Hello! Who are you?
We have no idea who these men are. We only know the photograph was in the Hartford Electric Light Company Records and was taken in 1902, probably in Hartford.
Archives & Special Collections is pleased to announce the online availability of the papers associated with the trial of the Nazi major war criminals found in the Senator Thomas J. Dodd Papers. Formal announcement and remarks regarding the Digitization of the Nuremberg Trial Papers of Senator Thomas J. Dodd will take place on November 13, 2013, from 3:00 – 4:00 pm in the Reading Room, Dodd Research Center.
Dodd served as Executive Trial Counsel and supervisor of the U.S. prosecution team at the International Military Tribunal at Nuremberg from July 1945 through October 1946, where he shaped many of the strategies and policies through which this unprecedented trial took place. Representing a small proportion of his entire collection housed at the Archives & Special Collections at the University of Connecticut, Dodd’s Nuremberg papers contain documentation relating to the proceedings of the Nuremberg Trials that are available nowhere else, including hand annotated drafts of trial briefs and annotated translations of German documents. Found in Series VII of the Thomas J. Dodd Papers, the documents have been heavily used by scholars from around the world since they were opened to the public in 1997.
The nearly 50,000 pages of documents in the Nuremberg papers will be digitized over the next two years and made available through the Connecticut Digital Archive, a joint program of the UConn Libraries and the Connecticut State Library. Explore the Nuremberg Trial Papers at http://hdl.handle.net/11134/20002:UniversityofConnecticut
This event is being held in conjunction with the award of the 6th Thomas J. Dodd Prize in Internal Justice and Human Rights to the Business and Human Rights Resource Centre, which will take place at 4:00pm in Konover Auditorium, Dodd Research Center.
The University of Connecticut community is saddened to learn of the passing of award winning photographer U. Roberto (Robin) Romano. Romano was a photographer, filmmaker and human rights educator. The son of the artist and Works Progress Administration (WPA) muralist Umberto Romano, Robin Romano was born in New York where he attended the Lycee Francais, Allen Stevenson School and Horace Mann High School. Mr. Romano graduated from Amherst College as an Interdisciplinary Scholar in 1980. Working closely with the Human Rights Institute and Archives & Special Collections, Mr. Romano began depositing his personal papers with UConn in 2008.
Romano began his career in documentaries as a producer and cameraman for Les Productions de Sagittaire in Montreal, where he worked on several series including 5 Defis and L’Oeil de L’Aigle.
His film projects include: Death of a Slave Boy, a two-hour special shot in Pakistan for European broadcast, Globalization and Human Rights hosted by Charlayne Hunter Gault for PBS, Stolen Childhoods, the first theatrically released feature documentary on global child labor, The Dark Side of Chocolate, a feature documentary on trafficking in Western Africa, and The Harvest/La Cosecha, a feature documentary on child migrant laborers in the United States for which he won the Shine Global Award. He was also a contributor to the NPR and BBC specials on slavery in the Ivory Coast and has contributed to films as diverse as In Debt We Trust and Darfur Now.
As a still photographer, his exhibition “Stolen Childhoods: the Global Plague of Child Labor,” was on view at the William Benton Museum of Fine Art at the University of Connecticut in 2006. He has been the photographer for Rugmark, a foundation working to end illegal child labor in the carpet industry) and to offer educational opportunities to children in South Asia, as well as GoodWeave (the iconic photos of child rug weavers in Nepal. Additionally, Romano created the mural and poster for the Council on Foreign Relations announcing their universal education campaign. Other organizations that have used his work include Human Rights Watch, Amnesty International, Free the Slaves, The International Labor Organization, Stop the Traffik, The Hunger Project, International Labor Rights Forum, The Farm Labor Organizing Committee and Antislavery International. His work has appeared in such publications as The Ford Foundation Quarterly, The Stanford Review, Scholastic, and UConn Magazine, and has been seen on billboards and posters around the world. Romano has appeared as a guest on Nightline with Ted Koppel as well as Newsnight with Aaron Brown. He was recently active As an advocate for and an authority on children’s and human rights, Romano appeared at many forums, schools and universities. He gave the Frank Porter Graham Lecture at the Johnson Center for Academic Excellence, University of North Carolina, and the Gene and Georgia Mittelman Distinguished Lecture in the Arts at the University of Connecticut. In 2007 he was invited to give the plenary speech at the Association of Farmworker Opportunity Programs annual conference in Coeur d’Alene. He has also lectured at the Rhode Island School of Design and the Oak Institute for International Human Rights at Colby College.
Robin Romano will be greatly missed by all those he has touched at UConn.
(Images from the Robin Romano Papers, used with permission.)
They say you are who your friends are. To anyone reading Mary Clark’s 1835 signature album, this statement is almost literally true. Presumably a resident of Lowell, Massachusetts in the 1830s, we know very little about Mary’s life, except what friends wrote about her and to her in her signature album, now a part of the Diaries Collection.
Signature albums, more commonly referred to as autograph albums, are pieces of nineteenth century ephemera, commonly owned by women. In the analogous spirit of a modern high school yearbook, signature albums were used to collect personal sentiments from friends. During the nineteenth century, these sentiments “while rarely original,” generally took the form of transcribed poems about friendship, or Bible verses.[1] Friends signed, dated, and included their hometown at the bottom of each entry.[2]
The entries in Mary Clark’s signature album are not chronological. They are scattered throughout the album, separated by empty pages; all date between 1834 and 1838. Though Mary does not seem to have written in her own album, her book includes items that appear to have been created or collected by her, including a carefully drawn map of Eurasia (pictured). Female friends wrote most of the entries, though her album includes an entry from an “Oliver Brooks,” presumably a male friend.
Historian Anya Jabour thinks that autograph albums were particularly important to women during moments of transition in their lives, such as following commencement from school or in the weeks leading up to a marriage, allowing “young women’s friendships with each other to survive separation and even death.” [3] Mary’s album includes an undated “Quarterly Bill” (report card) from Bradford Academy, an institution in Bradford, Massachusetts, which operated as a women’s college between 1836 and 1931. Most of the entries are written by friends from Lowell, suggesting that perhaps Mary’s signature album was a way for her to stay connected with friends from home while she was attending Bradford.
The content of the entries in Mary’s album reflects this purpose. An 1836 entry from an “S.J. Messinger” of Lowell (pictured) includes the following handwritten poem borrowed from a Scottish author:
Though many a joy around thee smile
And many a faithful friend you meet
Whose love may cheer[e] life’s dreary way
And turn the bitter cup to sweet
Let memory sometimes bear thee back
To other days almost forgot
And where you think of other friends
Who love thee well Forget, me not!
Other entries, expressed in common language of Christian “virtue” suggest how these women conceived of, and dealt with such separations. An 1834 entry from Eliza Brooks of Lowell, MA, potentially the wife or sister of the aforementioned Oliver Brooks includes a poem, copied from an unknown source, that imagines a world where “virtue round us ever shed/The influence of her gentle light.” The poem’s author then goes on to admit that such a world will never be possible, nor desirable, for if the world was always virtuous:
We then might never thoughtful turn
Our minds to nobler scenes above,
Nor let within our bosoms burn,
Aught purer than an earthly love.
But Dearest Friends [author’s emphasis] are from us riven,
And pleasures gayest hours are brief;
And hope by stern misfortune driven,
Will wither like the Autumn leafe.
Then may we seek an endless Friend
Whose smiles are never shaded,
And hope for life that never shall end
Nor fade, as earthly scenes have faded
And calmly on life pathway move
To those Blest Mansions far above.
Eliza Brooks underlined “Dearest Friends,” in the fourth line, suggesting that this sentiment refers to Mary specifically. The “endless Friend” in this poem is assumed to be God. This poem is then one of several entries in Mary’s album recommending religion and investment in virtue, charity, and humility as ways to transcend the reality of being separated from friends, and the pain that comes with that separation. Other entries refer to virtue, Godliness, and eternal blessings outside of the context of friendship, suggesting a shared common experience and concern with upholding Christian values.
Presumably, Mary read these entries. This considered, her album becomes a dialogue between friends and herself, a place to receive and reflect on shared sentiments regarding friendship, separation, Christian virtue, and happiness.
But is this a journal? So far, I have been unintentionally vague about what I mean by a journal or diary, assuming (until now) that the term didn’t really need a definition. In my first entry, I described diaries as “something extremely personal, a continuous letter to self.” Mary’s signature album differs from previous diaries I’ve discussed in that she did not write in it, and other people did; it is not “a letter to self,” but a series of entries written to Mary by others. But it is personal, in the same way that a scrapbook or a signed yearbook is personal. The entries she collects from friends are a physical manifestation of existing friendships and interests.
Furthermore, this album differs from, let’s say, a collection of letters, in that it is contained in an album, and Mary’s presence is discernible through materials she’s intentionally inserted into it, including her map and a typed, published entry intended “For an Album” that has been removed from a primer or magazine and carefully glued to her album’s opening pages. Though Mary was not this album’s scribe, she was its owner and curator. Her album then, though not a journal, serves many of the same purposes, reminding us that diaries, in the traditional sense, are not the only self-curated historical documents that were used to record and reflect on the intimate details of a person’s life.
Rebecca D’Angelo is a senior undergraduate student in History and Anthropology. In her blog series For Private Eyes Only she studies diaries available in Archives and Special Collections at the Dodd Research Center to explore the history of journal writing and reasons why we write journals.
[1] Anya Jabour, “Albums of Affection: Female Friendship and Coming of Age in Antebellum Virginia,” The Virginia Magazine of History and Biography 107 (1999): 128.
[2] Lisa Ricker, “Performing Memory, Performing Identity: Jennie Drew’s autograph Album, Mnemonic Activity, and the Invention of Feminine Subjectivity” (Proquest, UMI Dissertation Publishing, 2011).
[3] Ibid.
The staff in Archives & Special Collections has answered some unusual questions in the past, but today the unusual one was the researcher.
Happy Hallowe’en from everyone in Archives & Special Collections!
Aaron Becker’s Journey: a wordless picture book was named one of The New York Times 10 Best Illustrated Children’s Books of the year. We are honored that he will join us on Saturday the 9th for a presentation at 3:30pm at the Connecticut Children’s Book Fair. Congratulations Aaron!
Below is a list of collections that are now open and available for research (links to finding aids provided), arranged by broad collecting area. Researchers are encouraged to contact the staff with any questions.
Business Collections:
Somersville Manufacturing Company Records
https://archivessearch.lib.uconn.edu/repositories/2/resources/931
Children’s Literature:
David M. Carroll Collection
https://archivessearch.lib.uconn.edu/repositories/2/resources/287
Anna Kirwan Papers
https://archivessearch.lib.uconn.edu/repositories/2/resources/918
Barbara McClintock Papers
https://archivessearch.lib.uconn.edu/repositories/2/resources/945
Labor Collections:
AFSCME, Council 4 Records
https://archivessearch.lib.uconn.edu/repositories/2/resources/897
Railroad Collections:
Max Miller Collection of the Connecticut Valley Railroad
https://archivessearch.lib.uconn.edu/repositories/2/resources/937
University Archives:
Center for Economic Education Records
https://archivessearch.lib.uconn.edu/repositories/2/resources/185
Environmental Health and Safety Records
https://archivessearch.lib.uconn.edu/repositories/2/resources/189
Josef Gugler East African Survey Collection
https://archivessearch.lib.uconn.edu/repositories/2/resources/900
Walter R. Ihrke Papers
https://archivessearch.lib.uconn.edu/repositories/2/resources/452
Louise T. Johnson Papers
https://archivessearch.lib.uconn.edu/repositories/2/resources/33
Irene and Merle Klinck Papers
https://archivessearch.lib.uconn.edu/repositories/2/resources/933
Puerto Rican/Latin American Cultural Center Records
https://archivessearch.lib.uconn.edu/repositories/2/resources/905
School of Allied Health Records
https://archivessearch.lib.uconn.edu/repositories/2/resources/190
School of Nursing Records
https://archivessearch.lib.uconn.edu/repositories/2/resources/668
University Communications Office Records
https://archivessearch.lib.uconn.edu/repositories/2/resources/113
In August of 1851, Mr. Dean Walker, a Massachusetts man, visited Liverpool, England for the very first time. His initial impression of the city could be described as underwhelmed:
Saturday [August 2] – I have spent the day in travelling about the town. Find the people looking better than I expected. I do not think there are more dirty shabby looking people here than in New York, or more of the low classes here than there. They do not appear to be employed here, they only come from Ireland to ship to New York and other places. I went to see the “Great Western” start for New York. Those who were going I think were the most dirty-looking people I ever saw. A few ragged people are begging in the streets but not as many as I expected to see.
Liverpool was the first of many stops Walker made in a multiple-month-long “European trip,” during which he visited parts of England, Ireland, Scotland France, and Italy. During his travels, he recorded his initial impressions and quick observations on European life, landscape, and people in a journal.
Walker’s journal is one of several travel journals within the Diary Collection. Travel journals are personal, narrative accounts of an author’s travels – broadly defined here as experiences that involve long or short-distance movement across a geographic space. The four travel journals contained within this collection were all written by Americans traveling through Europe during the late nineteenth century.
Walker, whose age is unknown, lived during a time when travel between the United States and Europe was accelerating – literally. He left Boston bound for Liverpool, England on July 15, 1851 in what was likely the packet ship (or “clipper ship”) Daniel Webster, built and run by the Boston-based Enoch Train & Company line.[1] He arrived in Liverpool after sixteen days of travel on August 1, a “fast passage” according to the Webster’s captain. Clipper ships, the iconic speedy cargo ships of the nineteenth century, are one of several signs of the nineteenth century transportation revolution, alongside railroads and steamships, evident in Walker’s journal.
Though we know little about Walker, we do know that he was likely a man of means, as he was able to afford passage as a “cabin” (or “first class”) passenger during his journey to Liverpool, on a shipping line popularly perceived as “expensive.” [2] As historian Daniel Kilbride notes in his book Being American in Europe (1750 – 1860), even though the cost of trans-Atlantic travel was declining by mid-nineteenth century and many Americans counted themselves amongst the ranks of the “comfortable” middle class, European travel was still a luxury enjoyed only by the wealthiest citizens.[3]
We also know that Walker was not alone in his travels. In fact, I was first drawn to Mr. Walker’s journal because of its suggested co-authorship. The inside cover of its first page reads, “Journal of European trip made by Mr. Dean Walker + Addison P. Thayer (July 1851).” At early points in the journal, when Walker describes his passage to Europe, he occasionally uses the pronoun “we,” suggesting the presence of a companion; however, he describes most of his experiences using the singular first person pronoun “I.” It isn’t until Walker reaches France, several weeks into his journey, that he mentions: “Mr. Thayer was with me.” Their relationship remains unclear.
Perhaps this is because Walker is largely concerned with using his journal to discuss other matters. He focuses on describing his new experiences and his impressions of things that seem particularly “curious” to him. He notes seeing “black fish” porpoises and whales during the voyage to Liverpool, seeing his first Hippopotamus at the Zoological Gardens, and taking a meal at the Mechanics Eating House in London – significant to him because he could enjoy a book from their large library with his meal. His interest in using his journal to describe the extraordinary material things he sees is evident from an entry he writes about his visit to the Crystal Palace in London to see the “Great Exhibition of 1851,” a “World’s Fair” housing display of technology:
Tues. [September] 26th: I went today for the third time to the Glass Palace…I thought I would today begin and go through and [write] down the prices and try to give a description of the most curious things I saw, but I directly became discouraged and gave it up as a bad job. The best way I can give one an idea of the things is to describe some of the most extravagant things and some of the most simple, and then have any one form an idea from the size of the building how much was to be seen.
He goes on to describe several extraordinary and expensive objects he sees at the exhibition– a large diamond, expensive furniture. His interest in wealth is telling, as his the suggestion that he may be describing these objects “for someone else.” Unlike Ann Winchester, it seems as if Walker may have had an audience in mind for his diary – perhaps family and friends back home, who would read his journal upon his return.
Walker’s journal is filled with comparisons, as well as descriptions. As evident in the above-quoted passage about the Irish immigrants passing through Liverpool on their way to the United States, Walker frequently compares European people, as well as landscape, architecture, food, and habits to American ones. In a few instances, he also compares his experiences in each European nation he visits to his experiences in other places in Europe. Consider the following excerpt from his journal, in which he describes a train ride he takes on his way from Hull, England to London:
[August, around the 16th]: The land on the rail-road for the most part is well cultivated, but not as neatly as in Ireland. The hedges looked much more uneven – a considerable woodland – the trees not large, and when we were within 10 miles of London it looked more like Massachusetts than it had at any time, on account of the wood.
Some of the comparisons Walker makes are purely descriptive, such as his recognition of the British landscape as very similar to that of Massachusetts. But there are many more that are qualitative in nature, including his comment included above about the “neatness” of British “cultivation.” Walker’s journal is therefore a place where he evaluates the quality of European culture, food, and conditions, by comparing them to the quality of American goods. As a person clearly cognizant of status and quality, this seems consistent with Walker’s character; as an American in Europe for the first time, it may have been Walker’s self-conscious attempt to understand America’s place in the world.
Rebecca D’Angelo is a senior undergraduate student in History and Anthropology. In her blog series For Private Eyes Only she studies diaries available in Archives and Special Collections at the Dodd Research Center to explore the history of journal writing and reasons why we write journals.
[1] The Daily Evening Transcript (Boston, Massachusetts); July 14, 1851, pg. 4.
[2] Boston Semi-Weekly Courier (Boston, Massachusetts), July 17, 1851, pg. 2.
[3] Daniel Kilibride, Being American in Europe, 1750–1860 (Baltimore: The Johns Hopkins University Press) 2013, 83.
October 25 at 4 pm, Konover Auditorium, Dodd Research Center
For the closing reception for A Private and Sensuous Encounter: Women’s Fine Press and Artists’ Books, 1966-2013, we have invited Robin Price, printer and publisher, to share her artistic encounters in the world of fine press printing.
Price is an artist, letterpress printer and publisher, whose artists’ books have the craft sensibility of her fine printing background. The work of the press, under the umbrella of Robin Price Publisher has become a lifelong, interdisciplinary liberal arts education, and her press books are collected & exhibited internationally. The 25-year anniversary of her press was celebrated in 2010 with a traveling retrospective exhibition that originated at Wesleyan University Davison Art Center, “Counting on Chance: 25 Years of Artists’ Books by Robin Price, Publisher.”
Robin Price, Printer & Publisher:
http://www.robinpricepublisher.com
For more information please contact:
kristin.eshelman@uconn.edu
sara.jamshidi@uconn.edu
The Somersville Manufacturing Company, maker of fine heavy woolen cloth, was established in 1879 in Somersville, a village in the town of Somers, Connecticut, by Rockwell Keeney. For the company’s entire 90 year history it was owned and run by Rockwell’s descendents.
Last year Mr. Timothy R.E. Keeney, Rockwell’s great great-grandson, contacted Archives & Special Collections to discuss the donation of the company’s records, which were stored in his home in Somersville. We found the records to be unique, accounting for the entire history of the company from its founding in 1979 to the point where it shut its doors in 1969. The documents themselves were a treasure trove, ranging from administrative and financial files and volumes to marketing material, photographs and scrapbooks, detailing not only the life cycle of the company but also the Keeney family. Mr. Keeney graciously gave us plenty of details about his family’s extensive and affectionate family; one fascinating aspect of the collection includes hundreds of letters written in the late 1930s and World War II years by his grandfather Leland Keeney to various members of the family.
The finding aid to the records is available at https://archivessearch.lib.uconn.edu/repositories/2/resources/931.
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Some of you may have seen already the UConn Today article announcing that the UConn Libraries’ Archives & Special Collections at the Thomas J. Dodd Research Center has acquired the Magdalena Gómez Papers (1979-2012). Born in NYC but currently a resident of Springfield, MA, Magdalena Gómez is what I consider the quintessential Renaissance woman: an award-winning poet, playwright, performance artist and social activist. Magdalena Gómez has the ability to combine art with social activism to create projects that are uplifting and empowering, one of the many reasons that guide me when I decided to acquire her collection.
Magdalena Gómez’s creative output is impressive. Poetry, plays, non-fiction, puppetry, monologues are just a few of the things that Magdalena has created, performed, engaged for several decades; and still there is more to come, as she herself shared with us recently:
I am in what may be the most creative period of my life. As I near the beginning of six decades on the planet I am at last finishing my novel, getting my first book collection of poetry published by Red Sugar Cane Press, NYC (I have chapbooks and two CD’s), and have poems and monologues, some of which have been set to music, by acclaimed composer, Desmar Guevara running Off-Broadway this Fall: Dancing in My Cockroach Killers, a co-production between Pregones theater and the Puerto Rican Traveling Theater, an Off-Broadway house since the 1960’s, founded by one of our legendary actors, Ms. Miriam Colón. It will be directed by another legend of American theater (all of the Americas), Rosalba Rolon, with choreography by Antonio Vargas.
In addition, Magdalena’s commitment to social change and justice through art is evident in such projects as Teatro V!da, the first Latino theater in Springfield, Massachusetts, where she is Co-Founder and Artistic Director. From their website:
Teatro V!da was founded to build youth leadership through the arts with a special focus on the creation of youth generated multi-media performance works in collaboration with professional adult artists. Our intergenerational ensemble work provides a venue for youth to identify and address issues that concern them in creative, positive, and life-giving ways.
Magdalena is the consummate collaborator. Her most recent effort is with Maria Luisa Arroyo, a writer and educator, with whom she co-edited a book on bullying, Bullying: Replies, Rebuttals, Confessions, and Catharsis (2012), an anthology of essays and poems written by educators and students, young and old people alike, who have suffered bullying but found that speaking out and sharing their experience is a way of healing–be it through a testimonial, a poem, or a short story.
At this point in time, we have a small collection, with a wide variety of materials that showcase the diverse projects and endeavors in which Magdalena has engaged from 1979-2012. Magdalena Gómez is an incredibly productive artist so more material will surely arrive in the archives as time goes by. Currently we have the following types of materials available in the collection: photographs, published poetry, published books and unpublished manuscripts of original poetry and plays, publicity posters and flyers, and empowering workshops material which highlight her creative output. Materials related to Teatro V!da and her book on bullying are also included, in addition to workshop material that she produced to teach educators, young children and adults, prisoners, abused women, etc. with the aim to empower them to reach their potential. A finding aid to her collection should be uploaded online by the end of the Fall semester.
Please visit the Archives & Special Collections, John P. McDonald Reading Room to see a display of Magdalena Gómez materials. The display will be available from Sept. 24 to Oct. 31st, 2013 during our regular hours, Monday-Friday: 10:00am-4:00pm.
Finally, today, Wednesday, October 9th the UConn Libraries, together with the Puerto Rican and Latin American Cultural Center, El Instituto, the Asian American Cultural Center, the Asian American Studies Institute and Women’s, Gender & Sexuality Studies Institute are co-sponsoring the event An Evening with Magdalena Gómez, at the Student Union Theater starting at 4pm, where we will celebrate Magdalena’s work and life. During the program, Magdalena will perform work from her forthcoming poetry anthology (Reception to follow at PRLACC).
Marisol Ramos, Curator for Latina/o, Latin American & Caribbean Collections, UConn Libraries Suzanne Zack, Marketing & Communications Specialist, UConn LibrariesAnn T. Winchester was not looking forward to returning to school on September 28, 1943. She has written “Doom Day!” next to that date. Her entry continues:
Fooled around all morning getting ready for the great trek back to Storrs. We started at 2:00. [T]ook Jane and Mrs. Schafer – she gave me a beautiful blue cardigan and a white wool kerchief. We found my room in Wood – small but a single.
“Wood” in this case refers to UConn’s very own Wood Hall, which currently houses the History Department. Ann, a resident of Windsor and student at the University of Connecticut from 1941 to 1945, had lived in Holcomb Hall on East Campus during the Spring of 1943, but moved into Wood Hall for the 1943 – 1944 school year.
Ann was a student at the University of Connecticut during World War II when the ratio of male to female students on campus was at its lowest (nearly 1:1) since the University’s inception, due in part to the significant numbers of young men fighting in Europe and the Pacific. Notably, she was also one of the first students to graduate from the University of Connecticut’s School of Nursing, which accepted its first class in September of 1942. She was a member of the Nursing Club, worked in the infirmary, and participated in an in-residence nursing training program at Backus Hospital in Norwich during the summer of 1943.
I once heard a writing professor define a diary as “a place to record the highs and lows of the day.” Ann’s diary, a series of short entries written daily from January 1, 1943 through December 31, provides consistent insight into the highs and lows of each of her days. A typical entry reads as follows:
May 7, 1943: After physics this a.m. – I went out on the roof for a couple hours of sunbathing. Hot and muggy today. Looked like Coney Island out there. Fooled around the rest of the day except for going to nursing class. Tonite we painted quite a bit. Then we took a walk up to the restaurant up the road and had coffee and doughnuts and smoked. Was fun – the nite is swell – warm and smells good. The peepers were singing for all they were worth.
In this way, each daily entry can read as a stand-alone record of one day’s events. But when read in its entirety, we start to see that Ann’s journal became a place where she recorded continuity and changes in her life over days, weeks, years, and semesters. Take, for example, the following excerpts from entries Ann writes over the course of three days in the Spring of 1943 about “an escapade,” which seems to have involved co-authoring a controversial note about one of her fellow house-mates (Flavia) with her roommate, Jane (May 4). This got her into particular trouble with a “Mrs. Davis,” presumably the house mother in Holcomb Hall, where she was living at the time:
April 28: Tonight Jane and I went to the House Council Meeting not expecting too much bad. Mrs. Davis gave us hell and threatened us with suspension. Not only the note was brought up – but working on shreds of truth, she told wholesale lies about us – “we’re vulgar.” Forbade Flavia to associate with us. Mrs. Davis is absolutely low and treacherous. In short she nauseates me!!!!
April 29 – I wrote mother about last nite – hope she’ll stand up for me! This place is stifling me – the petty minds and the cats that abound…Now Davis says [Flavia] can eat with us, but not come into the room. We’d corrupt her. I’ll get even with Davis some day!
And finally:
May 1: Both [Jane and I] went down to see Mrs. Davis this aft – she was too sweet to us. Well, maybe she thinks a little better of us. But you never can tell. To bed early.
These successive entries indicate that this issue remained a feature of Ann’s life over the course of several days. By reading each of these entries, then, we see that Ann used her journal to record her changing thoughts on the consistent features in her life, and perhaps gain insight into the relative importance of each of these concerns to her. Certain topics, including her relationships, class work, habits, and career goals, seem to be of greatest concern to Ann because she writes about them at length. Some aspects of her life – such as her ongoing battle with her physics and chemistry classes – are easy to recognize as important to her because she writes about them explicitly and frequently.
But there are other continuities, such as her on-going friendship with her roommate Jane, which we know are important to her, even if she doesn’t say so explicitly. Ann never writes, “Jane is an important part of my life.” We simply know this, because she mentions her nearly every day. Their friendship is so pervasive that as I read her journal, any time Ann used the pronoun “we,” I automatically began to assume it meant “Jane and me” – even if this wasn’t always the case. More ambiguous is the relative importance of the War to Ann’s life, which we recognize only through passing references to rationing, war-time movies, blackouts, and a visit by Mrs. Roosevelt to campus in March of 1943.
Long-term change, as well as short term change, is also a feature of Ann’s diary. During her summer (June – August 1943) spent as an in-residence nursing student at Backus Hospital, Ann befriends a “Miss Classé,” an instructor at Backus. Taken with her, Ann writes, “She looks like the perfect nurse. I’ll have to pattern myself after her” (July 16). Later, in October, when she attends a Nursing Club lecture given by an ex-Navy nurse, she confides to her journal that, “I rather think I would like to be a navy nurse” (October 25). In this way, Ann uses her diary to anticipate and project her present life into her future, particularly as it relates to her career – unsurprising for a young person in school.
Rebecca D’Angelo is a senior undergraduate student in History and Anthropology. In her blog series For Private Eyes Only she will study various diaries available in Archives and Special Collections at the Dodd Research Center to explore the history of journal writing and reasons why we write journals.