evening offered much-needed reprieve. It was a time marked largely by deep foreboding for Edwin and Nellie Teale as their beloved Davy, their only child, fought near the Siegfried Line during the final collapse of Hitler’s Third Reich. This fear had taken root in the elder Teales’ shared consciousness long before David’s August 1943 enlistment in the Army Specialist Training Program at Syracuse University, long before his transfers to Forts Benning and Jackson after the ASTP was disbanded, and long before his deployment as a Private First Class to the European Theater of Operations in the fall of 1944.[vii] Edwin would later characterize this fear as “the dread of seven years—from 1938 to 1945,”[viii] and it was a dread that consumed the collective consciousness of a generation of parents watching their children come of age during the rise of Fascism and Nazism in Italy and Germany—the future course of which became fully evident with the September 1, 1939 German invasion of Poland—and the apogee of Japanese Imperialism, made plain to the American public by the December 7, 1941 Japanese attack on the U.S. Pacific Fleet at Pearl Harbor, Hawaii. The Teales’ dread is evident in a brief but poignant anecdote near the end of the eighth chapter of Edwin’s 1945 book The Lost Woods, a book that, for Edwin, would become inextricably linked to David’s wartime service and to his death.

In the aforementioned chapter, “On the Trail of Thoreau,” Edwin chronicles the final leg of a 1939 car trip during which he traced the famous river journey undertaken by Henry and John Thoreau exactly 100 years earlier. Henry Thoreau, in his 1849 A Week on the Concord and Merrimack Rivers, wrote in great part to memorialize John, who had died in excruciating pain in his brother’s arms three years after the trip, succumbing to tetanus. Edwin too, in The Lost Woods, would later recount a trip he and David took by canoe on Middle Saranac Lake in upstate New York. “The Calm of the Stars” would be the last chapter completed for the book’s first draft, written while David was declared Missing in Action in Germany. It, too, would later serve as a memorial. In “On the Trail of Thoreau,” Edwin noted how, one century after the Thoreaus’ journey, on September 2, 1939, “the Merrimack flowed as placidly as before around the great bend of Horseshoe Interval.”[ix] The world’s waters, however, were turbulent and troubled: “Thoreau’s September day had been one of comparative peace in the world,” while, “a century later, it was a time of fateful decisions, of onrushing war, of the breaking of nations.”[x] The conclusion of Edwin’s 1939 journey came one day after Nazi Germany’s invasion of Poland, one day before declarations by France and Britain of war on Germany, and six days shy of David’s fourteenth birthday.

Pulling into a filling station that evening, Edwin noticed the attendant, “a young man in his early twenties,” who appeared “silent and preoccupied” as he listened to a “radio […] shattering the Sabbath quiet, raucous with direful news.”[xi] Edwin’s description of this young man is telling. It stands in stark contrast with most of the book’s content, which largely lives up to its subtitle, “Adventures of a Naturalist,” and strays only rarely into social commentary or overt emotionality. Edwin wrote:

We spoke but a few sentences that morning. I have never seen him again. I don’t know his name. Yet, often he has been in mind and his face, like a stirring countenance seen under a streetlamp, has returned many times in memory. Under the blare of the radio, that late-summer Sunday, we were drawn together by a common uncertainty, by a common experience. Although we were strangers before and strangers we have remained since, we were, for that tragic moment, standing unforgettably together. I have often wondered about his fate in the years that followed.[xii]

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Teaching Nineteenth-Century Media

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A fascinating interview with UConn Professor Jennifer Terni went live this week on the Humanities Institute’s new blog Brain Bytes: Digital Humanities and Media Studies. Professor Terni discusses her teaching methods and “experiments” incorporating 19th-century artifacts into the classroom experience.  She reflects on a recent visit with her students to Archives and Special Collections where they examined 19th-century photographs with Archivist Kristin Eshelman.  Below is a clip from that interview…

This past semester I taught a new graduate course on 19th-century media.  It would have been impossible to give this course even a decade ago, since it was built on the shoulders of major digitized archives including Gallica at the Bibliothèque Nationale de France, Hathi Trust, and ARTFL, to name but a few.  To make use of them effectively, however, I had to build an extensive website as a platform from which to organize the many primary sources that we explored as a group as well as to give a picture of what 19th-century media would have looked like. What is more, I tried, as much as possible, to get the students to experience what it would have been like to consume media in the 19th century, for instance, by reading a pulp fiction novel in installments in a newspaper.

This experiment was more successful than I could have hoped.  What is more, occasionally I sent the students to the Dodd archive to encounter 19th-century artifacts more directly (illustrated newspapers, daguerreotype, stereoscopes, photographic technology).  The impact of those encounters was intense in large part because the students had been engaged with primary sources throughout the semester: they had seen the exploding variety of media forms in the 1800s, but also knew firsthand how even very disparate forms were interconnected. They had also read theoretical and historical articles that helped them think about what kinds of cultural work these different genres and platforms were performing.  Touching the actual artifact was meaningful because to them it was already embedded in a web of references and ways of thinking about media, but also because it contrasted with all of the digital content they had been using throughout the semester.  It was thus doubly a material encounter with material culture.

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75 Years Later: Pearl Harbor Remembered

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Editor's column, December 8, 1941 edition of the Connecticut Campus

Editor’s column, December 8, 1941 edition of the Connecticut Campus

December 7, 1941 was a Sunday. In Storrs, UConn students prepared for end-of-the-semester exams and the upcoming winter break. That evening, History Professor Andre Schenker traveled to Hartford with his family to see a play. At some point, an usher approached him with an urgent message. Five thousand miles to the west, at 1:18pm that afternoon (7:48am Hawaiian time), Japanese naval and air forces had attacked the United States Pacific Fleet at Pearl Harbor, inflicting heavy casualties and causing severe damage. Schenker immediately set off for radio station WTIC, where he served as a world affairs commentator. Later that night, he began his broadcast with the following words:

“It has happened. Japan has decided to commit suicide by attacking the strongest power on earth, the United States…As you all know by now, this morning in the Far East, which means this afternoon our time, a Japanese force suddenly attacked Manila, in the Philippines, and another force attacked the Gibraltar of the Pacific, our base at Pearl Harbor in the Hawaiian Islands.”

(You can hear Professor Schenker’s full commentary on the attack here)

Maurice “Moe” Daly

Maurice “Moe” Daly

The next day, President Franklin Roosevelt called for a declaration of war against Japan, which led to Germany and Italy issuing similar declarations against the U.S. on December 11th. America had officially entered the Second World War.

Even as the students and faculty at Storrs processed the news, Connecticut alumni halfway around the world already found themselves in harm’s way. Major Maurice F. “Moe” Daly, a popular football player from the Class of 1923, was stationed at Clark Air Base in the Philippines during the Japanese attack there on December 8th. After participating in its heroic defense, he would eventually be taken prisoner when Bataan fell the following April, and died in captivity.

The attack on Pearl Harbor signaled a major transformation in campus life at Storrs. Blackouts were put into effect, ROTC training was ramped up, and the pages of the student newspaper were increasingly filled with war-related news. Soon, male students and faculty members alike left the campus in droves to join the armed forces. At least 114 of them would not return after the war’s end in 1945.

Great Years, Great Crises, Great Impact: Reexamining the Life and Writing of Edwin Way Teale

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by Richard Telford

uconn_asc_1981-0009_box270_env1724_ed_and_nellie_1948Shortly before American natural history writer Edwin Way Teale died in 1980, he agreed, with his beloved wife and working partner, Nellie Donovan Teale, to donate all of his literary and personal papers and related materials to the University of Connecticut. It was an extraordinary gift. Teale documented his working life and his personal life to an astonishing degree, often keeping several journals concurrently, each with a distinct purpose. For example, from 1938 until 1980, Teale kept an annual daily diary. In 1945, of these diaries he wrote, “These books record the days of the great years of our lives.”[i] These were short but highly detailed records. During the same period he kept these diaries, Teale likewise wrote more elaborated journal entries in Adventures in Making a Living, an unpublished, ongoing narrative of his life. This he called the “book of my heart.”[ii] While here, too, he recorded daily events, frequently overlapping those recorded in the diaries, he also reflected on them in deeper ways. Here, he celebrated the triumphs of his life and reconciled the tragedies. Here, he tried to confer order and sensibility on the world of human affairs, a world that often bewildered him. The ninth and final volume of this 43-year journal was dedicated solely to the final days of his life, beginning with his prostate cancer diagnosis in 1974. Even this most personal and final journey he documented in detail and left as a record. And, these two records of a meaningfully-spent life, as rich as they are, represent only a very small fraction of the materials housed in his voluminous papers.

This year, through the generosity of the Administration and the Board of Trustees of Woodstock Academy, where I have taught for two decades, I have been granted a year-long sabbatical to complete research at the Dodd Research Center, research that will enable me to write a book-length work on Edwin Way Teale. This builds upon three years of generous support of my work by the Archives and Special Collections Department at the University of Connecticut, which has provided me financial assistance through the Rose and Sigmund Strochlitz Travel Grant program. I am very grateful for this support, and for the extensive on-site help of the Archives staff, particularly Melissa Watterworth Batt.

John Burroughs, whom Edwin Way Teale admired greatly, wrote in 1902, “The day inevitably comes to every writer when he must take his place amid the silent throngs of the past.”[iii] While this has come to be the case for Edwin Way Teale—and John Burroughs too—I am not convinced it has to be. Teale has much to offer us now, especially as we face an environmental crisis in which our resource exploitation and waste production cannot continue at current rates without grave consequences for the Earth and, ultimately, for ourselves. Now, as I continue my research within the vast holdings of the Teale Papers and begin the book in earnest, I am both awed by the enormity of the task and excited by the opportunity. Teale’s significant body of published work and his profound impact on the modern conservation movement—particularly through his support of and influence upon many of its principle figures, including Rachel Carson and Edward Abbey—merits reexamination.

The generosity of the Archives and Special Collections staff has extended so far as to allow me to publish a series of representative chapter drafts in this forum as the research and writing processes unfold. These will inevitably evolve as I make new discoveries in the collection. Still, even in draft form, I believe that these chapters can play a meaningful part in bringing the contents of the Teale Papers out into the light of public view, perhaps prompting thoughtful reflection on their importance. I am deeply grateful to the Archives and Special Collections staff for this opportunity, and I welcome public comment and insight on my work here, either through the comment forum on the blog or through direct communication (contact information below). .

On a practical note, the first three chapters to be featured in this forum document events in roughly the middle period of Edwin Way Teale’s life. Though I plan to address Teale’s early life in the book as well, my intuition told me to start where I did, during the period when Edwin and Nellie’s beloved son David, their only child, was serving in Europe late in the Second World War, a period that Edwin called “one of the great crises of our lives.”[iv]

Richard Telford teaches literature and composition at Woodstock Academy in Connecticut.  He has a BA in English from the University of New Hampshire, an MS in English Education from the University of Bridgeport, and an MS in Environmental Studies from Green Mountain College. Working with the Connecticut Audubon Society, he helped design and found the Edwin Way Teale Artists in Residence at Trail Wood program, which he directs.  He was recently awarded a Rose and Sigmund Strochlitz Travel Grant by the University of Connecticut to support his manuscript for a book-length work on naturalist, writer and photographer Edwin Way Teale.

References

Burroughs, John. Literary Values and Other Papers. Boston and New York: Houghton, Mifflin and Company,1902.

Teale, Edwin Way. Adventures in Making a Living: Volume II, unpublished journal, February 1944 to May 1946. Box 113, Edwin Way Teale Papers 1799-1995, Archives and Special Collections, Thomas J. Dodd Research Center, University of Connecticut Libraries.

Teale, Edwin Way. Guild diary, 1945. Box 99, Edwin Way Teale Papers 1799-1995, Archives and Special Collections, Thomas J. Dodd Research Center, University of Connecticut Libraries.

Footnotes:

[i] Teale, Edwin Way. Adventures in Making a Living, Vol II. 3 January 1945.

[ii] Teale, Edwin Way. Adventures in Making a Living, Vol II.18 April 1945.

[iii] Burroughs, John. Literary Values and Other Papers. 1

[iv] Teale, Edwin Way. Guild diary 1945. 4 April 1945.

The Romano Papers: Stolen Childhoods in 4D

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Students from Prof. Anna Lindemann's Motion Graphics I course explore the Romano Stolen Childhoods Collection.

Students from Prof. Anna Lindemann’s Motion Graphics I course explore the Stolen Childhoods Collection, part of the U. Roberto (Robin) Romano Papers.

At the end of October, I was delighted to help facilitate a class visit to the Thomas J. Dodd Research Center, along with Graham Stinnett, the Archivist for Human Rights Collections and Alternative Press Collections at the Archives & Special Collections Department. Digital Media & Design Professor Anna Lindemann brought her Motion Graphics I course to see the U. Roberto (Robin) Romano Papers in person; the two classes were able to get a look behind the curtain of the Stolen Childhoods collection, to see and handle the physical materials and to learn some context surrounding the digital collection that they were already familiar with.

Professor Lindemann charged her students with exploring the application of motion graphics to still photographs, and then added the challenging component of upholding the intentions of a collection dealing with the gravity of child labor. To Lindemann, it was integral that the students experience the physicality first-hand, and were able to learn more about the motivations behind Romano’s work.

“Working with the Robin Romano collection was eye-opening. Seeing his life-long devotion to photographic art form as a way to raise awareness about child labor definitely made the class and me reflect on our own modes of working and the potential significance of our work. There was something especially striking about seeing his boxes upon boxes of work prints, negatives, photographs, and hard drives, including one of his hard drives labeled “not working.” This brought to mind so many of the aspects that we grapple with in digital media classes: the great mound of (often unseen) work behind a single effective image, and the capacity for an image or animation to be at once impactful and ephemeral.” – Professor Anna Lindemann

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