A Note from the Director of Archives & Special Collections

An exterior view of the Thomas J. Dodd Research Center on June 21, 2013. (Peter Morenus/UConn Photo)

To our community of scholars, donors, and supporters,

I’m reaching out to provide an update on the status of Archives & Special Collections. In accordance with the University of Connecticut’s response to the COVID-19 situation, Archives & Special Collections remains closed to the public. Although our facilities are currently closed, we remain committed to providing the highest level of care and support for our collections.

In preparing for the shutdown, our staff made all necessary provisions to secure the collections and ensure their safety. We have onsite security staff monitoring our collections, research, and exhibition spaces, and receive daily briefings on the status of our facilities. We also maintain an up-to-the-minute environmental monitoring system, which includes the ability to check on the temperature and humidity of our spaces remotely.

Although some of our services are limited at this time, we are working hard to ensure that you can continue to engage with our collections throughout this closure, from providing virtual instruction sessions to developing online exhibitions from our rich digital collections.

We recently launched a new online search portal, where you can access guides to our collections remotely, and have made more than 750,000 digital objects from our collections available for research and use through the Connecticut Digital Archive. We are active on social media – I encourage you to check out our Facebook, Twitter, and Instagram regularly for new content, programming, and collection highlights.

Our staff are teleworking and remain accessible by email and phone – please feel free to contact us at any time with questions or concerns: archives@uconn.edu or 860-486-2524. We will keep you informed about service and facility updates via the UConn Library’s COVID-19 response webpage and our social media outlets.

We appreciate your continued support as we work together to ensure the safety and well-being of our communities, and look forward to seeing you again in the near future.

~ Rebecca Parmer, Head of Archives & Special Collections

UConn COVID-19 Collection

The UConn Archives is interested in documenting the wide range of recent reactions, experiences, and activities undertaken by members of the UConn Nation as we all adjust, struggle and move forward through the challenges of a world-wide pandemic.

Archived news and internet sites will be excellent primary sources for future historians studying the pandemic. It is well documented, however, that the day-to-day activities and social and emotional experiences of people can get lost if not collected and preserved while memories, experiences, and reactions are fresh.

We are reaching out to the UConn community–students, faculty, staff, administrators, alumni, and other affiliated community members–to share your stories, in whatever form you wish, to be collected, preserved for posterity, and made accessible for research and study in Archives & Special Collections’ UConn COVID-19 Collection.  More information and instructions on how you can participate can be found on our website at https://lib.uconn.edu/location/asc/about/documenting-covid/

Thank you for contributing to this important new collection!

Walking with Edwin Way Teale at Trail Wood

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On April 26, 1962, Edwin Way Teale, at Trail Wood, his home in Hampton, Connecticut, wrote this passage:

A little after 5 am, just as the sun was rising above the trees along the brook, this morning, I walk down Veery Lane, up over the tundra and to Juniper Hill the long way. The air – down to 35 [degrees] — has an autumn sparkle. I see the earliest tent caterpillar nests shining silver in the crotch of a wild cherry sapling. All the ravines are filled with the yellow-green stippling of the spicebush blooms. Where a maple has fallen across the path near the crossing before Juniper Hill, I see where some animal has gnawed the bark from several branches near the ground. What was it – a rabbit? Because only the lower and smaller branches were attacked a rabbit seems to be the most likely possibility rather than a deer or porcupine…

Edwin Way Teale (1899-1980) was a naturalist, photographer and writer, born in the Midwest but who lived in New York after earning his masters degree at Columbia University. In the 1930s he worked as a writer and photographer for the magazine Popular Science and began his career as the author over 30 books on natural history topics. His books include Dune Boy: The Early Years of a Naturalist (1943), The Lost Woods (1945), North With the Spring (1951), Journey into Summer (1960), and Wandering Through Winter (1965), for which he won the 1966 Pulitzer Prize for General Non-Fiction.

In 1959 Teale and his wife Nellie left suburban Long Island for 130 acres of farmland in Hampton. They named the property Trail Wood and developed a series of looping trails, which the Teales walked almost daily. He describes the property in such books as A Naturalist Buys an Old Farm (1974) and A Walk Through the Year (1978).

A constant writer, for much of his life Teale kept a daily journal with the details of his habits and musings. He also kept a special journal – The Trail Wood Journal – about his observations of the change of seasons of the landscape of his beloved patch of land.

Fifty-eight years after Teale wrote the journal entry noted above, the author of this blog post visited Trail Wood, which is now managed as a nature preserve by the Connecticut Audubon Society and open to the public. It is my impression that the landscape I walked on my visit on April 25, 2020, was fairly close to that of which Teale wrote about on April 26, 1962, excepting the existence of trail signs installed along the way for visitors. The streams of this mid-Spring were running freely, the day was warm and the bugs abuzz. While I cannot claim to be as observant a nature lover or as skilled a writer as Edwin Way Teale, I can claim the same joy he must have felt whenever he strode the trails, discovering whatever revealed itself to him.

Archives & Special Collections holds Edwin Way Teale’s extensive papers and photographs, truly one of our premier collections. Some of the photographs, as well as Trail Wood Journal, can be found online in our digital repository.

The finding aid to the Edwin Way Teale Papers is at https://archivessearch.lib.uconn.edu/repositories/2/resources/788

Trail Wood Journal, in our digital repository: http://hdl.handle.net/11134/20002:860204261

Photographs of and by Teale photos in digital repository: http://hdl.handle.net/11134/20002:MSS19810009

In late 2016 and the first half of 2017 author Richard Telford spent many months intensively researching the Teale collection in preparation for a book he was writing on Teale’s life. Mr. Telford contributed many posts to our blog, which are drafts from the book. In them the details of Teale’s life, as revealed in the diaries, correspondence and publications, are beautifully placed into context. You can find Telford’s writings, which he titled Reexamining the Life and Writing of Edwin Way Teale in our blog:

Great Years, Great Crises, Great Impact, November 2016: https://blogs.lib.uconn.edu/archives/2016/11/30/great-years-great-crises-great-impact-reexamining-the-life-and-writing-of-edwin-way-teale/

The Lonely Suffering of the Fallible Heart, January 2017: https://blogs.lib.uconn.edu/archives/2017/01/12/the-lonely-suffering-of-the-fallible-heart-reexamining-the-life-and-writing-of-edwin-way-teale/

Throwing Bricks at the Temple, February 2017: https://blogs.lib.uconn.edu/archives/2017/02/14/throwing-bricks-at-the-temple-reexamining-the-life-and-writing-of-edwin-way-teale/

Losing the Remembrance of Former Things, March 2017: https://blogs.lib.uconn.edu/archives/2017/03/16/losing-the-remembrance-of-former-things-reexamining-the-life-and-writing-of-edwin-way-teale/

Into the Beautiful, Free Country, May 2017: https://blogs.lib.uconn.edu/archives/2017/05/25/prologue-into-the-beautiful-free-country-reexamining-the-life-and-writing-of-edwin-way-teale/

Chasing the Erratic Spotlight of Memory, June 2017: https://blogs.lib.uconn.edu/archives/2017/06/29/chasing-the-erratic-spotlight-of-memory-reexamining-the-life-and-writing-of-edwin-way-teale/

Nobody and Somebody: The Loving Ways of Lone Oak, August 2017: https://blogs.lib.uconn.edu/archives/2017/08/24/nobody-and-somebody-the-loving-ways-of-lone-oak-reexamining-the-life-and-writing-of-edwin-way-teale/

The Connecticut Audubon Society, which maintains Trail Wood, has information about Edwin Way and Nellie Teale online and on the signs throughout the trails. Happily most of the boards are reproduced on their website. You can find this information at these links:

Trail Wood website: https://www.ctaudubon.org/trail-wood-home/

Trail Wood signs: https://www.ctaudubon.org/trail-wood-the-teales-legacy/

Teale bio: https://www.ctaudubon.org/wp-content/uploads/2012/03/tealebio1.pdf

Sales catalogs of the E. Ingraham Company, makers of clocks and watches

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For more than a century, the E. Ingraham Company was a prominent family-operated manufacturer of clocks and watches, with headquarters and plants located in Bristol, Connecticut. Most of its employees were natives of the Bristol region, and members of the Ingraham family of Bristol controlled its management.

The company was founded in 1831 by Elias Ingraham (1805-1885), who opened his own shop in Bristol as a cabinetmaker and designer of clock cases. After several mergers with other companies and name changes the company was known as E. Ingraham and Company by 1884. From 1884 to 1958, the period during which most of the surviving company records were created, the firm was known as E. Ingraham Company. In 1958, the name was changed to Ingraham Company, and in November 1967, when the company was sold to McGraw Edison Company, it became Ingraham Industries.Through much of the company’s history, members of the Ingraham family served as its presidents and in other official capacities. The last to hold the office of president was Dudley Ingraham, until 1954.

E. Ingraham Company’s products throughout its history reflected technological advances and changing consumer demands for timepieces. Until about 1890, the company manufactured only pendulum clocks. During the 1890s, they began making lever escapement time clocks and alarm clocks. Radical changes in manufacturing methods during the following decade enabled E. Ingraham Company to produce 30-hour alarm clocks, pocket watches (1914), and 8-day alarm lever and timepieces (1915). In 1913 the company began to manufacture the popular “dollar watch.” In 1930, Ingraham added non-jeweled wrist watches and in 1931 began marketing electric clocks.

The depression of the 1930s did not affect E. Ingraham Company as severely as it did many other businesses. Employment never dropped more than 15% and wage and salaries were not cut. By the beginning of the Second World War, the company was producing clocks and watches at maximum capacity in order to meet the great export need after many European supplies were cut off. However, in 1942 the War Production Board ordered E. Ingraham Company to cease manufacture of all clocks and watches. By August 1942 the company had entirely re-tooled for production of items of critical war use, such as mechanical time-fuse parts for Army and Navy anti-aircraft and artillery. Full production of clocks and watches was not resumed until 1946, but the years 1946 to 1948 were boom years for company sales.

The company was sold to McGraw Edison Company in November 1967 and its name changed to Ingraham Industries.

In 1980 the company donated its records to the University of Connecticut Library. They consist of account books, general business records, correspondence, printed materials, photographs, maps and drawings which document the company’s history from 1840-1967. Also included are general accounting and administrative records; records relating to sales, purchasing, production, and labor; subsidiary company records. The general correspondence, which comprises more than half of the records, is particularly voluminous for the years 1916-1947. 

Now available online in the UConn Archives digital repository is a set of sales catalogs of the E. Ingraham Company’s clocks and watches, beginning at http://hdl.handle.net/11134/20002:19800034Catalogs. These catalogs are a terrific resource for clock collectors and historians.

Outside Over There: Maurice Sendak and Wolfgang Amadeus Mozart

Maurice Sendak signs books at the UConn Coop bookstore on April 28, 1981. Photo: Jo Lincoln, Archives & Special Collections, UConn Library.

“All of my pictures are created against a background of music. More often than not, my instinctive choice of composer or musical form for the day has the galvanizing effect of making me conscious of my direction. I find something uncanny in the way a musical phrase, a sensuous vocal line, or a patch of Wagnerian color will clarify an entire approach or style for a new work.”

-The Shape of Music, Maurice Sendak, 1964

Maurice Sendak, celebrated and renowned author and illustrator of children’s books such as the revolutionary 1963 Where the Wild Things Are and 1970 In the Night Kitchen, held a life-long and deeply intimate and interwoven relationship with music. Holding in high esteem composers such as Wolfgang Amadeus Wolfgang and Franz Schubert, he was in the habit of listening to music while working on his creations, and often, references to music crept into his preliminary and final drawings. A significant example occurs in the artwork for the 1981 Outside Over There.

Musically inspired and layered with resounding personal overtures, Sendak was already working on Outside Over There when stage director Frank Corsaro asked him in 1978 to design the costumes and sets on a production of “The Magic Flute” for the Houston Grand Opera. A catalyst for the creation of Outside Over There, Sendak explained: “In some way, Outside Over There is my attempt to make concrete my love of Mozart, and to do it as authentically and honestly in regard to his time as I could conceive it, so that every color, every shape is like part of his portrait. The book is a portrait of Mozart, only it has this form-commonly called a picture book. This was the closest I could get to what he looked like to me. It is my imagining of Mozart’s life.”[i]

In the 1964 essay, The Shape of Music, Sendak describes in beautiful terms the definition of “quicken” as it relates to illustration and animation and that to him to quicken “suggests a beat-a heartbeat, a musical beat, the beginning of a dance.” In other words, to “quicken” is to bring life into the inanimate – a source of rhythm so that a picture grows alive in the flow of imagery, color, and shape, or more succinctly, music in physical form. Outside Over There follows Ida, a young girl bearing the brunt of responsibility for caring for her baby sister while her father is away at sea and her mother immobile from melancholy. While music, or rather the act of Ida playing on her wonder horn and neglecting to attend to her sister, helps to cause the kidnapping of the baby by the goblins, music is the tool or action which redeems Ida. For by playing on her wonder horn, Ida drives and melts the goblins away and results in the siblings’ reunion and reconciliation.  

Sendak acknowledged that “right in the middle of Outside Over There, everything turned Mozart. Mozart became the godhead.”[ii] Dully, Mozart is seen in profile during the children’s return journey from “outside over there,” omnipresent to the scene and story but in shadow across the river in his Waldhütte, the creative cabin in the woods that becomes a recurrent Romantic theme for Sendak.[iii] In the final artwork for Outside Over There, for some drawings Sendak included not only notations for the creation dates, but also, the exact music which helped to inspire his illustrations. For example, for the artwork for page 13, a scene where Ida is playing the wonder horn and an ice baby is substituted by the goblins for the real child, the notation reads “Dec. 28, 77-Dec 30, 77 (tracing & inking)-Jan. 2, 78-Jan. 18, 78.” Above these dates, “string quartet in C- Mozart” is written in pencil. Mozart, by way of this inscription, receives his due acknowledgement as muse.

Outside Over There, after Where the Wild Things Are and In the Night Kitchen, is heralded as the final book in a trilogy of “variations of a theme” in which children cope with the day-to-day pressures of life by way of fantasy.[iv] Maurice Sendak, in speaking of Ida, says, “What she did is what I did and what I know for the first time in my life I have done. The book is a release of something that has long pressured my internal self. It sounds hyperbolic but it’s true; it’s like profound salvation. If for only once in my life, I have touched the place where I wanted to go, and when Ida goes home, I go home too.”[v] If Sendak’s love of Mozart helped to guide the textual and visual feel of Outside Over There and Ida’s journey, it is the underlying touch of the intangible which roams within the other world only to finally return home and perhaps, it is this element which ultimately touches the images and “quickens” them within their physical boundaries.

A curated playlist is available on Spotify based on notes made by Maurice Sendak on final drawings on deposit at UConn Archives & Special Collections. Follow the link to listen: https://open.spotify.com/playlist/3YCXQ975xKzXhsWZ4aciG3?si=nrc-j7aKR7i5O0TZ8MYRjw


[i] Jonathan Cott, Pipers at the Gates of Dawn: The Wisdom of Children’s Literature (New York: Random House, 1983), 74.

[ii] Steven Heller, ed., “Maurice Sendak,” in Innovators of American Illustration (New York: Van Nostrand Reinhold, 1986), 81.

[iii] John Cech, Angels and Wild Things: The Archetypal Poetics of Maurice Sendak (Pennsylvania: The Pennsylvania State University Press, 1995), 218.

[iv] Heller, ed., “Maurice Sendak,” 81.

[v] “Sendak on Sendak as Told to Jean F. Mercier,” Publishers Weekly, 10 April 1981, 46.

Resources in the Archives on Medical History

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As we now experience the shutdown due to the COVID-19 pandemic, many of us in self-quarantine, our thoughts turn to those who are essential to caring for those afflicted by the deadly virus. Doctors, nurses, EMTs, hospital workers and others in the medical fields are providing services for the sick and selflessly keeping us all safe. People across the country are rightly acknowledging and thanking them for their devotion to their work and to our well-being.

In the scheme of things at this moment in time the work of archivists seems pretty inconsequential, although my colleagues and I will contend that any event that we are dealing with in the present can, and should, be looked at through the lens of history. So that’s where we come in. That’s what we do.

The UConn Archives has an ample number of resources about the tireless work of those who care for others.

We hold an extensive number of collections on the history of nursing, many of which provide context and support to the materials found in the University of Connecticut School of Nursing Archives. This area is particularly strong in its documentation of the professional development, status, and legal activities associated with nursing by the organizations in Connecticut on behalf of their members as well as 20th century nurse training. There is limited, but significant, documentation of information on 19th century nursing activities during the American Civil War in the Josephine Dolan Collection. Formats accepted include manuscripts, diaries, correspondence, photographs, ephemera, sound recordings, and moving images. More information about these collections can be found in our collection management system at https://archivessearch.lib.uconn.edu/repositories/2/classifications/9 but a few of the more significant collections are highlighted here:

UConn School of Nursing Records.  As early as 1937, public health personnel in the state explored the possibility of organizing courses for public health nurses at Connecticut State College but, lacking funds, the project was shelved. In 1940, a committee of 18 members was formed and in 1941 presented a report entitled “A School of Nursing for Connecticut.” The proposal envisaged a program for registered nurses leading to the Bachelor of Science degree and a curriculum which would include 33 to 36 credits in required general courses plus a major in Nursing Education, School Nursing/Health Teaching or Public Health Nursing. The newly created University of Connecticut (named changed in 1939) Administration decided that a School of Nursing that would provide basic preparation in nursing as well as curricula for registered nurses would meet the need expressed in the report. The new School of Nursing was established in Fall 1942; the first Dean, Carolyn Ladd Widmer, was appointed in July, 1942, and arrived on campus in August. The finding aid to the collection can be found at  https://archivessearch.lib.uconn.edu/repositories/2/resources/668

UConn School of Nursing War Veteran Oral History Collection, of interviews with nurses who served during military conflicts: http://hdl.handle.net/11134/20002:20100100

Josephine A. Dolan Collection of Nursing History consists of materials gathered by Dolan, the first nursing professor at the University of Connecticut School of Nursing, consisting primarily of correspondence of the Wolcott family, articles and proceedings of various nursing organizations.https://archivessearch.lib.uconn.edu/repositories/2/resources/346. Items related to wartime nursing and the Wolcott family can be found in the digital repository at  http://hdl.handle.net/11134/20002:199500288

Ona M. Wilcox School of Nursing, of records associated with this nursing school affiliated with Middlesex Hospital in Middletown — https://archivessearch.lib.uconn.edu/repositories/2/resources/923

Connecticut Nurses’ Association Recordshttps://archivessearch.lib.uconn.edu/repositories/2/resources/311

Connecticut League for Nursing Historyhttps://archivessearch.lib.uconn.edu/repositories/2/resources/310

Connecticut Training School for Nurses Records, first school for nurses in Connecticut, open from 1873 to 1926 — https://archivessearch.lib.uconn.edu/repositories/2/resources/331

Eastern Nursing Research Society Recordshttps://archivessearch.lib.uconn.edu/repositories/2/resources/360

North East Organization for Nursing Recordshttps://archivessearch.lib.uconn.edu/repositories/2/resources/555

Meriden-Wallingford Hospital School of Nursing Recordshttps://archivessearch.lib.uconn.edu/repositories/2/resources/542

Eleanor Herrmann Nursing History Collection; professor of nursing at UConn from 1987 to 1997 and a member of the American Association for the History of Nursing, was one of its past presidents, and served on editorial boards and review panels for several professional journals. She also was a member of Sigma Theta Tau Nursing Honor Society; a fellow of the American Academy of Nursing — https://archivessearch.lib.uconn.edu/repositories/2/resources/43

The digital repository has a large number of photographs of the 2016 School of Nursing Commencement, available beginning here: https://collections.ctdigitalarchive.org/islandora/search/nursing%20commencement?type=edismax&cp=20002%3AUniversityofConnecticut

Records of the UConn Health Center. Founded in 1961 the University of Connecticut Health Center is composed of the School of Medicine and School of Dental Medicine, John Dempsey Hospital, the UConn Medical Group and University Dentists pursues a mission of providing outstanding health care education in an environment of exemplary patient care, research and public service. The Health Center’s main campus is situated in Farmington, Connecticut. The finding aid to the Heath Center records can be found at https://archivessearch.lib.uconn.edu/repositories/2/resources/713

UConn Health Board of Directors Recordshttp://hdl.handle.net/11134/20002:19970129BOD

Oral History interviews of those familiar with the early history of the Health Center —  http://hdl.handle.net/11134/20002:19970129OH

UConn Health Center Library’s publication Update, 1995-2002: http://hdl.handle.net/11134/20004:19970129Update

UConn School of Medicine:

Faculty Forums, 2006-2020 — http://hdl.handle.net/11134/20002:19970129FF

School of Medicine Governance — http://hdl.handle.net/11134/20002:19970129SOMResCouncil

Records of the UConn School of Pharmacy. The Connecticut College of Pharmacy was established in 1925 and located in New Haven, Connecticut. the course in pharmacy was extended from two to three years (1927) and to four years in 1932 (B.S. degree). In 1941, the Connecticut General Assembly incorporated the College as a School of the University of Connecticut. Beginning in 1942 diplomas were awarded in Storrs rather than in independent ceremonies at Yale University as had been the practice to date. In 1951, the School moved to the Storrs Campus of the University of Connecticut.   The collection contains an extensive collection of clippings (scrapbooks) concerning the program and its faculty, students and graduates in addition to historical papers, documents and reports about pharmacy and the program at the University. The finding aid to the collection can be found at https://archivessearch.lib.uconn.edu/repositories/2/resources/592 and a small number of items associated with the School of Pharmacy are in the digital repository at http://hdl.handle.net/11134/20004:19930077

Other collections touching on medical issues:

George W. Hanford correspondence from World War I. Hanford worked in the medical corps in the war and wrote to his parents in Kensington, Connecticut. The letters, from 1917 to 1918, can be found at http://hdl.handle.net/11134/20002:20050140

In Remembrance of Our Friend Tomie dePaola

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“An idea for me must be ‘heartfelt’–something that rings true for me–something worthy to share with children.” – from an interview with Tomie dePaola by Phyllis Boyson, Tomie dePaola: Storyteller of a New Era, New Era, Vol. 62, Issue 3, 1981

We are saddened to hear of the passing of beloved illustrator and author Tomie dePaola, donor, supporter and friend to the Northeast Children’s Literature Collection, held in the Archives & Special Collections at the University of Connecticut Library.

Tomie dePaola was born September 15, 1934 in Meriden, Connecticut. He received a Bachelor’s degree from Pratt Institute in 1956 and later a Master’s degree from the California College of Arts and Crafts in Oakland. dePaola shared his ideas with children in over 250 books over his 55-year career, and for that effort has won many accolades. In 1976, he was awarded a Caldecott Honor for Strega Nona and in 2000 a Newbery Medal Honor for the autobiographical work, 26 Fairmount Avenue. The Association for Library Service to Children, a division of the American Library Association, awarded dePaola the biennial Children’s Literature Legacy Award in 2011. A year later, the Society of Illustrators honored him with a Lifetime Achievement Award.

In the interest of assuring that children and others would have an opportunity to explore the process of turning worthy ideas into award winning children’s books, dePaola assembled and donated 70 linear feet of archival material to the Northeast Children’s Literature Collection in 1999. dePaola was urged to preserve his papers by his former professor at Pratt Institute, Roger L. Crossgrove, who had also been Department Head at the School of Fine Arts at UConn and was co-founder of the Northeast Children’s Literature Collection. The mission of the Northeast Children’s Literature Collection to preserve the history of the creation of our best literature written for children with an emphasis on illustration as an art form appealed to dePaola’s concern for showing the entire creative process, including the errors, revisions, and failures that occur prior to an idea becoming a successful publication. dePaola continued to donate material through 2015, lending additional depth to the collection through illustrations, book manuscripts, new publications, and original artwork.

The Tomie dePaola Papers contain artwork and sketchbooks, manuscripts, research files and reference works, printed material, marketing products, and video recordings from 1949-2015. The strength of the collection is in the number of paintings and sketches produced by dePaola from 1953-1978, during his early artistic career. The collection also includes dePaola’s reference library, mainly graphic design, illustration, and art and craft magazines and encyclopedic book collections on the ages of man and historically important painters. Actively used by students and researchers, works from the collection are often shown and loaned for exhibition. All of Our Angels, a picture book dePaola created for a Pratt class project was recently exhibited in The Picture Book Re-Imagined: the Children’s Book Legacy of Pratt Institute and the Bank Street College of Education (Pratt Manhattan Gallery, 2016).

dePaola was a fervent supporter of UConn not only with the generous donation of his collection but also through his participation in the Connecticut Children’s Book Fair. In the 23-year history of the Fair, he joined us 9 times, most recently in 2018. A popular guest, he seemed to relish in the idea of bringing together children from all over the state to tell his stories, and to hear theirs. In fact, the committee learned early on that they would need to rearrange both the presentation room and signing spaces to accommodate the large crowds he drew.

In 1999 the University honored dePaola with an Honorary Doctorate of Fine Arts, which was celebrated in true Tomie dePaola fashion with a lighthearted roast and plenty of singing. In 2007 the Library honored him with the inaugural Northeast Children’s Literature Collection Distinguished Service Award for his long-standing contribution to the field of children’s literature and support of the Northeast Children’s Literature Collection.

While dePaola’s legacy will live on in the archives, we will miss his personality and passion for children’s literature. We send our condolences to his friends and family.

Resources in the Archives about LGBTQ+ Activism in Connecticut

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For many, the gay liberation movement began on June 28, 1969. At the Stonewall Inn, a bar located in New York City’s Greenwich Village, patrons and neighborhood residents fought back against a violent police raid in the early morning hours. The crowd’s fierce resistance against law enforcement quickly grew into an uprising that lasted six days and signaled the arrival of a militant and confrontational movement for the liberation of LGBTQ+ people.

For students attending the University of Connecticut, something like their own Stonewall moment came a few years later, in the 1971-1972 academic year. By then, the UConn Gay Alliance, founded in 1967 by Peter Aubichon and Paul Harrison, had grown from a small private group to an officially recognized student organization. As part of its activities, the organization began to hold dances at the Inner College trailer on campus.

Around 2:00 am on the night of the first dance, some fraternity members “started screaming obscenities, yelling, and throwing bottles and rocks” at the trailer and those gathered outside. But similar to Stonewall, those attending the dance fought back. “Of course we started yelling back like maybe we could start something, like crack their heads,” one of dance attendees later recounted, “It was amazing!”

The meetings, dances, and other activities organized by the UConn Gay Alliance proved that by the early 1970s, the gay liberation movement had arrived on campus. Yet the State of Connecticut and its flagship university had long been home to various forms of LGBTQ+ activism and organizing.

In the 1950s, the homophile movement took shape as LGBTQ+ people began to organize and agitate for their rights. Groups like the Mattachine Society, ONE, Inc., and the Daughters of Bilitis sought to raise awareness, unify LGBTQ+ people, and challenge widespread social stigmas. Yet unlike later struggles for gay liberation, the homophile movement adopted a more cautious and gradual approach.

In the early 1960s, Foster Gunnison, Jr., who had arrived in Hartford, Connecticut, to pursue a master’s degree at Trinity College, began to immerse himself in the homophile movement. He offered his services as a secretary to the Eastern Conference of Homophile Organizations (ECHO), an early coalition of organizations working to create a national homophile organization. Then, in 1966, he was appointed Chair of the Credentials Committee for the North American Conference of Homophile Organizations (NACHO).

From 1965 to 1969, Gunnison collected the office and conference records of ECHO and NACHO, along with the records and periodicals of several LGBTQ+ organizations throughout the United States. During this period, Gunnison even founded his own organization, the Institute for Social Ethics (ISE) and in 1967 wrote the pamphlet, An Introduction to the Homophile Movement.

While Gunnison busied himself with preserving and documenting the homophile movement, students such as Daniel Campbell explored the spaces opened up by a burgeoning counterculture back on the University of Connecticut campus. Campbell attended UConn as a graduate student in 1967-68. In a poignant memoir, Campbell describes his pre-Stonewall experience on campus. “We may have been closeted to one degree or another,” he writes, “but we did not live in isolation.”

The rise of the counterculture and the hippie movement supplied a shared context. As young men faced the prospect of the military draft, and young women, the loss of their brothers and boyfriends, “they escaped into a separate reality and took liberties no generation had dared take before.” Campbell notes that LGBTQ+ people “shared in those liberties” in different ways. For Campbell and others, the popular slogan, “the personal is political,” became an everyday reality.

In the 1980s, The HIV/AIDS crisis that racked the LGBTQ+ community also generated notable forms of organizing and activism in Connecticut. The Connecticut Women’s Educational and Legal Fund (CWEALF), a non-profit public interest law firm founded in 1973, originally sought to help women gain equality under the law. But along with this mission, CWEALF began to hold conferences and other events in Hartford and around Connecticut to share information about HIV/AIDS and provide the LGBTQ+ community with resources to secure their legal rights.

Much of the LGBTQ+ activism, organizing, and educational work that continued in the 1990s and the first decades of the twenty-first century also made their mark on the University of Connecticut and around the state. After several years of organizing, planning, and lobbying by students and staff, UConn opened the Rainbow Center on campus in 1999. Still operating today, the center is dedicated to serving the needs of the LGBTQ+ community on campus. Throughout this period, LGBTQ+ activists and organizations across Connecticut also helped lead the movement for marriage equality, both in the state and the nation.

If you’d like to learn more about the history of LGBTQ+ activism and organizing at the University of Connecticut and across the state, Archives & Special Collections holds a wealth of material that may interest you. Among some of our relevant collections are:

University of Connecticut, President’s Office Records The collection comprises extensive material, especially administrative files and correspondence, from the offices of UConn’s various presidents. The records of presidents Homer D. Babbidge (1962–1972) and John A. DiBiaggio (1979-1985) are particularly useful. Both contain correspondence and other material relating to LGBTQ+ issues on campus, such as the emergence and activities of the gay liberation movement in the early 1970s. The finding aid for Homer Babbidge’s office records can be accessed here: https://archivessearch.lib.uconn.edu/repositories/2/resources/789 and the finding aid for John A. DiBiaggio’s office records can be accessed here: https://archivessearch.lib.uconn.edu/repositories/2/resources/603

Alternative Press Collection The Alternative Press Collection (APC) includes thousands of national and international newspapers, serials, books, pamphlets, ephemera and artifacts documenting activists and organizations from the 1800s to the present. Alongside the President’s Office Records, the APC files provide a bottom up look at LGBTQ+ organizing at UConn. Especially notable are materials from the Storrs Gay Coalition and the UConn Gay Alliance. The APC also contains voluminous materials from other LGBTQ+ organizations in Connecticut and throughout the United States. The APC can best be consulted using the card catalog available at Archives & Special Collections, though some digitized materials can be accessed here: https://archives.lib.uconn.edu/islandora/object/20002%3A19920001APCFiles

Daniel R. Campbell Papers The papers comprise a manuscript, a published article, and copies of photographs from Daniel R. Campbell, who attended UConn in 1967-1968 and was one of the first openly gay students on campus. The manuscript describes Campbell’s experiences at UConn and elsewhere, and offers insight and perspective on pre-Stonewall LGBTQ+ culture on campus. Campbell describes his life during this period, some discrimination he faced on campus, his interactions with students and professors, and comments on the wider culture of the late-1960s. In particular, Campbell highlights the hippie movement and the counterculture as helping to open space for living as an openly gay person during this period. The finding aid can be accessed here: https://archivessearch.lib.uconn.edu/repositories/2/resources/284

University of Connecticut, Rainbow Center Records The collection comprises administrative records, financial records, correspondence, publications, and other materials such as newspapers, brochures, pamphlets, and posters associated with the UConn Rainbow Center. The center was founded in 1999 after several years of organizing, planning, and lobbying by students and staff. The center is dedicated to supporting the needs of the LGBTQIA+ members of the campus community, and the collection documents the center’s history and activities up to the present day. The finding aid can be accessed here: https://archivessearch.lib.uconn.edu/repositories/2/resources/962

Foster Gunnison, Jr. Papers The collection comprises personal correspondence, organizational records, conference proceedings, serial publications and periodicals, posters and fliers, buttons, newspaper clippings, and photographs relating to LGBTQ+ activism in the 1960s and 1970s, as well as other issues such as smoker’s rights and barbershop quartets. Foster Gunnison, Jr. collected a range of materials from the homophile movement in Connecticut and across the United States, and later founded his own organization, the Institute for Social Ethics (ISE). The collection provides materials on a wide range of LGTBQ+ organizations in Connecticut, many of which have been digitized. The finding aid can be accessed here: https://archivessearch.lib.uconn.edu/repositories/2/resources/413 and digitized materials can be accessed here: http://hdl.handle.net/11134/20002:19960009SIIISE

Connecticut Women’s Education and Legal Fund Records The collection comprises administrative files, committee reports, legal testimony, workshop materials, lists of contacts and referrals, records on outreach and education, as well as related materials such as flyers, handouts, surveys, etc. The Connecticut Women’s Educational and Legal Fund (CWEALF), a non-profit public interest law firm, was founded in 1973. CWEALF helps women gain equality under the law and focuses on discrimination in such areas as education, employment, insurance, and health care. CWEALF is also concerned with reproductive rights and LGBTQ+ issues. In particular, relevant materials concern education and outreach on legal rights for gays and lesbians, as well as medical and legal information surrounding the HIV/AIDS crisis. The finding aid can be accessed here: https://archivessearch.lib.uconn.edu/repositories/2/resources/334

Marriage Equality and LGBT Activism in Connecticut Oral History Collection The collection comprises eleven oral histories with leading activists in Connecticut who have been a part of the marriage equality movement and engaged in other forms of LGBTQ+ activism in the state and beyond. The interviews were conducted by Valerie Love, Curator for Human Rights and Alternative Press Collections, between July 2010 and April 2011. Six of the eleven interviews have been transcribed and are available. The finding aid can be accessed here: https://archivessearch.lib.uconn.edu/repositories/2/resources/925 and digitized transcripts from the collection can be accessed here: http://hdl.handle.net/11134/20002:201100766

We invite you to view these collections in the reading room at Archives & Special Collections. Our staff is happy to assist you in accessing these and other collections in the archives.

This post was written by Shaine Scarminach, a UConn History Ph.D candidate who is a student assistant in Archives & Special Collections. 

Musicology in the Archives

The Spring 2020 semester is off to a roaring start with curricular engagement in the Archives & Special Collections. In addition to several classes visiting the archives for introductory sessions, return visits for collections use, and weekly sessions about memory and the recorded past, the UConn archives is taking part in teaching a School of Music seminar for the first time this semester. Currently, Archivist Graham Stinnett is co-teaching Music 3410W on Archives, Music, Memory and Culture with Prof. Jesús Ramos-Kittrell, Assistant Professor in Residence of Music History and Ethnomusicology in the UConn School of Fine Arts.

Students have engaged with assigned readings from popular culture scholars to critical theorists, amateur historians and archivists, as well as producers in the record business and public librarians. The course works with three major musical genres, the Country Blues, Psychedelic Rock, and Punk Rock drawing from the respective collecting areas at the UConn Archives: Samuel and Ann Charters Archives of Blues and African American Vernacular Musical Culture; Alternative Press Collection; Joe Snow Punk Rock Collection. Students are asked to engage with primary sources to investigate the production of a musical culture through its recorded past. As a writing class requirement the students will produce a research project and presentation drawing on topics found in the archives as well as their personal experiences with music in the digital age and notions of their own personal archives as far as the materialist commodity of music is concerned.

We look forward to working with students this semester to develop their critical learning skills through archives and producing unique and engaging projects that shed light on how young adults engage with music and make it their own.

The Love Game

Oliver O. Jensen was a writer, editor, self-taught historian, and railroad enthusiast born in 1914 who grew up in New London, Connecticut. He attended Philips Academy at Andover, Massachusetts, matriculated to Yale University and graduated a Phi Beta Kappa student in 1936. At that point Jensen became a free-lance writer for several advertising agencies.

On June 25, 1938, Jensen submitted a patent to the U.S. Patent Office for a board game he developed, which he called The Love Game. As part of the advertising for the game he hired models and actors to enact the game “in the flesh.” He designated one of the models as Dorothy Davis, President of “Love, Inc.,” the mock company that designed the game. One of the actors was real life puppeteer Bil Baird and the photographs were taken by the now famous photographer Fritz Henle. The outdoor scenes were taken in Darien, Connecticut.

All of the captions notes were on the back of each photograph and played along with the spoof of Dorothy Davis, her twin sister Dibbie, and various players of the game.

Love goes to a party at the country home of the Love Girls. While enacting a game in the flesh, Dibbie Davis starts to recover her heart from a player who has just nabbed it. What Pres. Dottie Davis of Love, Inc., and another player are doing in the background, God knows. (Meadow is in Darien, Connecticut). [The man in the background is Oliver Jensen]
A chorus of enthusiastic yesses for Love. Picture shows girl guests in specially designed costumes at a party given by Miss Dorothy Davis, President of Love, Inc., at which guests enacted scenes from the new board game in the flesh. Here they are lined up at the start in a Darien, Connecticut, meadow for the photographer.
The villain, Bil Baird, famous puppeteer, pursues lovely Jamie Jamieson in the game of Love. She’s got his heart, which is all right with him, but he wants to gain possession of hers — which is not all right, as far as she’s concerned.
Sent Home to Mother: President Dottie Davis giving a realistic twist to one of the plays in The Love Game, rushing to the matronly arms at her home in Darien, Conn., where Love, Inc., gives a party and plays the Love Game in real life.
[Oliver Jensen with Dottie and Dibbie Davis]
Love, Inc., President Dottie Davis talks about The Love Game. [Oliver Jensen is standing on the right].
In Love’s New York Office: Miss Dorothy Davis (left), President of Love, Inc., maker of the Love Game, talks about business to her sister, Miss Dibbie Davis. Pres. Davis, who originated the humorous game on the theory that America needs Love, is known as the “Most Beautiful Corporation President in the World.”
Page from the Official Gazette of the U.S. Patent Office noting that Oliver Jensen patented The Love Game on June 25, 1938

 In 1940 Jensen landed a permanent writing position on the staff of Life Magazine. After the outbreak of World War II, he took a duration-of-the-war leave from Life to join the United States Navy with the rank of ensign. From 1942-1943 he served on the U.S.S. Babbitt, a First World War destroyer deployed on convoy duties in the North Atlantic and Icelandic waters in addition to Carribean and North African runs. After transferring to naval aviation, Jensen spent time in England among search-plane squadrons and served in the Pacific aboard the U.S.S. Yorktown until the end of the war. Drawing on his experiences in the Navy, Oliver penned Carrier War in 1945 and returned to Life Magazine as a writer/editor until 1950.

Following his employment with Life, Jensen co-founded the American Heritage Publishing Company along with James Parton and Joseph J. Thorndike, Jr. The non-advertising, hardcover, popular history magazine American Heritage was launched soon after in 1954. While serving as editor from 1959-1976, he also wrote numerous articles for American Heritage and its sister publication Horizon Magazine. From 1971-1974, he served as president of the Connecticut Valley Railroad Company and from 1976-1980 as chairman of the board of directors. In 1981, Jensen went on to become chief of the division of prints and photographs at the Library of Congress until 1983. He remained involved with American Heritage Magazine and a variety of clubs and organizations dealing closely with history, railroads and Connecticut, including the Connecticut Historical Society, Acorn Club, Friends of the Alice Austen House, Society of American Historians, Eastern National Park and Monument Association, Century Association, Yale Club, and American Scenic and Historic Preservation Society. After spending much of his life in Connecticut, Jensen died on June 30, 2005, and is buried near his home in Norwich.

Oliver Jensen donated his papers to the UConn Archives in 2003.

Pea Soup and Pink Loafers

The following guest post is by Elizabeth Barnett, recipient of the 2019 Billie M. Levy Travel and Research Grant. Ms. Barnett is an assistant professor of English at Rockhurst University in Kansas City, where she is the director of the Midwest Poets Series and editor of the Rockhurst Review. Her essays and poems have appeared in Modernism/modernity, Gulf Coast, and The Massachusetts Review. She is working, with great pleasure, on Marshall’s literary biography, tentatively titled Egads!

“But how then can you really care if anybody gets it, or gets what it means, or if it improves them. Improves them for what? For death? Why hurry them along? Too many poets act like a middle-aged mother trying to get her kids to eat too much cooked meat, and potatoes with drippings (tears). I don’t give a damn whether they eat or not.”

—Frank O’Hara, “Personism”

James Marshall’s voice had two kinds of drawls, the homey “ahs” of his Texas childhood—“I was told y’all are shy. You can’t be any shyer than I am”—and the playful “ohs” of the queer, East Coast communities he moved to soon after—“I live in New York as well as Connecticut and I go to galleries all the time and everything I see in painting is soooooo dull, suuuuuuch crap.” Marshall’s voice maps his identity. It also conceals it. A voice, as opposed to the words it speaks, can’t be “on the record,” so can supplement, complicate, and contradict those words.

I knew Marshall’s authorial voice—witty, warm, and weird—from gentle hippo friends George and Martha; sweet teacher Miss Nelson and her witchy alter ego, Viola Swamp; and the tragiocomedic Stupid family.[1]

Cover of George and Martha by James Marshall

More than 25 years after his death, I came to know Marshall’s actual voice when University of Connecticut archivist Kristin Eshelman guided me to an amazing and extensive cache of recordings. From 1976 to 1990 Marshall visited his friend, one-time landlady, and devoted admirer, Francelia Butler’s “kiddie lit” class most semesters, reading his stories; chatting about the art world, publishing industry, and their intersection in picture books; and, most revealingly, participating in Q&As. Thanks to the generosity of Billie Levy and the University of Connecticut Libraries, I was able to listen to the run of these tapes, which begin at the peak of Marshall’s career and end two years before his death of complications from AIDS.

Marshall’s first visit, from the Fall 1976 class photo album. (The class made a photo album!). Francelia Butler Papers, Archives & Special Collections, University of Connecticut Library

A question I had for the tapes: how did Marshall navigate being a gay artist at a time when it was, full stop, impossible to be an openly gay man making books for children? Eavesdropping on those Regan-era, AIDS-blighted years, I never heard Marshall say he was gay.  He never spoke as though he weren’t. Marshall’s authorial persona, distilled in his voice, suggests a key insight about his books, which also had to straddle the line between authentic artistic creations and market-dictated norms. What he says and how he says it are analogous to the words and pictures in one of his books. The voice says what the words can’t, just as the pictures, at times, undercut the moralistic conventions of children’s literature.

In Butler’s classroom, for example, I heard Marshall gesture to the limits of what he was allowed to say in an October 10, 1979, interaction with a female student. The student asked if Marshall was married. Marshall answered first with several beats of silence, then with a single word, “no,” then another beat of silence, then “I’m not” followed by a dismissive “next question.” The question asker perhaps wanted to catch Marshall out or perhaps didn’t understand what Marshall’s voice had been telling her. She asks an “innocent,” superficially unobjectionable question. But that banal surface hides (or not) the power of the dominant culture that the question summons. It really asks: Are you one of us? The asker uses the language of power and Marshall subverts that language by making it superfluous, his answer conveyed through silence and tone, not the words themselves.

This brief interaction reminded me of “Split Pea Soup,” the first story in 1972’s George and Martha, Marshall’s first book as both author and illustrator. It begins, “Martha was very fond of making split pea soup. Sometimes she made it all day long. Pots and pots of split pea soup.” These three simple sentences amplify each other and give a sense of something a little off about Martha’s soup making, the repetition mirroring Martha’s repetitive actions, recasting conventional domesticity as a less-cozy compulsion. Why is she making soup all day long? Why is she making so much? What begins in a normal place ends in a slightly absurd one. Or perhaps it’s just that the absurdity of normality comes through in the repetition. In the illustration, the framed slogan “Soup’s On” underlines Martha’s extreme enthusiasm for soup.

Illustration of Martha cooking pea soup

James Marshall, George and Martha

The illustration shows Martha, a hippo, in a massive checkered apron tied with an equally massive bow. She wears no other clothes. Her performance of femininity draws attention not to her femininity but its status as performance. (Here I echo and Marshall anticipates Judith Butler’s theorization of performativity). She is a topless large animal playing the part of a demure housewife. A drawn border surrounds the image, emphasizing that, like Martha in the kitchen, the book itself is performing. The redundant border puts “children’s story” in quotation marks by not allowing the page itself to function as the boundary, by insisting on something more artful, and by drawing attention to that artificiality. 

So Martha loves making soup. We then learn that George hates split pea soup but eats it anyway to make Martha happy. However, he’s only hippo and reaches a point where he can eat no more. How, though, can he tell Martha that this good, normal thing she’s doing makes him miserable? He can’t—he pours the soup into his loafers. His pink loafers. And Martha catches him.

James Marshall, George and Martha

“Light in his loafers” was a common euphemism for homosexuality in the mid-century heyday of loafers and sexual repression. Pink is coded as female or gay. Until a new, more economical method of full-color printing was pioneered in Japan in the mid-1980s,  most of Marshall’s illustrations were color overlays, which means that Marshall drew the picture then traced each thing that he wanted to be yellow, or blue, or red onto separate sheets of paper and colored those in with graphite, indicating if any colors were to be diluted by giving the percentage of that color to be applied. All to say, the pink was absolutely a deliberate choice.

Color overlay for George and Martha One Fine Day

Example of color overlay from George and Martha One Fine Day. de Grummond Children’s Literature Collection, University of Southern Mississippi.

George’s disposal of the soup in his loafers might be read as a symbolic refusal of compulsory heterosexuality. It is also a refusal of language, suggesting the complicity between the two. George “says” he hates the soup through his actions because language would imbricate him in the very power structure he’s resisting. I see Martha as the question-asker here. She is playing the feminine role as she’s supposed to. She’s aligned with the dominant culture. George is Marshall; he can’t tell Martha he hates the soup because here she is doing exactly what she’s supposed to do (however inane), and he’s messing it up. George avoids the language trap just as author/illustrator Marshall does—they don’t put the subversive part into words. 

The too-pat ending of “Split Pea Soup,”—Martha tells George, “Friends should always tell each other the truth,” and they eat chocolate chip cookies—to me signals that Marshall wants his reader to feel the tension between what the story says and what it means. I probably think that because that’s what I hear happening in the classroom interactions on the archive’s audio tapes. Marshall’s language, punctuated with strategic silences and curtness, insists on its own inadequacy, drawing an arrow to what’s left out. The story’s sharp turn to the didactic reads to me like the drawn border around the illustrations. It signals its own performativity, here of the norms of the picture book, which are weakened, rather than reinforced, by their inclusion.

Frank O’Hara’s 1959 critique of poetry-as-moral-vitamin anticipates Marshall’s later refusal of children’s literature’s didactic imperative. In both cases, queer writers already existed outside of mainstream culture, their morality maligned by that culture. It follows they may have been especially wary of the inherent value of literature being used for ethical indoctrination. Both suggest the value of their art form is not the moments it teaches us something, but the moments it refuses to.

In 1979 Marshall “answered” the student question with words that would not endanger his art and livelihood.  Marshall’s delivery suggests he wants the audience to know that’s why he’s saying them. The performative conformity is one way to understand the more conventional moments in Marshall’s startlingly original body of work. He tells us when he’s playing by the rules to protect the magic of when he’s not.


[1] The latter credit Harry Allard with authorship but, as Jerrold Connors convincingly argues in his post on this site, and Marshall’s materials confirm, Allard often provided the creative spark for a piece, but Marshall shaped the narrative and the finished prose.

There & Back Again: A Hobo’s Tale

An exhibition is currently on display about Hobo culture, train hopping, and boxcar art over the last 150 years. The exhibit will run from January 9 – February 28, 2020 in the Thomas J. Dodd Research Center Gallery at the University of Connecticut. Drawing from the extensive railroad collections at the UConn Archives & Special Collections, this exhibit seeks to present the love of trains from an alternative approach through art, folklore, and travelogue.

The exhibition will feature an opening reception and film showing of Bill Daniel’s Who is Bozo Texino: the epic account of the improbable discovery of the true identity of the world’s greatest boxcar artist. (2005) on Thursday, February 6th, 2020 from 7-9pm.