Richard Scarry II visits the NCLC

Huck Scarry 1 Huck Scarry 2

What a fantastic time we had on Sept. 19 when Richard “Huck” Scarry II visited with his lovely daughter Olympia and folks from Random House (Jason Zamajtuk, Lydia Finn, and Heidi Kilgras). We were joined by representatives from the School of Fine Arts, the English Department, the UConn Foundation, and the Neag School of Education.  Huck is on a tour to promote the reissue of his father’s book “Busy, Busy World.”

Huck Scarry 4 smallerEveryone had a tour of the archives, looked at some of the Richard Scarry original illustrations, listened to a tape of Huck’s mother being interviewed by Richard Scarry’s art director Ole Risom, and had a wonderful dinner in the Reading Room. Thank you, Huck and everyone, for the visit.

Are trains faster today than they were 100 years ago?

New York, New Haven & Hartford Railroad timetable, September 1914

Was train travel from New Haven, Connecticut, to New York City faster 100 years ago than it is today?  Here are two pages from the public timetable of the New York, New Haven & Hartford Railroad from September 1914:

New Haven, Connecticut, to New York stops on the New York, New Haven & Hartford Railroad, September 2014

New Haven, Connecticut, to New York stops on the New York, New Haven & Hartford Railroad, September 2014If someone took the “Banker’s Express” from New Haven at 8:00a.m. he (and in that day and age it was always a “he”) would get to New York City at 9:44a.m.

How does that compare to today?

Meet Janet Lawler, Levy Research Grant Recipient

Blog Post 1: Author-Illustrators

 As a writer, I confess to a long-held jealousy of the author/illustrator who gets to “play” with both parts of the picture book package, from idea through publication. I somehow had the idea (prejudice?) that creating a picture book is easier for these multi-talented people because they can “see” the whole project; the story (and related art) must just flow for them. I suspected that their process would not include the painstaking attention that I give to every word, and to every one of multiple variations of a story.

Although I have had several well-received picture books published, I continue to strive to improve my craft. I decided that a study of the process of author/illustrators might well help me better understand the magical interface of text and art that occurs in the best picture books. I hope my research helps improve my skill as a picture book writer, even if unlocking the secrets of author/illustrators can’t turn me into an artist.

Because I mostly write for the very young, I started my research with archival material of author/illustrator Katie Davis, who also writes for this audience. While I have only completed a review of two of her picture books, Kindergarten Rocks! and I Hate to Go to Bed!, I have already learned so much. And I have totally discarded my assumptions and prejudices.

Katie’s author/illustrator process is meticulous and time-consuming. For I Hate to Go to Bed! I studied twenty-seven dummies that Katie created. Each one included text revisions and illustration revisions, as she tweaked her story in major and minor ways. It appeared that many of these versions were done as part of her creative process before she came to the point where she was satisfied and ready to show a dummy to an editor. (I hope to interview Katie, to confirm this and ask other questions).

I now think that the author/illustrator’s job of writing a story may even be harder than mine because he or she thinks visually and can see so many possibilities.

Text and illustration revision of I Hate to Go to Bed! by Katie Davis

As a representative sample, here are several text revisions Katie played with for the opening spread of this book:

 I hate to go to bed! This is because I’m a very outgoing person and I can’t stand the idea that I’m missing something. And I just know I’m missing something really fantastic.

 

I hate to go to bed. This is because I’m a very fun person and I can’t stand the idea that I’m missing something fun. And when I’m sent to bed, I just know I’m missing something really fantastic.

 

I hate to go to bed! My mama and daddy absolutely swear nothing good is happening and that I won’t miss anything but I’m not too sure.

 

I hate to go to bed! This is because I’m a very fun person and I just know I’m missing something really fantastic.

 

I hate to go to bed! Because I just know I’m missing something really fantastic.

 

I HATE to go to bed! I just KNOW I’m missing something.

 

I HATE to go to bed! I just know I’m missing something!

 

A study of the illustrations in these many dummies reveals a similar “visual” revision process. All of the dummies show a frowning little girl (Katie captured her protagonist immediately). Some of the earliest dummies show “thought bubbles” of her parents partying after she is asleep. Others show her room with piles of toilet paper rolls (from which she later makes binoculars for spying). In some, her matching fowl (ducks/chicks?) slippers are quipping back and forth.

Here are three examples of Katie’s many illustrations drawn for the opening spread of I Hate to Go to Bed!  Click on each image to enlarge.

 

Opening spread of I Hate to Go to Bed!, 1st dummy in Box 4: Folder 15 of Katie Davis Papers.  All rights reserved. No reproduction of any kind allowed.

Opening spread of I Hate to Go to Bed!, 1st dummy in Box 4: Folder 15 of Katie Davis Papers. All rights reserved. No reproduction of any kind allowed.

 

A later version, with simplified text:

Opening spread of I Hate to Go to Bed!, 2nd dummy in Box 4: Folder 18 of Katie Davis Papers. All rights reserved. No reproduction of any kind allowed.

Opening spread of I Hate to Go to Bed!, 2nd dummy in Box 4: Folder 18 of Katie Davis Papers. All rights reserved. No reproduction of any kind allowed.

And the final opening spread found in the published book:

Davis, Katie. I Hate to Go to Bed! (New York: Harcourt Children’s Books, 1999), 4-5. Photo taken from : CLDC1438, Archives and Special Collections at the Thomas J. Dodd Research Center, University of Connecticut Libraries

Davis, Katie. I Hate to Go to Bed! (New York: Harcourt Children’s Books, 1999), 4-5. Photo taken from : CLDC1438, Archives and Special Collections at the Thomas J. Dodd Research Center, University of Connecticut Libraries

The study of both text and illustrations reveals that Katie kept working the text and art, paring both to their essence.  Her final version of the first spread immediately grabs a reader and sets the stage for the storyline to play out in a well-paced way over the rest of the book.

The frowning face of the determined protagonist remains almost identical throughout all versions of the first spread. Ultimately, that face, along with twelve words in two short sentences, clearly share her BIG problem with the reader.

Throughout the many variations of the remaining storyline, Katie explores different approaches, both with art and text, to reveal how her protagonist tackles and solves her dilemma. All versions include varied layers of meaning and humor. Sometimes, the same words, illustrated in different ways, change the plot and the story’s pacing.

How will what I’ve studied so far change my own process as an author?

I plan to slow my process down to focus more clearly on my story’s essence. I will try to pare text to get to the universal—the situation, emotion, or problem that every kid can relate to in my writing.

I hope slowing down will help me to imagine different ways the story arc might play out around the universal theme. I shall play “what if?” and “why not?” with my words in a way that will let an illustrator fill in blanks. I will strive to be less wedded to the “first” story I write; there may be other words or plot angles that offer more opportunities for an illustrator.

If I am to truly leave room for an illustrator, I need to focus even more on making every single word musical and meaningful.

Writers should make dummies as part of their process

To accomplish all of the above, or to strive to do so, I plan to create a dummy (for the text) for every story I write. I have done this with some of my manuscripts, but not all, since I have developed a good sense of story arc and appropriate length for a 32-page picture book. However, I believe parsing the text of each story I write, and placing it on the pages, will further improve my craft by encouraging me to 1) better examine what words belong on each page/spread, 2) consider whether my words allow for expansion of my story through different actions/illustrations, 3) improve forward plot motion and page turns,4) evaluate alternate story possibilities and pacing, and, just perhaps, 5) “see” more clearly how a better story might be told.

I can’t wait to start! And I can’t wait to continue my research!

 

 

Exploring Bolivian political culture in the years between the War of the Pacific & the Federal War of 1899 in newspapers

[This summer, we at the Archives and Special Collections department at the Dodd Research Center had the pleasure to welcome Forrest Hylton, PhD, one of our Strochlitz Travel Grant awardee of this year, who came to us to do some research for his coming book, Reverberations of Insurgency: Indian Communities, the Federal War of 1899, and the Regeneration of Bolivia. Below is his essay recounting his experience working with a selection of Bolivian newspapers that are part of the Latin American Newspapers Collection. Enjoy, Marisol Ramos, Subject Librarian and Curator of the Latina/o, Latin American and Caribbean Collections]

La Bandera Federal (newspaper)

A Bolivian newspapers from Sucre (1884)

It is always a pleasure to work in the Archives and Special Collections of a research library, and thanks to a Strochlitz Travel Grant, I came to the Dodd Center to use the Latin American newspapers collection, which is particularly strong for Bolivia in the nineteenth century. The research I did in the course of several days will allow me to analyze key features of Bolivian political culture in the years between the War of the Pacific and the Federal War of 1899 for the first chapter of a book manuscript entitled Reverberations of Insurgency: Indian Communities, the Federal War of 1899, and the Regeneration of Bolivia.

The manuscript examines sovereignty, political representation, and property rights, as well as processes of racial-ethnic and state formation, and highlights indigenous forms of organization and mobilization that combined elements from pre-colonial, late-colonial, and republican political cultures. I argue for the role that politics played in defining collective self and other, and thus for its centrality to the construction of ethnic and racial identities in late-nineteenth-century Bolivia. In the Federal War of 1899, modes of indigenous sovereignty and political representation that had been forged in anti-colonial insurrections of the late eighteenth century resurfaced with dramatic force, and victorious Liberals tarred them with the epithet of “race war.” These were non-liberal, but not separatist or ethnocidal movements, which aspired to hegemony at the sub-national level. Non-indigenous groups would be subject to indigenous authority, at least in the countryside where nine of ten Bolivians lived. Yet indigenous insurgents were firmly allied with Liberal federalists. I have used judicial sources from Bolivia to understand these aspects of indigenous insurgency.

I came to Storrs to look at Bolivian newspapers from the 1880s and 90s to develop a clearer picture of the Liberal Party, in its own words and in the provinces, as well as the Conservative response to Liberal initiatives, proposals, and candidates. The Latin American newspaper collection at the Dodd Center has a number of papers, such as El Artesano Liberal, El Artesano, La Democracia, Ecos Liberales, Ecos Federales, Ecos de Aroma, El Liberal, and El Imparcial, that explicitly identified themselves as organs of the Liberal Party in Sucre, Potosí, and Oruro, as well as La Paz, and these papers—many of them produced by and for artisans—carried extensive coverage of elections of 1884, 1888, 1892, and 1896 and the fraud, intimidation, and violence that went with them, in country seats as well as provincial capitals. This coverage helps us see why the Liberal Party revolted against Conservative rule in 1899, since the electoral path to power was blocked by Conservative political monopoly, which also favored Conservative business interests in land and commerce. It also allows me to reconstruct the political and journalistic careers of leading creole figures in the Federal War, Conservative as well as Liberal, such Severo Fernández Alonso, José Manuel Pando, Ismael Montes, Fernando Guachalla, Adolfo Mier, and Claudio Quintín Barrios, and focal points of Liberal organizing in the provinces, such as Sicasica, Colquechaca, and Corocoro.

One of the remarkable things about Liberal newspapers is their interest in and coverage of local electoral efforts, particularly in Sicasica and Luribay, the area south of La Paz where the most important leaders of the Federal War emerged on the creole as well as the indigenous side. I had hoped to find news of local indigenous uprisings connected to Liberal electoral campaigns, particularly in Sicasica, but it appears that indigenous communities were largely absent from official debate and discussion among Liberals and Conservatives during the 1880s and 90s. The two articles I found in the Liberal press that mention indigenous uprisings (or the threat of them) condemned them as a threat to property rights and propertied persons, which suggests that Liberals had not seriously considered mobilizing indigenous communities until the late 1890s, even though there were local-level indigenous revolts beginning in the late 1880s.

I had expected to find evidence of Liberals and indigenous communities working together against Conservatives at least since the late 1880s, but it now looks as though indigenous activism against the privatization of community lands and Liberal opposition to Conservative political monopoly operated on largely separate tracks, with little overlap before 1896. Thus it is possible to see the Federal War of 1899 as the result of a general crisis of sovereignty, in which the convergence between indigenous movements for self-government in the countryside and the Liberal opposition based in provincial capitals and county seats—a temporary marriage of convenience—changed the country’s political geography decisively. The short-lived nature of the convergence, in turn, makes it easier to understand why Liberals turned on their erstwhile indigenous community allies immediately after coming to power.

Curator, Marisol Ramos showing Strochlitz Travel Grant awardee Forest Hylton a Bolivian newspaper

Curator, Marisol Ramos showing Strochlitz Travel Grant awardee Forest Hylton a Bolivian newspaper

The Dodd Center’s collection is essential for anyone wishing to understand creole and mestizo political culture of urban centers in nineteenth-century Bolivia, and though they fell beyond the scope of my own research on the 1880s and 90s, I found numerous papers from the 1860s and 70s, as well as the 1830s. What makes the collection particularly remarkable is its variety and diversity, for it contains materials from provincial capitals that have not, to the best of my knowledge, been preserved in Bolivia itself. I am grateful to have had a chance to look at the Dodd Center’s impressive collection, however briefly, and hope to return in the future.

Forrest Hylton, PhD, was a Lecturer in History & Literature at Harvard University in 2013-14, and beginning in 2014-15, he will be a Visiting Assistant Professor of History at Northwestern University. 

Ed Young donates extensive archives to Northeast Children’s Literature Collection

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Archives & Special Collections is proud to announce that Ed Young, the multi-award winning author and illustrator of children’s books, has donated his extensive collection of artwork, sketches, scrolls, storyboards, color studies and other archival materials to the Northeast Children’s Literature Collection.  Mr. Young was born in Tientsin, China, lived in Shanghai and Hong Kong, and moved to the United States in 1951 to study architecture.  He graduated from the Art Center College of Design in Pasadena, California, and taught at the Pratt Institute, Yale University, Naropa Institute, and the University of California at Santa Cruz.

The awards and accolades for his books are too numerous to list but include the Caldecott Medal for Lon Po Po (1989) and Caldecott Honors for The Emperor and the Kite (1967) and Seven Blind Mice (1992). His books have been named to the ALA Notable Books list seven times, have been awarded the AIGA Award: The Fifty Most Beautiful Books of the Year ten times, and have received three Boston Globe Horn Book Honor Awards.  Mr. Young was also nominated in 1992 and 2000 as the U.S. representative to receive the Hans Christian Andersen Award, for “works that have made a lasting contribution to children’s literature.” Some of Mr. Young’s best-known and most-loved books are derived from Chinese folktales and include The Sons of the Dragon King (2004); Monkey King  (2001); The Lost Horse (1998); Mouse Match (1997); Night Visitors (1997); Little Plum (1994); Red Thread (1993); Seven Blind Mice (1992); The Voice of the Great Bell (1989); The Eyes of the Dragon (1986); Yeh Shen (1982); White Wave (1979); Cricket Boy (1977), and 8000 Stones (1971).

Ed Young in his studio
Ed Young in his studio © Gina Randazzo 2014. All rights reserved.

The Ed Young Papers have been on deposit in the Northeast Children’s Literature Collection for approximately eighteen years.  His artwork travels extensively around the world for exhibitions, including many museums in this country as well as the European Union.  Mr. Young employs various media such as collage, watercolor and pastel, making his collection a treasure trove for researchers in the fine arts.  The finding aid for the Ed Young Papers provides information on the more than ninety books’ worth of archival materials.  Mr. Young now lives in Westchester County, New York, with his family and a cat.  More information on Ed Young is available at http://edyoungart.com/.   The Northeast Children’s Literature Collection holds a substantial collection of materials pertaining to children’s literature and is very grateful for this extremely important addition.

Thank you, Mr. Young!

2014 Reunion of the sisters of Delta Pi

Birth of Delta Pi, November 1955

Birth of Delta Pi, November 1955

On July 26, 2014 the sisters of Delta Pi returned to Storrs to visit, reminisce, share stories and remember those who have passed.  In addition to the stories and tours of campus and the Storrs surroundings, a number of the sisters brought with them momentos, photographs, banners, beanies, clippings, notes, patches and other bits of Delta Pi history.  Many of these items have been donated to the University Memorabilia Collection in the University Archives, where they are now securely preserved and available for the future.  In this regard, Delta Pi is now one of the best documented student organizations in the Archives.  Congratulations to the sisters of Delta Pi!

 

Crowded reunion at the Nathan Hale, July 26, 2014

Crowded reunion at the Nathan Hale, July 26, 2014

Founding sisters

Founding sisters

Welcome to the sisters of Delta Pi

On Saturday July 26, 2014, the sisters of Delta Pi will be gathering for a reunion in Storrs. In addition to sharing stories of experiences since leaving UConn, the sisters have gathered documentation of the sorority and its activities over the years to add to the four scrapbooks, which will be available for viewing during the reunion, currently held in the University Archives.

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The University Archives is interested in documenting student activities and organizations at the University.  Anyone interested in donating materials should contact the University Archivist, Betsy Pittman (betsy.pittman@lib.uconn.edu).

Celebrating National Parks and Recreation Month With Historical Photographs of Connecticut

caseonesmallThis July, Archives & Special Collections at the Dodd Research Center is celebrating National Parks and Recreation month through the temporary exhibit titled “Baseball, Beaches, and Bathing Beauties.” All month, two display cases in the John P. McDonald Reading Room will feature photographs from collections held in the archives that highlight the visual history of summertime fun in Connecticut.

Case one focuses on summer outings to Ocean Beach in New London by the Thermos Company. Stop by and see photographs of Thermos employees enjoying seasonal picnic favorites like tug-of-war, wheelbarrow races, pie-eating contests, and relaxing in the sand. Case two highlights more summertime casetwosmallactivities including the Willimantic Boom Box parade, softball and baseball, and Southern New England Telephone Company’s employee picnics. In addition to photographs, the exhibit contains several texts about outdoor activities including an article from 1946 in Coronet from the Edwin Way Teale Collection and several books from the Northeast Children’s Literature Collection including Kathryn Lasky’s Pond Year and Betsy Mable Hill’s Summer Comes to Apple Market.

This exhibit will run through the month of July and can be viewed Monday- Friday, 10 am- 4 pm in the Reading Room.

This exhibit is curated by Reference Desk Coordinator Tanya Rose Lane and Graduate Student Intern Danielle Dumaine.

Historic University Films

Archives & Special Collections has recently enhanced access to historic University films through digitization.  In conjunction with the current exhibit, “What’s in a Name?” on display in the Dodd Center Gallery, AS&C is hosting a summer film series.  Selected films will be shown around a theme on Fridays from 12-1 in Room 162 of the Dodd Center.  So bring your lunch and share a brief moment of UConn’s past, memorialized on film!

6/20    Agriculture on Display

  • Title: Eastern States Expo (7m 47s) Film is from the Baby Beef Club auction at the Eastern States Exposition (The Big E) and was taken by Wilifred B. Young, former dean of Agriculture at Connecticut State College. The video begins with beeves being led in the Coliseum. Placards for several beeves are shown, including those for the Storrs, Connecticut 4-H members and the grand champion, reserve champion, highly commended and commended entrants. Placards include the name of the animal, the 4-H Club member who raised them, member’s hometown, beeve’s weight, and auction purchaser. Camera pans over the Connecticut Baby Beef Club’s “Home Grown Feed” exhibit and the fair’s “Buy Your Baby Beef” sign, dairy cows and seconds harness races
  • Title: Chopping 1 (3m 3s) Film documents a wood chopping contest hosted by the Hartford Farm Bureau. The winner recieves a cash prize and runner up participants are awarded new axe heads.
  • Title: Chopping 2 (3m 8s) Film documents a controlled burn demonstration and then cuts to a wood chopping competition in front of the Hawley Armory Building at the Connecticut Agricultural College.
  • Title: Field Day (7m36s) Film depicts a sheep shearing demonstration and competition, possibly the annual field day of the Connecticut Sheep Breeders Association at Avon Old Farms on May 2, 1936. Three methods of shearing are shown: hand shears, a hand crank sheep shearing machine, and a gas-powered, belt driven sheep shearing machine. The video also documents horse jumping. The film was most likely shot by Wilifred B. Young, then head of the sheep program for the Extension Service and faculty member at Connecticut State College.

7/11    Teaching the Land

  • Title: Logging in ME (19m12s) University of Connecticut students in the former town of Davidson, Maine at the location of the Summit Lumber Company. Film documents students involved in surveying, logging, recreation activities and life in camp.
  • Title: Felling Trees (7m5s) Film documents a method for felling trees. A direction cut is made and then a portion of the felling cut. The demonstrator then cuts a notch into the opposite side of the directional cut, inserts a jack and fells the tree using the jack. Film may have been made for classroom or Extension Service work.
  • Title: Tree Planting (10m 10s) Film provides instructions for the planting of conifer seedlings. Two steps are covered, planting seedlings as bunch to allow them to root, and then separating and planting individual seedlings. Camera pans over tools needed at start.
  • Title: Potato Field Tour ( 3m49s)

7/18    Diary of a Student Revolution

  • On-campus industrial recruiting of students at the University of Connecticut resulted in confrontation between student activists and the University president. Two camera crews worked independently to simultaneously show the philosophies and strategies of both sides during the conflict. The students attempt a peaceful protest against recruiters but are met by police who read the riot act and begin making arrests. Elsewhere the president is seen chatting about the action with fellow administrators. The question remains whether the administration’s repressive action in summoning force was an appropriate response to the peaceful demonstrations.

7/25    Yankee Conference Championship game at UConn, 1970

  • UConn vs. URI  (40min) 1970 Yankee Conference Championship between UConn and Rhode Island at Storrs. Final score UConn 35 Rhody 32. Playing for UConn is Doug Melody, Bob Staak, Bob Taylor and Ron Hrubala. Film includes footage of the cheerleaders, crowds, and Jonathan the husky.

8/1      Technology and the Farm

  • Title: Swamp Logging (10m23s) Film depicts the logging of virgin forests of Longleaf Pines throughout the Southeast United States. The exact site is most likely North Carolina or Florida. The Longleaf Pine was valued for lumber and for its resin, which was used in navy stores, and the production of turpentine and rosin. By the time of this film the Longleaf Pine had been almost entirely cleared from North America and replaced with faster growing varieties of pine. The footage includes examples of the use of a steam donkey, or steam driven winch, a geared steam locomotive, a steam skidder, and a variety of hand tools.
  • Title: Sawmill (10m 23s) Film depicts hardwood logging in Connecticut. Several students can be seen in the beginning of the footage measuring tree sizes and taking notes. Trees can be seen being loaded on to a horse-drawn sled.
  • Title: Potato Harvesting, Lee Farm (3m47s) Footage depicts potato harvesting demonstration at the farm of noted jurist Simon S. Cohen in Rockville, Connecticut. Potatoes are unearthed by a digging machine, collected in baskets, and then put in barrels which are picked up by men using small crane mounted to flatbed truck. The film cuts, possibly to Lee Farm, also to potato harvesting.
  • Title: Potato loading machine (3m49s) This short film contains footage of men harvesting potatoes, probably on Lee Farm. The harvester (digger) can be seen, which required twelve men to drive the tractor, sort, bag, and load potatoes on to a second truck. Researchers of the history of agricultural technology may be interested in this video. Albert E. Wilkinson served as the Extension Service’s vegetable gardening specialist as part of his duties in the Horticulture Department at the Connecticut Agricultural College at Storrs starting in 1930. Wilkinson shot over 1000 feet of film documenting vegetable growing and harvesting throughout the country to share with his classes and during community movie nights throughout the Extension Service Program.
  • Title: Machine Plowing (3m47s) Film depicts young men transplanting seedlings and several examples of machine farming at Lee Farm in Coventry, CT.

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Grants for Research: Apply Now For Fall/Winter Travel

Edwin Way Teale at TrailwoodScholars and graduate students whose research requires use of the collections held in Archives and Special Collections at the Thomas J. Dodd Research Center are invited to apply for travel grants.  Applications must be received by June 30, 2014 for travel to the University of Connecticut between September 2014 and February 2015.  Grants up to $500 are awarded to graduate students and post-doctoral students, and established scholars are eligible for awards of up to $1,500.  Grants are awarded on a competitive basis to cover travel and accommodations expenses.  Details and application instructions can be found on the Strochlitz Travel Grant website.

Criteria for selection include the scope and significance of the individual’s research project relative to the subject strengths of the repository collections, his or her scholarly research credentials, and letters of support.  Applications from individuals whose research relates to the following fields of inquiry are strongly encouraged: Alternative and Underground Press in America, American Literature and Poetics, American Political History, Blues and African American Vernacular Music, Latin American and Caribbean Culture and History, Human Rights, Labor History, Public Polling History, and Connecticut and Railroad History, among others.

Contact Greg Colati, Director, with any questions.

Mapping and Understanding the Emergence of the Underground

Tales of Beatnik Glory by Ed SandersSean Cashbaugh, a PhD candidate in American Studies at the University of Texas Austin and recipient of a 2014 Strochlitz Travel Grant, visited in March to conduct research for his dissertation currently titled A Cultural History Beneath the Left: Politics, Art, and the Emergence of the Underground During the Cold War. “This notion of the underground constituted a distinct political and aesthetic imaginary parallel to, but distinct from, groups like the Beats and movements like the Counterculture and the New Left,” according to Mr. Cashbaugh.  Travel Grants are awarded bi-annually to scholars and students to support travel to and research in Archives and Special Collections.  The following essay was contributed by Mr. Cashbaugh. 

In his short story “The Piano Player,” poet, novelist, publisher, and musician Ed Sanders recounts the life of Samuel Gortz, an idiosyncratic musical genius living in New York City’s Lower East Side during the early 1960s. As Sanders writes, “His piano played such incredible melody lines that sometimes tears were the only response. He was a textbook example of a genius in America who shat upon convention, sell-out, compromise, acceptance.”[1] Sanders’s story is an ode to this pianist’s talents and his refusal to work and live on anyone’s terms but his own, but it is also an elegy. An impoverished musician, one living amongst a community of poor artists, he and any trace of his works disappeared: a leaky roof and a greedy landlord eager to evict an unpaying tenant destroyed his compositions; Gortz vanished. Even the building where he lived, an apartment at 13th street and Avenue C, is gone, razed, likely in the name of “developing” the always changing cityscape.

Though the Gortz Sanders recounts likely never existed, he may as well have. Sanders’s story is a call to remember all those creative figures working in New York City in the late 1950s and early 1960s, a period his novel Tales of Beatnik Glory (1975) recreates in glorious, and at times hilarious, detail.[2] It is a scholarly commonplace that New York City at this time was home to a flurry of political and artistic movements that left a lasting impression on twentieth century American culture. Of course, this was not strictly a New York phenomenon:  this was happening all across the United States, in Los Angeles, in San Francisco, and in Chicago, to name only a few urban bases of wildly creative political and artistic practice. Continue reading

Whales, Illustrated: Jean Day Zallinger Papers

whaledrawing1

In March, I curated an exhibit exploring the theme of ocean ecology in children’s literature. While looking for material for this project I stumbled upon a series of whale drawings by Jean Day Zallinger (b. 1918). The Jean Day Zallinger Papers are part of the Northeastern Children’s Literature Collection in Archives & Special Collections. An artist trained at both the Massachusetts College of Art and Yale University, Jean illustrated non-fiction science books for children, including a survey of human evolution, a history of the dinosaurs, and even a chapter book about the camouflaging techniques employed by different species of fish.

The drawings I found were produced by Jean for Helen R. Sattler’s Whales, Nomads of the Sea (1987). Altogether, there are over forty drawings, each a portrait of a different species of whale, dolphin, or porpoise. These illustrations can be found at back of the book in a cetacean encyclopedia. Here, each drawing is pictured alongside information about the range, diet, and behavior of that species.

I included one of Jean’s drawings in my exhibit, which despite my attempts to the contrary began to develop a distinctive whale theme. When we talk about ecology and species preservation, it’s tempting (and fun!), but not representative, to focus on the biggest or most exotic species in an ecosystem. Whales, poster children for the modern environmental movement since the 1970s, have long been the subject of popular ocean imagination.[1] For this reason, I wanted to include books in the exhibit featuring creatures or themes not typically included in public conversations about ocean conservation. I found several of these but I found many more books about whales.

Whales have been a part of my personal imagination for many years. I am completing my University Scholar thesis on the end of the nineteenth-century whaling industry in New London, Connecticut. In my research, I focus on three species of whales: Southern Right Whales, Pacific Sperm whales, and occasionally humpbacks. These were three species typically hunted by nineteenth-century American whalemen. And so when I first whaledrawing2discovered Jean’s drawings, which include illustrations of narwhals next to grey whales, pygmy sperm whales, and Atlantic white-sided dolphins, I was startled. I had forgotten that there were so many species of cetaceans.

While Margaret Waring Buck illustrated many of her books about nature from direct observation, it is likely that Jean Zallinger had to draw many of these images, particularly of the more obscure species, from photographs. It is easy to get up close in personal with a mouse in a hamper, but it’s much more difficult to do this with creatures that spend their entire lives under water. As my advisor Prof. Matthew McKenzie (UConn Avery Point, History) has told me repeatedly, the invisibility of ocean resources makes achieving ocean sustainability difficult. “It is easy to comprehend destruction when you see a clear-cut forest,” he says. “Fish and other ocean creatures we hunt for are cloaked by the ocean. Their invisibility makes them seem fathomless.”

Recently, as I returned to look at Jean’s drawings I immediately envisioned lining them up along one long table. (I didn’t.) But if I were to, the end result would be a striking literal visual illustration of marine mammal biodiversity. Jean’s artwork, and books like the ones featured in the exhibit earlier this semester, inform and entertain. But they also strengthen our relationships with ocean creatures and the likelihood that these relationships will be sustainable ones by illustrating for readers what is otherwise invisible.

This is the final post by Rebecca D’Angelo, a senior undergraduate student in History and Anthropology. She is a writing intern and student curator in Archives and Special Collections at the Dodd Research Center, University of Connecticut.


[1] Motohiro Kawashima, “The Imagined Whale: How the Media Created a Sacrosanct Creature,” The Essex Graduate Journal of Sociology (University of Essex, 2005). http://essex.ac.uk/sociology/research/publications/student_journals/pg/graduate_journal_vol5.aspx.